Urban Folk music reviews

I am a huge fan of Boubacar Traore and a big fan of Frisell's, so I should LOVE this cd, but I only like it. The idea that this is "uncharted territory" for Frisell is silly. The best tracks are those which derive the most from Boubacar. Other tracks, like track 5, are not uncharted territory, they are virtually indistinguishable from any of Frisell's recent albums. Frisell again seems content to mostly play session and studio man rather than take chances creatively.

That said, it was wise to draw inspiration from the great Boubacar, and this cd is probably my favorite of Frisell's recent work, along with Ghost Town; and I'd recommend it over Blues Dream or Good Dog and some of the others.

UPDATE AFTER A YEAR: After a year, I'd have to say that I think it's not quite as ethereal as it wants to be. Again, the tracks that cut-and-paste some Boubacar are nice though not really better than the sum of the parts, but the other tracks (try track 3) are nondescript, unimaginative, and oh-so-how-familiar-Frisell. I remember Bruce Willis describing in an interview that his approach to acting in the movie "Unbreakable" was to do "as little as possible." That seems to be Frisell's approach all too often, and while it sounds like brilliant philosophy, it doesn't suit either's work. Frisell is not flamboyant or showy by nature, so toning down doesn't contain the fire, it extinguishes it. When he goes all out in either direction, he's better. But too often he sits in the middle, laying down a simple atonal progression of a few notes, and then meandering alongside (tracks 3 and 13). It works for me about as well as when classical compositions which front a Hungarian melody or something: it doesn't. Some tracks here are great. I think we need to get Ginger Baker to get him to actually do some lead guitar again.

The music Bill played in the sessions that produced this album is really modal. Almost all the tunes are modal vamp based on one chord orchestrated with the common Frisell extravaganza. This should not sound as a critic but on the opposite as a compliment to Bill's music. Infact the album is really a joy to listen, it has a strange amalgama of instruments and the music is in the end ipnotic and always interesting. I really really like the album but at the same time I can't find all this genius in Bill's work at least in the case of albums like this one. He is of course an extremely talented musician with a style of his own, very recognizable. He displayed his style all over a vast array of albums in which he still showed a lot of ideas. Nevertheless I can't talk about genius in the case of an album made almost entirely of modal vamp. It is really interesting, very well played and orchestrated, but genius is something else I think. And I think that this music cannot be called Jazz. Pay attention. This is not Jazz. It's modal music, contemporary music, improvisational music, but it is not Jazz. Jazz is that thing that swings. Anyway a very nice album. You can buy it with confidence if you love music with a lot of space and atmosphere in it.

On this 2003 release, Bill Frisell teams up with a group of world musicians. This album was nominated for "World Album of the Year" at the Grammmies, and I can certainly see why. The music is so textural, melodic, and at times quite breathtaking. This album is has a real open quality to the music. Even though this is Bill Frisell's world music album it still has the Frisell guitar sound in tact. The album is very eclectic yet very accessible. That's the thing that I admired about Bill especially in the last 4 years is that he's been making music that is VERY accessible and easy on the ear unlike his avant-garde jazz excursions in the earlier part of his career. The instrumentation on this album is strange, but it really works out well. This album should appeal to those already fans of Bill's music and those who just enjoy good music.

Though I am an avid Ani fan, this album is probably my least favorite, mostly for it's lack of flow and inconsistancy. Most of these songs are excellent on thier own, but the record as a whole feels more like a collection of B-sides than a coherant album. Many of the tracks that tie together in similarity and style, often drag and feel dull when heard in one sitting. A hand full of tracks are more experimental and engaging (Angel Food, Hat Shaped Hat) but seem odd and out-of-place.

"Angry Anymore" is probably my favorite track on the album, having also come from a divorced home and understanding the need to understand and forgive one's parents- for they too are human.

I wouldn't say this album is completely unwelcomed in my collection or that it is a waste to listen to- but I think it would be a poor choice for someone just becoming familiar with her music. This may well be the only album that does not leave me completely satisfied, because I absolutely love every other album I own of hers for thier own special reasons. This is not a bad album, just considerably less organized and finely crafted as some others. But I cut Ani DiFranco slack because she has put out a new album almost every year for over a decade (sometimes twice in one year). To have only one of those not be a complete success is amazing in and of itself.

