Twelve Broadway chestnuts from the days when Broadway shows were produced for New York sensibilities instead of for the midwest bus-hoards. Nothing poisonal, mind you, but Broadway today is aimed at tourists, not New Yawkers.
Subtlety was not in Neil Young’s game plan when he sat down to write the tunes here, probably in a burst of creative energy born of frustration with the war in Iraq and other Bush administration activities over the past few years. Young’s moved quite a ways since his romance with the Reagan administration.
Decide for yourself whether The Lovin’ Spoonful took their name from Mississippi John Hurt’s “Coffee Blues” (not to mention the tune for “Darlin’ Companion”) but fans of Taj Mahal will have no doubts about this gentle soul’s influence on Taj when you hear this earlier take on “Corrina, Corrina” and compare it to Taj’s on The Natch’l Blues (CS9698).
This superbly recorded, meticulously produced collaboration reminds me of an expanded version of Roy Rogers’ and Dale Evans’ “Happy Trails.” It’s packed with nostalgia and exudes a wistful, “see you around” vibe that at times gets downright suffocating.
The merger of Sony Music and BMG combined two of the world’s great film music catalogs, offering the potential for a truly exceptional film score compilation. This isn’t it. Instead this piece of shit excuse for an “essential” film score package is indicative of everything that’s wrong with the music business today. It lists for $25.00.
Making a miserable day even worse, today, September 11th, was the day we put our beloved dog Eno, and this site's mascot to sleep.
In the context of the sorrow and suffering of those who lost loved ones on this day five years ago, the loss of a pet dog is rendered insignificant but it was our dog and our loss and we feel it deeply.
This Glasgow-based pop band, led by lead singer and songwriter Tracyanne Campbell produces breezy, tuneful string-driven pop confections bathed in near-cavernous reverb. So great is the reverb that what are real strings sound like synth ones. Oh, well.
Presaging the "Christian rock" phenomenon of the 1990's, this Farfisa-filled fire and brimstone exercise in religious guilt asks where you will hide when Armageddon happens and your personal judgment day is at hand.