Urban Folk music reviews

This is fresh music with genious lyrics- Strong melodies and great musicians. The production is great too. Paul crosses genres better than Ru Paul crosses genders. It's folk with flavors of bluegrass, jazz, and rock/pop. A must have CD for lovers of creative music.

How can you pass up hourly rates like this?? They don't come any funnier -- or more sincere, compassionate, or topical than Austin's most beloved practitioners of musical mental health. Lisa Rogers and Maurine McLean are incredibly creative -- both musically and lyrically. I have never seen them perform when there wasn't a roomful of smiles at the end of the evening. Touching upon items in the news, the state of the world, realtions between family members, and the basic need for love and dignity among humans, their songs elicit gentle smiles, tears, belly laughs and genuine epiphanies. No human need is left out -- and no public figure is safe from their gaze.

The songs on this, their latest recording, are all first-rate -- as is the case with all of their audio offerings. 'Work like you don't need the money' could be their anthem -- if they didn't have so many other intelligent, heartfelt songs that also fit the bill. Another standout here is Lisa Rogers' 'I need a stalker' -- recipient of a 1st-place songwriting award at the South Florida Folk Festival.

Great songs for grey OR sunny days -- we can all use therapy like this as often as we can get it. Remember -- with plenty of Therapy Siisters cds in your collection, the doctors are always 'in'. [And for those of you who prefer 'group therapy' -- keep an eye out for this talented duo appearing in your town. They're not to be missed!]

this new album Up Up Up Up Up Up , is again a hot example of this groovie young chicks raw talent! The song 'angry anymore' brought tiers to my eyes and a smile to my face. If you have the chance to see her live do so, you will stand in awe. Difranco will rock your world for sure

Leonardo's third album is a heartfelt expression of life. It inspires and reminds each of us to live, love and laugh and find our own adventures in our travels or in our own backyards. The writing and composition of the songs support each other equally in a beautiful, artistic embrace. Buy it. Really, you should. It's only 12 bucks and a bargain at twice the price.

Like so many artists (perhaps most notably R.E.M.) Billy Bragg had a period where he was simply writing and recording too many good songs for a record company to put them all out on full length albums. This single from 1991's "Don't Try This At Home" album has four b-sides, only one of which was included on the rarities compilation "Reaching to the Converted".

"Ontario, Quebec, and Me" is one of the greatest personal Billy Bragg slow songs ever and one he has frequently played at shows. "Bread and Circuses" features Natalie Merchant and "Heart Like A Wheel" includes a crucial verse that Linda Ronstadt's hit version lacks. "7 and 7 is" is a great teenage angst punk song the way only Billy can do it. (The title track is great too, but is widely available on the excellent "Don't Try This At Home" album.) As of now this single is available used for only $.99! What are you waiting for? A must for Billy Bragg fans.

Buy this for Bread and Circuses alone, and then be prepared to have the lyrics to the others stay in your head. Heart Like a Wheel is heartbreaking, and "You don't need my Christmas cards, you already have my heart" . . . no one can write lyrics like our bloke Billy.

Bread and Circuses, with Natalie Merchant, is just about the best critique of slimy religious con artists around with the bonus of Natalie's beautiful, clear voice. I searched for this CD single for years just for this song alone.

If you are a Billy Bragg fan, a Natalie Merchant fan, or just a fan of exquisitely written music, buy this CD!!

A very eclectic mix of folk, funk and progressive. Much of it is very stripped down and most of the vocals are strangely mixed below both the acoustic or electric guitar. Maceo Parker is on half the album and Prince does vocals on one song. I found it a pretty mixed bag.

"To The Teeth" is another brilliant Ani album. "I Know This Bar" has to be one of the most beautiful songs ever! The album has a pretty dark and dreary tone to it for the most part, which works really well with some of the subject matters. There are also some heavier jazz influences that were hinted on "Up Up Up Up Up Up". The lyrics are top quality as usual. Amazing back up band! Amazing Woman!

This is an awesome cd with some experimental tracks and some classic Ani. However, if you've never listened to Ani before and you aren't too into nontraditional music you should start with Not a Pretty Girl, Living in Clip, or Like I Said. Little Plastic Castles is fairly accessible too. If you already know you like Ani, you should definitely have this cd. It's one of her strongest studio albums and it's very well rounded. Buy it.

