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O by Damien Rice (CD - 06/10/2003)
 

O by Damien Rice (CD - 06/10/2003)

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O by Damien Rice (CD - 06/10/2003)
"O" (06/10/2003) Folk Rice, Damien, Vector RecordingsPersonnel: Damien Rice (vocals, guitar, clarinet, piano, bass, drums, percussion); Lisa Hannigan (vocals); Nicolas Dodd (conductor); Mark Kelly (electric guitar); Vivienne Long (cello); Jen Meunier (piano); Shane Fitzsimons (bass); Tomo (drums, percussion); Conor Donovan (timpani, percussion). This release includes a bonus DVD featuring video performances of "Cannonball," "The Blower's Daughter," and "Volcano." Personnel: Damien Rice (vocals, guitar, clarinet, piano, bass, drums, percussion); Lisa Hannigan (vocals); Nicolas Dodd (conductor); Mark Kelly (electric guitar); Vivienne Long (cello); Jen Meunier (piano); Shane Fitzsimons (bass); Tomo (drums, percussion); Conor Donovan (timpani, percussion). Composer: Damien Rice. Personnel: Damien Rice (vocals, guitar, clarinet, piano, drums, percussion); Mark Kelly (electric guitar); Colm Mac Con Iomaire (violin); Vyvienne Long (cello); Jean Meunier (piano); Tomo (drums, percussion); Caz (djembe). Audio Mixer: Damien Rice. Recording information: Air Studios, London, England; Cahirdaniel; Celbridge; Chatham; Chatham St. College; Killarney; Monkstown; Paris, France; Ranelagh; Rathgar. Photographers: Damien Rice; Natascha . Translator: Kristiina Aittokallio. The beginning of the 21st century found the UK offering a host of new Nick Drakes like Ed Harcourt, Badly Drawn Boy, Tom McRae, etc. On the surface, Damien Rice is not too far removed from them with his intense vocal style, confessional songs, and sparse, acoustic guitar-based arrangements. Upon closer inspection of his debut album O, however, he seems to be more aligned with the likes of David Gray; that's not to say that he mixes folk and electronica, but just that he incorporates old-school singer-songwriter influences in the service of something original. There's a hushed, intimate feel to O, and most of the songs are delivered in a delicate, fragile tone that's perfectly accompanied by the bare-bones production. Tasteful strings and other touches are added here and there, but strictly on an as-needed basis. The closer "Eskimo" erupts into a (literally) operatic climax, and there's a bonus cut touching on an anomalous rock feel, but otherwise this is prime late-night music for your next Leonard Cohen costume party.

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Back Porch Bluegrass//live!!! Almost!!!
 

Back Porch Bluegrass//live!!! Almost!!!

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Back Porch Bluegrass//live!!! Almost!!!
"Back Porch Bluegrass/Live!!! Almost!!!" (10/22/2001) Rock & Pop Dillards (The), Elektra EntertainmentThis 28-track digitally remastered release combines two early 1960s acoustic releases by bluegrass legends The Dillards and includes "Pretty Polly," "Old Joseph," and "Dixie Breakdown."

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In the Wind by Peter, Paul and Mary (CD - 07/24/1990)
 

In the Wind by Peter, Paul and Mary (CD ...

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In the Wind by Peter, Paul and Mary (CD - 07/24/1990)
"In the Wind" (07/24/1990) Folk Peter, Paul and Mary, Warner Bros. Records (Record Label)Peter, Paul & Mary: Peter Yarrow, Paul Stookey (vocals, guitar); Mary Travers (vocals). Includes original release liner notes by Bob Dylan. In the early 1960s Peter, Paul and Mary sweetened folk music with their genial harmonies and crystalline performances, making folk acceptable to the unenlightened masses. It's true that their version of Bob Dylan's "Blowin' in the Wind" is infinitely more commercial than the original. However, commercializing an impassioned protest song like "Blowin' in the Wind," and therefore getting its message out to a much larger audience than Dylan himself could hope to garner in his early FREEWHEELIN' days, is actually a pretty subversive thing to do. Late 1963's IN THE WIND features two more Dylan songs, along with versions of the standards "Tell It on the Mountain" and "Freight Train" among other folkie favorites.

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See What Tomorrow Brings by Peter, Paul and Mary (CD - 07/23/1991)
 

See What Tomorrow Brings by Peter, Paul ...

