Urban Folk music reviews

If you're buying your first Michelle Shocked, this album probably isn't the best one. Probably better is her best-of collection, "Mercury Poise" although her breakthrough album "Short Sharp Shocked" is where most of us became fans and remains one of her most brilliant works.

But, if you're a fan filling out your collection -- "Arkansas Traveler" is a must-have.

"Cotton Eye Joe" is one of her best songs, ever. But the rest of the album is good-to-very-good as well.

If you are a fan, I doubt you'll be disappointed in this album. Even the lesser albums of Michelle Shocked are better than most music out there!

The CD liner notes mention blackface minstrelsy as "the real `roots' of many of the tunes included." Some of the songs have double titles, possibly one for the words and another for the name of the tune that old-timers would recognize. For example, "Prodigal Daughter (Cotton Eyed Joe)" ends with a long instrumental that could be background music for any great theatrical extravaganza. The first verse is about the typical prodigal son story, but the woe, "Oh Cotton Eyed Joe" line is reserved for the pathetic girl who's "bringing such shame to the family name." The scene is dramatic enough to stage:

Look, here comes a prodigal son
Fetch him a tall drink of water
But there's none in the cup
because he drank it all up
Left for a prodigal daughter
Singing Oh Cotton Eyed Joe

Comedy provides the only lines in the "Arkansas Traveler" song, with a farmer who isn't lost talking to a stranger who would like to know where the road goes. Jimmy Driftwood, who gets credit for guitar and vocals, wrote songs when I was very young. "Woody's Rag (W. Guthrie)" is entirely instrumental with a slightly different bunch of pickers.

The songs seem to delay their messages for a long time. Singing about a river sets up a situation for "Over the Waterfall," but the reason for the song is saved for the very end: It don't hurt you when you fall, boys; only when you land. The song I like best is "Secret to a Long Life." I don't really need all the fiddle playing. Mandolin, accordian, bass, drums, and guitars in Woodstock, NY are fine backing for the story that song tells.

This is simply a Masterpiece. And to set the record straight, this was produced by Michelle Shocked herself, contrary to what has been said before, the only song produced by Don Was is Come A Long Way (brilliantly produced by the way). Recorded in interesting places like an antique store, a Riverboat and some living rooms,with some of Michelle's own heroes. A lot of history in this record that tells you that "bluegrass music is not only white poeple's music, but black people's music as well" I have been listening to this record since '92 at least once a week. Can't live without it.

If you're buying your first Michelle Shocked, this album probably isn't the best one. Probably better is her best-of collection, "Mercury Poise" although her breakthrough album "Short Sharp Shocked" is where most of us became fans and remains one of her most brilliant works.

But, if you're a fan filling out your collection -- "Arkansas Traveler" is a must-have.

"Cotton Eye Joe" is one of her best songs, ever. But the rest of the album is good-to-very-good as well.

If you are a fan, I doubt you'll be disappointed in this album. Even the lesser albums of Michelle Shocked are better than most music out there!

The CD liner notes mention blackface minstrelsy as "the real `roots' of many of the tunes included." Some of the songs have double titles, possibly one for the words and another for the name of the tune that old-timers would recognize. For example, "Prodigal Daughter (Cotton Eyed Joe)" ends with a long instrumental that could be background music for any great theatrical extravaganza. The first verse is about the typical prodigal son story, but the woe, "Oh Cotton Eyed Joe" line is reserved for the pathetic girl who's "bringing such shame to the family name." The scene is dramatic enough to stage:

Look, here comes a prodigal son
Fetch him a tall drink of water
But there's none in the cup
because he drank it all up
Left for a prodigal daughter
Singing Oh Cotton Eyed Joe

Comedy provides the only lines in the "Arkansas Traveler" song, with a farmer who isn't lost talking to a stranger who would like to know where the road goes. Jimmy Driftwood, who gets credit for guitar and vocals, wrote songs when I was very young. "Woody's Rag (W. Guthrie)" is entirely instrumental with a slightly different bunch of pickers.

The songs seem to delay their messages for a long time. Singing about a river sets up a situation for "Over the Waterfall," but the reason for the song is saved for the very end: It don't hurt you when you fall, boys; only when you land. The song I like best is "Secret to a Long Life." I don't really need all the fiddle playing. Mandolin, accordian, bass, drums, and guitars in Woodstock, NY are fine backing for the story that song tells.

