What Are You Listening To?

[Dennie]

Today's work truck music....

In The Dark -- CD

Grateful Dead

1987 Arista Records

Amazon.com essential recording

Hardcore Deadheads always equate this 1987 comeback record with commercial acceptance and a watered-down fan base, but while those assertions are indeed accurate, step back and you'll hear an album full of strong material and equally solid, live-in-the-studio performances. It's more than coincidence that songs such as "Touch of Grey" (the band's only top 10 hit), "Hell in a Bucket," "West L.A. Fadeaway," and "Throwing Stones" all became staples of the Dead's last decade of touring. While longtime fans will probably have no use (or desire) for this release (especially since the CD version omits the brilliant "Brother Esau"), it remains one of the band's most successful studio forays and the quintessential icebreaker for newcomers. --Marc Greilsamer

Side one

"Touch of Grey" (Garcia, Hunter) – 5:47
"Hell in a Bucket" (Barlow, Weir) – 5:35
"When Push Comes to Shove" (Garcia, Hunter) – 4:05
"West L.A. Fadeaway" (Garcia, Hunter) – 6:39

Side two

"Tons of Steel" (Mydland) – 5:15
"Throwing Stones" (Barlow, Weir) – 7:18
"Black Muddy River" (Garcia, Hunter) – 5:58
"My Brother Esau" (Barlow, Weir) - 4:20

"My Brother Esau" was omitted from the LP and CD releases of In the Dark, but was included on the cassette and on international releases.

 

[Dennie]

Hunger -- CD

Janis Ian

1997 Windham Hill Records

Ian's third album of her '90s comeback has something of the minimalist feel of BREAKING SILENCE, but like REVENGE, it's fleshed out a bit with splashes of instrumental color--electric guitar, a string section, accordion--not found on that earlier album. The songs continue in Ian's confessional story vein with the occasional detour into the political; the strongest track in that regard is "Searching for America," an utterly despairing look at the failure of democracy (it's subtler than that might sound) produced by obviously sympathetic righteous babe Ani DiFranco. There are also a couple of amusing ringers--the live, solo "Welcome to Acousticville" is a fun tribute to Ian's folkie roots, while "House Without a Heart" is a sort of '90s version of a new-wave pop ballad; some smart band with louder guitars should cover it immediately.

Track Listing
1. Black & White
2. On the Dark Side of Town
3. Might as Well Be Monday
4. Getting over You
5. Searching for America
6. Hunger
7. Welcome to Acousticville
8. Honor Them All
9. Empty
10. House Without a Heart
11. Shadow
12. Getting over You - (with strings)

Personnel: Janis Ian (vocals, acoustic guitar); Kevin Breit (electric & National steel guitars, bazouki); Andrew Gilchrist, Dan Huff (electric guitar); Randy Leago (accordion); Glenn Worf, David Piltch (upright bass); Ani DiFranco (bass, samples, background vocals); Andy Stochansky (drums, percussion); Steve Brewster (drums); Terry McMillan, Cyro Baptista (percussion).Producers: Jeff Balding, Janis Ian, Ani DiFranco.Engineers: Andrew Gilchrist, Jeff Balding, Jim DeMain, Dan Koppelson, Philip Clark

 

[Babs]

We thoroughly enjoy the group Shinedown! Brent Smith is an incredible vocalist! :music-rockout: Very edgy with a lot of power!!!

Zing surprised me with this new addition to the music collection!

