Browse Titles - 41 results
See details
Art from Sacred Landscapes
performed by Pamela Darington, Gonzalo Vargas, Daniel Zamalloa and Jose Luis Reynolds, Inkuyo (Celestial Harmonies, 1994), 1 hour, 15 page(s)
Sample
performed by Pamela Darington, Gonzalo Vargas, Daniel Zamalloa and Jose Luis Reynolds, Inkuyo (Celestial Harmonies, 1994), 1 hour, 15 page(s)
Field of Study
World Music
Content Type
Music recording
Performer / Ensemble
Inkuyo, Pamela Darington, Gonzalo Vargas, Daniel Zamalloa, Jose Luis Reynolds
Author / Creator
Inkuyo, Pamela Darington, Gonzalo Vargas, Daniel Zamalloa, Jose Luis Reynolds
Date Published / Released
1994
Publisher
Celestial Harmonies
×
See details
Banshee Mandolin
performed by John Kruth (Rounder Records, 1996), 51 mins
John Kruth's music is definitely an acquired taste. Eccentric, quirky, angular, and humorously abstract, the Midwestern singer/songwriter doesn't go out of his way to be accessible. But for those who can accept Kruth on his own terms, Banshee Mandolin offers many rewards. Like other Kruth efforts, this 1991 sessio...
Sample
performed by John Kruth (Rounder Records, 1996), 51 mins
Description
John Kruth's music is definitely an acquired taste. Eccentric, quirky, angular, and humorously abstract, the Midwestern singer/songwriter doesn't go out of his way to be accessible. But for those who can accept Kruth on his own terms, Banshee Mandolin offers many rewards. Like other Kruth efforts, this 1991 session isn't easy to categorize. Banshee Mandolin could be described as alternative pop/rock and alternative folk-rock (depending on the son...
John Kruth's music is definitely an acquired taste. Eccentric, quirky, angular, and humorously abstract, the Midwestern singer/songwriter doesn't go out of his way to be accessible. But for those who can accept Kruth on his own terms, Banshee Mandolin offers many rewards. Like other Kruth efforts, this 1991 session isn't easy to categorize. Banshee Mandolin could be described as alternative pop/rock and alternative folk-rock (depending on the song), but unlike most rockers, Kruth hasn't hesitated to claim jazz great Rahsaan Roland Kirk as a major influence. And even though Kruth isn't a jazz artist per se -- even though he doesn't scat-sing John Coltrane and Yusef Lateef melodies on this CD -- one can tell that the more abstract forms of jazz have influenced his work. Kruth has been influenced by Bob Dylan, the Rolling Stones, Neil Young, and the Beatles, but he isn't as accessible as those rockers; instead, he combines his folk-rock and British Invasion influences with the angularity and abstraction of avant-garde jazz. And like Kirk, Kruth doesn't think twice about moving from one instrument to another. The mandolin is his main instrument on Banshee Mandolin, but he is also heard on banjo, dulcimer, harmonica, flute, and kazoo. Like many of the post-bop and avant-garde jazz artists he admires, Kruth can be self-indulgent -- although not in a mindless, aimless way. Kruth, for all his eccentricity, is quite musical. There is a method to his madness, just as there is a method to Cecil Taylor and Ornette Coleman's madness. But again, Kruth isn't one to make a lot of compromises in order to be more accessible. Only those who can accept Kruth's excesses -- or perhaps even enjoy them -- will be able to fully appreciate Banshee Mandolin. ~ Alex Henderson, All Music Guide
Show more
Show less
Field of Study
American Music
Content Type
Music recording
Performer / Ensemble
John Kruth
Author / Creator
John Kruth
Date Published / Released
1996
Publisher
Rounder Records
×
See details
Băshovia
performed by Robbie Băsho, 1940-1986 (Fantasy, 2001), 1 hour 13 mins, 9 page(s)
At the time of this release, new age guitarists of the Kottke and Hedges school littered the countryside. Not so in 1967-1968. Back then, the acoustic guitar had just begun to broaden its language. The key innovator, John Fahey, started his own label to record himself and other like-minded guitarists. Robbie Basho...
Sample
performed by Robbie Băsho, 1940-1986 (Fantasy, 2001), 1 hour 13 mins, 9 page(s)
Description
At the time of this release, new age guitarists of the Kottke and Hedges school littered the countryside. Not so in 1967-1968. Back then, the acoustic guitar had just begun to broaden its language. The key innovator, John Fahey, started his own label to record himself and other like-minded guitarists. Robbie Basho, like Fahey, was fascinated by open tunings and all things Eastern. Unlike Fahey, however, Basho's Eastern poetry infused his music wi...
