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Dennie
Well-Known Member
Today's work truck music....
Sunshine On Leith -- CD
The Proclaimers
1988 Chrysalis Records
Sunshine on Leith is The Proclaimers' second and best known album, released in August 1988. The album had three singles, including the title track, "I'm On My Way," and "I'm Gonna Be (500 Miles)," which also became a hit following its inclusion on the soundtrack to Benny & Joon five years later in 1993. It is about their birthplace, Leith, and the title track Sunshine on Leith is played by Hibernian F.C. at the beginning of matches.
All Songs Written By Craig & Charlie Reid, except where noted.
"I'm Gonna Be (500 Miles)" – 3:33
"Cap in Hand" – 3:24
"Then I Met You" – 3:50
"My Old Friend the Blues" – 3:06 (Steve Earle)
"Sean" – 3:23
"Sunshine on Leith" – 5:16
"Come on Nature" – 3:34
"I'm on My Way" – 3:45
"What Do You Do?" – 3:38
"It's Saturday Night" – 3:24
"Teardrops" – 2:32
"Oh Jean" – 5:55
Sunshine On Leith -- CD
The Proclaimers
1988 Chrysalis Records
Sunshine on Leith is The Proclaimers' second and best known album, released in August 1988. The album had three singles, including the title track, "I'm On My Way," and "I'm Gonna Be (500 Miles)," which also became a hit following its inclusion on the soundtrack to Benny & Joon five years later in 1993. It is about their birthplace, Leith, and the title track Sunshine on Leith is played by Hibernian F.C. at the beginning of matches.
All Songs Written By Craig & Charlie Reid, except where noted.
"I'm Gonna Be (500 Miles)" – 3:33
"Cap in Hand" – 3:24
"Then I Met You" – 3:50
"My Old Friend the Blues" – 3:06 (Steve Earle)
"Sean" – 3:23
"Sunshine on Leith" – 5:16
"Come on Nature" – 3:34
"I'm on My Way" – 3:45
"What Do You Do?" – 3:38
"It's Saturday Night" – 3:24
"Teardrops" – 2:32
"Oh Jean" – 5:55
Dennie
Well-Known Member
Today's work truck music....
Searchin' For A Rainbow -- CD
The Marshall Tucker Band
1975 AJK Music
Old West dreams meet Southern memories in the tracks of Searchin’ for a Rainbow, The Marshall Tucker Band’s fourth album. Released in 1975, this song collection found the group refining its multi-faceted sound into an appealing country-rock essence. Still present were the jazz and blues-based elements that had always made Marshall Tucker a distinctive unit. By dressing up their music in Western garb, the band found a way to reach a huge new audience—all it took was a little "Fire On The Mountain" to light the way. "We’d found a bit more direction on how to design songs for a record," says lead singer Doug Gray. "Our record company Capricorn had always said, ‘Try to give us something that would work on the radio.’ We tried to do that, and at the same time please each other. We were known as a jamming band. This was the first time we really tried to give them Marshall Tucker’s interpretation of what a hit song was." Helping to spur things on was "Fire On The Mountain," the lead track off Searchin’ for a Rainbow. Released as a single in the fall of ’75, the tune reached #38 on the pop charts. A vivid, Old West, lyric-storyline combined with bluegrass-tinged instrumental licks and an ear-grabbing chorus brought Marshall Tucker its first Top 40 hit.