This is simply a Masterpiece. And to set the record straight, this was produced by Michelle Shocked herself, contrary to what has been said before, the only song produced by Don Was is Come A Long Way (brilliantly produced by the way). Recorded in interesting places like an antique store, a Riverboat and some living rooms,with some of Michelle's own heroes. A lot of history in this record that tells you that "bluegrass music is not only white poeple's music, but black people's music as well" I have been listening to this record since '92 at least once a week. Can't live without it.

No doubt this is the coming together of two brilliant musicians at a moment in time which has produced the most brilliant album which has clearly started a movement. Every song is brilliant. Sensational buy this before any other alt country album its the best

This is a fine roots album if ever there was one. Before Wilco, before Son Volt, there was Uncle Tupelo. And of all the Uncle Tupelo discs, this, in my mind, stands supreme. The songs alternate vocals between Jeff Tweedy and Jar Farrar. Farrar, in his preacher's baritone, tends to sing more politically oriented songs, songs of the early twentieth century, socialist songs focusing on coal miners unionizing or the ills of capitalism on the small man. Farrar's version of Moonshiner is like a priceless relic suspended in amber. Tweedy (his voice sounds younger and more contemporary than Farrar) also tackles some good old Americana in "I wish my Baby was Born" and "Satan, Your Kingdom must Come Down." Overall Tweedy leans more toward the personal and emotional while Farrar seems more comfortable with traditional ballads. Most of the songs are traditional tunes - folk songs, blues songs, spirituals. The guitar work is strong, with both men playing acoustic to fill out the sound. On some songs there are mandolin and violin - but it's really an acoustic guitar driven record. The band does a superb job of capturing the timelessness of the older music, and does well to blend their tunes with such a venerable canon. This is folk music as it was meant to be - raw, intense, masculine, topical. There is nothing cheesy on this record - and "Atomic Power" is probably the standout cut on the disc. Buy this music - you won't be disappointed - I guarantee!

If you are looking for one of the best Alt Country / Americana (whatever those are) CDs ever created this is it. Look no further. These guys were the masters of it. With so much crap on the radio, its nice to look back in time and find some real gems if you are willing to branch out and spend some $$. This album will lead you to buy CDs from Son Volt, Wilco, and Jay solo. A must for the critical music lover.

Billy Bragg's socialist politics, expressed both in his image and some of his more laborious music, have done a lot to obscure just how sublime a pop singer he can be. On this compilation of b-sides, Bragg fans find an engaging mix of covers, alternate takes, and invaluable originals. Bragg demonstrates not just his songwriting chops but also a real knack for interpreting - primarily evidenced by his gorgeous cover of the folkie chestnut Heart Like a Wheel. The Bragg original Ontario Quebec and Me may just be one of the most achingly beautiful love songs ever written (although for my money Mary Lou Lord's version - an obscure b-side itself - is the definitive reading, even if she can's seem to recall recording it in the first place).

I'm not sure what this says about Bragg, but I really think this compilation of leftovers is his most consistent album. Perhaps despite the title, it's certainly one of the only cases I can think of where a rarities collection is an ideal starting place for the uninitiated.

Billy Bragg is not only a political activist, but the guy can sing a good ballad too.
There is a sampling of both here; from the beautiful heart-wrenching cover "A Heart is a Wheel" to the politically infused "Days Like These" to the purely pop hit "Shirley" this CD has it all.
A fine introductory collection of Bragg's differing musical stylings.

... as a fan of Billy's since the release of 'Talking with the Taxman...', I bought this thinking it was exactly as titled, something for us 'Billy' fans, and it did NOT dissapoint... those of us in the 'States' had missed out on alot of what was released in England... that being said... the original of 'Accident Waiting to Happen' has much more power as a song, and 'Greetings...', in it's original version is also much better... the rest of this LP is fantastic throughout (including those re-made songs)... I've put songs from this LP on mix-tapes for friends, and they're never disappointed... it's wonderful how you can tell in each stage of Billy's career that 'this song' was an outtake from this album, and 'that song', was an outtake from this... and then there are his hits from England that we never got to hear until now.... amazing that one of my favorite artists ever could come out with the most 'essential' B-Sides LP ever... why couldn't XTC have done this?