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See What Tomorrow Brings by Peter, Paul and Mary (CD - 07/23/1991)
"See What Tomorrow Brings" (07/23/1991) Folk Peter, Paul and Mary, Warner Bros. Records (Record Label)Peter, Paul And Mary: Peter Yarrow, Paul Stookey, Mary Travers (vocals). Recorded at Bell Sound Studios, Inc., New York City. See What Tomorrow Brings is a strong album that plays to the strengths of Peter, Paul, & Mary. There is a good variety of material within their folk format, and a nice esprit de corps that pervades the recording. All members sing lead, which brings a good balance to the proceedings. Worth noting are two early versions of Gordon Lightfoot's "Early Morning Rain" and Ewan MacColl's "The First Time Ever I Saw Your Face." Although there isn't one number that shouts instant classic, all cuts have something to recommend them. Lest we forget the trio's idealism, the opening song "If I Were Free" speaks to the hope of wars ending and the beginning of peaceful times. "Jane, Jane" and "Because All Men Are Brothers" show the group's gospel roots, while "The Rising of the Moon," an intense cut, has Irish music as its base. "Tryin' to Win" and "On a Desert Island" manifests the humorous side of the trio as they sing about real and imagined love relationships. Throughout the album, arrangements are tasteful, clean, and never obtrusive to the songs presented. All in all, this is a very good album that has variety, strong material, tasteful production, and a fine spirit that gives it a winning edge. ~ Michael Ofjord

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Joan Baez in Concert, Pt. 1 [Bonus Tracks] [Remaster] by Joan Baez (CD - 03/05/2002)
 

Joan Baez in Concert, Pt. 1 [Bonus Track...

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Joan Baez in Concert, Pt. 1 [Bonus Tracks] [Remaster] by Joan Baez (CD - 03/05/2002)
"Joan Baez in Concert, Pt. 1 [Bonus Tracks] [Remaster]" (03/05/2002) Folk Baez, Joan, Vanguard Records (USA)Solo performer: Joan Baez (vocals, guitar). Producer: Maynard Solomon. Reissue producer: Mark Spector. Recorded live between August 1962 and November 1963. Originally released on Vanguard (9112). Includes liner notes by Maynard Solomon and Arthur Levy. All tracks have been digitally remastered. This is part of Vanguard Records Original Masters Series. Adapter: John Jacob Niles. Personnel: Joan Baez (guitar). Liner Note Authors: Maynard Solomon; Arthur Levy . Recording information: Concert (10/1961-??/1963); Town Hall, NY (10/1961-??/1963). Arrangers: John Jacob Niles; Joan Baez. The 'queen of folk' was an accomplished live performer as this, the first of two In Concert albums proved. Accompanying herself on acoustic guitar, Baez brought her pure, virginal soprano to contrasting material. Her interpretations of Childe ballads 'Matty Groves' and 'The House Carpenter' are particularly moving, but an empathy with American folklore, including Woody Guthrie and the Carter Family, is equally apparent. Baez's reading of Malvina Reynolds' protest song, 'What Have They Done To The Rain', is especially arresting and inspired a later pop hit for the Searchers. This album helped take folk music out of the coffee-house circuit and into national consciousness. Joan Baez in Concert, Pt. 1, Baezs third widely distributed album, marked the apex of her success and influence as a traditional folksinger, her repertoire still almost wholly comprised of traditional folk songs delivered with only her own guitar as accompaniment. Actually recorded at various concerts, the album was phenomenal success, reaching the Top Ten and staying in the Top 40 for more than a year. Many folk albums of the era, not just Baez's, had a consciously eclectic span of traditional material from numerous sources, but Baez was more skilled than anyone in getting such a diverse mix to such a wide audience. And many musicians undoubtedly learned these songs from the Baez interpretations on this album, foremost among them "Babe, I'm Gonna Leave You," done not just by other folkys, but eventually by Led Zeppelin. "House Carpenter," "Black Is the Color of My True Love's Hair," "Kumbaya," "Matty Groves," and "Geordie" were also staples of many a folk set, and were rendered by Baez with stark, somber dignity. Amongst the child ballads and such were somewhat less expected choices: the Brazilian love song "Ate Amanha," Woody Guthrie's "Pretty Boy Floyd," and the first recording of Malvina Reynolds' classic nuclear danger warning "What Have They Done to the Rain" (later a pop hit for the Searchers). The Reynolds cover might have been the real milepost on the album, as over her next few albums Baez would slide her focus from traditional folk to songs by contemporary writers. The 2002 CD reissue is an excellent package with extensive new liner notes, adding a previously unreleased song from a 1961 concert ("My Lord What a Morning") and two songs from the same era from Very Early Joan Baez ("Streets of Laredo" and "My Good Old Man") that were previously unavailable on CD. ~ Richie Unterberger