 

[Dennie]

Blue Country Heart -- CD

Jorma Kaukonen

2002 Columbia Records

Amazon.com

Singer and guitarist extraordinaire Jorma Kaukonen was a devoted aficionado of early-20th-century rural music long before he cofounded Jefferson Airplane in 1965 and Hot Tuna some years later. On his new solo album, Kaukonen has found an imaginative setting to remind listeners how a fusion of styles and influences from both black and white musicians defined American country music in its formative decades. Included here are gems, both familiar and obscure, by the likes of Jimmie Rodgers, the Delmore Brothers, Jimmie Davis, Cliff Carlisle, and other country musicians who were clearly inspired by their blues cousins. Backed by the Nashville All-Stars, a supersonic string band comprising bluegrass masters Sam Bush (mandolin), Jerry Douglas (Dobro), Béla Fleck (banjo), and Byron House (stand-up bass), all playing on vintage 1920s and '30s acoustic instruments, Kaukonen revives and vividly reinterprets these blues-drenched country classics for a new generation of listeners. --Bob Allen

"Blue Railroad Train" (Lionel Alton Delmore, Rabon Delmore) – 3:44
"Just Because" (Hubert A. Nelson, James D. Touchstone) – 4:16
"Blues Stay Away from Me" (L. Delmore, R. Delmore, Henry Glover, Wayne Raney) – 3:28
"Red River Blues" (Jimmie Davis) – 3:25
"Bread Line Blues" (Bernard Slim Smith) – 4:38
"Waiting for a Train" (Jimmie Rodgers) – 3:26
"Those Gambler's Blues" (Rodgers) – 3:07
"Tom Cat Blues" (Jelly Roll Morton) – 3:05
"Big River Blues" (L. Delmore) – 3:01
"Prohibition Blues" (Clayton McMichen) – 4:13
"I'm Free from the Chain Gang Now" (Lou Herscher, Saul Klein) – 3:28
"You and My Old Guitar" (Rodgers, Elsie McWilliams) – 2:45
"What are They Doing in Heaven Today?" (Traditional) – 3:20


Jorma Kaukonen - guitar, vocals
Sam Bush – mandolin, fiddle, background vocals
Jerry Douglas – dobro, weissenborn
Byron House – bass, background vocals
Béla Fleck – banjo on "Just Because" and "Bread Line Blues"

 

[Dennie]

Jaco -- 24/96 DVD-A

Brian Bromberg

2003 A440 Music Group

This is a logical tribute album from one great bassist (Brian Bromberg) to another (Jaco Pastorius). The front of the CD purposely resembles Pastorius' debut recording and the program features six Pastorius songs (including two versions apiece of "Come on, Come Over" and "Teen Town"), Joe Zawinul's "A Remark You Made," the R&B standard "The Chicken," and Bromberg's "Tears." A master at tapping his bass and equally skilled on electric and acoustic basses, Bromberg also has the ability to sound a bit like Pastorius when he wants. This excellent tribute set uses different personnel and instrumentations on each selection and shows off the many sides of Pastorius, both as a bassist and as a composer. Highly recommended.
AMG Review by Scott Yanow

1. Come On, Come Over
2. Continuum
3. Teen Town (bass version)
4. A Remark You Made
5. Portrait of Tracy
6. Three Views of a Secret
7. The Chicken
8. Tears
9. Slang
10. Teen Town (piccolo bass)

Personnel: Brian Bromberg (arranger, acoustic & electric basses, programming); Bill Champlain (vocals); Dan Higgins, Larry Williams, Bob Mintzer, Eric Marienthal (saxophone); Gary Grant, Jerry Hey (trumpet); Andy Martin (trombone); USC Symphony Orchestra (strings); Tom Zink (piano, keyboards, programming); Jeff Lorber (electric piano, keyboards, programming); Gregg Mathison (Hammond B-3 organ); Gannin Arnold (guitar); Derrick "D Lok" Walker, Joel Taylor (drums); Chris Wabich (steel drums); Alex Acuna (percussion).

