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Blues Everywhere I Go
 

Blues Everywhere I Go

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Blues Everywhere I Go
"Blues Everywhere I Go" (08/02/2005) Blues Odetta, M.C. RecordsPersonnel includes: Odetta (vocals); Dr. John (vocals, piano); Jimmy Vivino (guitar); Tom "Bones" Malone (tenor saxophone, trumpet); Seth Farber (piano); Mike Merritt, Paul Ossola (acoustic bass); Shawn Pelton, Larry Eagle, Richard Crooks (drums). Recorded at Tiki Studios, Glen Cove, New York in May-June 1999. Includes liner notes by Robert Gordon & Dr. Maya Angelou. BLUES EVERYWHERE I GO was nominated for the 2000 Grammy Award for Best Traditional Blues Album. This is Odetta's first studio release in over a decade, but time doesn't appear to have affected her interpretive skills or the range and quality of her voice, which remains one of the most remarkable instruments in American folk and blues music to date. The 15 tracks on Blues Everywhere I Go tell what Odetta calls "the other side" of the African-American blues story. Most of the tunes were written by artists like Sipie Wallace, Huddie Ledbetter, Big Bill Broonzy, Victoria Spivey and Thelma Lowe. These songwriters had a good deal to say about the daily situation of African-Americans in the South during the early part of the 20th century. The lyrics concern lost love, unemployment, homelessness, and hard times -- no knives, no guns, no chasin' women, no double-entendre lyrics in this collection. Instead, tunes like "Homeless Blues," "Unemployment Blues," "W.P.A. Blues," "Dink's Blues," and Percy Mayfield's "Send Me Someone to Love" dominate this album. Odetta's vocals are uniformly wonderful, as are her backing musicians. Although most of these songs are long-time blues standards, the arrangements are very contemporary and electrified. It may not be the style of blues project some expect, but obviously this artist still has a few surprises in her repertoire. ~ Philip Van Vleck Just in time to commemorate her 50th anniversary in show business, Odetta released 1999's BLUES EVERYWHERE I GO, her first full-length album in 14 years. Solidly backed by members of Conan O'Brien's house band, the classically trained folk/blues legend chose to reach back beyond the Chicago blues era for material to interpret. Befitting her reputation as an activist/historian, Odetta's choices include songs addressing the plight of the poor ("Unemployment Blues," "Homeless Blues") and the dark side of FDR's New Deal (Big Bill Broonzy's "W.P.A. Blues"). Elsewhere, Odetta renders impeccable versions of material associated with blues pioneers of her gender including Sippie Wallace ("You Gotta Know How," "Trouble Everywhere"), Victoria Spivey ("TB Blues"), and Bessie Smith ("Rich Man Blues"). Special guest Dr. John provides an excellent foil for Odetta as he backs her on piano for "Oh Papa" and sings a rich-sounding duet with her on Percy Mayfield's "Please Send Me Someone to Love."

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Remember Who I Am [Digipak] by Girlyman (CD - 09/07/2004)
 

Remember Who I Am [Digipak] by Girlyman ...

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Remember Who I Am [Digipak] by Girlyman (CD - 09/07/2004)
"Remember Who I Am [Digipak]" (09/07/2004) Folk Girlyman, Daemon RecordsGirlyman: Nate Borofsky (vocals, baritone); Doris Muramatsu (vocals, acoustic guitar); Tammy Greenstein (vocals, djembe, percussion); Joe Dye (pedal steel guitar); Bob Harris (mandolin).

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If I Had Known by Greg Brown (CD - 09/09/2003)
 

If I Had Known by Greg Brown (CD - 09/09...