This is an example of the brilliance that results when two great talents join forces to write music and record the lyrics of American folk music icon, Woody Guthrie. Bragg and Tweedy collaborate seamlessly to set to music the words that Guthrie wrote over 50 years ago, and it still sounds fresh today.

This is a reply to those reviewers who think that Guthrie "really wasn't all that left-wing" or that Bragg is, by comparison, too "didactic" or "rabidly left-wing" (as some would have it). The fact is that Bragg can't imagine being as politically radical as Guthrie was, not because Bragg is a closet liberal, but because Guthrie was a part of a radical movement in the United States the likes of which is simply not to be found in the U.S. or Britain nowadays.
Guthrie didn't play universities or plush theaters but once or twice in his life. Rather, many of his performances were given in front of radical union workers. Entire tours for Guthrie and Seeger's Almanack Singers were arranged by the Communist Party of the United States. That was Guthrie's chosen milieu and he was made to suffer for it as the political deep freeze set in in the second half of the nineteen forties. That's the reason why most of these songs were never recorded. Woody Guthrie, writer of "This Land is Your Land," was blacklisted by pro-Cold War forces in the U. S. that he would have identified as fascist. How one should think about this is beyond what can be meaningfully discussed here, but the fact remains that Guthrie, like many of America's greatest folk singers and musicians from the earliest period of recording, were political radicals in a period when the left was a powerful force in society, more powerful than ever it has been in my lifetime (or Billy Bragg's). It is a fact of history that many reviewers here seem incapable of grasping and hence they go so far as to imply that Bragg must have tampered with Guthrie's lyrics, something anyone well versed in the music of Woody Guthrie would never seriously entertain.
As for the cd, of course, there is more to it than political radicalism. In fact, it seems to me that political songs were largely avoided in the song selection. If one listens to, for instance, Guthrie's Moses Asch recordings, most of the songs are political in content ("Greatest Thing that Man has Ever Done" is one of my all-time favorites in this genre). Probably many were too out-of-date to include on the album. So, the fact is that few of the songs have overtly political lyrics. Still, the spirit of Guthrie is quite unmistakable throughout, particularly when the lyrics are read by themselves, since sometimes the arrangements are clearly other than anything Guthrie would have come up with himself (even if he had used a rhythm section). Right now, I'm on a "Way Over Yonder in the Minor Key," but there are many other great songs on this disc. But, if you don't think politics and music should mix then neither this nor anything else to do with Woody Guthrie is for you.

I used to work at a coffee shop in Boston, and our boss there played this so much, that despite loving Wilco, Billy Bragg, and Woody Guthrie, I grew to loathe this album, and to regard it as the official CD of brief-case carrying, latte-drinking yuppies everywhere--music for the sort of people who would never listen to Billy Bragg's edgier lyrics, Wilco's more rocking garage tracks, or Woody Guthrie's more opinionated beliefs. It became a symbol to me of how an album's audience can ruin the music itself.
Then, a few years passed. I moved, travelled, and by the time I got back to this album, I had left its stigmas aside, and when I heard it again, I realized it really is an amazing album.
Woody Guthrie's daughter got the alt.country/indie-rock band Wilco and the collectivist British singer Billy Bragg to take some of 1940s American folksinger Woody Guthrie's lyrics, come together, and put music to them. (Though Woody Guthrie had his own music for the song "Hoodoo Voodoo" and it appeared on his kids' album.) She also got Natalie Merchant to help a little, and the resulting collaboration was incredibly succesful.
Billy Bragg uses Woody's more political lyrics, and Wilco uses his more emotional and visual stuff.
"California Stars" is a lovely Wilco number calling up images of a late night sky hanging far away. "Birds And Ships" is a love song to a sailor, sung by Natalie Merchant. "Hoodoo Voodoo" is a herky-jerky stop-start heap that rolls along like a car about to fall apart. "Ingrid Bergman" is sung by Billy Bragg, and is loaded with sexual innuendo. "One By One" and "Another Man's Done Gone" are heartbreaking reflections on growing old and dying--done perfectly by Wilco--and "Hesitating Beauty" is full of life and happy.
All the songs are beauftiful, though some of Billy Bragg's deal with obsolete political things that you'd have to research to understand. The songs hang together beautifully, and--played in moderation, with the right people--will probably last forever.