At the time of this release, new age guitarists of the Kottke and Hedges school littered the countryside. Not so in 1967-1968. Back then, the acoustic guitar had just begun to broaden its language. The key innovator, John Fahey, started his own label to record himself and other like-minded guitarists. Robbie Basho, like Fahey, was fascinated by open tunings and all things Eastern. Unlike Fahey, however, Basho's Eastern poetry infused his music with an air of serenity. Bashovia collects material from The Falconer's Arm I, The Falconer's Arm II, and Song of the Stallion, recorded in 1967 and 1968. A number of pieces clock in at eight minutes or longer. "The Falconer's Arm" and the "Lost Lagoon Suite" gently rise and fall, moving quietly in and out of phases, tranquil and unhurried. In the spirit of the 17th century Japanese poet he named himself after, "Pavan Hindustan" evokes a poetic landscape of crisp, clean mountain air and still waters. "Song of the Snowy Ranges" throws a kink into these peaceful proceedings by adding vocals. While Basho's singing voice isn't bad, it is certainly an eccentric one and does distract from his guitar playing. The guitarist tosses in a touch of the blues on "Roses and Snow," giving the instrumental a warmer, more emotive feel than the purely Eastern ones. This warm mood evaporates, however, when a narrator begins a spoken, and thankfully brief, dialog. While such distractions are unfortunate, they're really minor glitches in the span of Basho's wonderful guitar playing. Guitar players and new age listeners will find the work of a rich and lyrical poet on Bashovia. ~ Ronnie D. Lankford, Jr., All Music Guide
Show more
Show less
Date Written / Recorded
1968
Field of Study
American Music
Content Type
Music recording
Performer / Ensemble
Robbie Băsho, 1940-1986
Author / Creator
Robbie Băsho, 1940-1986
Date Published / Released
2001
Publisher
Fantasy
×
See details
Casey Neill
produced by Casey Neill, fl. 1995 and Zak Borden; performed by Casey Neill, fl. 1995 (Appleseed, 1997), 53 mins, 10 page(s)
Blending gentle folk instrumentation with an aggressive singing style, Neill creates a compelling musical tension, akin to the edge of the Pogues and Billy Bragg. There is an immediacy to the performances that gives it a winning, live "coffeehouse" sound. While his songwriting occasionally becomes maudlin, many of...
Sample
produced by Casey Neill, fl. 1995 and Zak Borden; performed by Casey Neill, fl. 1995 (Appleseed, 1997), 53 mins, 10 page(s)
Description
Blending gentle folk instrumentation with an aggressive singing style, Neill creates a compelling musical tension, akin to the edge of the Pogues and Billy Bragg. There is an immediacy to the performances that gives it a winning, live "coffeehouse" sound. While his songwriting occasionally becomes maudlin, many of the tunes are outstanding. ~ Tim Sheridan, All Music Guide
Field of Study
American Music
Content Type
Music recording
Performer / Ensemble
Casey Neill, fl. 1995
Contributor
Scott McAllister, John Nelson, Casey Neill, fl. 1995, Zak Borden
Author / Creator
Casey Neill, fl. 1995
Date Published / Released
1997
Publisher
Appleseed
×
See details
Comedians & Angels
produced by Jim Rooney; performed by Tom Paxton, 1937- (Appleseed, 2008), 53 mins, 15 page(s)
Tom Paxton was one of the few New York City based singer/songwriters to get a pop hit; the Fireballs waxed his alcoholic anthem "Bottle of Wine" and took it to the Top Ten in 1968. He also contributed his share of folk standards to the canon including "The Last Thing on My Mind," "Ramblin' Boy," and "I Can't Help...
Sample
produced by Jim Rooney; performed by Tom Paxton, 1937- (Appleseed, 2008), 53 mins, 15 page(s)
Description
Tom Paxton was one of the few New York City based singer/songwriters to get a pop hit; the Fireballs waxed his alcoholic anthem "Bottle of Wine" and took it to the Top Ten in 1968. He also contributed his share of folk standards to the canon including "The Last Thing on My Mind," "Ramblin' Boy," and "I Can't Help But Wonder Where I'm Bound." Never comfortable with folk-rock, or rock for that matter, despite the fact that rockers and folkies alike...