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If I Had Known by Greg Brown (CD - 09/09/2003)
"If I Had Known" (09/09/2003) Folk Brown, Greg, Red House RecordsFull Title: If I Had Known: Essential Recordings 1980-1996. This limited edition package contains a DVD featuring HACKLEBARNEY TUNES, a documentary about Greg Brown. Personnel includes: Greg Brown (vocals, acoustic guitar, harmonica); Bo Ramsey (guitar); David Williams, Gary Delaney (mandolin); Randy Sabien, Al Murphy (violin); Dave Moore (harmonica, pan pipes); Radoslav Lorkovic (accordion, piano); John Angus Foster, Gordy Johnson (bass); Steve Hayes (drums); Shawn Colvin, Kate Mackenzie, Prudence Johnson (background vocals). Producers include: Bo Ramsey, Greg Brown, Bob Feldman. Compilation producer: Linda Fahey. Recorded between 1980 & 1996. Titled after his most popular tune, IF I HAD KNOWN: ESSENTIAL SONGS 1980 - 1996 gathers 17 songs from the first 16 years of Greg Brown's career. IF I HAD KNOWN is carefully assembled and sequenced, and has the overall feel of a mixtape created by a knowledgeable fan of Greg Brown's low-key, literary roots-folk for a friend unfamiliar with the Iowa-based singer-songwriter's work. It lacks the rarities or unreleased tracks that might be primarily of interest to devoted fans, but it does contain all of the beloved favorites such as "Worrisome Years" and "Laughing River." The two-disc limited edition deluxe version adds a DVD containing a documentary about Greg Brown originally produced in 1993, featuring interview footage, live performances and testimonials by well-known fans. Disc one of this two-disc retrospective offers a terrific introduction to Greg Brown's distinctive brand of folk, but it's not likely to excite listeners who are already well-acquainted with the singer. Though the 17 tracks were well-chosen and have been nicely remastered, all have been previously released. Moreover, Brown has always been album-oriented and extraordinarily consistent in quality, so while the songs here hit most of the highest points on the nine albums from which they're culled, Brown released well over 100 songs on 13 albums during the period covered, and nearly all of those tunes are worth hearing. If you're a fan, you probably already have many of the original CDs -- and you know why this disc eschews post-1996 releases as well as rarities: with so many essentials to cover, the compilers simply ran out of space. Of course, another audio CD would have been a possibility, but the folks who put this together had a better idea for a second disc: a 46-minute limited-edition DVD. Containing a 1993 documentary on Brown and his music, it features concert performances of some of the tracks on the first disc, including "Downtown," "If I Had Known," "Our Little Town," and "Laughing River"; interviews with Brown, both his parents, Garrison Keillor, and others; jam sessions; and striking glimpses of Brown's southern Iowa home turf. The film should be of great interest to longtime fans and newcomers alike; indeed, it's enough to justify buying this package, even if you already own most or all of the songs on disc one. ~ Jeff Burger

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Album I [4/4]
 

Album I [4/4]

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Album I [4/4]
"Album I" (04/04/2006) Rock & Pop Wainwright, Loudon III, Collectors' Choice MusicSinger-songwriter Loudon Wainwright III would go through several changes over the course of his career, dabbling in rock, pop, and novelty songs. But his 1970 debut album finds him at his most bare-bones and rootsy. Accompanied by only an acoustic guitar, and singing songs by turns poetic, confessional, and sarcastic, Wainwright was only one of a long string of artists to be touted as "the next Bob Dylan." But Wainwright's style is distinctive: he has an off-hand manner with description, he isn't afraid to show sentiment, and his comedy can be both cutting and charming. Whether on "School Days," a witty portrait of youth; the heartbreaking "Hospital Lady"; or the anti-self righteous righteousness of "Glad to See You've Got Religion," ALBUM I is an impressive first statement from a unique singer-songwriter. This LP introduces the singer who carries one of the most misspelled names in the songwriting business. Either addressed as Louden Wainwright or Loudon Wainright on concert tickets and file cards in CD stores, it would eventually inspire him to come up with a very funny song on the subject: "T.S.M.N.W.A.," on 1993's Career Moves. After getting to know him better through listening to this superb live album, a logical next step would be to turn to his first two albums. At the time he released the first one under his seemingly awkward name, critics were standing in line to hail him as the new Bob Dylan. In 1970, Loudon Wainwright III (or Album 1, as it is also referred to) was a promising debut of a newly arrived songwriter, they all agreed. This kind of accolade earned him a spot at many a folk festival, but at the same time he would be criticized for not writing politically enough. Even to the amiable Wainwright, this must have seemed paradoxical for, like most beginning artists, he never asked to be called the new anything in the first place. Trying to make a comparison between him and any of his songwriting peers is pointless. His quality lies in the unique way he comments on ordinary events happening in -- and outside of -- his personal life. Depending on the mood of the song, he delivers them in a melancholic, at times even regretful, voice -- but he's also capable of being outright sarcastic. On his first album, the content is still largely poetic. From the beautifully depressing "Hospital Lady" and "Central Square Song" to the uplifting protest song "Uptown," this is a songwriter at an early stage in his career and determined to make a difference. With album opener "School Days," he succeeds in a most charming way: It's an account of the promise of youth in which an adolescent Wainwright boasts of all the important things he accomplished during high school. Considering a line like "In the spring I had great hunger/I was Keats, I was Blake/My purple pencil pains I would bring/To frogs who sat entranced," who could possibly blame him? However, Wainwright's at his best when he's sardonically spitting (rather than singing) from the top of his toes, addressing people who think they know the answer or the way. Try "Four Is a Magic Number" or, even better, the exceptional "Glad to See You've Got Religion." Thankfully, this trademark delivery would accompany him on many more albums to come. ~ Quint Kik