Like some others who've posted here, I'm not necessarily an Ani-holic, but I have huge respect for her honesty and integrity, and the way she ran her career from a completely outsider approach into what is now a time-honored creative dynasty. She's not someone I listen to constantly, but I return to her regularly for a fix of the kind of blunt and exhilarating earnestness she represents.

That being said, I've always felt that after a certain point she just made too damn many CDs, so that at times musically she covered the same ground again and again. Try making a compilation sometime of your favorite Ani songs and you'll realize quickly just how many have the same tempo, the same key, the same basic structure and feel but (and this is the difference that saves them) new thoughts in the lyrics.

But LITTLE PLASTIC CASTLE probably is the best combination of all of Ani's best instincts along with the greatest variety in style, tempo and overall musical creativity. She also achieved a kind of unusual level of spontanteous vocal excitement on this album where she sounds even more intense and exuberant than her usual standard (which is always pretty intense!).

For me, this album and IMPERFECTLY are her two finest efforts, although I love many things scattered throughout all the rest of the CDs. If you are not already an Ani fan, this CD may be the best way "in," since if you don't like this one, I can't imagine you could generate much affection for Ani, who is so exuberantly accessible here.

Background info before writing this review will probly help Ani fans reading it. I'm not an Ani fan in the sense of agreeing with all her messages and supporting the things she does. I am a fan, however, who admires her outspoken honesty. She knows exactly what she feels, thinks, and believes and isn't one bit afraid to put it out there & in your face. That takes guts, more power to her. This world we live in (especially this country, USA) could greatly benefit from exercising her unapologetic frankness.

This was the first album I got by Ani, and I have to say my favorite to date. Personally, I'm an eclectic & enjoy ALL music (I tend to stay mainstream [not Britney Spears-type, though], but enjoy many types of music). When I first heard Miss DiFranco, I was really quite turned off by her sound. A friend of mine had been playing her music in the car on our trips & activities, and I almost couldn't stomach it. She played Revelling/Reckoning, To The Teeth, Evolve, and probably Dilate. I just remember thinking "What is this???" Ani has a musical style all her own, very raw and real. I suppose my ears were just so used to sugar-sweet candy pop that I was somewhat disgusted. But even 'alternative' rock like death metal & all that don't have anything on her; she's got something that so many other artists, whether or not I like them, don't have.

Anyway, back to the task at hand: reviewing "Little Plastic Castle." I'm pretty sure the reason I like it so much is it is probably one of the more musically melodic albums she has out. What I mean is someone who is used to pop and things like that would probably do well to buy this CD as their first Ani album because it's closest to what they know. It's very effective in that way because it tunes the pop listner in by using sounds they can handle while presenting very deep messages and opinions that aren't so popular like the sound they are carried by.

Listening to number 1, the title track, really made me step back and think how boring things can get as far as the music industry and TV, etc. Some lyrics from that song are: "In a coffe shop / in a city / which is every coffe shop / in every city / on a day which is every day / I pick up a magazine / which is every magazine / read a story and forget it right away" She has a very good point here about how the media (TV, radio, movies, newspapers, magazines, etc) train us to know what is 'normal,' and keep spoonfeeding us those stereotypes.

The lyrics to song 2, "Fuel," are hard-hitting & heavy. They talk about racism (slavery), politics, and many other things. It's a very good song to sit & ponder because at the end of it she sums all of her scenarios up by describing them each one as "a fire just waiting for fuel." One of my favorites!

Track 5 is good, "Two Little Girls." It's sad and dark but it's a good listen, it compells me all the way through each time.

I reccomend this CD highly because it helped me break out of the pop mindset, even though I was eclectic I never really understood how narrowminded I was musically (as well as politically, etc). Go for it! Do your best swan dive into the bold, bold world of Ani DiFranco.

