I Learned The Hard Way

Sharon Jones & the Dap-Kings are already well known as one of the most exciting acts in the nation for both their explosive live shows and their prolific output of gritty studio recordings. Their breakout release, 100 Days, 100 Nights, sold over 150,000 copies worldwide. This Spring the band will release I Learned the Hard Way, their fourth full-length on Brooklyn’s independent Daptone Records. The record marks a bold step forward for a band who almost single handedly stewarded today’s return of soul music to its more traditional sound.

Produced by Bosco Mann and recorded on an Ampex eight-track tape machine by Gabriel Roth in Daptone Records’ House of Soul studios, the record drips with a warmth and spontaneity rarely found since the golden days of Muscle Shoals and Stax. Sharon’s raw power, rhythmic swagger, moaning soulfulness, and melodic command set her firmly alongside Tina Turner, James Brown, Mavis Staples, and Aretha as a fixture in the canon of soul music. From the lush Philly-Soul fanfare that ushers in “The Game Gets Old” at the top of the record, to the stripped down Sam Cooke-style “Mama Don’t Like My Man” at the tail, the Dap-Kings dance seamlessly through both the most crafted and simple arrangements with subtlety and discipline. I Learned the Hard Way is the “Daptone Sound” at its best. read more..

Nice Features

• ISBN13: 0823134001923
• Condition: NEW
• Notes: Brand New from Publisher. No Remainder Mark.

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The coolest CD by Ariella Vaccarino- creator of Voice Lessons To Go
This is the coolest CD I have heard in a long time. What a throw back to cool dark Jazz. Sharon Jones is steaming vocally and the band just swings it out! Totally makes you feel cool. Voice Lessons To Go Volume 1: Vocalize and Breath

I Learned The Hard Way

Sharon Jones & the Dap-Kings are already well known as one of the most exciting acts in the nation for both their explosive live shows and their prolific output of gritty studio recordings. Their breakout release, 100 Days, 100 Nights, sold over 150,000 copies worldwide. This Spring the band will release I Learned the Hard Way, their fourth full-length on Brooklyn’s independent Daptone Records. The record marks a bold step forward for a band who almost single handedly stewarded today’s return of soul music to its more traditional sound.

Produced by Bosco Mann and recorded on an Ampex eight-track tape machine by Gabriel Roth in Daptone Records’ House of Soul studios, the record drips with a warmth and spontaneity rarely found since the golden days of Muscle Shoals and Stax. Sharon’s raw power, rhythmic swagger, moaning soulfulness, and melodic command set her firmly alongside Tina Turner, James Brown, Mavis Staples, and Aretha as a fixture in the canon of soul music. From the lush Philly-Soul fanfare that ushers in “The Game Gets Old” at the top of the record, to the stripped down Sam Cooke-style “Mama Don’t Like My Man” at the tail, the Dap-Kings dance seamlessly through both the most crafted and simple arrangements with subtlety and discipline. I Learned the Hard Way is the “Daptone Sound” at its best. read more..

Good Features

• ISBN13: 0823134001923
• Condition: NEW
• Notes: Brand New from Publisher. No Remainder Mark.

Cheap Price : Click to see Cheap Price


The coolest CD by Ariella Vaccarino- creator of Voice Lessons To Go
This is the coolest CD I have heard in a long time. What a throw back to cool dark Jazz. Sharon Jones is steaming vocally and the band just swings it out! Totally makes you feel cool. Voice Lessons To Go Volume 1: Vocalize and Breath

The Age of Miracles

The Age of Miracles is the 3rd Zoe/Rounder release from world renowned singer-songwriter Mary Chapin Carpenter. The Age of Miracles has been a work in progress since 2007. The album is a personal exploration of regret and resilience but also a larger, more universal expression of wonder at the times we are living in. Carpenter is backed by an incredible band that includes Matt Rollings (piano, B-3 organ), Russ Kunkel (drums), Duke Levine (electric and acoustic guitar), Glenn Worf (bass), Dan Dugmore (steel and 12 string guitar) and Eric Darken (percussion). It also features guest vocals by Vince Gill and Alison Krauss. read more..

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How pretty by Ariella Vaccarino- creator of Voice Lessons To Go
This is a stunningly beautiful CD. From the moment it comes on you are overtaken with the beauty of it. Voice Lessons To Go v.1-4 The Complete Set This is a great folk Rock CD, and really has its own unique place.

Need You Now

Lady Antebellum (Dave Haywood, Charles Kelley and Hillary Scott), The critically acclaimed trio, co-wrote and produced songs together with veteran producer Paul Worley and some of Music Row's most awarded songwriters. Need You Now,The leading single and title track to the groups Sophomore album is taking the country music world by storm, spending 5 consecutive weeks on the US Country singles charts. Lady Antebellum, Need You Now is sure to be an excellent addition to any country music fan's collection. read more..