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I Ain't Marching Anymore
 

I Ain't Marching Anymore

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I Ain't Marching Anymore
"I Ain't Marching Anymore" (10/26/2005) Rock & Pop Ochs, Phil, Collectors' Choice MusicIncludes liner notes by Phil Ochs and Bruce Jackson. What a difference a year made for Phil Ochs -- his 1964 debut, All the News That's Fit to Sing, gained him a reputation as the most promising songwriter to come out of the Greenwich Village folk scene since Bob Dylan, and 1965's I Ain't Marching Anymore proved he was every bit as good as his press clippings said. Ochs had grown by leaps and bounds as a performer in the space between the two albums, and where Phil sometimes sounded a bit clumsy and uncertain on his first LP, here he brims with confidence, and his guitar work -- simple but forceful and efficient -- didn't require another musician's sweetening as it did on All the News. Most importantly, while Ochs' songwriting was uneven but compelling in his first collection, I Ain't Marching Anymore finds him in consistently strong form throughout. The craft and the emotional weight of the material makes even the most dated material ("Draft Dodger Rag" and "Here's to the State of Mississippi") effective today, and a surprising number of the songs remain as potent (and sadly timely) today as in 1965, especially "Iron Maiden" and "That's What I Want to Hear." And if there are fewer jokes on this set, "Draft Dodger Rag" is funnier than anything on Phil's first album, and his cover of Ewan MacColl's "Ballad of the Carpenter" (as well as his adaptation of Alfred Noyes' "The Highwayman") revealed what a strong interpretive performer he could be. (His liner notes are pretty good, too; it's a shame he didn't write more prose.) Literally dozens of singer/songwriters jumped on the protest bandwagon after the success of Bob Dylan and Joan Baez, but one would be hard-pressed to name one who made an album that works as well almost four decades later as I Ain't Marching Anymore. ~ Mark Deming Like most of the New York folkies of the early '60s, Phil Ochs got his start playing benefits and clubs around Greenwich Village before being invited to the prestigious Newport Folk Festival and then making a debut album. I AIN'T MARCHING ANYMORE is a quickly recorded, unpretentious collection of solo guitar and voice tunes. The title track sets the sometimes bitter tone, matching the heartfelt passion of early Bob Dylan or Joan Baez to the deadpan irony of Richard Farina, an element of Ochs' music which was never far from the surface. "That Was the President" and the instant classic "Draft Dodger Rag" find their humor in the absurdity of global politics, while the scathing "Here's to the State of Mississippi" is pure bile. The remastered sound is excellent, making the record sound somehow even more immediate.

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Don't I Know by Maura O'Connell (CD - 05/11/2004)
 

Don't I Know by Maura O'Connell (CD - 05...

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Don't I Know by Maura O'Connell (CD - 05/11/2004)
"Don't I Know" (05/11/2004) Folk O'Connell, Maura, Sugar Hill RecordsPersonnel: Maura O'Connell (vocals); Gerry O'Beirne (guitar); Jonathan Trebing (electric guitar, background vocals); Jerry Douglas (lap steel guitar, dobro); Gabe Dixon (Clavinet, organ, Hammond b-3 organ, keyboards); Viktor Krauss (bass guitar); Cheryl White, Carmella Ramsey, Harry Stinson (background vocals); Bryan Sutton (guitar, acoustic guitar, bouzouki); Russ Barenberg (guitar); Gabe Witcher (violin, fiddle); Shannon Forest (drums). Additional personnel: Edgar Meyer (double bass); Don Johnson (background vocals); Harry Stinson, Jerry Douglas . Audio Mixer: Jason Lehning. Recording information: Mountainside Studio; The Doghouse, Nashville, TN; The House Of David, Nashville, TN. Photographer: Gwendolen Cates. Maura O'Connell continues her winning streak on Don't I Know, inviting some of the industry's best songwriters and studio musicians to highlight her spectacular voice. Although she began her life and musical career in Ireland, O'Connell has one of the most uniquely American voices in Nashville today, and her choice of material has long been the only thing rivaling her voice as far as quality goes. This album is no exception, as O'Connell honors songs by Patty Griffin, Tim O'Brien, Jim Lauderdale, Kim Richey, and newcomer Mindy Smith, who provides a strong contribution in "Going Down in Flames." Working again with producer Jerry Douglas, O'Connell has similarly surrounded herself with some of the best musicians in the contemporary folk family, including Viktor Krauss, Edgar Meyer, Russ Barenberg, and of course Douglas on Dobro and lap steel. Highlights include "There's No Good Day for Dying" and the Patty Griffin song "Up and Flying," both of which are soul-baring explorations into love, life, and moving on in one way or another. The album culminates in the stark and haunting "Time to Learn" which, although darkly minimal, offers glimmers of sunlight and hope in the cracks of the stone walls her songs construct. ~ Zac Johnson Although interpretive singing (in the well-known pop sense) seemed to be a disappearing art form in the early 21st century, certain artists proudly upheld the tradition. One of these performers is Maura O'Connell, a distinctive, masterful vocalist who invests her slightly husky alto (with a touch of vibrato) in some of the very best songs from many genres, including country, rock balladry, Celtic folk, and contemporary folk. O'Connell's DON'T I KNOW continues the high standards set by her previous albums, here focusing on the song-craft of Kim Richey, Patty Griffin, and Jim Lauderdale, among others. The moods here range from heartbreaking regret ("Going Down in Flames") to cautious pride ("Didn't I") to a mix of resignation and self-assurance ("Spinning Wheel," which features some snarling electric lead guitar). Throughout, O'Connell sings with a remarkable combination of quiet dignity and soulful fervor, and Jerry Douglas's production is both sparkling and understated. Some albums are simply an array of songs, others are thoughtful, comforting companions--DON'T I KNOW belongs to the latter class.

