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Strange Beautiful Music by Joe Satriani ...

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Strange Beautiful Music by Joe Satriani (CD - 06/25/2002)

"Strange Beautiful Music" (06/25/2002) Instrumental Satriani, Joe, Epic (USA)Personnel includes: Joe Satriani (acoustic & electric guitar, banjo, keyboards, bass); Robert Fripp (electric guitar); Pia Vai (harp); Eric Caudieux (keyboards); Matt Bissonette (bass); Jeff Campitelli, Greg Bissonette (drums); John Cunibert (percussion). Recorded at The Plant, Sausalito, California. "Starry Night" was nominated for the 2003 Grammy Awards for Best Rock Instrumental Performance. Personnel: Joe Satriani (guitar, acoustic guitar, electric guitar, banjo, autoharp, sitar, keyboards); Robert Fripp (electric guitar); Pia Vai (harp); Eric Caudieux (keyboards, computer); Jeff Campitelli (drums, percussion); Gregg Bissonette (drums); John Cuniberti (percussion). Audio Mixers: Leff Lefferts; Joe Satriani; John Cuniberti. Recording information: Studio 21; The Record Plant, Sausalito, CA. Photographers: Eric Caudieux; Jay Blakesberg. For his first album since dabbling with electronica on 2000's ENGINES OF CREATION, Joe Satriani returns to the bread-and-butter of straight-forward instrumental virtuosity with a few exotic nuances sprinkled throughout like musical parmesan cheese. Heavy synths and delays give "Oriental Melody" a sinister glint while fat guitar tones mix with Middle Eastern-flavored chord progressions on the intriguing "Belly Dancer." Fans put off by Satch's recent experimentation will have further reason to rejoice over the return of this prodigal son once they hear the thundering riffage of "Mind Storm," hook-filled "New Last Jam" and sassy snap of "Hill Groove." Elsewhere, the Long Island native distinguishes himself from the calculated playing associated with practitioners of this genre that he spawned on two cuts--the acoustic-guitar laced "You Saved My Life" and equally moving "Starry Night." The one non-original is a gorgeous cover of the Santo and Johnny '50s hit "Sleep Walk" featuring a cameo by Robert Fripp, a guitar god in his own right. STRANGE BEAUTIFUL MUSIC is a welcome return from one of music's more maddeningly gifted participants.

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The Infinite Steve Vai: An Anthology by ...

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The Infinite Steve Vai: An Anthology by Steve Vai (CD - 11/18/2003)

"The Infinite Steve Vai: An Anthology" (11/18/2003) Instrumental Vai, Steve, Legacy RecordingsPersonnel includes: Steve Vai (acoustic & electric guitars, guitar, keyboards, bass, programming); T. M. Stevens (vocals, bass); Devin Townsend, David Coverdale (vocals); Mike Keneally (guitar, keyboards); David Weiner (guitar); Stuart Hamm, Philip Bynoe, Bryan Beller, John Sergio (bass); Terry Bozio (drums, percussion); Chris Frazier, Mike Mangini (drums). Producers: Steve Vai. Compilation producer: Jeff Magid. Includes liner notes by Jon Wiederhorn. Personnel: Steve Vai (guitar, acoustic guitar, sitar, keyboards, synthesizer, drum machine, drum programming); David Coverdale, Devin Townsend, Glenn Hughes, T.M. Stevens, Tommy Funderburk (vocals); Dave Weiner (guitar, sitar); Mike Keneally (guitar, keyboards); Larry Crane (lyre); Greg Degler (flute, clarinet); Tommy Mars (organ); Claude Gaudette, Eric Goldberg, David Rosenthal, Don Airey, Bob Harris (keyboards); Peggy Foster (fretless bass); Terry Bozzio (drums, percussion); Deen Castronovo, Gregg Bissonette, Mike Mangini , Tommy Aldridge, Tris Imboden, Chris Frazier (drums); Pete Zeldman (percussion); Kimberly Evans, Miroslava Mendoza Escriba, Tracey Lewis, C.C. White (background vocals). Audio Mixers: Eddie Kramer; Steve Vai. Liner Note Author: Jon Wiederhorn. Recording information: Cherokee Studios, Hollywood, CA (1984-2002); Fix Club, Thessaloniki, Greece (1984-2002); Grand Rex, Buenos Aires, Argentina (1984-2002); La Riviera, Madrid, Spain (1984-2002); Los Angeles, CA (1984-2002); Skyline Studios, Topanga, CA (1984-2002); Stucco Blue Studios (1984-2002); The Mothership, Los Angeles, CA (1984-2002); The Record Plant, Los Angeles, CA (1984-2002); Westwind Media, Burbank, CA (1984-2002). Photographers: Rocky Schenck; Neil Zlozower. This 2003 two-disc set offers up a generous sampling of Steve Vai tracks, focusing most sharply on the revered hard-rock guitarist's mid-to-late-1990s material. Highlights of the collection include "The Animal," a stomping metal number, and the emotive "For the Love of God," as well as the dynamic "Fire Garden Suite." While diehard Vai fans will likely own most songs on this compilation, ANTHOLOGY serves as a commendable, if slightly daunting, introduction to the amiable and inventive six-string hero.