Tom Paxton was one of the few New York City based singer/songwriters to get a pop hit; the Fireballs waxed his alcoholic anthem "Bottle of Wine" and took it to the Top Ten in 1968. He also contributed his share of folk standards to the canon including "The Last Thing on My Mind," "Ramblin' Boy," and "I Can't Help But Wonder Where I'm Bound." Never comfortable with folk-rock, or rock for that matter, despite the fact that rockers and folkies alike covered his songs, Paxton stayed true to the folk singer ethos, one man and a guitar delivering heartfelt, humorous, and gently political songs like 1978's "Anita OJ," a mild put-down of Anita Bryant's anti-gay activities. Although his profile outside folk circles may be low, Paxton is still a vital artist, as this fine collection shows. The songs here, delivered by Paxton and a band of pickers adept at folk, acoustic pop, and country styles, deal with love, marriage, aging, and mortality. Love songs that deal with long-term relationships are few and far between in pop music. There are more of them in country music, but they're often cloying, cliché ridden, and embarrassing. Paxton avoids all those traps with nine delicious tunes to his wife Midge. "Home to Me (Is Anywhere You Are)" is a mid-tempo country tune with an understated message of fidelity. "I Like the Way You Look" could be a rock & roll hit for someone like Bob Seger, a frisky, humorous, slyly sexy tune with a chooglin' melody and some nice solo work by Tim Crouch on mandolin and Mark Howard on guitar. "What a Friend You Are" is a poignant ode to the friendship of a supportive spouse, while "The First Song Is for You" salutes the art of songwriting and long-term relationships. These love songs will bring a glow to anyone who has ever experienced a long-term love affair or successful marriage. Paxton's playful side is evident on "And If It's Not True" a lilting waltz full of tall tales about hanging out with Ravel, meandering through smoky Barcelona bars, and watching Van Gogh and Cezanne paint their masterpieces. "Jennifer and Kate," dedicated to his daughters, is a meditation on fatherhood, funny as well as achingly beautiful and poignant. The title track pays tribute to his pals Dave Van Ronk, the Clancy Brothers, and other singers and poets who made the Greenwich Village scene so vital. Like the rest of the songs on the album it's a masterwork of unassuming poetry married to a strong, folky melody. Paxton's songwriting here is deep and affecting, touching the heart ever deeper with repeated listening. ~ j. poet, All Music Guide
Show more
Show less
Date Written / Recorded
2007-09
Field of Study
American Music
Content Type
Music recording
Performer / Ensemble
Tom Paxton, 1937-
Contributor
Dave Ferguson, 1962-, Jim Rooney
Author / Creator
Tom Paxton, 1937-
Date Published / Released
2008
Publisher
Appleseed
×
See details
Companion
produced by Cathy Fink, 1953- and Marcy Marxer, 1956-; performed by Si Kahn, 1944- (Appleseed, 1997), 44 mins, 14 page(s)
Sample
produced by Cathy Fink, 1953- and Marcy Marxer, 1956-; performed by Si Kahn, 1944- (Appleseed, 1997), 44 mins, 14 page(s)
Field of Study
American Music
Content Type
Music recording
Performer / Ensemble
Si Kahn, 1944-
Contributor
Ronald Freeland, Cathy Fink, 1953-, Marcy Marxer, 1956-
Author / Creator
Si Kahn, 1944-
Date Published / Released
1997
Publisher
Appleseed
×
See details
David Lewis: For Now
produced by Chris von Sneidern and John Wesley Harding; performed by David Lewis (Appleseed, 2001), 40 mins, 11 page(s)
David Lewis waited five years to follow up 1996's much-praised No Straight Line with For Now. Like the former, John Wesley Harding lends a hand by playing guitar and adding harmony. While acoustic instruments infused the earlier album, Lewis takes a more eclectic route this time around. A number of tracks -- "You...
Sample
produced by Chris von Sneidern and John Wesley Harding; performed by David Lewis (Appleseed, 2001), 40 mins, 11 page(s)
Description
David Lewis waited five years to follow up 1996's much-praised No Straight Line with For Now. Like the former, John Wesley Harding lends a hand by playing guitar and adding harmony. While acoustic instruments infused the earlier album, Lewis takes a more eclectic route this time around. A number of tracks -- "You Don't Have to Lose" and "Almost a Stranger" -- feature little more than guitar and background organ. Others -- like "Ramadan Moon" and...