I am a beginning Ani DiFranco fan. I bought this CD second, and as a beginning fan I was not impressed at all. Some of the songs are good. 'Hat Shaped Hat' is very fun, 'Jukebox' has a good feel to it. ''Tis of thee' has a powerful message behind it. The other songs have their moments. But overall, I don't think this is a good album if you're buying it to see what you're in for.

don't listen to all these bummer reviews by pissy elitist ani fans. this album is abstract & beautiful. from the humbling "tis of thee" to the devastating "trickle down" followed by the fun jam session of "hat shaped hat" which is a great closing track for an amazing album.

what is it with these people reviewing ani's albums and bitching about ani's left-wing politics and how that makes the albums go from great to just good?!?!

other than her great song-writing ability and ultra-personal lyrics that strike a chord with listeners, what makes ani ani is her unapologetic criticisms of mainstream and conservative politics...... i dont think she'd appreciate knowing that some of her "fans" are apparently politically apathetic and complacent.... It's one thing if you don't agree with her politics, but the impression i get from these reviewers is that they'd rather live in a self-imposed bubble where they can view life through rose-colored glasses. if you want that go listen to avril lavigne or someone equally as vapid.

other than that though i am one of those people that prefers her earlier stuff. I dont think she pulls of this jazz/fusion direction she's taking, there aren't hooks to the songs and her lyrics just don't carry the same punch that they used to.

i love this album. at first, it sounded quite a bit like elevator music. it takes a few extra listens, i think, to really unfold it. but once you do, it's a feast for the ears and soul.

I enjoyed Ani's sound before Revelling/Reckoning was released, but I was not a serious fan. After several albums, her folky sound was starting to bore me... even the live releases were becoming mundane. After several jam sessions, spoken word rants, and live guitar strum tantrums, I started to wonder, "Is this the only thing that such an innovative musician is willing to experiment with? When is Ani going to put a spin on her sound?"

Then I heard Revelling/Reckoning, and got what I wanted with songs like "O.K." and "Heartbreak Even." The horns and flute create a fabulous blend with Ani's style of guitar playing. I was pleasantly surprised with the sophistication of the music. It sounded like a sweet fusion of jazz and folk, not an experiment gone wrong.

I find it appalling that so many Ani fans have looked down upon this album with contempt. It is fresh, funky, and still full of the things that Ani fans love about her...

Fierce Flawless brings you back to the "righteous babe" feeling that Ani's music tends to induce. Marrow is there for those of us who appreciate Ani's ability to twist and mold the English language like play-dough.

Obviously, Revelling is my favorite CD out of the pair, but both pieces of the album compliment each other. Ani DiFranco is a very talented musician. Revelling/Reckoning was a bold step away from her "norm", but it was a step in the right direction.

This compilation was made soon after the 9/11 in a wake of patriotic feelings among Americans. It comprises songs of different genres, from rock ballads ("Peaceful World" by John Mellencamp, "Lean on Me" by Bill Withers) to ballads ("Bridge over Troubled Water" by Simon&Garfunkel), to big Americana hits ("God Bless America" by Celine Dion, "America the Beautiful" by Frank Sinatra, "This Land Is Your Land" by Pete Seeger, "We Shall Overcome" by Mahalia Jackson) to the National Anthem "The Star Spangled Banner" by the Mormon Tabernacle Choir, plus "Hero" by Mariah Carey, "There's a Hero" by Billy Gilman, and a few more.

This CD is a good compilation of songs that may lift the spirits of the nation, as well as some truly inspirational melodies. Performances by Tramaine Hawkins ("Amazing Grace"), Billy Gilman, Celine Dion, Simon&Garfunkel, Bill Withers are the gems of this CD. The same can be said about the National Anthem, though you might find some acappella version (by Lee Ann Rimes, for example) not less appealing.

Personally I bought this CD because of Lee Greenwood's "God Bless the USA". But this turned out to be the worst track. It is probably some remix. Almost nothing is left from the original version, neither its marching touch, nor the integrity that left your skin covered with goosebumps, inspired you and made you realise the true spirit of American patriotism. The version from this CD is more on the jazz, relaxed side, which is killing for such a song.

On the whole, this CD deserves your attention if you need a compilation of Americana music, or at least a flavour of it.

This is a very nice patriotic CD with some great songs. My favorites are God Bless America, sung by Celine Dion. America The Beautful, sung by Frank Sinatra. This Land Is Your Land, sung by Peter Seeger. Peaceful World, sung by John Mellencamp. Blowin' In The Wind, sung by Bob Dylan. Bridge Oer Troubled Water, sung by Simon & Garfunkel. Good Bless The U.S.A, sung by Lee Greenwood. And The Star-Spangled Banner, sung by the Mormon Tabernacle Choir. The songs are all beautiful and uplifting!

True to its title the music CD God Bless America is a masterful tribute to America. This collection of patriotic music includes many soul-stirring songs; I especially like the selections by Lee Greenwood, Frank Sinatra, and Bill Withers. All of the songs on this CD are powerful and will remind you how great this country truly is.