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Ringing for the Begin Again by Elfin Sad...

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Ringing for the Begin Again by Elfin Saddle (CD - 05/19/2009)

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Listening to Richard Brautigan [Expanded...

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Listening to Richard Brautigan [Expanded Edition] by Richard Brautigan (CD - 07/12/2005)

"Listening to Richard Brautigan [Expanded Edition]" (07/12/2005) Instrumental Richard Brautigan, Collectors' Choice MusicLiner Note Author: Richie Unterberger. Recording information: Golden State Recorders, San Francisco, CA. Readers: Margot Patterson Doss; Imogen Cunningham; Alan Stone; Valerie Estes; Price Dunn; David Schaff; Cynthia Harwood; Ianthe Brautigan; Peter Berg; Don Allen; Herb Caen; Betty Kirkendall; Bob Prescott; Bruce Conner; Richard Brautigan; Michael McClure. Author, humorist and recording artist, Richard Brautigan's long-player, Listening to Richard Brautigan (1970), provides insight into his everyday life, world and written works. The San Francisco-based poet had already established himself as a hip, underground Bay Area fixture -- even occasionally supporting burgeoning rockers Mad River, turning up on their Paradise Bar & Grill (1969) album reciting "Love's Not the Way to Treat a Friend." He'd also gained notoriety from his most renown prose and much of this disc is devoted to excerpts from Trout Fishing in America ("The Hunchback Trout"), A Confederate General From Big Sur ("The Rivets of Ecclesiastes"), In Watermelon Sugar ("The Watermelon Sun"), Revenge of the Lawn ("Revenge of the Lawn") that includes "Short Stories About California" with "A Short Story About Contemporary Life in California," "The Memory of a Girl," "The View From the Dog Tower" and "Pale Marble Movie" all taken from that collection. Similarly, The Pill Versus the Springhill Mine Disaster is the source for "Boo, Forever," "The Pill Versus the Springhill Mine Disaster" -- gathering "All Watched Over by Machines of Loving Grace," "December 30," "A Boat," "Haiku Ambulance," "Death Is a Beautiful Car Parked Only," "Karma Repair Kit: Items 1-4," "Crab Cigar," "Widow's Lament," "The Pumpkin Tide," "Man," "Adrenalin Mother," "San Francisco," "1942," "At the California Institute of Technology," "Xerox Candy Bar," and "Alas, Measured Perfectly" -- as well as "The Telephone Door That Leads Eventually to Some Love Poems" sporting: "The Shenevertakesherwatchoff Poem," "The Double-Bed Dream Gallows," "November 3," "Flowers for Those You Love," "I Lie Here in a Strange Girl's Apartment," "The Pill Versus the Springhill Mine Disaster," "Lovers," "Gee, You're So Beautiful That It's Starting to Rain," "I Cannot Answer You Tonight in Small Portions," "The Way She Looks at It," "A Good-Talking Candle" and "I Live in the Twentieth Century." Interspersed throughout are fly-on-the-wall sonic v?rit? excursions such as "The Telephone Door to Richard Brautigan," self-explanatory "Here Are the Sounds of My Life in San Francisco," "Here Are Some More Sounds of My Life" and the aforementioned "The Telephone Door That Leads Eventually to Some Love Poems" as it also contains dialogue about Brautigan's manipulation of the telephone -- or is it vice versa -- before commencing with pieces from The Pill Versus the Springhill Mine Disaster anthology. Arguably the most interesting concept from the listener's point-of-reference is "Love Poem" -- a single-sentence composition as interpreted by Brautigan himself in addition to Bob Prescott, Valerie Estes, Michael McClure, Margot Patterson Doss, Bruce Conner, Michaela Blake-Grand, Donald M. Allen/David Schaff, Ianthe Brautigan, Imogen Cunningham, Herb Caen, Betty Kirkendall, Peter Berg, legendary DJ Alan Stone -- who reads his live on-the-air via KSAN-FM, Antonio, Donald M. Allen, Cynthia Harwood, and Price Dunn. Studious collectors should be on the lookout for a rare promotion-only cassette version of Listening to Richard Brautigan that was circulated by Beatles' label Apple Records. There are a few discrepancies between the two, primarily the absence of "Boo, Forever" and minor liner revisions. ~ Lindsay Planer Author, humorist, and recording artist, Richard Brautigan's long-player, Listening to Richard Brautigan (1970), provides insight into his everyday life, world, and written works. The San Francisco-based poet had already established himself as a hip, underground Bay Area fixture -- even occasionally supporting burgeoning rockers Mad River, turning up on their Paradise Bar & Grill (1969) album reciting "Love's Not the Way to Treat