David Lewis waited five years to follow up 1996's much-praised No Straight Line with For Now. Like the former, John Wesley Harding lends a hand by playing guitar and adding harmony. While acoustic instruments infused the earlier album, Lewis takes a more eclectic route this time around. A number of tracks -- "You Don't Have to Lose" and "Almost a Stranger" -- feature little more than guitar and background organ. Others -- like "Ramadan Moon" and "The Rain Stops Everything" -- utilize full band arrangements. While both styles work well, it is a bit jarring when a noisier track follows a quieter one (though this can be overcome by programming the track sequence differently). Lewis' pleasing vocals remind one of Al Stewart, which makes it appropriate that Stewart joins him for some fine harmony on "You Don't Know." Mandolin and accordion player Robert Lloyd adds a number of nice flourishes, while Chuck Prophet throws in a bit of energetic electric guitar. Perhaps the most effective track on the album is "Let the Sunlight Dry Your Tears," a lovely song that uses a fuller arrangement without electric instruments. The big sound, with Spanish guitar and trumpet, offers atmosphere to spare, much like the acoustic folk-rock of late-'60s groups like Pentangle. A listener also wouldn't want to miss a good version of Nick Drake's "Northern Sky." For Now finds Lewis growing into new forms, offering fans a broader brand of folk than his first outing. ~ Ronnie D. Lankford, Jr., All Music Guide
Show more
Show less
Field of Study
American Music
Content Type
Music recording
Performer / Ensemble
David Lewis
Contributor
Chris von Sneidern, John Wesley Harding
Author / Creator
David Lewis
Date Published / Released
2001
Publisher
Appleseed
×
See details
Early Warnings
produced by Holly Near, 1949-; performed by Holly Near, 1949- (Appleseed, 2001), 53 mins, 14 page(s)
With Holly Near's Redwood label having gone bust, putting all her early albums out of print, Appleseed culls tracks from two of her 1980s releases, Watch Out! and Sky Dances, and adds the version of Pete Seeger's "Quiet Early Morning" from its 1998 Seeger tribute, Where Have All the Flowers Gone, to construct this...
Sample
produced by Holly Near, 1949-; performed by Holly Near, 1949- (Appleseed, 2001), 53 mins, 14 page(s)
Description
With Holly Near's Redwood label having gone bust, putting all her early albums out of print, Appleseed culls tracks from two of her 1980s releases, Watch Out! and Sky Dances, and adds the version of Pete Seeger's "Quiet Early Morning" from its 1998 Seeger tribute, Where Have All the Flowers Gone, to construct this compilation. Near adds a sleeve note under the word "context," pointing out that most of the songs derive from the {%Reagan} era and r...
With Holly Near's Redwood label having gone bust, putting all her early albums out of print, Appleseed culls tracks from two of her 1980s releases, Watch Out! and Sky Dances, and adds the version of Pete Seeger's "Quiet Early Morning" from its 1998 Seeger tribute, Where Have All the Flowers Gone, to construct this compilation. Near adds a sleeve note under the word "context," pointing out that most of the songs derive from the {%Reagan} era and represent early warnings for political storms that are here today. The compilation doesn't do any favors for Watch Out!, which was a timely collection of topical songwriting set to a folk/bluegrass/acoustic new age musical palette contributed by the likes of John McCutcheon, Barbara Higbie, Michael Manring, Darol Anger, and others. But Sky Dances marked the beginning of Near's apparent writing block, and excerpting her own compositions from an album largely made up of cover tunes, while dropping some of the lesser tracks from Watch Out! makes for a stronger collection than either album separately. Near fans, of course, will want the original albums, but they're hard to find, and this is a reasonable selection from them. ~ William Ruhlmann, All Music Guide
Show more
Show less
Field of Study
American Music
Content Type
Music recording
Performer / Ensemble
Holly Near, 1949-
Contributor
Leslie Ann Jones, 1951-, Tom Anderson, fl. 1995, Holly Near, 1949-
Author / Creator
Holly Near, 1949-
Date Published / Released
2001
Publisher
Appleseed
×
See details
performed by Eliza Carthy (Topic Records, 2002), 55 mins, 10 page(s)
Field of Study
World Music
Content Type
Music recording
Performer / Ensemble
Eliza Carthy
Author / Creator
Eliza Carthy
Date Published / Released
2002
Publisher
Topic Records
×
See details
Fields of Promise
produced by Kari Estrin; performed by Dave Crossland, fl. 2000 (Appleseed, 2000), 26 mins, 6 page(s)
Sample
produced by Kari Estrin; performed by Dave Crossland, fl. 2000 (Appleseed, 2000), 26 mins, 6 page(s)
Field of Study
American Music
Content Type
Music recording
Performer / Ensemble
Dave Crossland, fl. 2000
Contributor
Kari Estrin
Author / Creator
Dave Crossland, fl. 2000
Date Published / Released
2000
Publisher
Appleseed
×