I never realized it was possible to be less subtle than Natalie Merchant (or Midnight Oil!) with social commentary, but here it is; Bragg spoon-feeding listeners the morally correct position on issues one song at a time, with simplistic "tv movie of the week" messages: "Everywhere" - Booooo racism!, "North Sea Bubble" - Yaaaay, revolution!, and the albums real lemon, "Trust," which has Bragg singing an absurd little dirge from the now standard viewpoint of a gay man suffering from AIDS. AIDS is bad - Booooo AIDS! The first line of that one is "He's already been inside me..."
Mmmmmm, subtle!

Other songs (Accident Waiting to Happen) trot out Bragg's familiar, posturing anger, with tin-ear lyrics ("you're a dedicated swallower of facism") that should have been dumped a few seconds after they were written down.

And yet there they are... overcoming every sachharine, maudlin urge Bragg can't contain, a really nice set of songs: Cindy of a Thousand Lives, Moving the Goalposts, Tank Park Salute, Wish you Were Her. Even the rollicking, dumb attempt at cross-over (Sexuality) is a good listen.

The CD is really uneven, but I continually pull it out. Amidst the wincing, I usually have a great time.

Ten years on and this CD still sounds great. I would like to add to previous comments that "Tank Park Salute" is simply a crushingly moving song. I bought this CD in '91 and that song would bring me to tears at times. It's a beautiful song. I also love "Cindy of a Thousand Lives" because it's so different from any song out there. I was fortunate to see Bragg in concert here in Atlanta on this tour and Michael Stipe came out to sing with him. His CD's translate so well in a live venue. This is my favorite Bragg CD with full production, but I still would say "Talking With The Taxman" is his pinnacle.

It's hard enough to write well. It's even harder to write well when you have a political message. Billy Bragg was never shy about wearing his heart on his sleeve, here he combines his expression of beliefs with a musicality and poetry which anyone who has ever tried to write a 'message song' can only admire.

The songs have stayed fresh and, sadly, seem to become more relevant every day. The story of the two boys, one white and one Japanese American, in 'Everywhere'has echoes in the way that Arab Americans are now being regarded; but, the song's strength comes from the way Billy draws us in, we hurt for both boys - the one in the foxhole and the other in the internment camp.

This album tears me up, makes me think, makes me want to sing along and makes me wish that I could play the guitar. What more can you ask for?

I saw Catie Curtis because my friend Dwight reccomended it. Her lyrics are incredible. They drag forward all the thoughts we have, plus the relationship we wish we could find. "I don't need a hero, just somebody"...Somewdsy I hope to find a life partner that feels about me what Curtis has expressed in her songs. a great car CD. Thank you Dwight!

I had the pleasure of seeing Catie Curtis open for Dan Fogleberg at Humphrey's in San Diego. It was my first exposure to her music and I was impressed with her talents from the first song she sang. There's a real depth and truth in her songs and voice. She was more than great, she was superb and I'm not sure why we don't hear more of her on the radio. This CD is my personal favorite.

I honestly thought this release might disappoint because her first effort was so wonderful. I can only say I was wrong, this CD actually exceeds her fabulous rookie release, "Truth from Lies". Cuts 1-12 are all great, with "Falling Silent in the Dark", "I Don't Cry Anymore", "Heroes" and "Larry" being my personal favorites. If you like the Indigo Girls or Dar Williams and you've never heard of Catie, do yourself a favor and check her out...you will not be disappointed.

Trying to label Bruce Cockburn with one particular genre of popular music is tough. On Humans, he fuses elements of country, rock (Tokyo), pop, folk (You Get Bigger As You Go), reggae (Rumors Of Glory), world music and jazz to produce an eclectic blend that prohibits classification. Several compositions (including The Rose Above The Sky) feature Patricia Cullen's eerie synthesizer lines adding an exotic ambiance. The lyrical themes are also engaging: politics (Grim Travelers), social commentary (Rumors Of Glory), humanness and spirituality. No need to be scared off by the word "spirituality." The consciousness of Humans is not the sugar sweet "I love Jesus" Amy Grant variety, but a way to escape the horrors of contemporary urban life including greed (More Not More), racism, and victimization (How I Spent My Vacation). `Tokyo' is a favorite which opens with the line "They're getting prepared to haul the car out of the river." The message of Humans is fairly straightforward (What About The Bond and The Rose Above The Sky). Cockburn asks the listener to acknowledge and embrace a spiritual commitment. He is intelligent and innovative, and Humans has an enticing mystical quality.