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Fantastic by H & G
This album is great, highly recommend "Perfect Day" -- sing it loudly in the car by myself all the time!

Country Music

Willie Nelson goes back to his roots with a songbook of classic Americana. Country Music was recorded in Nashville, TN and produced by T Bone Burnett. Nelson wrote one track on the album, "Man With The Blues" and, with T Bone Burnett, co-arranged three traditional songs, "Satan Your Kingdom Must Come Down," "I Am A Pilgrim," and "Nobody's Fault But Mine." The album also features many popular old-time/bluegrass/folk songs including Ernest Tubb's "Seaman's Blues, Merle Travis' "Dark As A Dungeon," and Doc Watson's "Freight Train Boogie". Willie Nelson collaborated with many musicians on Country Music including old-time banjo master Riley Baugus, double bassist Dennis Crouch, and T Bone himself, all musicians featured on Raising Sand, the 2009 Grammy® award-winning Album of the Year by Robert Plant and Alison Krauss. read more..

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The history of country according to Willie Nelson by Shallowharold
In 2010, Willie Nelson released the aptly titled album "Country Music". At first glance, the album's title could be seen as either confrontational or pretentious given the state of country music today. However, if one were to dig a little deeper, they would find that the album is actually a tribute to traditional county music of yesteryear. Joining Willie on this musical excursion is producer T-Bone Burnett, who last year produced the Alison Krauss & Robert Plant duet album "Raising Sand" and a decade earlier produced the soundtrack to the George Clooney film "O Brother Where Art Thou". All of the songs are cover songs minus the lead off track "The Man With The Blues", which is a Willie Nelson original. He takes on the Hank Williams song "House Of Gold", Al Dexter's "Pistol Packin' Mama", Ernest Tubb's "Seaman's Blues" and Ray Price's "You Done Me Wrong" which was also composed by George Jones. He does a good job on covering "Satisfied Mind", but Johnny Cash did a much better version on his album "American VI: Ain't No Grave" released over a month prior. The album ends with the ballad "Nobody's Fault But Mine" in which gets a slightly different arrangement courtesy of Willie and T-Bone. This is great album from start to finish from Willie Nelson who does a great job on paying tribute to the history of country music.

Soldier of Love

Known for their one of a kind timeless sound, Sade has enjoyed phenomenal success both internationally and stateside throughout the span of their twenty-five year career. The highly anticipated new body of work SOLDIER OF LOVE features 10 new songs including the latest single, "Soldier Of Love". read more..

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Soldier of Love by JamericanSpice
I absolutely love this CD! SADE has done it again. I am not one to buy music albums because I'm so very picky about my music selection but all the songs on this CD is just right.



I posted a review about it here on my blog. [...]



I even bought it as a gift for my husband!

I Am What I Am

California country music legend Merle Haggard's debut Vanguard release, I Am What I Am bristles with all the arresting qualities for which this unrivaled artist is prized. Every song is imbued with the near alchemical power of his dazzling vocal performances, and Haggard's interpretive mastery and unmatched phrasing continues to bring on impressive measures of sensitivity, candor and authority. Never conventional, often confrontational, always outspoken, the 72 year old Haggard remains as aggressively bent on revealing unspoken truths as ever.

From the astonishing opener, "I've Seen It Go Away," Haggard throws a flurry of knock-out punches. A stunningly blunt rundown of contemporary America's cultural decay--targeting everything from politics to pop music--it's prescient and pessimistic, but carries an unflinching honesty that trumps mere cynicism. When he sings "I`ve seen it all completely fall apart / and I`ve seen our greatest leaders break their peoples heart" it`s downright chilling, but the album doesn't dwell on woe. It's a typically far-reaching set, but remains centered around a series of contemplations on love, in all of its intoxicating and vexing forms. Examining romance with a poet's beatific vulnerability, Haggard travels from the ardent bloom of romance to the intricate ensemble of family life to the burnt out confusion of fading passion, yet always returns to love`s eternally redemptive power. This is Hag at his best, with his hair down, remarkably intimate and sincere.

Over a distinguished fifty year-plus career that's taken him from a drastically misspent criminal youth to solitary confinement in San Quentin to the Country Music Hall of Fame, Haggard has memorably portrayed, in song, myriad archetypal characters. Whether fugitive, troubadour, misfit or crusader, he's explored each perspective with a critical acuity, a hard-won skill that's allowed him to score no less than 40 number one country hits. With I Am What I Am, Haggard really looks inward, going all the way back to his Oildale childhood on sentimental reminiscence "Oil Tanker Train," which Haggard called "My favorite song on the album--that's a true deal." Rough-edged numbers like "Stranger in the City" and the rowdy "Mexican Band" carries the set all the way up to the singer's still barely-controlled hell-raising ways--on the latter, he unforgettably declares "Agave makes me dance on my hands." But on tracks like "Pretty When It's New," a study of new love's marvelous voltage, and "How Did You Find Me Here" which convincingly takes him from morbid depression to elated joy, Haggard sounds almost re-born, intensely involved and consumed with a sheer sense of wonder that's enhanced further by those characteristically masterful vocals.