This was Ani DiFranco's first really synthesized, fancily-produced album. And it's a whole different world from the style she was known for before this. Listening to this is definitely like being introduced to a whole new artist. There are more electronics, more experimental song styles, and even her voice has changed a little -- it's a tad raspier.

The lyrics are still just as good -- but don't buy it expecting the old Ani ... you have to love it as something completely new.

And I DID love it!

The songs are made not more watery, but more powerful by the elaborate compositions. The topics capture so many sides of life -- from the pretty to the dark.

One song urges rude people to "just suck up and be nice".

Another song, whose entire atmosphere tells of a desperate hour proclaims, "If you think you know what I'm doing wrong, you're gonna have to get in line."

GRAVEL has a catchy, hardcore beat and really gets across the humor in having an ex that you just seem to keep taking back, no matter what he does.

And it all leads up to the climax -- the final song -- that is more of a hypnotic symphony than a song. It only has a few spoken words -- the rest it says in its swaying rhythm -- but it is absolutely powerful. An expected pinnacle.

The first song or two on the album are just warm-ups. Skip past them to really delve into the riches of this outstanding record.

This album is not to be missed by anyone who likes true-to-the-heart, poignant, powerful experimental music.

Streetcore is an album and a musical genre in the sense that it is an idea you think when you make music. According to Joe Strummer, "Streetcore is a distillation of all the most extreme psycadelic music, showing lenghty knowledge of reggae, dub, funk, blues, jazz, folk, hip hop." This album is amazing, and I guarantee that if you pop this into your CD player, sit down and listen to the entire album straight through, you will feel better. At the end of the last song, you will feel this certain aware calmness. You will feel at peace. For whom music is an anti drug, Streetcore is a clear moment, and for those whom music is an irresistable drug, Streetcore is a pillowcase full, an expression of rythm and color and every single emotion in one moment. Streetcore is a murmur from a departed friend. Fortunately, once put into a CD player, that murmur becomes more. Thank you, Joe, and thank you, Mescaleros, because you guys don't get nearly enough praise as you brilliant musicians deserve. Peace be with you.

Joe Strummer's Streetcore is one of the best albums ever. After a few rather poor recordings during the 90's, Strummer came back with this rock-masterpiece. It sounds as good as any of his efforts with the Clash or the 101er's. The sound of the album hits some risky area near rock and reggae, yet it couldn't be classified as either. It is something magical only Strummer could possibly conjure.

Why, exactly, does this record rock so hard? The songs, of course. The album starts off with a rollicking track titled "Coma Girl", and it is definitely one of Strummer's best moments. Exactly what he means by the rather bizarre lyrics he sings throughout the song is anybody's guess, but the music is pure, genre-clashing (excuse the unintentional pun, Clash-fans) excellence, and the whole album has only two slightly-mediocre tracks (even they aren't that bad, to be honest). Those two are "Redemption Song" and "Silver and Gold". The first is a cover of the famous Bob Marley song, and although the second doesn't fit in with the rest of the CD, the lyrics on that particular track are chillingly prophetic, and therefore acceptable. Strummer sings, "I'm going to do everything silver and gold, and I got to hurry up before I grow too old,". It really makes you understand that Strummer knew that the end was near (Strummer tragically died shortly after the album's release).

This album is timeless, and for Clash / Strummer fans everywhere, it is a strangely (yet strongly) emotional experience. It is essential in every Clash library, and even those who aren't huge Clash fans will appreciate its classic-rock sound. Finally, as a hard-core Clash / Strummer fan myself, I rate this album better then any Clash album except their self-titled debut and London Calling. It's the best album I've heard in years, and I don't think I could say enough nice things about it in a million years. An indescribable, modern, rock masterpiece (how so many Clash fans denied its existence upon its initial release is beyond mortal comprehension, in my opinion). I rate it a solid 5 stars. It's perfect.

This is a must for anyone. i would say something to Strummer fans, but those who are would already have this. for those who are not, this album is a reflection of the sounds strummer was a fan of - jamaican roots, rockabilly, brit punk, etc. get it, just get it, if you don't don't like it, listen to it a few more times. joe, johnny wasn't the only one who cast a long shadow.