In another review, an author states that this is one of his favorite Bruce Cockburn CD's. I 2nd that including the 1975 CD "In the Falling Dark". I have all of Bruce Cockburns CD's as well as LPs versions. I am missing only a couple "Best Of" & some "Christmas" CD I saw out in the market about 10 years ago. "Humans" is the beginning of a new chapter in the ever changing, multi facet "Canadian Christian Mystic gone Left-Wing Political Protest, Folk/Jazz/Rock, Singer/Songwriter-Guitarist". This CD requires several listens before a general understanding takes hold & will grow for years of enjoyment. The Best is "The Rose Above the Sky" which plays a language game between spiritual growth & the 2nd coming of Christ. It holds such mystery & depth with double or triple meanings. A must for any Bruce Cockburn fan, but for more a folk feel try a few years before, for a more hard rock feel try a few years later.

Cockburn has an ability to be both inspiring and relaxing. This album is one of my favorites...even after twenty-two years.

but only if you must own every single ani album or really like the song joyful girl.

this disk is just a bunch or remixes of joyful girl. it does, however, contain a beautiful and amazing version of both hands which is one of my favorite ani songs. this made it worth it to me, but this was also during a time where i was paying lots of money for ani bootlegs. that day in my life has passed and this cd doesn't get much play anymore, certainly not the air time that her other albums do.

it's nice to see ani stretching a bit w/ this remix EP, but the results are pretty passable (unlike her other swing EP). here's the rundown:

1: just to remind you, the album version of joyful girl doesn't have any drums whatsoever. this version has sort of trip-hoppy drums and diff vocals (smoother and less angsty). i think the guitar was re-recorded also. this mix was to accompany the music video, so the vibe is more torch-y. this also has some spoken samples from a speech by a guy (preacher maybe?), although i don't recognize who.

2: very similar to the first mix. the beats are either extremely similar or the same. the vocals were recorded yet again, though, and are a bit more interesting. this doesn't have the speech samples, although it does include the bits of scratching samples the first mix did.

3: an extended version of track 2. the extended section is mostly a two-minute coda where there are more improvised vocals (nicely layered) of the lyrics "joyful girl". this is prob. my fav mix of the bunch.

4: new vox again and no guitar. the orchestra doesn't do a whole lot here, but in the instrumentals the brass really blooms. the arrangement doesn't really change on each repetition though, but it has a very nice ambience. an enjoyable track.

5: new vox. this is another trip-hoppy beat, and the song is much less raucous than the album version and more coy. think "pixie" from little plastic castle. includes the sample of andy s. singing from the beginning of the album version.

6: better than the version from living in clip. good to have, but again not essential.

overall, as i said, this is entertaining and good for completists and adds another dimension to the force that is ani. def. not essential though.

This is a good song. But to me the first and second track sound the same and it differs a little in the live. If you want to hear the same song over and over well ok, but I would like a little variation from here to there.

This CD should have been a long overdue comprehensive collection of Dolly's singles for RCA during the 1980's. But, RCA flubbed that with this compilation:

* "9 To 5" is the longer film version, not the 45 version that the average record buyer would be familiar with (and prefer)

* "Real Love" was a #1 country duet (also #91 Pop and #13 A/C) for Dolly and Kenny Rogers. Yet, this is a solo recording - where's Kenny?

* "Don't Call It Love" - another alternate version ... this one is missing the background vocalists.

* "Old Flames Can't Hold A Candle To You" - another remix that differs from her 1982 Greatest Hits collection

* Includes "To Daddy" popularized by Emmylou Harris, not Dolly, at the expense of lesser hits such as "Potential New Boyfriend," "Downtown," "House of the Rising Sun," "Everything's Beautiful," "We Had It All"

RCA - We're still waiting for a truly "Essential" Dolly Parton compilation of her '80's work.