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Pink Moon [Remaster]
 

Pink Moon [Remaster]

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Pink Moon [Remaster]
"Pink Moon [Remaster]" (05/06/2003) Rock & Pop Drake, Nick, IslandPersonnel: Nick Drake (vocals, guitar, piano). It's widely reported that by the time Nick Drake got around to recording his third and final album, PINK MOON, his already-precarious mental/emotional state had drastically deteriorated. In a deep depression, Drake recorded a brace of solo acoustic tunes, dropped the tape off unannounced at the label's office one day, and that was the last the world at large ever heard of Drake's music. The results of those solo sessions were as harrowing and stark as anything by Robert Johnson or Charley Patton. Enclosed in an inner world of psychological distress, Drake recorded PINK MOON's dispatches from a private hell that was simultaneously terrifying and beautiful. Both the lyrics and the melodic motifs are pared to the bone here, their simplicity making them all the more immediately striking. The most nakedly emotional and disturbing moment is probably "Parasite," a visceral-but-mysterious account of a disconsolate soul roaming through the world in search of succor, with Drake taking the starring role, ultimately offering, "take a look, you may see me in the dirt." This was the end of the road for Nick Drake in more ways than one, but just the beginning for the scores of songwriters subsequently inspired by his bleak-but-beautiful visions.

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Folk Music of the World by Pete Seeger (CD - 07/18/1994)
 

Folk Music of the World by Pete Seeger (...

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Folk Music of the World by Pete Seeger (CD - 07/18/1994)
"Folk Music of the World" (07/18/1994) Folk Seeger, Pete, BescolPersonnel: Pete Seeger (vocals, guitar, banjo). The 22-track compilation FOLK MUSIC OF THE WORLD is as fine an introduction to Pete Seeger's music as you're likely to find. Despite his well-earned reputation as a social activist, Pete Seeger is first and foremost a musicologist and folk historian, and these tracks focus almost entirely on this side of his work. For nearly an hour, you hear one folk classic after another, from gospel standards like "Michael, Row the Boat Ashore" and "Joshua Fit the Battle of Jericho" to work songs such as "I've Been Working on the Railroad" and "The Greenland Fisheries" to ballads like "Black Is the Color of My True Love's Hair," each performed by Seeger, most often alone and accompanying himself on banjo or guitar, with easy grace, sly humor, and limitless passion. The relative lack of protest songs aside, this collection is flawless.

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New Directions in Folk Music by Journeymen (CD - 12/15/2004)
 

New Directions in Folk Music by Journeym...

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New Directions in Folk Music by Journeymen (CD - 12/15/2004)
"New Directions in Folk Music" (12/15/2004) Folk Journeymen, Collectors' Choice MusicIncludes bonus tracks. The Journeymen: Scott McKensie, John Phillips, Dick Weissman. This is the third and final LP by the three-piece acoustic folk Journeymen -- featuring the immense talents of Dick Weissman (banjo/vocals), Scott McKenzie (guitar/vocals), and John Phillips (guitar/vocals). The title New Directions in Folk Music (1963) could not have been more accurate. In a very short span of time during the early '60s, the more traditional forms of folk began to synthesize with blues and even pop to create uncharted musical landscapes. The trio embraced these various influences throughout this effort. Of the dozen cuts on this platter there are notably few true original compositions. However, as they had done on their prior two long-players, there are fresh and vital interpretations of standards including "Stackolee," which is also know as "Stagger Lee" as well as Jesse "Lone Cat" Fuller's "San Francisco Bay Blues" and the striking reading of Ian Tyson's "Four Strong Winds." Not to be missed is the sly "One Quick Martini" or, quite possibly the highlight of the whole affair, the cover of Muddy Waters' "Someday Baby." Although the Journeymen were forging new inroads for the genre, behind the scenes the combo was falling apart. By the end of 1964 Phillips had formed the New Journeymen with his wife Michelle and Marshall Brickman (banjo). This band would be the launch pad for the Mamas & the Papas as Denny Doherty (vocals/guitar) would eventually replace Brickman several months later. In 2003 Collectors' Choice Music issued New Directions in Folk Music onto CD with seven additional bonus tracks. Among them are previously unearthed takes of the aforementioned "San Francisco Bay Blues," another Tyson number called "Makes a Long Time Man Feel Bad," "Greenland Whale Fisheries," "I May Be Right," and the stunning reworking of "Mary Wore Three Links of Chain." ~ Lindsay Planer