Recorded with his ace band the Strangers, many of whom have been at Hag's side for decades, at his Northern California headquarters, the Shade Tree Manor studio, and co-produced by indispensable, longtime cohort Lou Bradley, the album was largely a family affair. "It was pretty much just the Strangers, but Reggie Young and Rob Ikes played on it, and we had an additional drummer that worked with us, George Receli from the Bob Dylan band." Haggard said. "Sometimes we try to find an inspiring player, to come and inspire us." That quality was clearly not in short supply, and Haggard's musical concepts and execution continue to flabbergast.

Equally at ease with hard country realism and jazz-informed expression, Haggard's songwriting is operating at an entirely new and impressive artistic plateau. "Bad Actor" is a remarkable soliloquy on married life and the vortex of hope, guilt, confusion and doubt it can instill. Delivered in the simplest language yet dealing with some highly intricate and subtle emotional issues, it is an altogether moving and unique achievement. Haggard's often closely guarded innocence is completely exposed, showing an incredible tenderness that, considering the counterpoint of his battle-scarred, hardened exterior, creates a profoundly resonant experience.

Closing with "I Am What I Am," the title track's unflinching self-assessment crystallizes the singer's own personal state of the union. Equally relaxed and ornery, confident, focused and as controversial as ever, Haggard knows exactly who he is--"a seeker and a sinner"--and taken with the fierce opening salvo of "I've Seen It Go Away," he still refuses to downplay or shy away from our common, harsh reality. "Its pretty sad actually, it just seems like its one thing after another that we lose every day." Haggard said. "You get up, turn on the radio and something else went down the drain. I guess people like you and I--people that care--have got to bind together somehow, and maybe doing that through the music is the best way." read more..

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The welcomed return of Merle Haggard by Shallowharold
Bakersfield's own Merle Haggard releases "I Am What I Am", his first album in five years on Vanguard Records. It's a bit of a comeback record of sorts. Unlike most comeback records, this album was written and produced entirely by the man himself with production assistance from Lou Bradley. The album starts off with "I've Seen It Go Away" in which Merle laments over the state of the world. "Stranger In The City" is a ballad about a traveling musician that refuses to stray from his marriage. Further down the album is the rather amusing mariachi influenced "Mexican Bands" in which Merle rattles off the hilarious line "Agave makes me dance on my hands". His wife Theresa who provides background vocals on half of the songs duets with him on the upbeat "Live And Love Always". Merle also makes a couple of jazz influenced songs such as "Pretty When It's New" and "The Road To My Heart". The album ends with the spectacular title track "I Am What I Am". It's a great, but considerably mellow, album from Haggard...as most of the songs are about being madly in love. It's a rather short album- clocking in at under forty minutes, but it's worth repeated listening.

Emotion & Commotion

For his first studio album in seven years, Grammy-winning guitarist Jeff Beck returns with an eclectic mix of tracks that find the guitar virtuoso accompanied by a handpicked cast of talented musicians, as well as several songs accompanied by a 64-piece orchestra. Rhino unleashes the Rock and Roll Hall of Famer s restless genius with EMOTION & COMMOTION.
Beck recorded EMOTION & COMMOTION late last year at Sarm Studios in London with award-winning producers Steve Lipson and Trevor Horn. To create the album s diverse sound, Beck used a number of musicians, including appearances by frequent collaborators Vinnie Colaiuta (drums), Jason Rebello (keyboards), and Tal Wilkenfeld (bass). The album also includes contributions from a trio of singers: Imelda May ('Lilac Wine'), Olivia Safe ('Elegy For Dunkirk'), and Grammy-winner Joss Stone ('I Put A Spell On You' and 'There s No Other Me').
To complement the innovative tones he coaxes from his guitar, Beck recorded with a 64-piece orchestra on songs that range from Puccini s immortal aria 'Nessun Dorma' and Elegy For Dunkirk from the film Atonement to 'Somewhere Over The Rainbow' from The Wizard Of Oz and Jeff Buckley s interpretation of 'Corpus Christi Carol.'
Beck says the idea of pairing his guitar with an orchestra evolved from the version of Gustav Mahler s Symphony No. 5 he recorded a few years ago. 'It turned out amazingly well, but I didn t want to commit to an entire album of classical music. What appealed to me instead was the idea of bringing together these seemingly contradictory sounds on different kinds of nonclassical music.'
In addition to the orchestral pieces, EMOTION & COMMOTION showcases a number of original compositions. For 'Hammerhead,' Beck fires the rocker s opening salvo through his wah-wah pedal before falling into a deep groove carved out by the rhythm section and horn arrangement. At the opposite end of the sonic spectrum, the airy arrangement that elevates 'Never Alone' provides a wide-angle soundscape for Beck s imagination to freely explore the high-flying melody.
Before launching a world tour to support EMOTION & COMMOTION, Beck will unite with Eric Clapton in February for a series of exclusive shows in London, New York City, Toronto, and Montreal. The guitarists both former members of the Yardbirds will play separately before taking the stage to perform together.
After the shows with Clapton, Beck will play South Korea, Hong Kong, Australia, and Japan before returning to America for the U.S. leg of the tour starting mid-April and including an appearance at the New Orleans Jazz Festival on May 1.
For Beck, the new album and tour follows in the wake of a triumphant 2009 his most successful year ever. Among the many highlights were a sold-out world tour; his second induction into the Rock and Roll Hall of Fame; the release of the platinum-selling Performing This Week... Live At Ronnie Scott s, which earned a Grammy nomination for 'A Day In The Life'; and magnificent performances with his band at the 25th Anniversary Concert of the Rock and Roll Hall of Fame at Madison Square Garden. read more..