One thing here that is for certain: success speaks for itself. Though the majority of critics write off this period of Dolly's career, they forget that Dolly Parton became a household name with songs like "Here You Come Again", "9 To 5", "Two Doors Down" and "Islands In The Stream". This was an album I had waited a long time for as I had trekked to Nashville to purchase the long lost "Great Balls Of Fire" LP just to get a copy of her 1979 #1 smash "You're The Only One" back in 1993.

Certain things about this album were a disappointment. First, several songs on this album were remixes of the original songs-the worst being a solo version of "Real Love" as well as "Do I Ever Cross Your Mind", "Don't Call It Love" and "Old Flames Can't Hold A Candle To You" which spoiled an otherwise perfect collection-thus not a five-star compilation. Still, several previously unavailable songs were finally on CD on this first of two long awaited collections including the top ten country hits "Single Women" and "Heartbreak Express" (from "Heartbreak Express"), "You're The Only One" (#1 for 2 weeks) and "Sweet Summer Lovin" (from "Great Balls of Fire"), "God Won't Get You" (from the Rhinestone Soundtrack) and the Donna Summer penned "Starting Over Again" (#1 ; from "Dolly, Dolly, Dolly").

No doubt, a career as expansive by such a talented singer as Dolly Parton could never be compiled in just one CD, but to write off anything she did after breaking away from Porter Wagoner as just pop-flavored garbage is an insult to true fans. Dolly truly has a unique sound that nobody can even begin to match and the majority of songs featured on this album are among some of her best including the stunning remake of Kenny Rogers & The First Edition's hit "But You Know I Love You".

Some things to remember about the anthology is that two major Dolly hits were remakes of other artists' work including "Two Doors Down" (written by Dolly but originally a top ten country hit for Zella Lehr) and "Old Flames Can't Hold A Candle To You", originally a #14 country hit for Joe Sun in 1978.

So don't be led into believing this is not worth it-over 20 years of number one hits as well as two #1 pop hits will ever prove the critics wrong. She is by far the best female vocalist Nashville has ever had. Take this from someone who did NOT grow up on Porter and Dolly.

20 GLORIOUS songs of Dolly singing.....I'd suggest this for a good album for a roadtrip. I especially love the folkly bluegrassy mama songs (I believe tracks 14 and 15) - All the songs are phenomenal on here.

I am only 23 years OLD and I LOVE LOVE LOVE Dolly Parton. She is a classic. I thank my parents for giving me the chance to listen to a legend such as her. Very down-to-earth and earthy songs. Trust me, if you're a country fan, you'll love it.

Dolly rocks!

5 stars
* * * * *

You never quite know what you are going to get when you partake in a Chesnutt album. I was a huge fan of his in the early 90s but his records have been kind of hit and miss since then. This one starts off great with "I'm Through" and "Stay Inside". I love the production, the choirs, the way the bass and guitar distortion is used, etc. The album starts to go downhill with "Band Camp" and "Girls Say" which provide a couple of chuckles but nothing of substance. "Styrofoam" is probably the best written song and appropriately describes how far this once great artist has fallen. "Zippy Morocco" and "Sultan, So Mighty" are bad but they are the kind of tracks one expects to have to deal with on a Chesnutt record. "Fa-La-La" is inexcuseably bad and amply demonstrates that he has no business trying to pull off this kind of Brian Wilsonish kind of song.

In summary there are some good things about this album but overall unless you are a hardcore Chesnutt fan, I would stay away from 'Silver Lake'.

It is pointless to review and rate great artists.
Once YOU understand this.Follow them , go on their jouney
but do not judge them .

You can take or leave Chesnutt --in that sense, he's no different from any of the major singer-songwriter talents of the last, oh, thirty-five years; he's idiosycratic to a fault, and his voice you'll find either beguiling and addictive or limited and grating. (Personally, I think he's a genius.) But Phil D, I'm guessing there's a lot in life you don't get. Take it out on your loved ones, as I'm sure you do. But a friendly word of advice --you'll want to keep your status as a sub-literate and a philistine as private as possible.