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I Struck Gold by Charlie King (CD - 03/27/2001)
 

I Struck Gold by Charlie King (CD - 03/2...

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I Struck Gold by Charlie King (CD - 03/27/2001)
"I Struck Gold" (03/27/2001) Folk King, Charlie, Appleseed RecordsPersonnel includes: Charlie (vocals); Karen Brandow (vocals, guitar). Recorded in Schenectady, New York in July & August 2000. Personnel: Charlie King (vocals, guitar, harmonica); Andrew Lawrence, Reggie Harris (vocals, guitar); Mark Murphy (guitar); John Kirk (mandolin, fiddle); Len Wallace (accordion); Mark Murphy (acoustic bass); Joe Hammer (electric bass); Brian Melick (drums, percussion). Audio Mixers: Justin Metz; Reggie Harris. Recording information: Rockwell Studios, Schenectady, New York, NY (07/2000-08/2000). Photographer: Robert Corwin . Arrangers: Francisco Herrera; Jon Fromer. Charlie King and Karen Brandow expound upon Tinky Winky, Wal-Mart, and their love for one another on I Struck Gold, a genuine folk album filled with social criticism and good humor. While King and Brandow relish wearing their left-wing credentials on their sleeves, they also remember to make their music lively and engaging. "Six Days With the Boss" utilizes the famous trucker song to tell the story of French workers who wouldn't let the boss go until he started listening to their demands. Lovely accordion work by Len Wallace and fiddle by Jeff Belding strike the perfect mood for this funny tune. Si Kahn's poignant "Wal-Mart Union Gonna Rise Again" tells the story of meat department workers attempting to organize Sam Walton's mega-store. The brooding mood is carried by Brandow and King's impassioned vocals, leaving the listener with a masterpiece of contemporary protest music. "Tinky Winky" begins as a funny and somewhat frivolous satire on Jerry Falwell's triad against Teletubbies, only to turn into a blistering attack on how gay bashing can lead to the death of innocents like Matthew Shephard. These few samples may not prepare one for the chronicle of "Barney," the story of an over-inflated, out of control dinosaur who becomes violent during the Thanksgiving Day Parade. Clearly, the prehistoric purple beast will never look the same again. There are many other fine moments on I Struck Gold, and the supporting cast, including Reggie and Kim Harris, is fabulous. King and Brandow compare favorably to the eclectic duo Small Potatoes, or the political folk of Magpie. Here they have made a wonderful album that should please fans and anyone who appreciates quality folk. ~ Ronnie Lankford, Jr.

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I Walk The Road Again *
 

I Walk The Road Again *

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I Walk The Road Again *
"I Walk the Road Again *" (09/13/2005) Rock & Pop Traum, Happy, Roaring StreamPersonnel: Happy Traum (vocals, acoustic guitar, banjo); Jay Ungar (vocals, mandolin); Molly Mason (vocals, upright bass); Leslie Ritter, Amy Fradon (vocals); Artie Traum (acoustic guitar, mandolin); Adam Traum (slide guitar); Mike Dowling (resonator guitar); Cindy Cashdollar (dobro, drums); John Sebastian (autoharp, harmonica); Larry Campbell (mandolin, fiddle); Abby Newton (cello); Mindy Jostyn (accordion); Scott Petito (electric bass); Brian Melick (tambourine). Liner Note Author: Happy Traum. Arranger: Happy Traum.

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...From the "Hungry I" by Kingston Trio (CD - 12/15/2004)
 

...From the "Hungry I" by King...