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A beautiful curveball from the master! by R. D. Ray
One of my favorite things about Jeff Beck is the diverse musical territory he's covered in his career. Previous records have had things that could be described as blues, metal, blues-metal (!), jazz-rock, rockabilly, techno, etc. Well, Beck stretches even further with Emotion & Commotion.



Beck never overplays on this album. You never get the feeling that he just wants to show off what he can do on the guitar. The feeling you do get is that he can appreciate a song, whether it's "Over The Rainbow" where he "sings" (with his guitar) as sensitively as Judy Garland, "Nessun Dorma" where he shows the economy and power of Pavarotti, or "I Put A Spell On You" where he just shows his love of the song.



The originals on the album are equally powerful. "Hammerhead" is a great, rocking, Jan Hammer-inspired composition with some very unexpected symphonic power. "Serene" is one of the most gorgeous things Beck has ever played.



As far as guest vocalists go, the most successful is Olivia Safe who, like Beck, often seems to just melt into the song and is never overbearing. Unfortunately, the same can't be said for Joss Stone, who is just a bit much, especially on the original "There's No Other Me." Imelda May is quite lovely on the Jeff Buckley song "Lilac Wine."



Ultimately, while I could do with out the Joss Stone performances, the rest of this album is so terrific, so sublime that it is still absolutely, positively a "5 star" album! Just be sure to turn it up to 11 - even on the mellow stuff!

Glee: The Music, The Power of Madonna

GLEE is back! The hit series returns to Fox this spring with a host of new episodes and more new hit music! The show boasts winning ratings, critical acclaim, a rabid fan base of GLEEks, two certified Gold albums and more than 4.5 million song downloads. GLEE has won a Golden Globe for Best Television Series Musical or Comedy; a Screen Actors Guild award for Outstanding Performance by an Ensemble in a Comedy Series and a People s Choice Award for Favorite New TV Comedy.

Glee: The Music, The Power of Madonna will be released on April 20 to coincide with the Power of Madonna episode (airing Tues 9/8c) immediately following American Idol. read more..

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Women and Country

Women + Country is Jakob Dylan s highly anticipated sophomore album following his critically acclaimed solo debut, Seeing Things. Women + Country is soulful yet striking, ripe with sublime beauty. Paired with Oscar, Grammy, and Golden Globe award winning producer T Bone Burnett (Robert Plant, Alison Krauss, Crazy Heart) and joined with the stirringly rich vocals of Neko Case and Kelly Hogan, Women + Country creates a compelling and powerful experience for the listener. read more..

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Jakob gets better and better ... by Sally Simpson
I expected a great CD; what I received is infinitely superior. Combine Jakob's songwriting and his soothingly mellow voice with Neko's and Kelly's mesmerizing backup vocals; add the awesome production by T Bone Burnett of "just right" instrumentations; and what you end up with is WOMEN + COUNTRY. I think Jakob will get one or two awards with this CD. It's ambitiously laid back and right-on free-floating abstraction. This CD is really, really good!

I Learned The Hard Way

Sharon Jones & the Dap-Kings are already well known as one of the most exciting acts in the nation for both their explosive live shows and their prolific output of gritty studio recordings. Their breakout release, 100 Days, 100 Nights, sold over 150,000 copies worldwide. This Spring the band will release I Learned the Hard Way, their fourth full-length on Brooklyn’s independent Daptone Records. The record marks a bold step forward for a band who almost single handedly stewarded today’s return of soul music to its more traditional sound.

Produced by Bosco Mann and recorded on an Ampex eight-track tape machine by Gabriel Roth in Daptone Records’ House of Soul studios, the record drips with a warmth and spontaneity rarely found since the golden days of Muscle Shoals and Stax. Sharon’s raw power, rhythmic swagger, moaning soulfulness, and melodic command set her firmly alongside Tina Turner, James Brown, Mavis Staples, and Aretha as a fixture in the canon of soul music. From the lush Philly-Soul fanfare that ushers in “The Game Gets Old” at the top of the record, to the stripped down Sam Cooke-style “Mama Don’t Like My Man” at the tail, the Dap-Kings dance seamlessly through both the most crafted and simple arrangements with subtlety and discipline. I Learned the Hard Way is the “Daptone Sound” at its best. read more..