God Bless America is great for working, driving, or listening to all by itself. I guarantee that you will not regret purchasing this collection of American songs. This CD draws together an immense pool of talent and is extraordinarily successful at illustrating the greatest nation in the world.

My younger brother made a good point, I thought, when he told me this album should never have been made. Instead, he said, Woody Guthrie's daughter should have found two other artists--another singer, and another band, even--and had THEM do volume two. Hayden and The Flaming Lips. Soltero and Yo La Tengo. Daniel Johnston and Neutral Milk Hotel. Morrissey and The Postal Service. It could have still used Woody Guthrie's lyrics, but it would have been something fresh...not this...and that format could have gone on indefinitely for any number of albums.
This, however, is a rehash of volume one.
Thankfully, Wilco went back into the studio to record some new songs--this album's best songs--but all we have from Billy Bragg are the outtakes from the first album, and Natalie Merchant's song on this volume...well...to put it nicely...sucks.
"Airline To Heaven" by Wilco is an outstanding song, using Bible verses in its lyrics and an exciting build. "Secrets Of The Sea" is a good one as well, as is "Someday, Some Morning, Sometime," but overall this album should never have happened. Volume one was good, and they should have left it alone.
I saw Billy Bragg on tour for this album--the show was awful, and most of the songs he played were bad covers of the songs Wilco had written--and he hinted there might be a volume three.
Please God, no. Spare us, please. Spare us all. Let these artists put their talents to use in some way better. Let Billy Bragg return to "Workers Playtime," and keep him away from Wilco. They're doing fine without him.

Of course it's not as good as the first. They took the best material they had and used it on Volume 1. Well, mostly. Somehow they left behind "Remember the Mountain Bed," a wistful song with a fairy-tale quality; "Joe Dimaggio's Done It Again," a rollicking period piece; and "Feed Of Man," which I'm still a little puzzled by, but in a good way. I just noticed that the three songs I've mentioned are all sung by Jeff Tweedy. That may be a coincidence, but he does seem to take the reins of this project over from Billy Bragg. Bragg fans needn't worry, though; it's all about the lyrics, and the legacy of the greatest folksinger ever.

I got this as a present from a friend. I still don't quite like Wilco, but I learned to like Bragg after this. His sarcasm & reticence combines nicely with Guthrie's lyrics. Great songs to shout along to in the car, especially Joe DiMaggio. Black Wind Blowing is sad but well suited to being played very loud.

Bruce is angry. But you knew that. It's no surprise - he's always angry lately. Here's a man with a mastery of words who can't get through an album or a concert without resorting to profanity. Memo to Bruce: SHUT UP. We understand that you don't like George Bush. Do we have to hear about it every album and every concert? Not only does it alienate many of your fans, but it's bad art. We're tired of it. Let it go. Take your own advice at kick at the darkness in yourself. Put that in your heart.

Like my friend who wrote before me, I think this album reveals a stale spirit for Mr. Cockburn. I also love most of his previous albums (I own all except greatest hits and live albums), and think he is one of the better song writers of the last 30 years. However, this latest record... really mediocre. It is almost like he is replacing intelligent and interesting songwriting with techno-crap. His melodies are bland and unengaging, lyrics are recycled (like the guy before me said), and he just seems old and bitter. Obviously he can write whatever he wants, but he can't expect that by writing hatred-fueled songs he is going to get something that sounds good. It seems that he has become one of those "tolerant" types who are only tolerant of the tolerant. Unhealthy. I hope he wises up and gains new perspective for his own sake, and for the sake of his fans. I feel he is poisoning people with his latest album. Like I said, he can say what he wants, but that doesn n't mean what he says will be quality. It is interesting that you can HEAR the bitterness in the music itself.

Unfortunately this is probably Bruce's worst album since he hit his stride in about 1974. But it's still not bad. There has never been a Bruce album that didn't have at least 2 or 3 songs that seriously moved me. And I can't say that about too many of my other favorite artists. Bruce misses the mark here too many times; there are a few songs here (like Trickle Down) which are particularly cringeworthy. The 3 or 4 very good songs are worth the price of admission. If you've never bought a Bruce album before you don't want to start here - there are real treasures in his earlier work.

....I especially love the track "While I'm Here" and don't wish any one to be misled into not buying an album they could potentially love based on a false review. Thanks for reading this. Sorry about the mix-up.
- Elena

'Cause you're going wear your old one out, especially the repeat button. When I'm Gone is *the best* remake of the song I have ever heard. Hurricane is another great update of the classic Dylan version, and the remix of To The Teeth is better than the origional (hard to believe suc ha thing could ever be said about a remix, huh?). A must have for any DiFranco fan.