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...From the "Hungry I" by Kingston Trio (CD - 12/15/2004)
"...From the "Hungry I"" (12/15/2004) Folk Kingston Trio, Collectors' Choice Music2 LPs on 1 CD: THE KINGSTON TRIO (1958)/FROM THE HUNGRY I (1958). The Kingston Trio: Dave Guard, Bob Shane (vocals, guitar, banjo); Nick Reynolds (vocals, guitar, bongos, conga). Recorded at Capitol Studio B, Los Angeles, California and live at The Hungry I, San Francisco, California in February & June 1958. Originally released on Capitol (996) and Capitol (1107). Includes liner notes by Ben Blake. 2 LPs on 1 CD: THE KINGSTON TRIO (1958)/FROM THE HUNGRY I (1958). The Kingston Trio: Dave Guard, Bob Shane (vocals, guitar, banjo); Nick Reynolds (vocals, guitar, bongos, conga). Recorded at Capitol Studio B, Los Angeles, California and live at The Hungry I, San Francisco, California in February & June 1958. Originally released on Capitol (996) and Capitol (1107). Includes liner notes by Ben Blake. All tracks have been digitally remastered. The Kingston Trio's self-titled debut album, recorded in early 1958, had been successful in capturing their range, but not the excitement or the good humor that the group generated on-stage. Their second LP, recorded live at the Hungry i in San Francisco on August 15 and 16, 1958, just a few days after the debut LP's release, captured a better picture of their total act, distilling down a major chunk of their live act to vinyl. Dave Guard, Nick Reynolds, and Bob Shane obviously are all having a great time, and they're in top form musically, which brings the crowd (and the rest of us) along. Among the established parts of their current and future recorded repertoire represented here are "Zombie Jamboree" (identified as "the song that killed calypso") and "The Merry Minuet," interspersed with suitable live material, including "They Call the Wind Maria," featuring Shane in a breathtakingly beautiful take on the song from Paint Your Wagon. The recording was about as fine as any live music document of this period -- the microphone placement seems almost miraculous in terms of capturing the voices, guitars, banjo, bass, and bongos, plus the crowd reactions, and the only flaw (not perceived as such at the time) was that the show was recorded only in mono, which would eventually doom the album to deletion after more than a decade. There have since been other live recordings by the group unearthed from this period, and within a year they would record a concert in stereo, but ...From the "Hungry i" is still the album by which most original fans first came to take in their sound, especially as its release coincided with the rise to the top of the charts of the single "Tom Dooley." ~ Bruce Eder Like the Weavers before them, the Kingston Trio set the pace for the folk revival of the late '50s and early '60s. Bands like the Highwaymen, the New Christy Minstrels, and Peter, Paul & Mary were inspired by the group's complex harmony, song choices, and general sunny disposition. The Kingston Trio, the band's first studio effort, unleashed the smash hit "Tom Dooley" upon an unsuspecting world. The record garnered a Grammy, sold six million copies, and stayed on the charts for almost four years. To put it plainly, Dave Guard, Nick Reynolds, and Bob Shane created quite a stir. Together, these three young men sang pleasant harmony to reinterpret folk classics like "Hard, Ain't It Hard," "Sloop John B.," and "Little Maggie." They also had an affinity for Mexican folk songs like "Banua" and "Santo Anno." The second LP, ...From the "Hungry I," captures the band live, singing vibrant versions of "Tic, Tic" and "They Call the Wind Maria." Because of the acoustic arrangements and professionalism of the band, this live performance easily matches the quality of the group's studio work. The difference lies in the humorous introductions, interaction with the audience, and enthusiastic applause. ...From the "Hungry I" and The Kingston Trio make good companions, especially since their original running lengths were between 30 and 35 minutes. With the four bonus tracks, the album runs 73 minutes. So whether one wishes to take a nostalgic trip back in time, or wishes to know what caused such a big fuss way back in 1958, The Kin

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From Where I Stand by April Verch (CD - 04/15/2003)
 

From Where I Stand by April Verch (CD - ...

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From Where I Stand by April Verch (CD - 04/15/2003)
"From Where I Stand" (04/15/2003) Folk Verch, April, Rounder SelectPersonnel: April Verch (vocals, fiddle); Bruce Molsky (guitar, banjo, fiddle); Mark Simos (guitar); Rick Haworth (dobro); Kenneth Saulnier (mandolin); Brian Bacon (viola); Tim Halliday (cello); Marc Bru (harmonica, bodhran); Sabin Jacques (accordion); Denis Frechette (saxophone); Benoit Le Gault (piano); Stuart Kenney (bass); Michel Dupire (percussion); Michele Campagne, Connie Kaldor (background vocals). Recorded at Le Studio Du Chemin 4, Quebec, Canada in May 2002. Includes liner notes by Earle Hitchner, April Verch.

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Mama, I Wanna Make Rhythm by The Chenille Sisters (CD - 03/23/1992)
 

Mama, I Wanna Make Rhythm by The Chenill...