Nice Features

• ISBN13: 0823134001923
• Condition: NEW
• Notes: Brand New from Publisher. No Remainder Mark.

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did it again by Atl10pnr
Once again Sharon Jones and the Dap Kings have created a musical masterpiece. Being thier 4th album you would think that they would slack off and coast a bit. This is not the case for this one. It is every bit a strong album as the other 3 albums. If you are putting off getting this after hearing the samples don't wait, get it now. Reason being is Amazon is running a special where you get $1 to put on music. There is a bonus track of this album in the mp3 version and you can use that to get the bonus track.

Volume Two

What began as a fascinating, no-strings-attached collaboration on 2008's Volume One has evolved into a bona fide, touring band, and She & Him are here to stay. Zooey Deschanel and Matt Ward are a comfortable and complementary musical pair; hearing them again on Volume Two feels like getting together with two old friends. This time, the harmonies have grown more angelically layered, the string arrangements more dramatic, the songwriting even sharper and more confident. All songs (except 4 and 7) written by Zooey Deschanel. Produced by M. Ward. read more..

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Golden Soda Pop by Brian Quay
M. Ward's pristine production and clean unobtrusive guitar lines provide the perfect backdrop for the sensationally cool and talented singer-songwriter(and part time actress ha) Zooey Deschanel.ZD has a honeycombed singing voice than runs the gamut form cheery to droll to sultry lower registers. In some ways she reminds me of the purity of Sandra Dee and individuality of early Nilsson. She is offbeat,whimsical and has a superb ear for lilting melodies along with impeccable timing. From "Rose Garden" catchy country to pre-Beatles girl soda pop ZD has the ability to pull in infants and grandparents and everyone in between. The sun tinged hue of the songs are counterbalanced by an only the lonely melacholic undertoe giving the songs unexpected heft.

The girl from Ipanema approach and clever retro compositions are light on their feet but never cloying. On the heels of an eye opening debut this followup expands their horizons. One of the two covers "Gonna Get Along Without You", originally a near novelty like hit back when, is a momentous slice of lemon meringue pie featuring warm nimble Johhny Marresque acoustic strumming as ZD sings witty but telling throwaway lines that can't fully disguise the heartache at the core of the song. The gorgeous country twang of "Lingering Still" casts a haunting spell. Insanely catchy tracks like "Don't Look Back" and "Over It Over Again" are classic top down head to the beach summer car tunes. And "Sing" positively bubbles with optimism. The closing track "If You Can't Sleep" is an a capeella cousin to the Beach Boys' "In My Room." Memorable from beginning to end, endlessly listenable and perfectly precocious,She And Him Volume Two is quite possibly the album of the year!

Volume Two

What began as a fascinating, no-strings-attached collaboration on 2008's Volume One has evolved into a bona fide, touring band, and She & Him are here to stay. Zooey Deschanel and Matt Ward are a comfortable and complementary musical pair; hearing them again on Volume Two feels like getting together with two old friends. This time, the harmonies have grown more angelically layered, the string arrangements more dramatic, the songwriting even sharper and more confident. All songs (except 4 and 7) written by Zooey Deschanel. Produced by M. Ward. read more..

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Golden Soda Pop by Brian Quay
M. Ward's pristine production and clean unobtrusive guitar lines provide the perfect backdrop for the sensationally cool and talented singer-songwriter(and part time actress ha) Zooey Deschanel.ZD has a honeycombed singing voice than runs the gamut form cheery to droll to sultry lower registers. In some ways she reminds me of the purity of Sandra Dee and individuality of early Nilsson. She is offbeat,whimsical and has a superb ear for lilting melodies along with impeccable timing. From "Rose Garden" catchy country to pre-Beatles girl soda pop ZD has the ability to pull in infants and grandparents and everyone in between. The sun tinged hue of the songs are counterbalanced by an only the lonely melacholic undertoe giving the songs unexpected heft.

The girl from Ipanema approach and clever retro compositions are light on their feet but never cloying. On the heels of an eye opening debut this followup expands their horizons. One of the two covers "Gonna Get Along Without You", originally a near novelty like hit back when, is a momentous slice of lemon meringue pie featuring warm nimble Johhny Marresque acoustic strumming as ZD sings witty but telling throwaway lines that can't fully disguise the heartache at the core of the song. The gorgeous country twang of "Lingering Still" casts a haunting spell. Insanely catchy tracks like "Don't Look Back" and "Over It Over Again" are classic top down head to the beach summer car tunes. And "Sing" positively bubbles with optimism. The closing track "If You Can't Sleep" is an a capeella cousin to the Beach Boys' "In My Room." Memorable from beginning to end, endlessly listenable and perfectly precocious,She And Him Volume Two is quite possibly the album of the year!