I'm sure nobody would argue that Ani is at her best live, but being in the studio she sure manages to produce some great works. This is a fantastic EP that has some songs that definitely have mainstream appeal on it. Nevertheless, a good listen/buy for a hardcore Ani fan, too. If it had a few more songs on the same level as Swing, it could have been a large mainstream success. In any case, great compared to the rest of what's out there, even if Ani has done and will do better.

Gary Jules took my by surprise with the "Mad World" cover--and while the whole CD feels different from that single song, all of it is wonderful. I also enjoy Simon & Garfunkel, and though Gary Jules sounds a lot like them, he still has his distinct merits from the group. Enjoyable lyrics and calming music. If you're this type of person, then this is for you.

If you enjoy this type of music, I suggest [...] Which is comparable in sound, and decent lyrics... though there is sometimes a religious or satirical element in songs and some people may not like that, it doesn't detract from the quality.

The main review hits the nail on the head. Including the "mad world" cover as the hit song when the rest of the album is very different was a risk. And the negative reviews to be found here, as well as Gary Jules continued presence outside the mainstream, reflect that is was a rather miscalculated risk. He is very underrated and probably would be as popular as Jack Johnson with a little more marketing and focus on pop in his music. Nevertheless, who cares about how popular he is or isn't?! He's an awesome lyricist and a formidable crafter of song. If you're not just into the Top20, and you're into folky stuff, this is your next favorite album.

Gary Jules has created an especially haunting selection. The album inspired me to hear him live in San Francisco at the Inderpendent. Very impressed with his style and sound. His Darko soundtrack is equally fantastic. Highly recommend them both.

I had not heard this artist before, but I bought this after listening to some samples. What strikes me about Catie is that her voice sounds almost identical to that of Edie Brickell. Many of the arrangements on "My Shirt Looks Good On You" are similar to "Ghost of a Dog" by Edie Brickell and the New Bohemians. The material is not quite on the same level as "Ghost", however. A few songs are quite nice (including the opening piece "Run"). Most of the rest of the first half are somewhat sophomoric and banal (especially the title track "My Shirt Looks Good On You", which is almost embarrassing) but pleasant enough. The album picks up steam again, though, about track 9, "Elizabeth", and finishes strong.

Recommended, with reservations

I was sampling CDs when I gave this one a try. I bought it and have been thrilled with my purchase. I am really surprised there are some extremely negative reviews here. She is fresh and original which is hard to come by.

This CD was obviously a victim of bad timing (it was released in September 2001) because it has not gotten the play it deserves. The first spin through this CD left me wondering whether I would completely "connect" with the songs and then I left it in my CD changer for about a week on random play and I found myself enjoying every song more and more, the more times I heard it. You will not be disappointed by this CD. Rumor has it that she also has an all-accoustic CD available only on her website.

Billy Bragg has always managed to mix "pop and politics" in his words, but on this EP, he focuses on the latter. Sure the album may be short, but he put's his heart into each and every word. Sure he takes some liberties, but that's what makes this album interesting. I know of several versions of "Joe Hill" (Paddy Reilly, Joan Baez, Pete Seeger, etc.) and while a contribution by Bragg would have been welcome, it was more exciting for me to hear it sung about the late, great Phil Ochs. His version of The Internationale might not be the same as the original, but times have changed, and for the worker's to be able to have a song that represents them, it would be foolish to sing about things that aren't relevant anymore.

So if you want traditional communist/socialist/anarcho songs, there's many places you can find them. If you want a contemporary album with a bit of humor, and a lot of topics (that you can still feel passionate about), get this EP.

Some people need to learn to comprehend what they read. The previous poster had writen that what we know as "Tannenbaum" was originaly "The Red Flag." What the liner notes actualy state (an you can learn if you pick up allmost any book of labour songs) is that "The Red Flag" was orginaly set to the Jacbite tune, "The White Cockade." The version sung today by the Englis Labour Party however is set to the tune of "Tannenbaum." The poster also writes that Pete Seeger asked Billy Bragg to rewrite the lyrics to "The International," where Billy clearly states that when Pete asked Billy to sing "The International" with him at the Vancouver Folk Festival that Billy replied that he thought the lyrics were archaic, to which Pete agreed and suggested he rewite the lyrics.

To be able to write this, I replayed this long-deleted 1990 Utility Records CD a few minutes ago; choked @ Bragg & Cara Tivey's duet of "Blake's Jerusalem" & wept @ "The Red Flag" (with Dick Gaughan backing Bragg uP in the chorus.) I'm proud to have this CD; you will be, too.