 

[Dennie]

Pretzel Logic -- Remastered CD

Steely Dan

1974/1999 ABC/MCA Records

Amazon.com essential recording

Pretzel Logic marked a transition for Steely Dan from a studio-bound rock band producing hits such as "Reeling in the Years" and "Do It Again" to a looser constellation of studio musicians under the direction of songwriters Walter Becker and Donald Fagen. That later version of Steely Dan would paint its masterpiece with Aja. Pretzel Logic is much more playful than that, and also jazzier than the albums that came before. The jazz intentions are made perfectly clear on "Parker's Band," a swinging tribute to bebop titan Charlie Parker, and a crafty cover of Duke Ellington's "East St. Louis Toodle-oo." The lyrics displayed their own twisted logic, presenting a tumble of images in search of a unifying principle that most often remained elusive. Steely Dan was that rare act that could work such purposeful obscurity to its advantage: "Rikki Don't Lose That Number" was a top-five hit even though nobody had a clue as to what it was about. Or, perhaps, everybody had a clue, but nobody could agree. --John Milward

Side 1

"Rikki Don't Lose That Number" – 4:30
"Night by Night" – 3:36
"Any Major Dude Will Tell You" – 3:05
"Barrytown" – 3:17
"East St. Louis Toodle-Oo" (Duke Ellington, Bubber Miley) – 2:45

Side 2

"Parker's Band" – 2:36
"Through with Buzz" – 1:30
"Pretzel Logic" – 4:28
"With a Gun" – 2:15
"Charlie Freak" – 2:41
"Monkey in Your Soul" – 2:31

 

[Botch]

Carnal Carnival - Here Come the Mummies

 

[topper]

~~ ~~~ bscene-drinkingcheers:

 

[Botch]

 

[Dennie]

Time Out -- Remastered 20bit CD

The Dave Brubeck Quartet

1959/1997 Columbia Legacy

Amazon.com essential recording

Boasting the first jazz instrumental to sell a million copies, the Paul Desmond-penned "Take Five," Time Out captures the celebrated jazz quartet at the height of both its popularity and its powers. Recorded in 1959, the album combines superb performances by pianist Brubeck, alto saxophonist Desmond, drummer Joe Morrello and bassist Gene Wright. Along with "Take Five," the album features another one of the group's signature compositions, "Blue Rondo a la Turk." Though influenced by the West Coast-cool school, Brubeck's greatest interest and contribution to jazz was the use of irregular meters in composition, which he did with great flair. Much of the band's appeal is due to Desmond, whose airy tone and fluid attack often carried the band's already strong performances to another level. Together, he and Brubeck proved one of the most potent pairings of the era. --Fred Goodman

All pieces composed by Dave Brubeck, except "Take Five" by Paul Desmond.

Side one

"Blue Rondo à la Turk" – 6:44
"Strange Meadow Lark" – 7:22
"Take Five" – 5:24

Side two

"Three to Get Ready" – 5:24
"Kathy's Waltz" – 4:48
"Everybody's Jumpin'" – 4:23
"Pick Up Sticks" – 4:16

 

[Dennie]

All Day Music -- 24k Gold 20-bit CD

War

1971/1994 Avenue Gold Collection

Summertime classic, March 28, 2002
By "nwlover" (tacoma, washington) - See all my reviews
This review is from: All Day Music (Audio CD)

Eric Burton had no idea what would happen when he left war. What happened was that War became The band of the early 70's. All day music was playing in the park all summer that year and the song perfectly describes War. Tight harmonies, great musicians, and lyrics that paint beautiful pictures. Ya had to be there, like I was. However, their music still stands the test of time. That's What Love Will Do, There Must Be A Reason, and Slippin' Into Darkness could of each been singles, as they are all great jamss.
A fabulous group with a distinctive fusion of soul, rock, blues, funk and jazz. Couldnt ask for anymore from anygroup at anytime.

All tracks composed by War (Papa Dee Allen, Harold Brown, B.B. Dickerson, Lonnie Jordan, Charles Miller, Lee Oskar, Howard E. Scott), except where indicated.