Side One
"Fire on the Mountain" - 3:53 (George McCorkle)
"Searchin' for a Rainbow" - 3:48
"Walkin' and Talkin'" - 2:25
"Virginia" - 4:54
Side Two
"Bob Away My Blues" - 2:42
"Keeps Me from All Wrong" - 4:13
"Bound and Determined" - 4:20
"Can't You See" (Live) - 6:25
Searchin' For A Rainbow -- CD
The Marshall Tucker Band
1975 AJK Music
Old West dreams meet Southern memories in the tracks of Searchin’ for a Rainbow, The Marshall Tucker Band’s fourth album. Released in 1975, this song collection found the group refining its multi-faceted sound into an appealing country-rock essence. Still present were the jazz and blues-based elements that had always made Marshall Tucker a distinctive unit. By dressing up their music in Western garb, the band found a way to reach a huge new audience—all it took was a little "Fire On The Mountain" to light the way. "We’d found a bit more direction on how to design songs for a record," says lead singer Doug Gray. "Our record company Capricorn had always said, ‘Try to give us something that would work on the radio.’ We tried to do that, and at the same time please each other. We were known as a jamming band. This was the first time we really tried to give them Marshall Tucker’s interpretation of what a hit song was." Helping to spur things on was "Fire On The Mountain," the lead track off Searchin’ for a Rainbow. Released as a single in the fall of ’75, the tune reached #38 on the pop charts. A vivid, Old West, lyric-storyline combined with bluegrass-tinged instrumental licks and an ear-grabbing chorus brought Marshall Tucker its first Top 40 hit.
Side One
"Fire on the Mountain" - 3:53 (George McCorkle)
"Searchin' for a Rainbow" - 3:48
"Walkin' and Talkin'" - 2:25
"Virginia" - 4:54
Side Two
"Bob Away My Blues" - 2:42
"Keeps Me from All Wrong" - 4:13
"Bound and Determined" - 4:20
"Can't You See" (Live) - 6:25
Dennie
Well-Known Member
All Day Long -- Remastered CD
Donald Byrd/Kenny Burrell
1957/1990 Prestige/OJC Records
Records like ALL DAY LONG once seemed like the reason long-playing vinyl was invented--to give ordinary mortals the sense of eavesdropping on a clique of talented improvisers stretching out after hours, away from the time confines of the three-minute 78, or the commercial demands of the nightclub and radio world. Later, critics derided the "blowing session" as a rip-off in which fans spent good money on a release only to get--well, a clique of talented improvisers stretching out away from the limitations of the 78, nightclub or radio broadcast. In fact, harnessing looseness and creativity into a satisfying album takes a certain amount of thought and craft, two things that clearly went into this co-led Kenny Burrell/Donald Byrd date.The title cut builds from a simple, down-home blues guitar riff into a breathily-voiced horn harmonization, before opening up for a series of relaxed, statesmanlike blues solos with various background figures. "Slim Jim," based on "I Got Rhythm," features a daredevil tenor/trumpet theme; "Say Listen," "A.T." (more blues, this time from a Charlie Parker perspective), and the bonus track "C.P.W" offer relaxed, mid-tempo bebop.
Track Listing
1. All Day Long
2. Slim Jim
3. Say Listen
4. A. T.
5. C. P. W. - (bonus track)
Personnel: Kenny Burrell (guitar); Donald Byrd (trumpet); Frank Foster (tenor saxophone); Tommy Flanagan (piano); Doug Watkins (bass); Arthur Taylor (drums).Recorded at the Van Gelder Studio, Hackensack, New Jersey on January 4, 1957. Orginally released on Prestige (7081). Includes liner notes by Ira Gitler.Digitally remastered by Phil De Lancie (1990, Fantasy Studios, Berkeley, California).
Dennie
Well-Known Member
All Night Long -- Remastered CD
Donald Byrd/Kenny Burrell
1956/1990 Prestige/OJC Records
Two of guitarist Kenny Burrell's best sessions from the 1950s were this release and its companion, All Day Long. Burrell is teamed with an impressive group of young all-stars, including trumpeter Donald Byrd, tenor saxophonist Hank Mobley, Jerome Richardson on flute and tenor, pianist Mal Waldron, bassist Doug Watkins, and drummer Art Taylor. In addition to the lengthy "All Night Long" and three group originals (two by Mobley and one from Waldron), the original LP program has been augmented by a medley of "Body and Soul" and "Tune Up" from the same session. Jam sessions such as this one are only as good as the solos; fortunately, all of the musicians sound quite inspired, making this an easily recommended set. ~ Scott Yanow
Track Listing
1. All Night Long
2. Boo-Lu
3. Flickers
4. Li'l Hankie
5. Body and Soul - (bonus track)
6. Tune Up - (bonus track)
Personnel: Donald Byrd (trumpet); Jerome Richardson (tenor saxophone, flute); Hank Mobley (tenor saxophone); Mal Waldron (piano); Kenny Burrell (guitar); Doug Watkins (bass); Arthur Taylor (drums).Recorded at the Van Gelder Studio, Hackensack, New Jersey on December 28, 1956. Orginally released on Prestige (7073). Includes liner notes by Ira Gitler.Digitally remastered by Phil De Lancie (1990, Fantasy Studios, Berkeley, California)
Dennie
Well-Known Member
Under A Woodstock Moon -- CD
David "Fathead" Newman
1996 Kokopelli Records
This Album Cooks! March 12, 2008
By Transfigured Knight
Format:Audio CD|Amazon Verified Purchase
"Under A Woodstock Moon" released on Kokopelli Records, which is record label owned by jazz flutist Herbie Mann, is a fine recording that displays the many facets of this powerfully lyrical jazz saxophonist/flutist. His smooth, warm saxophone tone is between Gene Ammons/Stan Getz/Ben Webster type of sound, but he has his own style and sound.