I Learned The Hard Way

Sharon Jones & the Dap-Kings are already well known as one of the most exciting acts in the nation for both their explosive live shows and their prolific output of gritty studio recordings. Their breakout release, 100 Days, 100 Nights, sold over 150,000 copies worldwide. This Spring the band will release I Learned the Hard Way, their fourth full-length on Brooklyn’s independent Daptone Records. The record marks a bold step forward for a band who almost single handedly stewarded today’s return of soul music to its more traditional sound.

Produced by Bosco Mann and recorded on an Ampex eight-track tape machine by Gabriel Roth in Daptone Records’ House of Soul studios, the record drips with a warmth and spontaneity rarely found since the golden days of Muscle Shoals and Stax. Sharon’s raw power, rhythmic swagger, moaning soulfulness, and melodic command set her firmly alongside Tina Turner, James Brown, Mavis Staples, and Aretha as a fixture in the canon of soul music. From the lush Philly-Soul fanfare that ushers in “The Game Gets Old” at the top of the record, to the stripped down Sam Cooke-style “Mama Don’t Like My Man” at the tail, the Dap-Kings dance seamlessly through both the most crafted and simple arrangements with subtlety and discipline. I Learned the Hard Way is the “Daptone Sound” at its best. read more..

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Whether It's Come And Gone,It's Still A Great Fit by Andre S. Grindle
My argument with the retro soul movement has always been somewhat the same: is it really necessary for R&B,soul and funk to remain living in the past? Well sometimes you can't fight a feeling so it's not important if the music reminds you of "real instruments" or "something you grew up with". Some types of sounds just effect you in a place that's beyond nostalgiac sentimentality. And that's definately the case with Sharon Jones & The Dap Kings. Apparently the now very much in limbo Amy Winehouse's backing band..well yes The Dap-Kings do rely very heavily on a very live and oriened sound and the in their case even the very sound of the PRODUCTION is retro,relying on at least the flavor of old sounding analog tape without any flattened digital quality. Lucky for us Sharon and the band are absolutely KICKING! Sharon herself has powerful,strong and soulful confidence that can at once be gentle and assured by a turn of note. She's focused very much on the nuances and tones of what she's singing as opposed to just loudly belting every note of a song because she can. I don't know anything about him but the bass player Bosco Mann is a KILLER! One important thing you'll notice about him especially on songs such as the title song,"Better Things","Give It Back" and the lyrically potent "Money (reminding us how much the state of the economy now echoes that of this music's past) is that aside from the fact these songs blend the distinct soul/funk styles of Philly,Chicago and Memphis into a new mixture of flavors that Bosco's playing serves as a potent reminder to contemporary listeners the potentcy of a higher toned bass line,an element of the music usually associated now with a low,often aggresive tone. Curtis Mayfield used to use this a lot and so does Bosco and it really makes many of these songs. The stories this music tells from the spicy,mildly comedic "lovers tale" of "Window Shopping",the experiences of one person in a scary situation in "She Ain't A Child No More" and the blues styled lyric of "Mama Don't Like My Man" are again important reminders of,even though these lyrics could have easily fit into any soul tune from the 60's and early 70's they're still a vital part of the contemporary ideoms. So again have times really changed?Or is it more that they've had such an appearance of changing that we forget how similar things remain? Well the fact that everything hear from music,lyrics to the feeling expressed around those itself sounds both familiar and contemporary should provide at least....reference to an answer to that question.

Women and Country

Women + Country is Jakob Dylan s highly anticipated sophomore album following his critically acclaimed solo debut, Seeing Things. Women + Country is soulful yet striking, ripe with sublime beauty. Paired with Oscar, Grammy, and Golden Globe award winning producer T Bone Burnett (Robert Plant, Alison Krauss, Crazy Heart) and joined with the stirringly rich vocals of Neko Case and Kelly Hogan, Women + Country creates a compelling and powerful experience for the listener. read more..

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Smile when you call me that.. by Muleskinner_Blues
Listened through Jakob Dylan's second solo effort several times since yesterday and I think it's well-done and a pleasant change from Seeing Things, as much as I liked that album. Produced by that silver mantis T-Bone Burnett, it does share a lot aesthetically with Alison Krauss and Robert Plant's Raising Sand. Jakob has an unique writing style and there are few songs on this album that are lacking in substance, and none that I'd consider poorly written. He is joined for harmony vocals by Neko Case and Kelly Hogan, who do a good job without ever stealing the attention.



My only gripe would be that the sound that T-Bone has cultivated, used here and on Raising Sand, doesn't necessarily fit all of Dylan's songs. I like that weird dissonant Americana sound to an extent, but a little less would have helped some of the songs. It seems to be becoming T-Bone's "sound", like an echoey Americana Daniel Lanois.