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The Essential Pete Seeger *
 

The Essential Pete Seeger *

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The Essential Pete Seeger *
"The Essential Pete Seeger [Sony]" (04/19/2005) Folk Seeger, Pete, Legacy RecordingsPersonnel: Pete Seeger (vocals, 6-string guitar, 12-string guitar, banjo); Almanac Singers, The Weavers. Liner Note Author: Dave Marsh . The impact of Pete Seeger's music, performances, and political activism has been enormous. In a league with Woody Guthrie and Bob Dylan, Seeger lifted the torch of both traditional folk and the protest song in the 1940s, and kept it burning brightly for decades. THE ESSENTIAL PETE SEEGER sets itself the task of fitting the artist's most important recordings onto one disc. Naturally, a lot of significant material goes missing, but the 15 tracks here provide an excellent cursory overview of the man's accomplishments. This 2005 collection kicks off with one of Seeger's best-known compositions, "If I Had a Hammer," an inspirational tune that became an anthem of struggle in the 1960s. "Where Have All the Flowers Gone?," another Seeger-penned classic, is also here, while his versions of traditional songs ("Barbara Allen" and "John Henry") prove that he is as gifted as an archivist and interpreter as a songwriter. Whether singing the music of his comrades Woody Guthrie ("This Land Is Your Land") and Leadbelly ("Goodnight Irene" with the Weavers) or inspiring the masses with "We Shall Overcome," the size of Seeger's legend is justly outlined. Excellent liner notes and testimonials from friends and fans (including Joan Baez, Billy Bragg, and Roger McGuinn) help make this a fine introduction.

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Flaming Red by Patty Griffin (CD - 05/07/2005)
 

Flaming Red by Patty Griffin (CD - 05/07...

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Flaming Red by Patty Griffin (CD - 05/07/2005)
"Flaming Red" (05/07/2005) Folk Griffin, Patty, A&M Records (USA)Personnel: Patty Griffin (vocals, guitar); Jay Joyce (guitar, keyboards, programming); Doug Lancio, Angelo, Ty Tyler, Daniel Tashian (guitar); Kristin Wilkinson, John Catchings, David Davidson, Kathryn Plummer (strings); Gil Reeves (keyboards, programming); Michael Ramos (keyboards); Chris Feinstein, Mike Joyce (bass); Kenny Aronoff, Brad Pemberton, Frank Saas (drums); Emmylou Harris, Julie Miller, Buddy Miller, The Iodine Boys Choir (background vocals). Engineers: David Leonard, Jay Joyce, Rick Will. Recorded at East Iris Studios, Tragedy Tragedy, Woodland Studios, and October Studios in Nashville, Tennessee. Personnel: Patty Griffin (vocals, guitar, background vocals); Jay Joyce (guitar, keyboards, programming); Daniel Tashian, Doug Lancio, Ty Tyler (guitar); Kathryn Plummer, John Catchings, Kristin Wilkinson, David Davidson (strings); Giles Reeves (keyboards, programming); Michael Ramos (keyboards); Frank Sass, Kenny Aronoff (drums); Emmylou Harris, Julie Miller, Buddy Miller (background vocals). Audio Mixers: David Leonard; Jay Joyce; Tom Lord-Alge. Recording information: East Iris Studios, Nashville, TN; October Studios, NY; Tragedy Tragedy, Nashville, TN; Woodland Studios, Nashville, TN. Photographer: Ken Schles. Patty Griffin's Living with Ghosts was an impressive debut, but its spare acoustic arrangements occasionally made it sound more like a sketchbook than a completed album. Shortly after its release, her label commissioned a new version of "Let Him Fly," which matched her vocals to a full live band. Satisfied with the results, Griffin decided to flesh out the instrumentation on her second album Flaming Red and the results are revelatory. Griffin didn't stick with traditional rock arrangments -- she also recorded country-rock, folk, catchy pop and even trip-hop songs, as well. Instead of camouflaging her songwriting, it actually reveals the richness of her music and lyrics. Her sonic revision may be more accessible, but it's no compromise -- Flaming Red is evidence that Griffin is one the more talented and ambitious singer/songwriters to emerge in the late '90s. ~ Stephen Thomas Erlewine

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