Newman is back by an excellent group of musicians: Brian Carrott on vibraphone, David Leonhardt on piano, Stephen Novosel on bass, and Winard Harper on drums. On some of the songs there are also a small string ensemble. Everybody plays with passion and lyricism. Quite simply: Newman has a knack for picking out the right musicians.
I would recommend this album to newer fans of Newman, but for those who are already fans you should really get this one! I would also try getting a copy of it as soon as possible, because it's out-of-print. There are alot of copies of this album floating around, but trust me when I say this, when you own this one you're not going to sell it. In fact, I'll wager you'll want to start checking out his other records.
Track Listing
1. Nature Boy
2. Amandla
3. Up Jumped Spring
4. Spring Can Really Hang You up the Most
5. Autumn in New York
6. Sky Blues
7. Another Kentucky Sunset
8. Summertime
9. Sunrise
10. A Nightingale Sang in Berkeley Square
11. Skylark
12. Under a Woodstock Moon
Personnel: David "Fathead" Newman (flute, alto saxophone, tenor saxophone); Ronald Carbone, Charles Libove, Eugene J. Moye, Matthew Raimondi (strings); David Leonhardt (piano); Bryan Carrott (vibraphone); Winard Harper (drums).Audio Mixer: James Farber.Recording information: Quad Sound, New York, NY (06/15/1996-06/17/1996).Arrangers: David Leonhardt; Bob Freedman.
Dennie
Well-Known Member
East of The Sun -- CD
Scott Hamilton
1993 Concord Jazz
"Hamilton's playing is an inspiration - from the heart", February 12, 2001
By J. Lovins "Mr. Jim" (Missouri-USA) - See all my reviews
(TOP 50 REVIEWER) (VINE VOICE) (REAL NAME)
This review is from: East of the Sun (Audio CD)
When you thought you heard the best album Scott Hamilton had recorded, this release gives you a kick - "East Of The Sun", truly an astonishing confident performance. Hamilton appeared in the mid '70s with his appealing swing-style on tenor sax, mixing Zoot Sims, Ben Webster and Lester Young during the fusion era before settling on now his-own distinctive style. Moved to New York in 1976, toured and has recorded over thirty albums for Concord Jazz, as sideman and solo...with Gene Harris, Ray Brown, Rosemary Clooney, Ruby Braff, Charlie Byrd and Cal Tjader.
Supported by Carl E. Jefferson (executive producer), Scott seized the opportunity to fulfill a cherished ambition to record with his regular British trio - Brian Lemon (piano), Dave Green (bass) and Allan Ganley (drums) - like Scott, Dave and Allan are self-taught and learned while they earned. Recorded at Lansdowne Recording Studios Ltd., London, England...August 31, 1993.
Of course there stand outs - "IT COULD HAPPEN TO YOU" (Burke/Van Heusen), great standard recorded by many crooners Crosby and Sinatra, this bossa-nova Hamilton arrangement is rhytmically-intoxicating..."IT NEVER ENTERED MY MIND" (Rodgers/Hart), magnificent version of a like-minded team who work together regularly, so natural...and the highlight is - "BERNIE'S TUNE" (Miller/Lieber/Stoller), completely fresh interpretation, shades of Henry Mancini come to mind - every jazz player's dream is to swing, and swing it does!