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G3 Live: Rockin' in the Free World by Jo...

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G3 Live: Rockin' in the Free World by Joe Satriani (CD - 02/24/2004)

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No Matter What Shape (Your Stomach's In)...

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No Matter What Shape (Your Stomach's In) by The T-Bones (US) (CD - 03/14/2006)

"No Matter What Shape (Your Stomach's In)" (03/14/2006) Instrumental T-Bones (US) (The), Collectables RecordsThe T-Bones: Dan Hamilton (guitar); Joe Frank Carollo (bass, drums); Tommy Clark Reynolds (drums, percussion). Includes liner notes by Mark Marymont. Liner Note Author: Mark Marymont. With cover photography from Miles Laboratories, the Alka-Seltzer theme song that went Top Five in America in December of 1965 is the jewel on this 12-song instrumental recording from Ventures producer Joe Saraceno and Phil Spector arranger Perry Botkin Jr. They had worked together on Gene McDaniels' "A Hundred Pounds of Clay" in the same capacity (for Liberty, the same label), so they were poised at the right place and time to enable this television commercial to cross over to the pop charts. Musicians are not credited, but three of them are guitarist Dan Hamilton, bassist Joe Frank Carollo, and drummer Tommy Reynolds of Hamilton, Joe Frank & Reynolds, who would land in the Top Five again in 1971 with "Don't Pull Your Love" and top the charts almost ten years after this initial hit with the middle-of-the-road classic "Fallin' in Love." This album has interesting versions of "Let's Hang On" and "Don't Think Twice, It's All Right," both hits for the Four Seasons in the exact same time frame (winter 1965), taking a cue from The Bob Crewe Orchestra Plays the 4 Seasons' Hits LP of instrumental recordings. But don't think Saraceno and Botkin Jr.'s emulation of Crewe went unnoticed: In 1967, two years after this, the Bob Crewe Generation (as in Pepsi Generation) hit with a Diet Pepsi commercial, "Music to Watch Girls By." It's a business where people borrow liberally, and the best borrowing Saraceno does is from himself, as his Ventures became the template. The Knickerbockers' "Lies" may sound more like the Kingsmen than the other material here, but the compact songs with no voices that do take from the Ventures' sound are very entertaining. "Chiquita Banana" was, of course, another big commercial, and years before Steve Gottlieb's TVT Records label issued a CD of famous television advertisements; perhaps the T-Bones should have capitalized on their vision and cut a few more memorable ones. "Sippin' & Chppin'" could be a second cousin to the big hit, "No Matter What Shape (Your Stomach's In)," and "My Headache's Gone" is the definite sequel, though the medication is a bit watered down by this point. "Hole in the Wall," "Pizza Parlor," and the very odd "What's in the Bag, Goose" (the only song on the record with any vocal sounds whatsoever) are interesting enough, but it's the title track that is classic. ~ Joe Viglione

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Danger High by Double Naught Spy Car (CD...

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Danger High by Double Naught Spy Car (CD - 04/23/2002)

"Danger High" (04/23/2002) Instrumental Double Naught Spy Car, Pascal RecordsDouble Naught Spy Car: Paul Lacques (guitar, steel guitar); Marcus Watkins (guitar, banjo); Joseph Berardi (vibraphone, drums, percussion); Marc Doten (bass). Producers: Double Naught Spy Car, Steven Rhodes. Personnel: Marcus Watkins (guitar, banjo); Paul Lacques (guitar); Dave Markowitz (violin); Kevin Mitchell (cello); Marc Doten (keyboards); Joe Berardi (vibraphone, drums, percussion); Michael Tempo (drums). Audio Mixer: Steven Rhodes. Recording information: Tiki Hut; Trend Coma. Photographer: Paul Lacques. Danger High is visual music of such sheer delight, it does the near-impossible task of being better than the group's accomplished first album, Comb in Blue Water. Double Naught Spy Car is not a readily compartmentalized band. There are too many good points to get across in this instrumental outfit of two guitars, bass, and drums. Of course, there will also be cello, banjo, cowbell, and violin. Obviously there will be vibes, bells, and rayguns. And yes, rest assured, a brass marching band starts the CD. What's important about all these (literal) bells and whistles is that this is not some Spike Jones sound-effect gimmick. Good songs prevail, and there's always a sturdy tree beneath the ornaments. All points between sinister and goofy, every note invests in mood, attitude, and panache without being fluff. The presence of accomplished co-producer Steven Rhodes likely adds some brave gravy to the mix, and his engineer background keeps things sparkling clear without flattening the energy. The title cut, "Danger High!," is a glistening switchblade number that darts to and fro from the classroom to the pool hall. "Lily St. Cyr" (a longtime staple in their live sets) is a slow rock smoldering diva in sunglasses at one a.m. -- campy and melodramatic, with Stan Ridgway drummer Joseph Berardi stoically sentencing his skins to life without parole. "Macedonia 6-5000" is a delicious Fender Stratocaster sheik of the high desert, a bellydancer on a surfboard. The quartet takes turns spazzing out on their magic carpets, and it sends a giddy chill up your camel's spine. "What's Your Hurry" is an iguana in a zoot suit, slinking along Sunset Boulevard looking for a handout. There is a recognizable warmth in every twang and reverence in every crash. "Helicopter" is a great showcase; it dares you not to giggle -- a pseudo-Jetsons theme hopscotching between disco and ska, with Marc Doten deftly flipping the pages of his bass, which further gives way to a babbling debate between Paul Lacques and Marcus Watkins on dueling wah-pedal guitars. "Someone's Creeping in My Yard" is a ballroom of exhausted tuxedos and martini hangovers, twirling in a dreamy haze of memory, with Berardi's brushwork shuffling acrobatically through vibraphone street lamps. "Kay Sara Sarah" is a sparkling beauty -- an Aloha TV Christmas Special closing theme song, with Lacques' rubbery slide melody carrying the listener away on clouds of '50s kitchen countertop nostalgia. A couple of tracks, like "Crosseyed San Paku," trudge along in a more straightforward manner that dispenses with the polish, but even these less-memorable passages have teeth. Another staple from their live show, "Marina Del Hayride," whispers out a Shaft theme that morphs into an amazing guitar bone-saw rhythm section epileptic seizure, and hats off to Watkins for keeping time as the world around him breaks apart repeatedly in a wonderful rock chaos (see them live if you can). "The Mayor's Procession" is an unsettling close to the disc; a country-bumpkin grim reaper marching into the swamp. The freak show is almost too much to bear, but its cinematic scope actually becomes the icing on the cake. When all the sweat dries, Danger High is music for musicians, a hidden treasure and a triumphant soundtrack for all those brilliant squares out there. ~ Glenn Swan

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Pretest by Dysrhythmia (CD - 01/01/2006)

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Pretest by Dysrhythmia (CD - 01/01/2006)

"Pretest" (01/01/2006) Instrumental Dysrhythmia, Relapse Records (USA)Recording information: Electric Audio B, Chicago, IL (01/2003-02/2003). Photographer: Jacob Fennell. Unknown Contributor Role: Kevin Hufnagel. Dysrhythmia marked a creative expansion for the Relapse Records roster, Pretest consisting entirely of instrumentals with no death/grind buzz-saw guitar tones or blastbeats -- or anything too "metal" at all, actually -- in sight. Instead, Dysrhythmia explores vaguely prog avenues lined with jagged, angular Jesus Lizard-esque riffs, odd time signatures, and Sonic Youth-styled dissonance and lyrical guitar doodles; the latter smartly used to draw the listener into a fracas that would otherwise be a cold, detached listening experience. Arrangements usually start off sparse and build to climaxes that are more cerebral than emotional, but engaging nonetheless. The (sort of) Rush-like "Running Shoe of Justice" utilizes jazz-chord voicings and the occasional blast of feedback to reach a logically heavy, but not obvious conclusion -- in fact, most songs on Pretest could be described in such a manner, but thankfully the group's compositions often lie on a solid, complex, rhythmic foundation and a subtle yet bold sense of dynamics (see the sparse harmonic meandering backed by spastic-jazz drum workouts during "Annihilation II"). Producer/engineer Steve Albini -- who has publicly expressed his distaste for anything stereotypically heavy metal -- downplays any indulgent prog tendencies the band may possess, lending Dysrhythmia a grit and clarity not found on the group's previous self-released albums. Praise the band for falling into the cracks between any genre slabs, but ultimately, Dysrhythmia will appeal to a select audience: musician-types and indie rockers weaned on Mogwai and June of 44 may find something of value here, or possibly fans of Neurosis' later work, or the herky-jerky fundamentals of the Dillinger Escape Plan; assuming they're patient enough to sift through a handful of off-kilter instrumentals. It's a bit of a challenge, but spending a fair amount of time with Pretest isn't without its rewards. ~ John Serba