As a whole though, I've liked the album quite a bit so here's an unnecessary song-by-song breakdown for kicks:



Nothing But The Whole Wide World - Heard this when it was pre-released prior to the album, it is a good first single that is indicative of both the feel of the rest of the album and of Jakob's catchy songwriting. Subdued instrumentation that doesn't get bored, the highlight of which to me is David Mansfield's fiddle. Mansfield played with Jakob's dad on the Rolling Thunder Revue in 1975/6 as well as his World Tour in 1978. T-Bone Burnett was of course also a member of the RTR band of gypsies, and afterwards played with Mansfield and Steven Soles (another Thunder veteran) in The Alpha Band who released 3 albums. So T-Bone and David are well acquainted.



Down On Our Own Shield - This one has grown on me, mostly on the strength of its lyrics. "We scaled pillars to be here tonight / It's not the kind of trick that you get to pull twice." This one has a strong undercurrent provided by Greg Leisz's pedal steel, and good singing from Dylan, Case and Hogan.



Lend A Hand - Love the off-kilter Dixieland Jazz instrumentation on this one. The combination of the music and Jakob's vocals reminds me of Springsteen's Seeger Sessions to an extent, though less over-the-top. I consider the whole thing a highlight and my favorite song on the album at this point. Best part to me is Marc Ribot's lead guitar. Long time collaborator with Tom Waits, his lead on Lend A Hand is very reminiscent of his playing on Wait's Real Gone album from 2004, good stuff.



We Don't Live Here Anymore - This song is catchy in a rhythmic sense, and if a song can get stuck in your head, hasn't it done what it set out to do? However, this one leaves me dissatisfied to an extent, the lyrics feel stilted to me at times and I don't care for the title hook. Certainly not unlistenable, just not among my favorites from the album. I call the lyrics stilted, but there are some fantastic lines buried here. "Glad I've got you here with me / Down in hell's half acre's infirmary" is as good anything else on the album.



Everybody's Hurting - Catchy, propelled by its thumping acoustic bass played by Dennis Crouch. I like Jakob's vocals on this as he has risen out of the lower register on the first three songs. While it maintains T-Bone's rural sound that runs through the whole album, the vocals are more reminiscent of Seeing Things. Catchy tune, with more first-rate fiddle and pedal steel from Mansfield and Leisz.



Yonder Comes The Blues - Solid song, reminds me quite a bit of the production and sound of Raising Sand. Pleasant listen with some good lyrics and a simple chorus, but this hasn't been one I'd go out of my way to single out yet.



Holy Rollers For Love - In the running for best tune on the album, with Nothing But the Whole Wide World and Lend A Hand. The internal rhyme schemes and vocals remind me of Seeing Things again. This one is pushed on by Jay Bellerose's percussion, and features some moody electric guitar from T-Bone.



Truth For A Truth - This one doesn't do much for me, reminds me somewhat of something off Wilco's latest album, which also didn't do much for me. Still it's not without its upside. "Now it's junk on junk , this bed that we made / Where I sleep like a horse standing up on the clay."



They've Trapped Us Boys - Good fun song. A little jauntier then some of the previous songs, especially once that half-time beat starts walking around. As with the rest album, good pedal steel and this time, mandolin. Somewhat ominous is the song's chorus, given the recent mining events in West Virginia that unfolded as this album was released. "Darker than ever in the mine / Shine a light, shine a light. Holler back now make some noise / I do believe they've trapped us boys." Given that his old man released Love & Theft on 9/11/01, I shouldn't be surprised in the family's ability to harvest mystical overtones, even when they're not intended.



Smile When You Call Me That - Pleasant song, with some more well-executed pedal steel. Doesn't really quite hit the gear I was hoping it would, but some great sardonic lines (like the title). "I'm drunk and you're insane / I Can't quit and you won't change."



Standing Eight Count - Like the trumpet alot on this one, but the song doesn't end up too memorable for me. Just when I think it's going to pick up and finish off the album with a flourish, it ends. Still, the sentiment isn't lost.. a standing 8 count in boxing is respite for a boxer that is in trouble, so that the ref can see if he can go on. Not a bad sentiment for the end of an album, though I don't doubt we'll be seeing him again.



After that ramblin' on my mind...All in all, a solid sophomore album which I think could have used less production. Wouldn't have been as cohesive but several of the songs could have shown brighter on their own merits. Sing and just let them talk.

Soldier of Love

Known for their one of a kind timeless sound, Sade has enjoyed phenomenal success both internationally and stateside throughout the span of their twenty-five year career. The highly anticipated new body of work SOLDIER OF LOVE features 10 new songs including the latest single, "Soldier Of Love". read more..

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I love Sade by Ariella Vaccarino- creator of Voice Lessons To Go
Voice Lessons To Go v.1-4 The Complete SetSade is an amazing vocalist. Her voice is and style are so uniquely her own. I am so glad that I have some new songs of hers to listen to. I played her old album a million times. Really sexy music.