Total Time: 63:13 on 11 Tracks...Concord Jazz CCD-4583...(1993)
Track Listing
1. Autumn Leaves
2. Stardust
3. It Could Happen to You
4. It Never Entered My Mind
5. Bernie's Tune
6. East of the Sun (And West of the Moon)
7. Time After Time
8. Setagaya Serenade
9. That's All
10. All the Things You Are
11. Indiana
Dennie
Well-Known Member
Today's work truck music....
Power of the Pontchartrain -- CD
Tab Benoit with Louisiana's Leroux
2007 Telarc Blues
Amazon.com
Tab Benoit's album titles leave little doubt as to where he's from or the music he plays. Brother to the Blues, Fever for the Bayou, Wetlands, and now Power of the Pontchartrain exude the sweaty Louisiana swamp, blues, and R&B inherent in their names. But that only tells part of the story--the rest is in the grooves where Benoit's distinctive, grainy voice and tough Telecaster leads bring soul, grit, and intensity to a sound already infused with an earthy sensibility. There's more of the same on this disc, but that's no criticism. Benoit generally sticks with others' songs here, yet he unearths hidden gems. Julie Miller's "Midnight and Lonesome" is dragged into the murky swamps as a driving ballad with eerie qualities that live up to its name. Miller and husband Buddy are also credited with the righteous-yet-rugged gospel of "Shelter Me." "Somebody's Got to Go," originally by Lonnie Johnson, gets a crisp, frisky makeover, and even Buffalo Springfield's crusty "For What It's Worth" takes a swim in the muddy waters of Benoit's home state, with a little help of some altered, post-Katrina lyrics. The guitarist lets his Cajun influences fly on the bouncy rhythms of "Sac-Au-Lait Fishing," the album's only original, and shifts into pleading Otis Redding mode for the aching blues ballad "I'm Guilty of Lovin' You." The Chicago-by-way-of-the-Delta shuffle of "One Foot in the Bayou" is also an apt description of Benoit's approach. He touches on a variety of Americana styles, yet always keeps part of himself planted firmly in the wetlands of his roots. --Hal Horowitz
Track Listing
1. Don't Make No Sense
2. Good to Ya, Baby
3. Shelter Me
4. Power of the Pontchartrain
5. For What It's Worth
6. Midnight and Lonesome
7. Sac-au-Lait Fishing
8. Somebody's Got to Go
9. I'm Guilty of Lovin' You
10. Addicted
11. One Foot in the Bayou
Power of the Pontchartrain -- CD
Tab Benoit with Louisiana's Leroux
2007 Telarc Blues
Amazon.com
Tab Benoit's album titles leave little doubt as to where he's from or the music he plays. Brother to the Blues, Fever for the Bayou, Wetlands, and now Power of the Pontchartrain exude the sweaty Louisiana swamp, blues, and R&B inherent in their names. But that only tells part of the story--the rest is in the grooves where Benoit's distinctive, grainy voice and tough Telecaster leads bring soul, grit, and intensity to a sound already infused with an earthy sensibility. There's more of the same on this disc, but that's no criticism. Benoit generally sticks with others' songs here, yet he unearths hidden gems. Julie Miller's "Midnight and Lonesome" is dragged into the murky swamps as a driving ballad with eerie qualities that live up to its name. Miller and husband Buddy are also credited with the righteous-yet-rugged gospel of "Shelter Me." "Somebody's Got to Go," originally by Lonnie Johnson, gets a crisp, frisky makeover, and even Buffalo Springfield's crusty "For What It's Worth" takes a swim in the muddy waters of Benoit's home state, with a little help of some altered, post-Katrina lyrics. The guitarist lets his Cajun influences fly on the bouncy rhythms of "Sac-Au-Lait Fishing," the album's only original, and shifts into pleading Otis Redding mode for the aching blues ballad "I'm Guilty of Lovin' You." The Chicago-by-way-of-the-Delta shuffle of "One Foot in the Bayou" is also an apt description of Benoit's approach. He touches on a variety of Americana styles, yet always keeps part of himself planted firmly in the wetlands of his roots. --Hal Horowitz
Track Listing
1. Don't Make No Sense
2. Good to Ya, Baby
3. Shelter Me
4. Power of the Pontchartrain
5. For What It's Worth
6. Midnight and Lonesome
7. Sac-au-Lait Fishing
8. Somebody's Got to Go
9. I'm Guilty of Lovin' You
10. Addicted
11. One Foot in the Bayou
This one is okay........ Maybe it will get better after a few more listensssss!