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Mama, I Wanna Make Rhythm by The Chenille Sisters (CD - 03/23/1992)
"Mama, I Wanna Make Rhythm" (03/23/1992) Folk Chenille Sisters (The), Red House RecordsPersonnel: Connie Huber (vocals, guitar, tambourine); Cheryl Dawdy, Grace Morand (vocals); Pat Donohue (guitar, slide guitar); George Bedard, Rod McDonald (guitar); Peter Ferran (clarinet, alto saxophone, tenor saxophone); James Dapogny, Al Hill (piano); Richard Dishman (drums). After a children's album (1-2-3 for Kids), the Chenille Sisters return with the third album for grownups, Mama, I Wanna Make Rhythm, and with the group's usual mixture of originals and covers, novelties and more serious fare, it adds more musical diversity (along with greater instrumentation), from the '20s/'30s swing sound of several tunes to rock & roll and a cappella singing. All three of the singers write, often in a comic vein, with Connie Huber contributing "Sally's Advice," a reflection on how sparks are supposed to fly on a couple's 13th date (happily, this time they do); Cheryl Dawdy, in the a cappella number "Is It True, Albert?" pondering whether Albert Einstein stole the theory of relativity from his wife; Grace Morand declaring, "I Am a Can of Tuna" (a can that goes through the garbage); and all three combining for a rocking tribute to "Big Hair" (in the tradition of "Girl Shoes" from At Home with the Chenille Sisters), among other songs. The trio together also provide a new "English translation" (actually, parody lyrics) to "La Bamba," turning Ritchie Valens' appropriation of an old Mexican dance tune into a diatribe from "yo' mama," who says things like, "So, why aren't you married?" Funny as that song is, its placement on the album, following the equally comic leadoff number, "Chocolate," illustrates the problem the Chenille Sisters still have shifting gears from silliness to sincerity. The third track is a cover of Sam Cooke's "A Change Is Gonna Come," and the listener hasn't yet gotten through chuckling at "La Bamba" when it comes on, so it takes a verse of the solemn soul song before the realization sets in that on this track the group wants to be taken seriously. Maybe all the songs can't be funny ones, but when most of them are, you may find yourself impatient for the laughs to return. ~ William Ruhlmann

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If I Had a Hammer: Songs of Hope & Struggle by Pete Seeger (CD - 05/19/1998)
 

If I Had a Hammer: Songs of Hope & S...

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If I Had a Hammer: Songs of Hope & Struggle by Pete Seeger (CD - 05/19/1998)
"If I Had a Hammer: Songs of Hope & Struggle" (05/19/1998) Folk Seeger, Pete, Smithsonian Folkways RecordingsPersonnel includes: Pete Seeger (vocals, 12-string guitar, banjo); Tao Rodriquez (vocals); David Amram (dumbeck); Almanac Singers (background vocals). All tracks have been digitally remastered using HDCD technology. Personnel: Pete Seeger (vocals, banjo). Liner Note Author: Mark Greenberg. Arranger: Pete Seeger. Pete Seeger's repertoire was not limited to songs with specific sociopolitical goals, and the most familiar versions of his most popular tunes were done for Columbia. Still, it's hard to imagine doing better than this compilation of Folkways recordings (most from the late '50s and '60s) if you want evidence of Seeger's importance and skills as a spokesperson for worthy causes. Dividing into segments addressing "unions and labor," "peace," "civil rights," and "hope," this has the original 1956 versions of "If I Had a Hammer" and "Where Have All the Flowers Gone," along with other tunes identified with Seeger like "We Shall Overcome" and "Turn! Turn! Turn!" (the last from an unreleased tape of unspecified vintage). The liner notes explain the origins of each song, as well as how their structures have evolved over the years; a couple of 1998 tracks show his spirit intact, but his voice (as he himself admits) losing strength. ~ Richie Unterberger Most of the many compilations of Pete Seeger's work avoid thematic cohesion, instead focusing on the remarkable breadth of his long and prolific career. This makes the excellent IF I HAD A HAMMER: SONGS OF HOPE AND STRUGGLE that much more interesting, as the 26 songs compiled here are arranged in four suite-like sections. After the title track and the reverent "Banks of Marble," the section subtitled "Solidarity Forever" collects seven of Seeger's most powerful labor anthems, including the classic "Which Side Are You On." The "Study War No More" section includes possibly Seeger's most famous tune, "Where Have All the Flowers Gone," alongside four other anti-war anthems. The four songs in the "We Shall Overcome" section, including that civil rights anthem, are among the set's most forceful. "I'd Hammer in the Evening" concludes the set with eight songs of hope and forgiveness. A most remarkable compilation.

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I Know by John Gorka (CD - 03/23/1992)
 

I Know by John Gorka (CD - 03/23/1992)

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I Know by John Gorka (CD - 03/23/1992)
"I Know" (03/23/1992) Folk Gorka, John, Red House RecordsPersonnel: John Gorka (vocals, guitar, background vocals); Megon McDonough (whistling); Frank Christian, Timothy Pitt (guitar, acoustic guitar, electric guitar, slide guitar); Mark Dann (guitar, acoustic guitar); Robin Batteau (violin, fiddle); Howie Wyeth (drums); Christine Lavin, Janice Kollar (percussion, background vocals); Lucy Kaplansky, Shawn Colvin, Steve Gillette (background vocals). Recording information: London By Night Studios, Woodbridge, NJ. Photographer: Ann Marsden. Unknown Contributor Roles: Janice Kollar; John Gorka. Arrangers: William S. Kollar; Janice Kollar. By the time he recorded his debut album I Know, John Gorka was already a seasoned veteran and it showed. With excellent harmony vocals from Shawn Colvin and Lucy Kaplansky, who also cut their teeth on the New York City folk circuit, John Gorka recorded an album of original songs that had been road-tested and audience approved. The chorus of nearly every song is instantly memorable, and the simple, acoustic arrangements help bring out his powerful voice. The most impressive feature of this debut is the ability of Gorka to move easily from light-hearted humorous songs ("Winter Cows," "Like My Watch") to serious songs about the complexities of relationships ("Love Is Our Cross to Bear"). The versatility in his songwriting and the expressiveness of his warm baritone would become his trademarks, and John Gorka has become a leader of the genre dubbed "contemporary folk." This stunning debut also established Gorka songs in the folk canon, as his inspirational song "Branching Out" is often sung in elementary schools. ~ Vik Iyengar

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When I Was on Horseback by Martin Simpson (CD - 1992)
 

When I Was on Horseback by Martin Simpso...

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When I Was on Horseback by Martin Simpson (CD - 1992)
"When I Was on Horseback" (1992) Folk Simpson, Martin, Shanachie RecordsPersonnel: Martin Simpson (guitar, acoustic guitar, electric guitar, National guitar, baritone guitar, mandola); Hank Roberts (cello). Audio Remasterer: Robert Vosgien. Liner Note Author: Martin Simpson. Photographer: Lee Melen. Unknown Contributor Roles: Jessica Simpson; Doug Robinson; Eric Aceto. Arranger: Martin Simpson. Guitarist Martin Simpson has been recognized for bringing together the drive of Celtic melodies in the atmosphere of New Age. Included on this album are several pieces which are American in origin, traditional and new compositions firmly based on traditional styles and airs (that is, melodies of songs). The instrumentation includes acoustic and electric guitars, mandolins, violect, cello, shrutibox and electric bass guitar. (The CD booklet includes guitar sheet music). ~ MusD

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When I Was Made by Edie Carey (CD - 09/02/2003)
 

When I Was Made by Edie Carey (CD - 09/0...

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When I Was Made by Edie Carey (CD - 09/02/2003)
"When I Was Made" (09/02/2003) Folk Carey, Edie, Edie Carey MusicPersonnel includes: Edie Carey (vocals, acoustic & Nashville guitars); Jonathan Kingham (electric guitar, dobro); Dan Tyck (pedal steel guitar); Phil Peterson (cello). Recorded at Spectre Studios, Tacoma, Washington. Personnel: Edie Carey (guitar, acoustic guitar, background vocals); Evan Brubaker (guitar, acoustic guitar, electric guitar, Mellotron, background vocals); Jonathan Kingham (acoustic guitar, electric guitar, dobro, banjo, Fender Rhodes piano, organ, background vocals); Phil Peterson (cello); Julie Wolf (accordion, Fender Rhodes piano); Skip Peri, Sean Bendickson (drums); Joel Litwin (snare drum, percussion). Liner Note Author: Edie Carey. Recording information: Spectre Studios, Tacoma, WA. Photographers: Michael Blackwell; Brian Arnold. If this album had been released in the late '90s, Edie Carey would have found herself as a part of the Lilith Fair circuit. Her sensitive singer/songwriter style fits right in alongside such female folk-pop performers as Paula Cole, Dar Williams, and Shawn Colvin. However, Carey isn't just another English major turning her diary into songs. She displays a true skill at exploring the ways relationships affect the heart and mind. Her whispery voice is particularly good at conveying emotional vulnerability. "Anyone can see my heart is reeling," she sings on the opening number "With Our Hands," which sets up the disc's examination of how people deal with heartache. "Wide Open" takes on an obsessive mood as the protagonist wonders "if I drive by your house tonight, what would I find?" The melancholy-dipped "Already Gone" counsels that "love should not drag you down or beg you to stay." Carey tackles the weighty issue of her parents' divorce on "If I Start to Cry" so poignantly that her pain is palpable. Not every tune, however, is an emotionally heavy number. The radio-friendly "I Need You" is an exuberant declaration of love. It definitely is one of the disc's standout songs. Besides displaying lyrical wit and musical vibrancy, it is also one of few up-tempo tunes here. Carey does try to compensate for the predominance of sad, introspective songs by infusing the arrangements with a bit of twang. A banjo enlivens "With Our Hands" and "Chemistry," while a pedal steel reinforces the sense of loneliness in "Already Gone." While Carey travels down the familiar singer/songwriter path of dissecting broken hearts and busted relationships, she finds some fresh, and moving ways to express her feelings in song. When I Was Made stands up impressively with the albums that the Lilith Fair crowd has produced. ~ Michael Berick

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I Was in Love With a Difficult Man by Christine Lavin (CD - 08/20/2002)
 

I Was in Love With a Difficult Man by Ch...