Raymond v. Raymond

2010 release, the seventh album from the multi-million selling R&B artist. Following the success of his platinum selling 2008 release Here I Stand, Raymond v Raymond takes you on a journey through the dichotomy of man. Raymond v Raymond opens up another chapter of Usher's coming of age as he tells the story of balancing the challenges of day to day life as an evolving man while jumping back on the scene as a sex symbol and fearless superstar entertainer. With the help of some of the biggest producers in music including Polow Da Don, Jim Jonsin (Lollipop), Danja (Sober), and Jimmy Jam & Terry Lewis, Raymond v Raymond is sure to paint a vivid portrait of growth, triumph, defeat and happiness. read more..

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Oh come on...it's not that bad... by Dionne Selby
I say that in the title because this album is not bad...at all. Now, is it a great album, or his greatest!? Absolutely not. But there is a nice vibe to this album and there are some really good tracks on here. My suggestion would be to listen to the album at least 3 times before making a final judgement. I think it will grow on you. Usher still keeps true to himself as well as keeps it fresh. And you can't fault him for that. Don't compare it to other R&B albums out here in the game, especially not younger artists. I think Usher gave us who he is as an artist AND good music. It's a good chill album and it does have a pretty good flow. Now, there are some songs on the album, (probably about 2-3) I could definitely do without. But for the most part, it was good...it's a good buy.

Volume Two

What began as a fascinating, no-strings-attached collaboration on 2008's Volume One has evolved into a bona fide, touring band, and She & Him are here to stay. Zooey Deschanel and Matt Ward are a comfortable and complementary musical pair; hearing them again on Volume Two feels like getting together with two old friends. This time, the harmonies have grown more angelically layered, the string arrangements more dramatic, the songwriting even sharper and more confident. All songs (except 4 and 7) written by Zooey Deschanel. Produced by M. Ward. read more..

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Golden Soda Pop by Brian Quay
M. Ward's pristine production and clean unobtrusive guitar lines provide the perfect backdrop for the sensationally cool and talented singer-songwriter(and part time actress ha) Zooey Deschanel.ZD has a honeycombed singing voice than runs the gamut form cheery to droll to sultry lower registers. In some ways she reminds me of the purity of Sandra Dee and individuality of early Nilsson. She is offbeat,whimsical and has a superb ear for lilting melodies along with impeccable timing. From "Rose Garden" catchy country to pre-Beatles girl soda pop ZD has the ability to pull in infants and grandparents and everyone in between. The sun tinged hue of the songs are counterbalanced by an only the lonely melacholic undertoe giving the songs unexpected heft.

The girl from Ipanema approach and clever retro compositions are light on their feet but never cloying. On the heels of an eye opening debut this followup expands their horizons. One of the two covers "Gonna Get Along Without You", originally a near novelty like hit back when, is a momentous slice of lemon meringue pie featuring warm nimble Johhny Marresque acoustic strumming as ZD sings witty but telling throwaway lines that can't fully disguise the heartache at the core of the song. The gorgeous country twang of "Lingering Still" casts a haunting spell. Insanely catchy tracks like "Don't Look Back" and "Over It Over Again" are classic top down head to the beach summer car tunes. And "Sing" positively bubbles with optimism. The closing track "If You Can't Sleep" is an a capeella cousin to the Beach Boys' "In My Room." Memorable from beginning to end, endlessly listenable and perfectly precocious,She And Him Volume Two is quite possibly the album of the year!

New Amerykah Part Two: Return of the Ankh

2010 release, the fifth studio album from the R&B/Neo-Soul superstar. In contrast to New Amerykah Part One (4th World War), which was digitally produced and political in tone, New Amerykah Part Two: Return of the Ankh features lush live instrumentation and taps into Badu's emotional side by thematically focusing on romance and relationships. "We used a lot of analog instruments...harps, strings, drums, piano, and even a Theremin, to give the album that sonic feel," says Badu. "There's a strong undercurrent of bottom, a rumbling to these songs that feels good to me. It feels like a hug." read more..

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Erykah Never Let Me Down by Tony Phillips
Once again, Erykah has proven why she is the queen of Nu Soul or whatever you want to call it. While others have come and gone, she along with Jill Scott have dominated this style of music. Window Seat was my favorite until I heard the rest of the album.



Gone Baby, Don't Be Long - This is my favorite song on the album. It has that laid back smooth groove that you play while driving on a sunny cloudness day with your windows down. It also sort of reminds me of Minnie Ripperton's Here We Go. I love the electric guitar and the base in this song. The hook is extremely catchy too.



Out My Mind, Just In Time - One word. Deep. This sounds like something you would hear from her first two albums.



Umm Hmmm - I love this song. She has a creative sample of Take Some Time by Ndugu & The Chocolate Jam Co.



Window Seat - I love the piano and the base in this song.



20 Feet Tall - This is the space out jam.



The other songs are banging too.