http://the-both.com/home
http://the-both.com/home
Attachments
Tom Petty and the Heartbreakers' new one, in sweet, sweet 5.1 Bluray Surround Sound!
I've got a lot to comment on this one. Tomorrow, when I'm sober and I've listened to it a few more times, I will. In the "Stellar Recordings" thread. This one is amazing. Different. Highly unusual. And did I mention, Amazing?
:scared-eek: :scared-eek: :scared-eek: :bow-blue: :bow-blue: :bow-blue: :handgestures-thumbup: :handgestures-thumbup: :handgestures-thumbup:
Dennie
Well-Known Member
Today's work truck music....
Get Rhythm - CD
Ry Cooder
1990 Warner Bros. Records
"The Musician's Musician." "The Master of the Eclectic." There are probably a dozen more titles by which this "guitar player" is known. To even refer to him as a guitar player is probably a gross mislabeling of this musician. He defies any sort of categorization; this is his greatest strength and for some his weakness. The theme for these nine cuts is rhythm of all different ilk. I won't even give the parameters because he seems to have none. I wondered how many different instruments he played on this album (I thought I counted five different types of guitar); it only says guitar and vocal for his credits. Listen to his version of "All Shook Up," more bop and rhythm than Elvis could put into four of his songs. It seems musicians line up to play with him, and they feel he did them a favor by letting them play on his albums. He always gives them plenty of space to do what they do. This CD will make the dead start tapping their toes. ~ Bob Gottlieb
1. "Get Rhythm" (Johnny Cash)
2. "Low Commotion" (Ry Cooder, Jim Keltner)
3. "Going Back to Okinawa" (Ry Cooder)
4. "Thirteen Question Method" (Chuck Berry)
5. "Women Will Rule the World" (Raymond Quevedo)
6. "All Shook Up" (Elvis Presley, Otis Blackwell)
7. "I Can Tell by the Way You Smell" (Walter Davis)
8. "Across the Borderline" (Ry Cooder, Jim Dickinson, John Hiatt)
9. "Let's Have a Ball" (Alden Bunn)
Get Rhythm - CD
Ry Cooder
1990 Warner Bros. Records
"The Musician's Musician." "The Master of the Eclectic." There are probably a dozen more titles by which this "guitar player" is known. To even refer to him as a guitar player is probably a gross mislabeling of this musician. He defies any sort of categorization; this is his greatest strength and for some his weakness. The theme for these nine cuts is rhythm of all different ilk. I won't even give the parameters because he seems to have none. I wondered how many different instruments he played on this album (I thought I counted five different types of guitar); it only says guitar and vocal for his credits. Listen to his version of "All Shook Up," more bop and rhythm than Elvis could put into four of his songs. It seems musicians line up to play with him, and they feel he did them a favor by letting them play on his albums. He always gives them plenty of space to do what they do. This CD will make the dead start tapping their toes. ~ Bob Gottlieb
1. "Get Rhythm" (Johnny Cash)
2. "Low Commotion" (Ry Cooder, Jim Keltner)
3. "Going Back to Okinawa" (Ry Cooder)
4. "Thirteen Question Method" (Chuck Berry)
5. "Women Will Rule the World" (Raymond Quevedo)
6. "All Shook Up" (Elvis Presley, Otis Blackwell)
7. "I Can Tell by the Way You Smell" (Walter Davis)
8. "Across the Borderline" (Ry Cooder, Jim Dickinson, John Hiatt)
9. "Let's Have a Ball" (Alden Bunn)
Dennie
Well-Known Member
Botch said:
Tom Petty and the Heartbreakers' new one, in sweet, sweet 5.1 Bluray Surround Sound!