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I Was in Love With a Difficult Man by Christine Lavin (CD - 08/20/2002)
"I Was in Love With a Difficult Man" (08/20/2002) Folk Lavin, Christine, Redwing MusicPersonnel: Christine Lavin (vocals, gutiar); Liz Tormes, Fiona McBain, Amy Helm, Eve Silber, Edith Drake, Ervin Drake, Julie Gold, Suzzy Roche, Helen Russell, Addie Gray Gilson Rosenthal, Heather Eatman, Pat Crawford Brown, David Lutken (vocals); Frank Christian (acoustic guitar); Charlie Giordano (accordion); Zev Katz (bass). Recorded at The Magic Shop and Studio NoMo, New York, New York. Christine Lavin rarely lets a year go by without releasing a new full-length album, making her one of contemporary folk music's most prolific artists. But because most of them are concert recordings, Lavin is generally thought of more as a side-splitting live performer than a recording artist. When Lavin released I Was in Love With a Difficult Man in 2002 it had been five years since she'd cut a record in the studio. Perhaps that accounts for the ebullient creative energy that bounds throughout the album. Lavin seems to relish the opportunity to collaborate with other musicians and creates layered and textured arrangements that would have been impossible in a solo performance. Her producer, Steve Rosenthal, seems to take much of his inspiration from Suzanne Vega, who actually did produce Lavin's poignant ballad "Firehouse" for a collection of songs about the terrorist attacks of September 11, 2001. "All You Want Is What You Want" and "Strangers Talk to Me" are particularly influenced by Vega's sharply rhythmic techno folk. As usual, Lavin's songs alternate between hilarious comic observation ("Sunday Breakfast With Christine" is a recipe set to music, "Trade Up" is a witty exploration of cocktail-party politics) and wistful, dramatic storytelling ("For Carloyn/Something Beautiful" celebrates the life of a departed relative, "Looked Good on Paper" is a painful ballad about a failed affair). But unlike many of her live recordings, which are dominated by reworked old favorites and sometimes under-developed new material, I Was in Love With a Difficult Man feels meticulously and thoroughly crafted. Several of these songs deserve a place among Lavin's best, undoubtedly destined to reappear repeatedly on future concert albums. ~ Evan Cater

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I Used to be Nice
 

I Used to be Nice

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I Used to be Nice
"I Used to Be Nice" (06/04/2001) Rock & Pop Bissex, Rachel, One Take Productions

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I Can't Sit Still * by Joel Frankel (CD - 03/06/2007)
 

I Can't Sit Still * by Joel Frankel (CD ...

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I Can't Sit Still * by Joel Frankel (CD - 03/06/2007)
"I Can't Sit Still *" (03/06/2007) Folk Frankel, Joel, Crunchy Records

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$9
Older I Get, the Better I Was * by Art Thieme (CD - 10/13/1998)
 

Older I Get, the Better I Was * by Art T...

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Older I Get, the Better I Was * by Art Thieme (CD - 10/13/1998)
"Older I Get, the Better I Was *" (10/13/1998) Folk Thieme, Art, WaterbugTHE OLDER I GET, THE BETTER I WAS is a collection of Art Thieme's live performances recorded between 1978 and 1988. Collecting 22 songs, stories, and jokes from over 20 years of performances at folk festivals, clubs, and at friends' homes, The Older I Get, the Better I Was is a rich and fascinating journey with folk bard Art Thieme as the ultimate guide. Once again delving into an eclectic group of pre-1900 folk songs, early 20th century Appalachian and rural music, and contributions of contemporary writers who specialize in old-time recreations played on six-string guitar, five-string banjo, and his modified nine-string guitar that is a copy of the innovation made famous by bluesman Big Joe Williams, Thieme spins an irresistible mix of conversational charm and poignant folk wisdom. The vibrant storytelling of "The Pokegama Bear" and the mythical "The Great Silkie of Sule Skerry," as well as the spiritual quality of "Is Your Lamp Gone Out?" and the bittersweet tale of rural life lost in "Way Down the Road," are just a few examples of the incredible breadth of material collected here. In short, Thieme, who no longer performs due to the effects of multiple sclerosis, was the genuine article and one of the last great folk storytellers. This collection serves his legacy well. ~ Matt Fink

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American Storyteller Volumes 1 & 2 [ECD] [3/14] *
 

American Storyteller Volumes 1 & 2 [...

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American Storyteller Volumes 1 & 2 [ECD] [3/14] *
"American Storyteller, Vol. 1-2" (03/14/2006) Rock & Pop Chandler, Chris, Silverwolf RecordsThis is an Enhanced CD, which contains both regular audio tracks and multimedia computer files.

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Deals on I in Folk Music. Visit BizRate to find the best deals on Folk Music. See which Music stores have the I that you want. Read reviews on Music merchants and buy with confidence. Find savings on Blues Everywhere I Go - Remember Who I Am [Digipak] by Girlyman (CD - 09/07/2004).