Side one

"All Day Music" (Jerry Goldstein, War) – 4:04
"Get Down" (Goldstein, War) – 4:29
"That's What Love Will Do" (Milton James, War) – 7:17
"There Must Be a Reason" – 3:50

Side two

"Nappy Head (Theme from Ghetto Man)" – 6:05
"Slipping Into Darkness" – 7:00
"Baby Brother" – 7:38

 

[Dennie]

Why Can't We Be Friends -- 24k Gold 20-bit CD

War

1975/1995 Avenue Gold Collection

Amazon.com

The title song remains the obvious hit and standout track on War's sixth album. Inspired by a fight that broke out in the audience before the group mounted the stage, "Why Can't We Be Friends?" became a Top 10 hit on both R&B and pop charts, as did the followup, "Low Rider." Another highlight is "Don't Let No One Get You Down," an upbeat, self-help message song. The rest of the album focuses on War's patented East L.A. sound, heavy with percussion, spiced with staccato bursts of horns and Lee Oskar's harmonica flares, filled with optimstic lyrics and soulful vocals, and includes the extended jam of "Heartbeat." If you like the low-rider sound that War pioneered, this is a great record for cruising or partying. --Tom Vickers

Track listing

1. Don't Let No One Get You Down
2. Lotus Blossom
3. Heartbeat
4. Leroy's Latin Lament: Lonnie Dreams / The Way We Feel / La Fiesta / Lament
5. Smile Happy
6. So
7. Low Rider
8. In Mazatlan
9. Why Can't We Be Friends?

 

[Dennie]

New Favorite CD

Alison Krauss + Union Station

2001 Rounder Records

No expectations, June 16, 2003
By A Customer
This review is from: New Favorite (Audio CD)

It seems that most of the negative or lukewarm reviews here are written by those who approached this record with expectations of what bluegrass should be, or what Krauss & Union Station should be, or what country should be.

I came in with none of those. I know almost nothing about bluegrass or AKUS...I'm not even sure what a dobro is.

I heard "Lucky One" on an "adult alternative" radio station, of all places, and had heard about Krauss' talent, so I took a chance on this CD. I'm not a country fan nor a bluegrass fan by any means, I just thought it was a pretty song.

It turns out that the whole CD is very strong, filled with beautifully written and performed songs. There's definitely a pop feel to a few of the tunes, such as Fogelberg's "Stars", but every one is played and sung with feeling and musicianship. The production values are excellent too -- no studio gimmicks, just pure sounds crystal clear.

It's hard to imagine anyone who appreciates music being let down by this set.

"Let Me Touch You for Awhile" (Robert Lee Castleman) – 3:21
"The Boy Who Wouldn't Hoe Corn" (Traditional) – 4:40
"The Lucky One" (Castleman) – 3:10
"Choctaw Hayride" (Jerry Douglas) – 3:10
"Crazy Faith" (Mark Simos) – 3:47
"Momma Cried" (Bob Lucas) – 3:20
"I'm Gone" (Eric Kaz, Wendy Waldman) – 3:28
"Daylight" (Lucas) – 4:03
"Bright Sunny South" (Traditional) – 3:00
"Stars" (Dan Fogelberg) – 2:54
"It All Comes Down to You" (Ron Block) – 2:44
"Take Me for Longing" (Simos) – 2:51
"New Favorite" (David Rawlings, Gillian Welch) – 4:34

 

[Dennie]

4 -- CD

Fourplay

1998 Warner Bros. Records

Lite jazz, smooth jazz, call it what you will. If the audiophile-oriented instrumental sounds of such artists as Bob James and Larry Carlton are your cup of tea, then this supergroup will be right up your alley. Fourplay combines the talents of James, Carlton and studio vets Nathan East and Harvey Mason, and together they produce a sound that is more than the sum of its parts.The accent here is on smooth, flowing R&B-inflected jazz (or is that jazz-inflected R&B?), as exemplified by the opening cut "Still The One," which features guest vocals by Heather Mason. Things soon take off in other directions though, as Fourplay works in a bit of funk here, a little world music rhythm there, spicing up the proceedings nicely. For a little variety in between the instrumentals, there are a number of guest vocalists, including El DeBarge and R&B guru Babyface himself.

Track Listing
1. Still the One
2. Little Foxes
3. Sexual Healing
4. I'm Sure Charmed
5. Someone to Love
6. Rio Rush
7. Piece of My Heart
8. Slow Slide
9. Vest Pocket
10. Swamp Jazz

Fourplay: Nathan East (vocals, bass); Bob James (keyboards); Larry Carlton (guitar); Harvey Mason (drums).Additional personnel: El DeBarge, Shanice Wilson, Kevyn Lettau, Kenneth "Babyface" Edmonds, Heather Mason, Michelle Pillar-Carlton, James DeBarge (vocals).

 

[Botch]

:music-rockout:

 

[Dennie]

Low Spark of High Heeled Boys -- CD

Traffic

1971/1990 Island Records

Amazon.com

Despite not even charting in the band's native England, this album became a platinum-selling American hit on the basis of three enduring FM radio staples--the expansive, jazzy impressionism of the near-12 minute title track, and the more straightforward funk of the R&B charmers "Light Up or Leave Me Alone" and "Rock & Roll Stew." Those disparate tracks perfectly underscore Traffic's rich musical appeal and its restless, sometimes problematic creative and interpersonal relationships. With now thrice-departed Dave Mason out of the mix and percussionists Jim Gordon and Reebop Kwaku Baah participating in the studio for the first time, the band's innate musicality truly takes wing. Winwood's familiar vocal phrasings nearly take a backseat to his fluid, dramatic guitar work on "Rock & Roll Stew Roll" and "Many a Mile to Freedom," while the Tull-ish, folk-madrigal sensibilities of "Hidden Treasure" and "Rainmaker" are further punctuated by Chris Wood's deft flute and woodwind flourishes. Compared with the more organic John Barleycorn album, the contrast is all the more remarkable. While many contemporary bands were experimenting with various attempts at fusion, few achieved this collection's rock-jazz-folk-R&B range or level of often subtle sophistication. Digitally remastered, this edition also contains the six-minute-plus U.S. single version of "Rock & Roll Stew, Parts 1 & 2" as a bonus track. --Jerry McCulley

"Hidden Treasure" – 4:16
"The Low Spark of High Heeled Boys" – 11:35
"Light Up or Leave Me Alone" (Jim Capaldi) – 4:55
"Rock & Roll Stew" (Ric Grech, Jim Gordon) – 4:29
"Many a Mile to Freedom" (Steve Winwood, Anna Capaldi[1]) – 7:26
"Rainmaker" – 7:39

 

[Dennie]

It Looks Like Snow -- CD

Phoebe Snow

1976/1989 Columbia Records

David Rubinson's production of Phoebe Snow on the 1976 release It Looks Like Snow is an overpowering collection of pop-jazz-funk-folk that puts this amazing vocalist's talents in a beautiful light. Whether it's the Bowen/Bond/Hazel blues classic &"Shakey Ground," which Elton John, Etta James, and so many others have explored, or her exquisite interpretation of the Beatles' &"Don't Let Me Down," there is no doubt the material here should have ruled on the airwaves the year after her Top Five smash, &"Poetry Man." How could Columbia Records not have this material saturating radio across America is the question. There are string arrangements by Sonny Burke and horn arrangements by Kurt McGettrick; the guests galore -- from David Bromberg and Ray Parker, Jr. on guitars (along with Snow, Greg Poree, and Steve Burgh) to David Pomeranz on keys -- make the Snow/Pomeranz co-write &"Mercy on Those" into a majestic and extra-special showstopper. The singer's solo composition &"Drink Up the Melody (Bite the Dust, Blues)" has her dipping into Maria Muldaur territory, and a duet between the two divas here would've been sensational. &"My Faith Is Blind," soaked in gospel introspection, takes the album to another level with its soul searching and sense of spiritual discovery. It Looks Like Snow is a major work from a fabulous performer traversing styles and genres with ease and elegance. The loving mom appears with her daughter on the back cover in a photo by collaborator Phil Kearns Joe Viglione, Rovi

