Browse Titles - 13 results
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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
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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
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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
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David Roth: Think Twice
produced by David Roth; performed by David Roth (Wind River, 2004), 1 hour 40 mins, 29 page(s)
Sample
produced by David Roth; performed by David Roth (Wind River, 2004), 1 hour 40 mins, 29 page(s)
Date Written / Recorded
2003
Field of Study
American Music
Content Type
Music recording
Performer / Ensemble
David Roth
Contributor
Mark Dann, David Roth
Author / Creator
David Roth
Date Published / Released
2004
Publisher
Wind River
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Folkzinger
produced by Brian Bauers and Christine Lavin, 1952-; performed by Christine Lavin, 1952- (Appleseed, 2005), 57 mins, 13 page(s)
Folksinger and songwriter Christine Lavin's 17th release (and third for Appleseed Records) is very much a New York album, not so much as a stated theme, but the feel of the city and the after effects of 9/11 seem to drift in and out of the background of these songs like a half-remembered dream. Lavin hasn't by any...
Sample
produced by Brian Bauers and Christine Lavin, 1952-; performed by Christine Lavin, 1952- (Appleseed, 2005), 57 mins, 13 page(s)
Description
Folksinger and songwriter Christine Lavin's 17th release (and third for Appleseed Records) is very much a New York album, not so much as a stated theme, but the feel of the city and the after effects of 9/11 seem to drift in and out of the background of these songs like a half-remembered dream. Lavin hasn't by any means abandoned her good humor and wry, gently sarcastic view of the little oddities of contemporary life, or the murky, ambivalent in...
Folksinger and songwriter Christine Lavin's 17th release (and third for Appleseed Records) is very much a New York album, not so much as a stated theme, but the feel of the city and the after effects of 9/11 seem to drift in and out of the background of these songs like a half-remembered dream. Lavin hasn't by any means abandoned her good humor and wry, gently sarcastic view of the little oddities of contemporary life, or the murky, ambivalent ins and outs of relationships in the 21st century, but she has always been a New Yorker, and it shows here. She also has a political agenda, which is in full display on Folkzinger, particularly on the heat-seeking "The Peter Principle at Work" (written with songwriting veteran Ervin Drake), which sharply damns the presidency of George W. Bush, and is one of the most striking songs on the album. The charming "Winter in Manhattan," which is presented both in a version with Lavin singing and in an a cappella version by the Accidentals, is a gem in miniature, managing to make a Big Apple winter seem worth traveling to see. Mixed in are songs about safe sex ("Bad Girl Dreams"), e-mail subscriptions ("Chicken Soup"), and soothing covers of Donovan's "Happiness Runs" (complete with a spoken interlude about meeting Donovan on a plane), and the Beatles' "All My Lovin'." Gentle and wry, but with plenty of her trademark zing, Folkzinger will be received with enthusiasm by Lavin's many fans. ~ Steve Leggett, All Music Guide
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Field of Study
American Music
Content Type
Music recording
Performer / Ensemble
Christine Lavin, 1952-
Contributor
Brian Bauers, Christine Lavin, 1952-
Author / Creator
Christine Lavin, 1952-
Date Published / Released
2005
Publisher
Appleseed
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Frisco Mabel Joy Revisited
produced by Peter Blackstock and Chris Eckman (Appleseed, 2000), 48 mins, 13 page(s)
Sample
produced by Peter Blackstock and Chris Eckman (Appleseed, 2000), 48 mins, 13 page(s)
Field of Study
American Music
Content Type
Music recording
Contributor
Peter Blackstock, Chris Eckman
Date Published / Released
2000
Publisher
Appleseed
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Gardener
produced by Eve Decker, Andrea Prichett and Lisa Zeiler; performed by Eve Decker, Andrea Prichett and Lisa Zeiler, Rebecca Riots (Appleseed, 2000), 58 mins, 16 page(s)
Sample
produced by Eve Decker, Andrea Prichett and Lisa Zeiler; performed by Eve Decker, Andrea Prichett and Lisa Zeiler, Rebecca Riots (Appleseed, 2000), 58 mins, 16 page(s)
Field of Study
American Music
Content Type
Music recording
Performer / Ensemble
Rebecca Riots, Eve Decker, Andrea Prichett, Lisa Zeiler
Contributor
Gary Mankin, Eve Decker, Andrea Prichett, Lisa Zeiler
Author / Creator
Rebecca Riots, Eve Decker, Andrea Prichett, Lisa Zeiler
Date Published / Released
2000
Publisher
Appleseed
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Harp: A Time to Sing
produced by Jo-Lynne Worley and Joanie Shoemaker; performed by Holly Near, 1949-, Arlo Guthrie, 1947-, Ronnie Gilbert, 1926-2015 and Pete Seeger, 1919-2014 (Appleseed, 2001), 1 hour 48 mins, 26 page(s)
Sample
produced by Jo-Lynne Worley and Joanie Shoemaker; performed by Holly Near, 1949-, Arlo Guthrie, 1947-, Ronnie Gilbert, 1926-2015 and Pete Seeger, 1919-2014 (Appleseed, 2001), 1 hour 48 mins, 26 page(s)
Date Written / Recorded
1984-09
Field of Study
American Music
Content Type
Music recording
Performer / Ensemble
Holly Near, 1949-, Arlo Guthrie, 1947-, Ronnie Gilbert, 1926-2015, Pete Seeger, 1919-2014
Contributor
Leslie Ann Jones, 1951-, Jo-Lynne Worley, Joanie Shoemaker
Author / Creator
Holly Near, 1949-, Arlo Guthrie, 1947-, Ronnie Gilbert, 1926-2015, Pete Seeger, 1919-2014
Date Published / Released
2001
Publisher
Appleseed
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It Happened One Night & It Never Happened at All
produced by John Wesley Harding and David Seitz; performed by John Wesley Harding (Appleseed, 2004), 1 hour 59 mins, 33 page(s)
John Wesley Harding makes a confession in the liner notes of his latest release: It Happened One Night, his first album, should've never been his first album. It was live, which meant it would never get radio play, and he was bored with the songs by the time he recorded them. It Never Happened at All, on the other...
Sample
produced by John Wesley Harding and David Seitz; performed by John Wesley Harding (Appleseed, 2004), 1 hour 59 mins, 33 page(s)
Description
John Wesley Harding makes a confession in the liner notes of his latest release: It Happened One Night, his first album, should've never been his first album. It was live, which meant it would never get radio play, and he was bored with the songs by the time he recorded them. It Never Happened at All, on the other hand, is an imaginary reconstruction, an album Harding says was much more representative of where he was at the time. This previously...
John Wesley Harding makes a confession in the liner notes of his latest release: It Happened One Night, his first album, should've never been his first album. It was live, which meant it would never get radio play, and he was bored with the songs by the time he recorded them. It Never Happened at All, on the other hand, is an imaginary reconstruction, an album Harding says was much more representative of where he was at the time. This previously unreleased material (the second disc of this collection) should have been his first release. Whatever one thinks of Harding's revisionist history of his own career, it's easy to listen to It Happened One Night and think it rather old-fashioned. His topical songs sung to the tune of an acoustic guitar remind one of Phil Ochs without the humor (and 25 years too late), and one imagines that he's instructing the audience more than entertaining them. It Never Happened at All, recorded with a full band in the studio, sounds like a lush product of the 20th century by comparison. The comparison is most obvious on a piece like "The Devil in Me," a cut that appears on both albums. The studio version, spruced up by Steve Donnelly's spunky guitar work, is far superior and really doesn't seem like the same song. Even Harding's vocal is much more spry, which makes the rather heavy lyric much easier to listen to. These observations are true across the board. Whether or not It Never Happened at All should've been Harding's first album, it is a much superior work than It Happened One Night, and a fine addition to his catalog. Fans should be ecstatic. ~ Ronnie D. Lankford Jr., All Music Guide
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Field of Study
World Music
Content Type
Music recording
Performer / Ensemble
John Wesley Harding
Contributor
Emily Lazar, John Wesley Harding, David Seitz
Author / Creator
John Wesley Harding
Date Published / Released
2004
Publisher
Appleseed
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Lifeline Extended
produced by Holly Near, 1949-; performed by Holly Near, 1949- and Ronnie Gilbert, 1926-2015 (Appleseed, 2002), 1 hour 29 mins, 23 page(s)
In 1984, Holly Near and Ronnie Gilbert released Lifeline, a collection of live recordings captured at the Great American Music Hall in San Francisco. The eight shows between April 28-31 would serve as a comeback for Gilbert (who had been part of the Weavers) and a chance for two politically committed women to join...
Sample
produced by Holly Near, 1949-; performed by Holly Near, 1949- and Ronnie Gilbert, 1926-2015 (Appleseed, 2002), 1 hour 29 mins, 23 page(s)
Description
In 1984, Holly Near and Ronnie Gilbert released Lifeline, a collection of live recordings captured at the Great American Music Hall in San Francisco. The eight shows between April 28-31 would serve as a comeback for Gilbert (who had been part of the Weavers) and a chance for two politically committed women to join forces. In 2002, Near revisited the tapes to produce Lifeline Extended, a two-disc set that adds songs, banter, and crowd response to...
In 1984, Holly Near and Ronnie Gilbert released Lifeline, a collection of live recordings captured at the Great American Music Hall in San Francisco. The eight shows between April 28-31 would serve as a comeback for Gilbert (who had been part of the Weavers) and a chance for two politically committed women to join forces. In 2002, Near revisited the tapes to produce Lifeline Extended, a two-disc set that adds songs, banter, and crowd response to the original. Near wanted to capture the richness of these live performances, and in this purpose she was more than successful. Indeed, the expansion of the set only reinforces the first album's strengths. First, Near and Gilbert are powerful singers, capable of fine solo vocals and perfectly matched harmonies. There are old favorites like "Goodnight Irene" and "Pastures of Plenty," and heartfelt commemorations of heroes like {%Stephen Biko} in "Biko" and "Harriet Tubman." This political tone also includes direct comment on disarmament ("Family Promises"), racism ("No More Genocide"), and homophobia ("Singing for Our Lives"). The piano dominates the production, adding a theatrical air to these purposeful folk songs. For those familiar with the first album, the addition will be warmly welcomed; for others, feminists, liberals, and folk music lovers, Lifeline Extended offers a good introduction to the work of Near and Gilbert. ~ Ronnie D. Lankford Jr., All Music Guide
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Date Written / Recorded
1983-05-01
Field of Study
American Music
Content Type
Music recording
Performer / Ensemble
Holly Near, 1949-, Ronnie Gilbert, 1926-2015
Contributor
Leslie Ann Jones, 1951-, Holly Near, 1949-
Author / Creator
Holly Near, 1949-, Ronnie Gilbert, 1926-2015
Date Published / Released
2002
Publisher
Appleseed
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Memory of the Future
produced by Eric Andersen, 1943-; performed by Eric Andersen, 1943- (Appleseed, 1999), 1 hour, 11 page(s)
Memory of the Future may have been Eric Andersen's first solo album in nine years, but that didn't mean he'd been inactive. On the contrary, as the liner notes point out, the decade leading up to this release was among his most productive. He delivered a pair of terrific trio albums with the Band's Rick Danko and...
Sample
produced by Eric Andersen, 1943-; performed by Eric Andersen, 1943- (Appleseed, 1999), 1 hour, 11 page(s)
Description
Memory of the Future may have been Eric Andersen's first solo album in nine years, but that didn't mean he'd been inactive. On the contrary, as the liner notes point out, the decade leading up to this release was among his most productive. He delivered a pair of terrific trio albums with the Band's Rick Danko and Norwegian guitarist Jonas Fjeld; contributed to Jack Kerouac and Phil Ochs tribute anthologies; and helped to resurrect Stages: The Los...
Memory of the Future may have been Eric Andersen's first solo album in nine years, but that didn't mean he'd been inactive. On the contrary, as the liner notes point out, the decade leading up to this release was among his most productive. He delivered a pair of terrific trio albums with the Band's Rick Danko and Norwegian guitarist Jonas Fjeld; contributed to Jack Kerouac and Phil Ochs tribute anthologies; and helped to resurrect Stages: The Lost Album, his frequently brilliant "lost" recordings from the '70s. There's more brilliance on the hour-long Memory of the Future, which finds Andersen picking up where he left off on his Arista recordings and on 1989's Ghosts Upon the Road. This is dreamy, introspective music -- the kind best heard late at night by the light of a dying candlelight -- and it's packed tightly with the sort of lyrics that long ago earned Andersen a "new Dylan" tag. His main preoccupation remains relationships, and he writes memorable lines about the power of physical and spiritual love. But the album also includes a well-honed murder mystery ("Chinatown"), a chilling look at Nazis past and present ("Rain Falls Down in Amsterdam"), and a sad farewell to life (Phil Ochs' "When I'm Gone," the album's only cover). Overall, the melodies aren't as indelible as those on The Collection -- an anthology of Andersen's Arista recordings and a better first purchase -- but this is still well worth seeking out. ~ Jeff Burger, All Music Guide
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Field of Study
American Music
Content Type
Music recording
Performer / Ensemble
Eric Andersen, 1943-
Contributor
Ingar Helgesen, Eric Andersen, 1943-
Author / Creator
Eric Andersen, 1943-
Date Published / Released
1999
Publisher
Appleseed
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