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This Is Riphop by Death Comet Crew (CD -...

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This Is Riphop by Death Comet Crew (CD - 08/24/2004)

"This Is Riphop" (08/24/2004) Instrumental Death Comet Crew, Troubleman UnlimitedDeath Comet Crew includes: Rammellzee, Phase 2, Stuart Argabright, DJ High Priest. Recorded in 1983 & 1984. Death Comet Crew: Rammellzee, Stuart Argabright, DJ High Priest. Personnel: Rammellzee (vocals). DJs: DJ High Priest; DJ Ivan Ivan. Audio Mixer: Steve Peck. Audio Remasterer: Paul Geluso. Recording information: Powerplay Studios (11/1984); The Pyramid Club, New York, NY (11/1984); Unique (11/1984). Photographer: Gretchen Bender.

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Perspective by Jason Becker (CD - 05/22/...

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Perspective by Jason Becker (CD - 05/22/2001)

"Perspective" (05/22/2001) Instrumental Becker, Jason, Warner Bros. Records (Record Label)Personnel includes: Jason Becker (guitar, keyboards); Steve Perry, Brett Tuggle (vocals, percussion); Cathy Ellis, Mihoko Ito, Anisha Thomas, Caren Anderson, Natasha Hoehn, Michelle Clair, Jennie Bermsderfer, Irma De Los Santos, Joey Blake, Melanie Rath (vocals); Ron Becker (acoustic guitar); Michael Lee Firkins, Steve Hunter (guitar); Mike Bemesderfer (flute, keyboards); Gary Schwantes (bamboo flute); Laurie San Martin (bass clarinet); David Stuligross (trombone); Danny Alvarez (piano, keyboards, synthesizer); Matt Bissonette (fretless bass); Gregg Bissonette (drums); Steve Rosenthal, Ricky Walker, Darren Driver (percussion); Raz Kennedy (background vocals). Producers: Jason Becker, Danny Alvarez, Mike Bemesderfer. Engineers include: Chris Minto, John Lowery, Tony Mills. Personnel: Jason Becker (guitar, electric guitar, keyboards); Steve Perry (vocals, percussion); Melanie Rath, Joey Blake, Raz Kennedy, Brett Tuggle (vocals); Cathy Ellis, Caren Anderson, Anisha Thomas (soprano); Steve Hunter (guitar, rainsticks); Michael Lee Firkins (guitar); Gary Becker (classical guitar); Mike Bemesderfer (flute); Gary Schwantes (bamboo flute); David Stuligross (trombone); Danny Alvarez (piano, organ, keyboards, Synclavier, percussion); Gregg Bissonette (fretless bass, drums); Matt Bissonette (fretless bass); Steve Rosenthal (snare drum, cymbals); Rick Walker (percussion). Audio Mixers: Danny Alvarez; Mike Bemesderfer; Jason Becker. Recording information: Becker Home; Digital Audio Solutions; Dorado Recording; John Lowry Studios; Sound City Studios; Spark Productions; Spark Studios. Editors: Danny Alvarez; Mike Bemesderfer. Illustrator: Gary Becker. Introduction by: Gary Becker. Photographers: Ross Pelton; Gary Becker. Unknown Contributor Role: Steve Hunter. Arranger: Jason Becker. Between the release of his first solo album, Perpetual Burn, in 1988 and the making of this, his second, speed metal guitarist Jason Becker suffered one of the most devastating blows a human being can: he was diagnosed with ALS (Lou Gehrig's Disease), the incurable ailment that gradually renders its victims paralyzed. Perspective was recorded during the period when Becker was losing his ability to move, much less play the guitar, and thus marks a transition from his days of frantic fretboard work to less speedy playing and to writing music that is played by other musicians and by computer; much of the album was written on a Mackintosh and then executed by guest performers. The result is that Becker, being unable to produce his usual heavy metal performances, has turned to a more varied musical palette, allowing in a wide range of musical influences. "Primal," the lead-off track, for example, has a Middle Eastern feel, while "Empire" is distinctly Oriental. The lengthy "End of the Beginning" displays classical influences, as does the Bach-like "Serrana." Becker's musical imagination is unfettered even if his body is disabled; he stuffs his tunes with different musical ideas, often taking them in surprising directions. In this sense, the most notable track is also the last written for the record, "Life and Death" ("The title speaks for what was on my mind at the time," he notes), which sounds like a group of musical cues for the soundtrack of an adventure film. Jason Becker is enduring a catastrophic fate physically, but he is using it to explore musical passages he might not have otherwise. Originally released on his own label in 1996, Perspective was reissued by Warner Bros. in 2001. A part of the proceeds goes to the ALS Therapy Development Foundation (www.als-tdf.org). ~ William Ruhlmann

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Tales of the Rat Fink by Original Soundt...

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Tales of the Rat Fink by Original Soundtrack/The Sadies (CD - 10/17/2006)

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Platinum & Gold Collection by Michae...

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Platinum & Gold Collection by Michael Hedges (CD - 09/23/2003)

"Platinum & Gold Collection" (09/23/2003) Instrumental Hedges, Michael, Windham HillSolo performer: Michael Hedges (vocals, acoustic guitar, flute). Producers: William Ackerman, Michael Hedges, Steven Miller, Elliot Mazer. Compilation producer: Gretchen Brennison. Recorded between 1981 & 1997. Includes liner notes by John Diliberto. This is part of BMG Heritage's "Platinum & Gold Collection" series. Liner Note Author: John Dillberto. Arranger: Michael Hedges. PLATINUM & GOLD COLLECTION is an excellent introduction to New Age acoustic guitar hero Michael Hedges. He was one of the first artists featured on the Windham Hill roster and remains a huge influence on young guitarists even after his tragic death in 1997. This stellar compilation pulls tracks from the seven albums produced during his lifetime, including three selections from his live concert recording LIVE ON THE DOUBLE PLANET. Acclaimed as an acoustic guitar innovator, Hedges developed a tapping technique that allowed him to be his own rhythm section and create a veritable symphony from his hand-made acoustic guitar. This technique is showcased particularly well on "Oracle," an ornate track accented by the flourishes of Hedges's own expert flute work. Also included is his cover of Neil Young's "After the Gold Rush" which retains its original melancholic tone while tapping into its urgency.

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Legs to Make Us Longer by Kaki King (CD ...

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Legs to Make Us Longer by Kaki King (CD - 10/05/2004)

"Legs to Make Us Longer" (10/05/2004) Instrumental King, Kaki, Epic (USA)Personnel: Kaki King (guitar); Erik Friedlander (cello); David Torn (piano, bass guitar, drums); Conrad Korsch (double bass); Will Calhoun, Ben Perowsky (drums). Acoustic-guitar virtuoso Kaki King's sophomore effort improves on the dynamic instrumental compositions of her debut to include a wider range of textures, moods, and ever-evolving structures. King is also backed by a cadre of supremely sensitive musicians on LEGS TO MAKE US LONGER, and the cello, violin, upright bass, and drums add rich, complex color to King's already-sophisticated playing. Except for an electric guitar on the eerily quiet "Can the Gwot Save Us?" and King's under-the-radar singing on "My Insect Life," the spotlight is on the guitarist's stunning technique, which, even through its rapid-fire bass lines and ringing harmonics, never sounds flashy or forced. Based on the meditative, space-filled opener, "Frame," listeners might associate King's work with the moody, avant-garde ambient jazz often found on the ECM label. The comparison is an apt one--King spins atmospheric landscapes from her fretboard, whether via nimble finger-picking (the spiraling melodies on "Doing the Wrong Thing") or the mathematical, push-pull patterns of "Solipsist." Regardless of her associations, King is a distinctive, accomplished musician. Her instrumental prowess is almost easy to overlook, in fact, because it is employed so artfully in the service of her hypnotic, nuanced, and lovely music.

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The Ragpicker's Dream by Mark Knopfler (...

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The Ragpicker's Dream by Mark Knopfler (CD - 10/01/2002)

"The Ragpicker's Dream" (10/01/2002) Instrumental Knopfler, Mark, Warner Bros. Records (Record Label)Personnel includes: Mark Knopfler (vocals, guitar); Richard Bennett (guitar); Paul Franklin (pedal steel); Glen Duncan (violin); Mike Henderson (harmonica); Jim Cox (piano, Hammond organ); Guy Fletcher (keyboards, background vocals); Glenn Worf (bass); Chad Cromwell (drums); Jimmy Nail, Tim Nealy (background vocals). Personnel: Mark Knopfler (vocals, guitar); Richard Bennett (guitar); Glen Duncan (violin); Jim Cox (piano); Guy Fletcher (keyboards, background vocals); Chad Cromwell (drums); Tim Healy, Jimmy Nail (background vocals). Audio Mixer: Chuck Ainlay. Photographer: Ken Sharp . The low-key nature of Mark Knopfler's third solo album (discounting soundtracks) won't be a surprise to those who are familiar with its fine predecessor. The biggest change from SAILING TO PHILADELPHIA is the focus on traditional/roots styles. Throughout much of RAGPICKER's dream, Knopfler comes on like a one-man Harry Smith's Anthology, touching on folk, country, and blues. As often as not, however, he brings it closer to home with UK folk flavoring, as on the opening "Why Aye Man." He also displays more of a sense of humor here, on the old-timey "Quality Shoe" and the western swing number "Daddy's Gone to Knoxville." The title track sounds like it could have come off the first Tom Waits album, and several cuts here wouldn't sound out of place on any given Richard Thompson recording. Though one of Knopfler's consistent faults remains his tendency to drag things on for too long, his husky, intimate singing is effectively understated and he shows a healthy disdain for guitar showmanship that's remarkable considering his prodigious six-string abilities. Slightly more downshifted and rootsy than PHILADELPHIA, RAGPICKER'S DREAM nonetheless serves as its worthy companion piece.

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By Warner Bros.

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Liquid Liquid [Long Box] by Liquid Liqui...

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Liquid Liquid [Long Box] by Liquid Liquid (CD - 06/17/2008)

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It's a Team Mint Xmas, Vol. 2 by Various...

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It's a Team Mint Xmas, Vol. 2 by Various Artists (CD - 11/02/2004)

"It's a Team Mint Xmas, Vol. 2" (11/02/2004) Instrumental Various Artists, Mint RecordsJudging from the sound of it, Team Mint are a pretty cynical bunch. From John Guliak's tears-in-my-beer weeper, "Daddy's Drinking Up Our Christmas," to the cash register that chimes during the intro to Atomic 7's clattering instrumental "Se?or Santa ?l Es el Monstruo" to Young and Sexy's ironic "Santa Claus Likes Rich Kids Better" to David Carswell and Megan Barnes' sunny-on-the-outside, heartbroken-on-the-inside pop ode to unrequited love during the holidays, "I Wanna Kiss You This Christmas," there isn't a whole lot of holiday cheer to be found on It's a Team Mint Xmas, Vol. 2. Oh well, at least there is a sleigh load of wonderful songs by some of the best artists the pop mecca of Vancouver has to offer. Along with the exquisite Young and Sexy track, Carolyn Marks' introspective shuffle "Song for the Girl With Two of Everything," the Ramblin' Ambassadors' rollicking "Don't Fear the Reindeer," the Smugglers' "Lonely Christmas," and the Tennessee Twin's aching "X-Mas Is Past" lead the pack. Add to that the Vancouver all-star edition of "Do They Know It's Christmas?" and you've got a melancholy lump of gold that true indie kids would be quite glad to find in their stockings come Christmas morn. ~ Tim Sendra

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Guitar Soli by Robbie Basho (CD - 09/03/...

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Guitar Soli by Robbie Basho (CD - 09/03/1996)

"Guitar Soli" (09/03/1996) Instrumental Basho, Robbie, TakomaProducers: Ed Denson, Robbie Basho. Compilation producer: Bill Belmont. Recorded on February 9, 1966. Personnel: Robbie Basho (vocals, steel guitar). Audio Remasterer: Joe Tarantino. Liner Note Authors: ED Denson; Will Ackerman; Steffen Basho-Junghans; Glenn Jones . Recording information: 02/12/1965-02/09/1966. Photographer: Paul Kagan. Unknown Contributor Role: Robbie Basho. The Takoma record label came to prominence in the late '60s, bringing idiosyncratic folk artists to the attention of young rock fans and earning a reputation for high-quality homespun acoustic music. While John Fahey, Takoma's founder, and Leo Kottke earned well-deserved followings and critical plaudits, Robbie Basho, an influence on both of these players, remained a virtual unknown despite making some masterful recordings in his distinctive acoustic style. The 1996 release of GUITAR SOLI, a collection of Basho's best work from his long-out-of-print records, is a well-chosen, extremely long-awaited introduction to this under-appreciated artist. Basho's gritty fingerpicked style of steel-stringed guitar playing contains marked Eastern influences, as well as Cajun and Celtic elements. The result is a style that is utterly individual. From the ghostly whistling on "Oriental Love" to the burnished beauty of "Sansara in Sweetness After Sandstorm (The Seal of the Blue Lotus)," Basho's compositions are imbued with a rough-hewn, gemlike perfection. This will be a welcome addition to the collection of anyone who appreciates the sound of six steel strings.

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The Best of Ho! Ho! Hoey by Gary Hoey (C...

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The Best of Ho! Ho! Hoey by Gary Hoey (CD - 10/23/2001)

"The Best of Ho! Ho! Hoey" (10/23/2001) Instrumental Hoey, Gary, Surfdog RecordsPersonnel: Gary Hoey (vocals, various instruments); Jamie Kaplan, The Unknown (vocals); Glen Sobel, Bobby Rock (drums). Recorded in Venice Beach, California. Personnel: Jamie Kaplan (vocals); Glen Sobel, Bobby Rock (drums). Audio Mixers: Gary Hoey; Jim Wirt. Recording information: Venice Beach, CA. Arranger: Gary Hoey. Gary Hoey has delivered many rock remakes of classic Christmas carols throughout his career, but on The Best of Ho! Ho! Hoey, he collects them all onto one album along with some new versions. All the songs are well-known Christmas classics, mixing both secular and Christian carols together. The bizarre part of the whole affair is the arrangements of the songs: Although he may not have written them, he sure does not mind rewriting them to his style. What this makes for is heavy, shredding versions of "God Rest," "Greensleeves," and other melancholy Christmas favorites. With so many slow, peaceful renditions of these songs available, Hoey's approach is not only fresh but also unique. Sure, listeners who do not like guitar virtuoso music will probably not warm up to this album anytime soon, but rock fans who are looking for an up-tempo, aggressive alternative to most Christmas music may want to try this out. ~ Bradley Torreano

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J2 by Jarboe (CD - 03/18/2008)

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J2 by Jarboe (CD - 03/18/2008)

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An Evening with John Petrucci & Jord...

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An Evening with John Petrucci & Jordan Rudess by John Petrucci (CD - 05/18/2004)

"An Evening with John Petrucci & Jordan Rudess" (05/18/2004) Instrumental Petrucci, John, Favored Nations Records (USA)Personnel: John Petrucci (guitar); Jordan Rudess (keyboards). Audio Mixer: Doug Oberkircher. Recording information: Helen Hayes Peforming Arts Center, Nyack, NY (06/10/2000). Evening with John Petrucci & Jordan Rudess is an unheralded recording by Dream Theater and Liquid Tension Experiment alumnus John Petrucci, and Jordan Rudess is a unique entry in the Dream Theater family discography. Recorded live in Nyack, New York, the duo performed a mixed set of acoustic and electric (guitar only) compositions. Both players are world-class musicians, but Rudess in particular demonstrates his well-rounded skills, proving why he is an in-demand session player for the likes of David Bowie and Paul Winter. Petrucci too is a fine musician, but lacks the harmonic and rhythmic sophistication to serve as a strong accompanist. This limitation does not prevent the session from being enjoyable, in fact, it is Petrucci's energetic soloing that provides the most excitement. It was obvious that both players had several ideas and styles they wanted to explore, which are done so with restraint and sensitivity. The opening "Furia Taurina" finds Petrucci displaying his DiMeola-like chops on acoustic guitar and ranks as one of his best recorded moments. The most interesting track proves to be "Fife & Drum," which is both technically challenging and musically stimulating. Dream Theater, the band, became successful for several reasons, but the primary ones being that of hard work and a constant desire to push themselves. It is obvious on this recording that these two fine players relish those same values, and while some cuts work better than others, the music here can truly be labeled "progressive." ~ Robert Taylor

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