1 Autobiography (Shine, Shine, Shine) Snow 5:15
2 Teach Me Tonight Cahn, DePaul 4:30
3 Stand Up on the Rock Snow, Kearns 3:58
4 In My Girlish Days Lawlars 4:48
5 Mercy on Those Snow, Pomeranz 6:06
6 Don't Let Me Down Lennon, McCartney 5:51
7 Drink Up the Melody (Bite the Dust, Blues) Snow 5:51
8 Fat Chance Snow, Kearns 2:56
9 My Faith Is Blind Snow 5:54
10 Shakey Ground Hazel, Bond, Bowen, Boyd, Boyd 4:18

 

[Dennie]

The European cover art....

The American release...

Sax-A-Go-Go -- CD

Candy Dulfer

1993 RCA Records

Superior Sophomore Effort April 10, 2006
By Scot Merideth Peirson
Format:Audio CD|Amazon Verified Purchase
I had known about Candy Dulfer since 1989. For those who remember Prince's "Partyman" from the Batman soundtrack, it was her solo that sent that track stupid--stunning performance from...A 19-YEAR OLD. WHITE GIRL. FROM HOLLAND.

Then, when I moved to Oslo in 1990, this stunning sax-and-acoustic guitar track started getting major play, both on the radio and on MTV. For those familiar with her, you know what I'm talking about--"Lily Was Here". Released as a theme song for a movie, the original release of "Saxuality" didn't have "Lily" on it, but it was still an interesting album--it was obvious that the lady had been raised listening to a lot of R-and-B.

It was in 1992 that "Sax-A-Go-Go" got released. And yeah, the cover got me (Interestingly, the stateside version has a...less risque cover). This takes off from the beginning with "2 Funky", and this is probably one of her five best studio performances. It's an introduction to a party jam. The title track has become one of her theme pieces in concert.

But there are three tracks that really stick out on this album--"Jammin", in which Candy teams with the JBs; in particular her tradeoffs in the bridge with Maceo Parker (Think about it--she's trading riffs with the great Maceo), her cover of Bonnie Raitt's "I Can't Make You Love Me" where her sax replaces Bonnie's voice, and the cover of AWB's "Pick Up The Pieces"--if you are able to get the US version of this album (or the Japanese import, "The Best Of Candy Dulfer--Candy Funky Mix"), you get a no-holds barred, punched up version that's better than the Euro version. The quietness of "Sunday Morning" completes the album.

Among my Candy collection, I've always considered this her best album--I've always suspected that "Saxuality" was rushed out to jump on her newfound popularity at the time, whereas "Sax-A-Go-Go" was much more prepared and allowed many listeners to begin to see what she liked to play.

If you can find the US version of this, it also contains a radio edit of "2 Funky"--not even close to being as good as the long version, but the album makes up for it with "Pick Up The Pieces" (Which has become another concert staple for her). Worth it for the music, worth it for the cover.

Track Listing
1. 2 Funky
2. Sax-a-Go-Go
3. Mister Marvin
4. Man in the Desert
5. Bob's Jazz
6. Jamming
7. I Can't Make You Love Me
8. Pick up the Pieces
9. Sunday Afternoon
10. 2 Funky - (radio version)

Personnel: Candy Dulfer (vocals, alto, tenor, baritone & soprano saxophones); Wies Ingwersen, Patricia Balrak (vocals); J.B. Horns, Tower Of Power (horns); Angelo Verploegen, Iwan Van Hetten (trumpet); Gerbrand Westveen (tenor & baritone saxophones); Rob Van Donselaar (piano, background vocals); Carlo De Wijs, Hans Jansen (Hammond organ); Michel Van Schie (bass); Ulco Bed (drums, guitar, bass, vocals, keyboards, percussion); Frans Hendrix (drums, percussion, programming); Lucas Van Merwijk (drums, percussion); Wendell Arthur Morrison Junior, Denise Jennah, Geert Van Itallie, Peter "Pee Wee" Warnier, Viktor Heeremans, Marga V., Leslie Doornik, Edwin Rath, Arjan Boonacker, Niels Hermes, Marcel Kaptein, Marcel Gelderblom, Rick Hartman (background vocals).Producers: Candy Dulfer, Ulco Bed, Easy Mo Bee.Recorded at Zeezicht Studios and Wisseloord Studios, Hilversum, Holland.

 

[Dennie]

Sweet Georgia Peach -- CD

Russell Malone

1998 GRP/Jazz Heritage

During part of the 1990s, Russell Malone put his solo career on the back burner as he toured the world as an important part of Diana Krall's trio. Since he was scheduled to break away from Krall at the end of 1998, the release of this solo album was a timely event. With a couple of exceptions, the emphasis here is on slower tempos and relaxed moods. There are no swing standards included other than "Someone's Rocking My Dreamboat," and only "Sweet Georgia Peach" (which is a bit funky) and Thelonious Monk's "Bright Mississippi" (based on the chords of "Sweet Georgia Brown") are taken at faster speeds. The latter, a Malone duet with pianist Kenny Barron, is easily this CD's high point. Of the repertoire, the guitarist contributed five of the ten numbers and is also heard exploring Thad Jones' "Mean What You Say," "Swing Low, Sweet Chariot," and a couple of obscurities. Malone and Barron are joined by bassist Ron Carter and drummer Lewis Nash throughout the melodic, often melancholy, and generally wistful outing. Although it would have been better if there were more tempo variations and some heated selections, this is a tasteful effort, and Russell Malone does have a beautiful tone on his guitar. ~ Scott Yanow

Track Listing
1. Mugshot
2. To Benny Golson
3. Strange Little Smile / With You I'm Born Again
4. Sweet Georgia Peach
5. Rise
6. Mean What You Say
7. Song For Darius
8. Bright Mississippi
9. Someone's Rocking My Dreamboat
10. For Toddlers Only
11. Sweet Chariot Swing Low

Personnel: Russell Malone (guitar); Kenny Barron (piano); Ron Carter (bass); Lewis Nash (drums); Steve Kroon (percussion).Recorded at Avatar Studios, New York, New York on February 17-19, 1998. Includes liner notes by Bob Blumenthal.

 

[Dennie]

Today's work truck music...

Temptation -- CD

Shelby Lynne

1995 Morgan Creek Records

Swing it, Shelby!, August 1, 2001
By Just_Karen (Portland, Oregon)
(VINE VOICE)

If you came late to Shelby, and you're looking for more of the harsh, changeable, sublime stuff you found on "I am Shelby Lynne," you owe it to yourself to check out Shelby in an earlier incarnation. I have them all, but this is my favorite. It's also nothing like her most recent work. This CD features a full-on swing orchestra with steel guitars and fiddles, and Shelby's great big alto booming out over impeccable instrumentation. Get it while you can, because if you love her voice, you'll never hear it featured more beautifully than in these arrangements.

"Temptation" (Shelby Lynne, Brent Maher, Jamie O'Hara) – 3:04
"Feelin' Kind of Lonely Tonight" (Maher, O'Hara) – 3:00
"Tell Me I'm Crazy" (Rory Michael Bourke, Mike Reid) – 3:44
"Little Unlucky at Love" (Maher, O'Hara) – 3:01
"Some of That True Love" (Lynne, Maher, O'Hara) – 2:47
"The Rain Might Wash Your Love Away" (Maher, Don Potter, Don Schlitz) – 4:34
"Don't Cry for Me" (Maher) – 2:43
"I Need a Heart to Come Home To" (John Jarvis, Russell Smith) – 4:20
"Come a Little Closer" (Maher, O'Hara) – 3:15
"Where Do We Go from Here" (Maher, Potter, Reid) – 3:38