I've got a lot to comment on this one. Tomorrow, when I'm sober and I've listened to it a few more times, I will. In the "Stellar Recordings" thread. This one is amazing. Different. Highly unusual. And did I mention, Amazing?
:scared-eek: :scared-eek: :scared-eek: :bow-blue: :bow-blue: :bow-blue: :handgestures-thumbup: :handgestures-thumbup: :handgestures-thumbup:
I'm interested in hearing/reading your thoughts.
Dennie
Dennie
Well-Known Member
A Tale of God's Will (a requiem for katrina) -- CD
Terence Blanchard
2007 Blue Note Records
When director Spike Lee tapped Terence Blanchard to compose the score for his 2006 documentary When the Levees Broke: A Requiem in Four Acts, the agony of the aftermath of Hurricane Katrina was a story they both knew had to be told from a moral standpoint and with cultural credibility. Capturing the hurricane's sorrowful consequences through music would have to take its final shape more from the attitudes of their minds, the devastation they witnessed, and from the inspiration emanating from the people they would meet during the making of documentary. On A Tale of God's Will (A Requiem for Katrina), Blanchard uses every principle he has mastered as a genius jazz trumpeter to relay the impact of the destruction, the frustration, the sadness and the hope for a future. Full of his beliefs, sustained and elevated by the power of his purpose, Blanchard, accompanied by his quintet and the Northwest Sinfonia (which he conducted and co-orchestrated), delivers a powerful explanation of the emotions surging through them during this devastating experience. Opening with "Ghost of Congo Square," an African beat drenched in Blanchard's articulate trumpeting, handclaps, percussion and the chant "This is the tale of God's will" -- the listener is immediately informed about why things beyond their comprehension will undoubtedly happen. The two-minute trumpet-based "Ghost of Betsy"(about Hurricane Betsy) and the plaintive "Ghost of 1927," a tune reincarnating another flood that ravaged New Orleans and sketched out by saxophonist Brice Winston and drummer Kendrick Scott, complete a trilogy of brief ghost interludes interspersed throughout the recording to imply warnings from the past. Blanchard depicts "Levees" as perpetually in flux: the calm before the storm as captured by the string arrangement; the interlude which decries a breakdown in the security of the Crescent City, shifting, changing, crashing from the strength of thousands of waves, blown by all the winds that passed and losing their old forms in the backwaters of time. His horn registers the aftermath of the destruction -- wailing, grieving and weeping. This song is absolutely amazing. Pianist Aaron Parks plays the unforgettable melody on "Wading Through" "The Water," and mournful "Funeral Dirge" form the remaining nucleus of the material from the documentary. Songs written by four members of Blanchard's quintet serve to offer their own perspective of the tragedy, yet all of the music flows seamlessly to create a brilliant, inspired requiem. The music is potent, tragic, and adept featuring full orchestral plunges and Blanchard's stellar trumpet emerging to involve you the way he's involved. "Dear Mom," Blanchard's heartfelt tribute to his mother who lost her home in the tragedy but thankfully survived with her life, closes the recording. The imagery of sadness and frustration is deeply prevalent but Blanchard builds in accents and hopeful rhythmic nuance to give the listener time to catch his breath, leave behind certain memories, and to realize the promise of a brighter future. The music here will leave you in a melancholy, contemplative mood and definitely in awe of the talented musicians, composers, and arrangers who told A Tale of God's Will. This CD was nominated in 2007 for a Grammy award as Best Large Jazz Ensemble Album, and Blanchard's improvisation on "Levees" was nominated for Best Jazz Instrumental Solo. Review by Paula Edelstein
Track Listing
1. Ghost of Congo Square
2. Levees
3. Wading Through
4. Ashe
5. In Time of Need
6. Ghost of Betsy
7. The Water
8. Mantra Intro
9. Mantra
10. Over There
11. Ghost of 1927
12. Funeral Dirge
13. Dear Mom
Personnel: Terence Blanchard (trumpet); Brice Winston (soprano saxophone); Aaron Parks (piano); Derrick Hodge (acoustic bass); Kendrick Scott (drums); Zac Harmon (tabla).
bscene-drinkingcheers:
