2000's Album of the Month

MAY 2009
This month's poll winner:
KINGS OF LEON - Youth & Young Manhood (71%)
To the people who were so nice to vote: thank you very much!

JUNE 2009
• WHITE STRIPES - Get Behind Me Satan
• ROLLING STONES - Shine A Light
• R.E.M. - Reveal

PREVIOUS WINNERS
MARK KNOPFLER - The Ragpicker's Dream • SANTANA - All That I Am • QUEEN - Queen On Fire: Live At The Bowl • NEIL YOUNG - Road Rock • BONNIE RAITT - Silver Lining • KILLERS - Sam's Town • SYSTEM OF A DOWN - Mezmerize • WILLY DeVILLE - Pistola • RAY DAVIES - Working Man's Café • KINGS OF LEON - Youth & Young Manhood

KINGS OF LEON [2003] Youth & Young Manhood

TRACKLIST ...
01. Red Morning Light (3:00)
02. Happy Alone (4:00)
03. Wasted Time (2:47)
04. Joe's Head (3:21)
05. Trani (5:01)
06. California Waiting (3:29)
07. Spiral Staircase (2:55)
08. Molly's Chambers (2:15)
09. Genius (2:49)
10. Dusty (12:08)
11. Holy Roller Novocaine (3:42)

NOTE
This album was voted "Album of the Month" - May 2009

Review
The Kings of Leon are the sons of a preacher and their debut album, Youth and Young Manhood, is their hymnal of rock & roll redemption. The brothers (and one cousin) Followill work with producer Ethan Johns for a rattling country-rock hootenanny, basically reviving the deep-fried Southern rock found on the band's first EP, Holy Roller Novocaine. Four of the five cuts featured in that set are included for a second time and they're nicely seeded in all their honky tonk rowdiness among the band's seven brand new tracks. Launching things off is the swanky "Red Morning Light." Guitarist Matthew Followill immediately establishes himself as a skilled musician, complementing his brother Caleb's coarse-grained drawl. "Joe's Head" is the closest the band comes to sounding like Tom Petty and Gregg Allman. "Spiral Staircase" finds Caleb causing trouble Bon Scott-style, while the band hints at some shenanigan-like behavior with some psychedelic pop. Youth and Young Manhood isn't sonically adventurous, but in the new-millennium pop realm, some greasy licks sure sound good. -- AllMusic

SAXON [2009] Into The Labyrinth

TRACKLIST ...
01. Battalions Of Steel (6:35)
02. Live To Rock (5:30)
03. Demon Sweeney Todd (3:53)
04. The Letter (0:42)
05. Valley Of The Kings (5:04)
06. Slow Lane Blues (4:08)
07. Crime Of Passion (4:05)
08. Premonition In D Minor (0:40)
09. Voice (4:35)
10. Protect Yourselves (3:56)
11. Hellcat (3:56)
12. Come Rock Of Ages (The Circle Is Complete) (3:54)
13. Coming Home (3:12) bottleneck version

Review
It's safe to assume that when Saxon's original lineup was formed in Barnsley, England back in 1977, the last thing that singer Biff Byford and guitarist Paul Quinn were thinking about was a 31st anniversary. Metal bands come and go, and it is hard enough to keep a band together for two or three years — let alone 31. But 2008, the year in which Saxon recorded their early 2009 release, Into the Labyrinth, did, in fact, mark the band's 31st anniversary — and the good news is that this 50-minute CD is quite faithful to the spirit of the New Wave of British Heavy Metal. Those who have been closely following Saxon all these years know that their work has been wildly inconsistent at times; they showed tremendous promise in the beginning but didn't fare nearly as well when they tried to sound like a glossy Sunset Strip hair band in the mid- to late '80s. But the Nirvana/Pearl Jam/grunge upheaval of 1991-1993 booted hair bands off of MTV, and instead of either continuing with hair metal or attempting to go alternative, Saxon returned to their NWOBHM roots. The result: a lot of mid- to late-'90s and 2000s recordings that weren't groundbreaking but definitely found Saxon sounding revitalized. Into the Labyrinth fits that description; this disc doesn't pretend to point the veteran headbangers in any new directions, but Saxon's 2008 lineup (Byford on lead vocals, Quinn and Doug Scarratt on guitar, Nibbs Carter on bass, and Nigel Glockler on drums) sound like they are having considerable fun whether they are providing anthemic power metal of the Judas Priest/Iron Maiden variety ("Valley of the Kings," "Battalions of Steel") or going for more of an AC/DC-ish crunch ("Live to Rock," "Slow Lane Blues"). This album falls short of essential, but even so, fans of NWOBHM — era favorites like Strong Arm of the Law (1980) and Denim and Leather (1981) will appreciate the NWOBHM leanings of the enjoyably consistent Into the Labyrinth. -- AllMusic

DAVID LEE ROTH [2003] Diamond Dave

TRACKLIST ...
01. You Got The Blues, Not Me... (3:17)
02. Made Up My Mind (3:00)
03. Stay While The Night Is Young (3:43)
04. Shoo Bop (5:11)
05. She's Looking Good (2:50)
06. Soul Kitchen (4:32)
07. If 6 Was 9 (3:33)
08. That Beatles Tune (3:49)
09. Medicine Man (1:12)
10. Let It All Hang Out (2:25)
11. Thug Pop (3:35)
12. Act One (1:34)
13. Ice Cream Man (3:23)
14. Bad Habits (3:44)

Review
Let's face it; David Lee Roth was the most exciting and entertaining singer to ever front Van Halen. And although his solo albums have not all been winners, at least he's been known to take chances and try new approaches with rock music (such as the entirely sung-in-Spanish Sonrisa Salvaje, the synth pop-ish Skyscraper, the Nile Rodgers-produced Your Filthy Little Mouth, etc.). For his 2003 release Diamond Dave, Roth uses the same approach he and his then-comrades in Van Halen followed on 1982's Diver Down — an album consisting primarily of cover songs, with a few originals sprinkled in. As expected, the covers that work the best are the ones that aren't that well known, including the lead-off single "Shoo Bop" (a cover of Steve Miller's "Shu Ba Da Du Ma Ma Ma Ma") and a big band reading of a tune Van Halen covered way back when, "Ice Cream Man," while a few of the better-known songs (especially Jimi Hendrix's "If 6 Was 9") don't fare as well. Of course, Diamond Dave is no Fair Warning. But it's a hell of a whole lot more listenable than anything Van Halen has issued in ages (especially when compared to the 1998 atrocity Van Halen III). -- AllMusic

TORI AMOS [2009] Abnormally Attracted To Sin

TRACKLIST ...
01. Give (4:13)
02. Welcome To England (4:04)
03. Strong Black Vine (3:26)
04. Flavor (4:05)
05. Not Dying Today (4:01)
06. Maybe California (4:24)
07. Curtain Call (4:51)
08. Fire To Your Plain (3:01)
09. Police Me (3:52)
10. That Guy (4:02)
11. Abnormally Attracted To Sin (5:32)
12. 500 Miles (4:05)
13. Mary Jane (2:41)
14. Starling (4:02)
15. Fast Horse (3:51)
16. Ophelia (4:42)
17. Lady In Blue (7:11)

Review
After the high conceptualism that lorded over 2005's The Beekeeper and 2007's American Doll Posse, singer and songwriter Tori Amos has decided to return to the relatively simple songs-as-songs approach on Abnormally Attracted to Sin. Those recordings, fine though they may have been, stretched the artist's reputation and the patience of her fans to the breaking point; based on her record sales, she whittled them down to simply the Tori cult (not a derogatory term, since many of her fans are proud to refer to themselves that way). The scope of this set in comparison with the previous two offerings seems more like a retrenchment than anything else. Not that there's anything at all wrong with that. There are songs on Abnormally Attracted to Sin that are as strong as anything she's written. Certainly the opener "Give," with its trip-hop rhythmic landscape and shifting backing vocals, slippery synth bass, and acoustic piano is beautifully constructed with a melody line that glides along a minor-key slant with a Middle Eastern tinge, and its lyric is both poignant and provocative. But then there is the single, "Welcome to England," whose 4/4 loop, drifting piano, and blend of guitars (electric and acoustic), strings, and ambient sounds is rudimentary Amos at best, and boring at worst. The refrain creates a bit of a hook, at least enough to catch the ear, but that's all. "Strong Black Vine," with its echoes of Led Zeppelin's "Kashmir" in the intro, tosses Amos back into her Jerry Lee Lewis dilemma: she loves and hates religious faith, and is both ensnared by it and saved by it. It's a rocker as far as her songs go, and works beautifully. "Maybe California" is a simple, straightforward modern pop ballad. It's beautifully composed and delivered. The track listing goes on, and on, and on, and on. And if there is a problem with Abnormally Attracted to Sin, this is it: it's 73 minutes long. At the dawn of the CD era, it made sense on some level to be this "generous" with listeners. But for any artist to sustain the kind of consistency necessary to keep a listener's attention for this length of time is extraordinary. By the album's second half, one has to play and replay certain tracks because they seem to go by in a blur. And to be honest, this set would have fared better for some real pruning. Whereas cuts like "Fire to Your Plain," with its country overtones and in-the-gut melody fare quite well here, another country-ish experiment, "Not Dyin' Today," could have been deleted because it feels like a tossed off idea more than a fully realized one. The title track is an eerie abstract exercise in ambience and atmospherics and its fragmented (and provocative) lyric is the perfect strategy to anchor it without losing its dreaminess. "500 Miles" (not the Proclaimers song) has a beautiful lyric, but musically it feels lifeless and lazy. The faux cabaret of "That Guy" feels like it updates Brecht and Weill in the 21st century, just as the jazzy intimacy of "Mary Jane" does the Parisian Saravah jazz scene of the late 50s and early '60s. What it all boils down to is, well, boiling it down. Amos doesn't record as much as most artists, and it must be tempting to give fans everything she can, but in this case, it's hurt her a bit. Still there, are many tracks here worth adding to one's Amos shelf. -- AllMusic

BAP [2008] Radio Pandora: Plugged

TRACKLIST ...
01. Prädestiniert (5:27)
02. Hühr Zo, Pandora (4:54)
03. Et Ess, Wie't Ess (3:45)
04. Diego Paz Wohr Nüngzehn (6:46)
05. Frankie Un Er (6:23)
06. Wat Für E' Booch! (4:45)
07. Wolf Un Skorpion (5:46)
08. Kron Oder Turban (4:45)
09. Noh Gulu (6:14)
10. Wa'ss Loss Met Dä Stadt? (5:03)
11. Musik, Die Nit Stührt (4:10)
12. Morje Fröh Doheim (3:48)
13. Songs Sinn Dräume (5:26)
14. Für Immer Jung (5:21)

BAP [2008] Radio Pandora: Unplugged

TRACKLIST ...
01. Magdalena (Weil Maria Hatt Ich Schon) (6:15)
02. Enn 'Ner Naach Wie Der (4:09)
03. Kron Oder Turban (5:00)
04. Señor (4:18)
05. Hühr Zo, Pandora (5:08)
06. Duude Bloome (3:58)
07. Prädestiniert (5:12)
08. Frankie Un Er (5:44)
09. Morje Fröh Doheim (4:03)
10. Noh Gulu (5:06)
11. Wa'ss Loss Mit Dä Stadt? (5:13)
12. Dä Letzte Winter Em Letzte Kreech (5:28)
13. Songs Sinn Dräume (5:05)
14. Jed Körnche Sand (5:25)

Biography
A German institution, the rock band Bap were formed in 1976 by the Cologne-based singer/songwriter/activist Wolfgang Niedecken. Niedecken was already well-known as Cologne's answer to Bob Dylan before he began Bap, partly because of his acoustic guitar and harmonica, but mostly because of his poignant, socially aware lyrics. Listening to the Rolling Stones and the Kinks influenced him to form a band. He named the band Bap after a nickname he took to avoid using his father's surname. Niedecken's turbulent relationship with his father lasted up until his father was on his deathbed. Their bittersweet reconciliation would become the topic of Bap's defining song, "Verdamp Lang Her," a staple of the group's live set that featured a Bruce Springsteen-styled monologue that would change a little each night. A single with 11 different versions of the song culled from live recordings over the years was released in 2005 (Springsteen and Niedecken had met in the '80s, eventually becoming good friends). In 2002 revered director Wim Wenders made Viel Passiert — Der BAP Film, a documentary about Bap in the style of his earlier film Buena Vista Social Club. In 2006, a new Bap with Niedecken as the only original member finished their "greatest hits tour" by performing three sold-out nights in their hometown of Cologne. -- AllMusic

RODNEY CROWELL [2003] Fate's Right Hand

Tracklist ...
01. Still Learning How To Fly (4:10)
02. Fate's Right Hand (5:26)
03. Earthbound (4:24)
04. Time To Go Inward (5:22)
05. The Man In Me (4:20)
06. Ridin' Out The Storm (4:36)
07. Preachin' To The Choir (5:08)
08. It's A Different World Now (4:01)
09. Come On Funny Feelin' (3:47)
10. Adam's Song (4:54)
11. This Too Will Pass (4:16)

Review
Fate's Right Hand is one of those albums that couldn't have been written or recorded at any other time in Rodney Crowell's career. Two years after his monumentally acclaimed The Houston Kid, Crowell has laid out his autobiography in sight and sound. His track record of hits — written for himself as well as for other artists — could have just gone on untarnished. But Fate's Right Hand is the flip side of The Houston Kid. Whereas the latter album is about the past, the former is about the present, not only in the artist's life, but in the lives of those around him, and in the question of life itself: why is it worth living and how can suffering be alleviated? While many will think this is blasphemy, Fate's Right Hand is the finest record Crowell has issued since Diamonds & Dirt and may turn out to be the finest of his entire career — and that's saying a lot. Crowell and Pete Coleman produced this outing and enlisted the help of friends old and new: Steuart Smith, Pat Buchanan, Michael Rhodes, Gillian Welch, David Rawlings, Richard Bennett, Béla Fleck, Carl Jackson, Marcia Ramirez, Charlie McCoy, Kim Richey, and Will Kimbrough, to name a few. Crowell wrote the entire record himself; he digs deep for the ugly stuff in order to uncover what shines beneath it. The opener, "Still Learning How to Fly", is a song about living in the moment because the moment is all you have.Crowell claims he wrote it based on conversations he had with a friend dying of terminal cancer; about what comes in the afterlife. With dobros, electric guitars, and acoustic six-strings wrapping around each other in a big, airy mix painted with a Hammond B-3, it is one of Crowell's transcendent moments. Remember Diamonds & Dirt? Yeah — like that. The title track ushers itself in around some warm, rounded bass tones, an organ, and maracas, as Crowell begins a series of seemingly unrelated non sequiturs. It's a pissed-off song that is as close to punk as Crowell will ever write. The notion of the transcendent is again present as it drenches Fleck's banjo riff in "Earthbound." Crowell makes the argument for living day-to-day in a world full of death and cynicism: where surrender is not an option until its time. All of this points to the most naked song Crowell has ever written: "Time to Go Inward," with both spoken word and sung refrains over fingerpicked acoustic guitars and electric dobros. It's a folk song about seeing; a country song about acceptance; a human song about the fear of what you might find when you look so deeply inside yourself. "The Man in Me" is about the negativity found there. It's a country-rock song that looks deeply into the mirror, doesn't like what it sees, and can't escape. Crowell penned "Preaching to the Choir" as an answer to "Time to Go Inward," but it's another mirror he sees: it's a bluesy rock tune touched by country gospel and bluegrass, and it smokes. There are a couple of other thoughtful moments here, cuts where Crowell is trying to make sense rather than preach — which is what this album is all about: making sense of things rather than preaching about them. But it all comes to a head in "This Too Will Pass," a country song with a rockabilly shuffle that expresses the wisdom of those who believe and practice what Buddhism's Four Noble Truths and the 12 Steps of Alcoholics Anonymous teach (no claim is made or intended for Crowell being part of either): impermanence, suffering, and joy — and everything in between — are merely the stages of cyclical existence. Happiness is possible. There is a way out, but you have it discover it for yourself. -- AllMusic

JOE JACKSON [2009] Joe Jackson At The BBC

Tracklist ...
DISC 1
- John Peel Show, February 21, 1979
01. One More Time (3:05)
02. Got The Time (2:57)
03. Fools In Love (4:40)
04. I'm The Man (4:04)
- Hammersmith Odeon, October 2, 1982
05. Look Sharp! (4:12)
06. Cancer (7:06)
07. Real Men (4:25)
08. Breaking Us In Two (5:13)
09. Fools In Love (7:54)
10. Chinatown (4:54)
11. Target (1:45)
12. T.V. Age (5:03)
13. It's Different For Girls (4:15)
14. Tuxedo Junction (5:53)
15. Steppin' Out (4:44)

DISC 2
- Hatfield Polytechnic, January 14, 1980
01. Sunday Papers (5:22)
02. One More Time (2:51)
03. Friday (3:50)
04. It's Different For Girls (3:41)
05. Don't Wanna Be Like That (3:37)
06. Happy Loving Couples (4:24)
07. I'm The Man (4:28)
08. Got The Time (3:21)
09. Is She Really Going Out With Him? (5:10)
10. Come On (3:29)
- Regal Theatre, Hitchin, January 22, 1983
11. On Your Radio (5:05)
12. Another World (4:51)
13. Sunday Papers (5:26)
14. Look Sharp! (4:27)
15. Is She Really Going Out With Him? (4:20)
16. Steppin' Out (4:51)
17. A Slow Song (8:30)

Review
Universal's 2009 At the BBC double-disc set rounds up radio sessions recorded between 1979 and 1983 — the peak years of the Joe Jackson Band, a period bookended by his Look Sharp! debut and his most popular album, Night and Day. The two discs are set up so they open with an earlier show and then close with a later one: the first has a Peel Session from 1979, then an 11-song set at the Hammersmith Odeon from 1982, while the second disc has a ten-song show from the Hatfield Polytechnic in 1980 and seven songs from Hitchin's Regal Theatre in 1983. This gives each disc a similar feel, with each opening up with a tight, nervy, exhilarating set that gives way to a more sophisticated set. Naturally, sophisticated is a bit of a relative term — Jackson had yet to fully delve into his jazz obsessions but they were certainly flowering via Night and Day, and that can be heard on the 1982 and 1983 sets, in the songs from Night and Day and in how "Is She Really Going Out with Him?" is given an a cappella, doo wop arrangement. Even then, what impresses throughout At the BBC is the unbridled, palpable energy. This is vigorous, exciting music, better proof of the band's greatness as a live act than the quite good Live 1980/86 collection and one of the better punk/new wave live sets available. -- AllMusic

A-HA [2005] Analogue

Tracklist ...
01. Celice (3:41)
02. Don't Do Me Any Favours (3:50)
03. Cosy Prisons (4:08)
04. Analogue (3:49)
05. Birthright (3:43)
06. Holy Ground (3:55)
07. Over The Treetops (4:24)
08. Halfway Through The Tour (7:26)
09. A Fine Blue Line (4:09)
10. Keeper Of The Flame (3:58)
11. Make It Soon (3:19)
12. White Dwarf (4:24)
13. The Summers Of Our Youth (3:57)

Review
The Norwegian band a-ha had never really been away, so the 2006 album Analogue was hardly a comeback but a continuation of their 20-plus years of hitmaking. If anything, it was a return to form after the disappointing Lifelines album. The opening track, "Celice," was released in Europe only and featured Morten Harket's trademark falsetto vocals over a beat driven song. Pål Waaktaar's fuzzy guitar dominates "Make It Soon" but Analogue is mainly a very laid-back album, only a few of its 13 tracks are up-tempo in the style of their classic era "Take on Me," and most of the tracks are piano led, melancholy ballads including "Cozy Prisons," "Birthright," "A Fine Blue Line," and "The Summers of Your Youth." Graham Nash of Crosby, Stills, Nash & Young lends his backing vocals to the tracks "Cozy Prisons" and "Over the Teardrops" and makes the harmonies on the latter song sound almost like one of CSN&Y's own. Halfway through the album comes the track "Halfway Through the Tour," a synth-beat number over seven minutes long. It's a strange song which appears to finish at the standard three-minute mark but then continues for a further four minutes as a flute instrumental with echoes of "Nights in White Satin." The first single to be released in the U.K., "Analogue (All I Want)" became their first Top Ten single since 1988's "Stay on These Roads". -- AllMusic

A-HA [2000] Minor Earth Major Sky

Tracklist ...
01. Minor Earth Major Sky (5:24)
02. Little Black Heart (4:36)
03. Velvet (4:19)
04. Summer Moved On (4:37)
05. The Sun Never Shone That Day (4:38)
06. To Let You Win (4:23)
07. The Company Man (3:14)
08. Thought It Was You (3:49)
09. I Wish I Cared (4:21)
10. Barely Hanging On (3:55)
11. You'll Never Get Over Me (5:39)
12. I Won't Forget Her (4:43)
13. Mary Ellen Makes The Moment Count (4:53)

Review
A-ha's sixth studio CD (seventh if their greatest-hits collection is included) came seven years after their previous album, Memorial Beach, and in that time it seems that a-ha mellowed out. They do not seem to have concern about attracting the youth/dance market, but instead seem to be focusing in on how to make perfect middle-of-the-road pop songs with '90s technology. This is not a criticism, as it produces several fantastic songs, such as "Little Black Heart" and the wonderful "I Wish That I Cared." These, and many others, are full of catchy, beautiful melodies and Morten Harket's vocals are near perfect as usual — his voice has not lowered one octave since their debut. The one problem with this CD is the relative sameness to some of the music. The tempos do not change a great deal, and by the end the songs seem to run together. More variety would have been beneficial. However, in terms of production, this is as close to perfect as a CD can get, and the lyrics keep things interesting throughout. Overall, a good album, and one that fans will enjoy. -- AllMusic

STEVE FORBERT [2009] The Place And The Time

Tracklist ...
01. Blackbird Tune (4:04)
02. Sing It Again, My Friend (4:11)
03. Stolen Identity (3:30)
04. Write Me A Raincheck (3:15)
05. Who'll Watch The Sunset? (3:45)
06. Simply Must Move On (4:35)
07. The Beast Of Ballyhoo (Rock Show) (3:22)
08. Building Me A Fire (4:00)
09. Labor Day '08 (3:41)
10. The Coo Coo Bird (3:35)
11. Hang On Again Till The Sun Shines (NYC) (3:26)
12. Blue, Clear Sky (2:58)

AMY WINEHOUSE [2006] Back To Black

Tracklist ...
DISC 1 : Original Release 2006
01. Rehab (3:35)
02. You Know I'm No Good (4:17)
03. Me & Mr. Jones (2:33)
04. Just Friends (3:13)
05. Back To Black (4:01)
06. Love Is A Losing Game (2:35)
07. Tears Dry On Their Own (3:06)
08. Wake Up Alone (3:42)
09. Some Unholy War (2:22)
10. He Can Only Hold Her (2:46)
11. Addicted (2:45)

DISC 2 : Bonus Disc 2007
01. Valerie (3:53)
02. Cupid (3:48)
03. Monkey Man (2:55)
04. Some Unholy War (3:16)
05. Hey Little Rich Girl (3:34) / zalon & ade
06. You're Wondering Now (2:33)
07. To Know Him Is To Love Him (2:24)
08. Love Is A Losing Game (3:44) original demo

Review
The story of Back to Black is one in which celebrity and the potential of commercial success threaten to ruin Amy Winehouse, since the same insouciance and playfulness that made her sound so special when she debuted could easily have been whitewashed right out of existence for this breakout record. (That fact may help to explain why fans were so scared by press allegations that Winehouse had deliberately lost weight in order to present a slimmer appearance.) Although Back to Black does see her deserting jazz and wholly embracing contemporary R&B, all the best parts of her musical character emerge intact, and actually, are all the better for the transformation from jazz vocalist to soul siren. With producer Salaam Remi returning from Frank, plus the welcome addition of Mark Ronson (fresh off successes producing for Christina Aguilera and Robbie Williams), Back to Black has a similar sound to Frank but much more flair and spark to it. Winehouse was inspired by girl group soul of the '60s, and fortunately Ronson and Remi are two of the most facile and organic R&B producers active. (They certainly know how to evoke the era too; Remi's "Tears Dry on Their Own" is a sparkling homage to the Motown chestnut "Ain't No Mountain High Enough," and Ronson summons a host of Brill Building touchstones on his tracks.) As before, Winehouse writes all of the songs from her experiences, most of which involve the occasionally riotous and often bittersweet vagaries of love. Also in similar fashion to Frank, her eye for details and her way of relating them are delightful. She states her case against "Rehab" on the knockout first single with some great lines: "They tried to make me go to rehab I won't go go go, I'd rather be at home with Ray" (Charles, that is). As often as not, though, the songs on Back to Black are universal, songs that anyone, even Joss Stone, could take to the top of the charts, such as "Love Is a Losing Game" or the title song ("We only said good bye with words, I died a hundred times/You go back to her, and I go back to black"). -- AllMusic

VAN MORRISON [2009] Astral Weeks: Live At The Hollywood Bowl

Tracklist ...
01. Astral Weeks/I Believe I've Transcended (9:55)
02. Beside You (5:59)
03. Slim Slow Slider/I Start Breaking Down (7:44)
04. Sweet Thing (5:38)
05. The Way Young Lovers Do (3:18)
06. Cyprus Avenue/You Came Walking Down (5:59)
07. Ballerina (9:45)
08. Madame George (8:43)
09. Listen To The Lion/The Lion Speaks (7:44)
10. Common One (6:39)

Review
When an artist decides to perform a classic album in concert, the possibilities for disaster are myriad. Van Morrison's Astral Weeks had never been performed as a cycle before these performances at the Hollywood Bowl. With only one full band rehearsal, Van responded by bringing this mythic material to life with a rock showman's sense of audacity, a poet's vulnerability, a jazzman's sense of timing, and the mastery of a singer who knows where to find the hidden magic in his material. Morrison took the original track order and shuffled it to make it flow better live. He extended most tunes, turning some into mini-suites while tightening others. His well-seasoned lower register voice turned the wonder of a boy in 1968 into the spiritual receptivity and wisdom of a man who has weathered 40 more seasons of discontent and heartbreak.

The title track opens the set with that familiar up and down acoustic bassline andJay Berliner's nylon string guitar playing blues and jazz runs as Van keeps the first rhythm guitar chair down.(Berliner was lead guitarist on the original Astral Weeks sessions.) It's a tiny bit faster, but the flow is impeccable as skeletal strings come pouring through in the gaps. There is a beautiful sense of space as Tony Fitzgibbon's violin and viola solos come through in the middle and Richie Buckley's flute hovers from the margins. Morrison lets his players shine; he rises to improve with them, feeling his lyrics anew. He adds more gospel flavor to the tune, which is rooted there anyway with "I Believe I've Transcended." And you believe him. The live mix clicks and crackles; it's raw, full, and immediate, without overdubs.

The track order changes after "Beside You." It lilts and wanders with beautiful vibe work and Berliner's guitar. The first real surprise is "Slim Slow Slider," the closing cut on the original set is the third one here. The deep sorrow, helplessness, and dread in the tune is captured through melancholy memory, balanced by a sense of the previous, not weighted so much with trouble. But Morrison's present tense protagonist is engulfed in pain and confesses the weight is more than he can bear in the effortless segue called "I Start Breakin' Down." The drama is so arresting the listener can forget to breathe. The blues are heavy, the droning hypnotic Celtic ones that is, and they are never static. "Sweet Thing," and "The Way Young Lovers Do," are placed in succession here; they lock the listener in a breezy yet tight swinging groove. The strings caress Morrison's lyric without sweetness; the guitars create a bridge to deliver a strutting "Cypress Avenue," which is appended seamlessly with the killer bluesy soul of "You Come Walkin' Down." "Ballerina," slows it down again and Morrison delivers his best vocal performance of the evening, though "Madame George," which closes out the Astral Weeks material, is a close second; these cuts are simply an amazing one-two knockout. The band and the singer gel perfectly. There are two amazing encores: a dynamite, even shockingly spiritual autobiographical read of "Listen to the Lion" from 1972's Saint Dominic's Preview with saxophones, guitars, and strings all pushing against his vocal that moans and wails and roars before breaking through. The night ends with a sultry, scatting read of the title cut from 1980's Common One.

Astral Weeks: Live at the Hollywood Bowl is not Astral Weeks, but it's brilliant and emotionally intense; it's honest and spiritually revealing. Morrison not only inhabits these songs 40 years later, but he fully understands them; making for a extremely engaging and necessary document from an artist who still has plenty of fire in his belly. -- AllMusic

RAY DAVIES [2007] Working Man's Café

Tracklist ...
01. Vietnam Cowboys (4:13)
02. You're Asking Me (3:22)
03. Working Man's Café (3:41)
04. Morphine Song (4:18)
05. In A Moment (4:29)
06. Peace In Our Time (4:39)
07. No One Listen (3:13)
08. Imaginary Man (4:10)
09. One More Time (4:29)
10. The Voodoo Walk (4:25)
BONUS TRACKS
11. Hymn For A New Age (3:42)
12. The Real World (5:05)

NOTE
This album was voted "Album of the Month" - April 2009

Review
Ray Davies took his time crafting his first full-fledged solo album Other People's Lives, delivering it in 2006 — a full 13 years after his last collection of original material, the Kinks' final album Phobia. Such a long gestation period seemed justified, as the album was an exquisitely written set of short stories that benefited from such exacting attention to detail, yet the length of time between Phobia and Other People's Lives also suggested that Davies would not be returning with his second solo album anytime soon. As it turns out, that wasn't the case: Davies hammered out his second album, Working Man's Café, with a speed recalling the '60s and '70s, when new Kinks albums arrived every year. Appropriately for its quick turn-around, Working Man's Café is a looser, edgier record than its predecessor — there's polish, but the guitars and rhythms jump, there's a vitality to the performances and the songs themselves bristle with contemporary headlines, bearing references to the vanishing middle class, internet isolation, and New Orleans, the site of both Hurricane Katrina and where Davies was shot and hospitalized after defending a female friend from a mugger. Ever the contrarian, Davies doesn't dwell on his own troubles, they're weaved into part of a tapestry of vignettes of a world gone awry — a common theme in his work perhaps (this is someone who pined for the village green in the midst of the psychedelic revolution), but such ornery nostalgia has fueled much of Davies best work, as it does here. Far from being an angry, impassioned screed against a world gone wrong (turn to Neil Young's Living with War for that), Davies writes with his signature wry, cynical eye, balancing his weary resignation with a sly wit. The songs have more bite than those on Other People's Lives, as do the performances, which makes Working Man's Café more immediate than its predecessor, yet it benefits from repeated plays as well, as those subsequent spins reveal that these 12 songs are as finally honed as those on Other People's Lives. And having these two albums arrive so quickly is proof that Ray Davies is back as a working songwriter, which is something to be celebrated. -- AllMusic

Email from Amsterdam, Holland!

Dear Jake and Elwood,

Ricky & Slinger and the Flabbergasting Friends is a musicians project from the Netherlands. We made the only rock version of the Leonard Cohen classic “Famous Blue Raincoat” in the world.
The corresponding video has drawn the attention of 1300 viewers in 11 days and we get a lot of reaction from Cohen fans and music lovers all over the world.

Watch the video on Youtube http://www.youtube.com/watch?v=36wYtUYNIwY

Or download the mp3 version of the song free and safe on http://sites.google.com/site/rickyandslinger/

The song is not for sale, just for fun. We have no commercial intentions. It was made for the love of good music for everybody to enjoy. It is an amateur initiative and both the management of Mr. Cohen and Mr Cohen himself are informed and love our interpretation of the song.

Thought we'd send it to you since this one is very rare and special. We would be honored if you would add it to your catalogue and promote the song. We're only in it for the music and distribute all our music for free. You could help us to try and reach a lot of music lovers.
Greetings and keep on rockin' your website

Ricky & Slinger
Amsterdam, Holland

• • •

Hello Ricky & Slinger,

Thanks, people! This is a remarkable initiative by real music connaiseurs! By posting your message we hope we can help you to attract even more attention to your music! All our regular visitors know: When it's on J&E - it must be good ;-)

Regards,
J&E

HAYSEED DIXIE [2005] A Hot Piece Of Grass

Tracklist ...
01. Black Dog (3:07)
02. War Pigs (4:28)
03. Holiday (3:48)
04. Rockin' In The Free World (3:40)
05. Whole Lotta Love (3:59)
06. Runnin' With The Devil (2:45)
07. This Fire (3:24)
08. Roses (4:35)
09. Blind Beggar Breakdown (2:26)
10. Kirby Hill (2:59)
11. Uncle Virgil (3:01)
12. Mountain Man (3:07)
13. Marijuana (2:55)
14. Moonshiner's Daughter (2:26)
15. Wish I Was You (2:00)
16. Dueling Banjos (3:13)

SHELBY LYNNE [2008] Just A Little Lovin'

Tracklist ...
01. Just A Little Lovin' (5:18)
02. Anyone Who Had A Heart (3:32)
03. You Don't Have To Day You Love Me (4:10)
04. I Only Want To Be With You (3:49)
05. The Look Of Love (3:20)
06. Breakfast In Bed (3:20)
07. Willie And Laura Mae Jones (4:07)
08. I Don't Want To Hear It Anymore (4:35)
09. Pretend (3:05)
10. How Can I Be Sure (3:33)

Review
Shelby Lynne has followed her own sometimes reckless, always adventuresome muse throughout her career. Just a Little Lovin' is her personal homage to the late, legendary Dusty Springfield. Nine of its ten cuts are inextricably linked to the late British vocalist whose sway Lynne came under years ago, but a chance conversation with Barry Manilow — of all people — led to the making of this record. Lynne doesn't attempt to sound like Springfield. She uses her own phrasing and rhythmic sensibility. Four cuts here come from the Dusty in Memphis period, as well as the title track to The Look of Love and some of her mid-'60s British hits that were not released in America. All these songs, with the exception of the self-penned "Pretend," were recorded by Springfield. The album was recorded in the Capitol Records studio with Frank Sinatra's microphone and producer Phil Ramone. Lynne's aesthetic sense serves her well: most singers automatically shoot for "Son of a Preacher Man," but Lynne steers clear. She does, however, tackle some truly monolithic Springfield hits: "Just a Little Lovin'," "Breakfast in Bed," "Willie and Laura Mae Jones," and "I Don't Want to Hear It Anymore." Lynne's readings are close, intimate. They're understated but more direct. Ramone used a small quartet in guitarist Dean Parks, keyboardist Rob Mathes, drummer Gregg Field, and bassist Kevin Axt to give her that edge. Lynne's delivery takes these songs straight to the listener's belly. The taut but easy sensuality in her voice adds a very different dimension to them.

When she gets to the in-the-pocket feel of "Breakfast in Bed," she comes at the tune's subject with an up-front sexual expression — Springfield's trademark vulnerability is willfully absent. A Rhodes and Parks' guitar give her plenty of room to pour out the lyric. "Willie and Laura Mae Jones" has a rough, swampy earthiness; Lynne adds her guitar to its sparse, slow growl. Springfield recorded this tome about interracial love when the subject was taboo in America. She made it palatable with her innocent delivery. Lynne gets at Tony Joe White's lyric with a bluesy toughness expressing incredulity toward injustice. Randy Newman's "I Don't Want to Hear It Anymore" carries inside it the trace of both Lynne's Southern homeland and her adopted West Coast residency. She can tell this heartbreaking tale as if it were her own while uncannily recalling Springfield's empathy. Signature Springfield pieces such as "I Only Want to Be with You" are astonishing for their contrast. The bubbly, poppy original version is slowed here; it offers the impression of genuine surprise by an unsuspecting protagonist. The jazzy piano and Parks' lush guitar lines entwine perfectly. Springfield's version of "The Look of Love" has remained unchallenged for more than 40 years. Lynne doesn't even try. Instead she offers tribute. It's not as sultry as the original was, but feels honest and hungry in stripping off the lyric's mask with her voice. "How Can I Be Sure" by the Rascals — cut as a British-only single by Springfield — is startling: Lynne sings it accompanied only by Parks' guitar. It's a radical but fitting closer. Just a Little Lovin' is the finest tribute Springfield has ever received on tape. That such a fine singer and songwriter interpreted her in such an empathic and sophisticated manner is respect personified. Ramone's care with the project is, as usual, celebratory. The multidimensional persona Lynne usually displays on her records is still here in spades. Her diversity, confidence, and wide-ranging ability are the standard to aspire to. -- AllMusic

INTODOWN [2008] Brave New World

Biography
Listening to intodown is like going to a party and hearing Cream, Miles Davis and David Gilmour jamming with the 13th Floor Elevators. It’s no wonder they’ve been referred to as “the 60’s band from the future.”

But, intodown is not a nostalgic trip back to the 60's. The music is fresh and modern. Engaging, organic, honest. It's as if the late 60's were actually happening now.

intodown is a live band and musical project of guitarist, songwriter and producer Michael Clark. And, it all began in the late 60’s when he played on a show with the 13th Floor Elevators. “In the span of maybe an hour, they took me into another world – they changed the way I looked at most everything,” says Clark. He’s still there today creating music that is late 60’s in vibe, but is modern and entrancing.

Clark’s guitar playing has been described as mesmerizing and ceaselessly exciting. His influences are broad; surf, progressive, psychedelic, blues, stoner, punk and roots rock'n roll all find a home on his guitar.

intodown is unlike most bands; each show may have an altered lineup of musicians. “I have a decent idea of what I want to present in a given show, so I surround myself with the musicians who can produce that level of musicianship while creating the sonic mystery I believe is so important to what we do.” states Clark

The goal of intodown is to transport themselves and the audience to a place that is both psychedelic and mysterious – down the rabbit hole into another world – sort of a sonic “non”- reality. At a point in the show, they are more channeling energy through their instruments than just playing them.

Brave New World is the current release by intodown. A reviewer from Mean Street says, “Moody and atmospheric enough for the Tool/Pink Floyd freaks but with enough stoner-friendly, sprawling arrangements for the Sleep crowd, Brave New World takes you down a very pleasant rabbit hole." Mostly improvisational, deep, guitar driven rock that many reviewers call psychedelic, progressive, experimental and stoner – all at once. It takes the listener on a voyage that is sometimes moody and introspective to all out sonic mayhem – your favorite music listening chair becomes a roller coaster. Enjoy the ride!


Instrumentation
Michael Clark - Guitars, Synths, Vocal
Mike Gage, Andy Tuttle - Drums
Ed Johnson, Steve Morgan - Bass
David Willingham - Trumpet
Smokin Dave - Flurbatron

Discography
Brave New World

Tracklist ...
01. Elevator
02. Intodown
03. Fire
04. V
05. Revolution
06. Message Understood
07. The Mission
08. Revolution 2
09. Voice Of The Past
10. Nostradamous
11. The Return

Jake & Elwood's humble opinion:
Heard it, really love it, so: HIGHLY RECOMMENDED!!
We totally agree with all the great reviews this album received. Do yourself a favor and check this album out! You can listen to it by clicking these links (will open in a new window):

Homepage (while you're there, don't forget to visit "The Living Eye"-section)
MySpace

So now you've heard this gem you of course want to buy it, don't you? Well, that can be done (exclusively) here:
CDBABY

KRIS KRISTOFFERSON [2006] The Old Road

Tracklist ...
01. This Old Road (3:59)
02. Pilgrim's Progress (2:14)
03. The Last Thing To Go (3:00)
04. Wild American (2:26)
05. In The News (3:30)
06. The Burden Of Freedom (3:25)
07. Chase The Feeling (4:06)
08. Holy Creation (4:37)
09. The Show Goes On (3:19)
10. Thank You For A Life (3:44)
11. Final Attraction (2:56)

Review
This Old Road is the first recording of all new songs by Kris Kristofferson in the 11 years since Moment of Forever was released by Justice. (Interestingly enough, that album was originally recorded a few years earlier by producer Don Was for his Karambolage label, which lost its distribution deal.) Was is on-board here as a producer and as a musician, as are drummer Jim Keltner and old friend Stephen Bruton on guitar. Most of these 11 songs, however, are simply Kristofferson accompanying himself on guitar. The years — Kristofferson turns 70 in 2006 — haven't softened the old poet's social conscience — "Pilgrim's Progress," "Wild American," "In the News," and "The Burden of Freedom" are every bit as radical as those found on his last two Mercury records, Repossessed and Third World Warrior in the mid-'80s. But Kristofferson is also wise enough to believe in love and forgiveness — "Thank You for a Life," "The Last Thing to Go," "Holy Creation," "Final Attraction" — and still remembers how to write a killer outlaw country song (check out "Chase the Feeling"). The tunes with the band are solid, but there is something utterly irresistible about the man with only his guitar. His voice is no better and no worse than it was in all those years form the 1970s on. But his phrasing as a singer has improved considerably. Kristofferson is dead-on here, razor-sharp, economical in his language, and to the bone in his insight. This is a welcome comeback for Kristofferson; as an artist, he proves he still has plenty to offer to anyone willing enough to listen. -- AllMusic

DARIUS RUCKER [2008] Learn To Live

Tracklist ...
01. Forever Road (4:01)
02. All I Want (3:49)
03. Don't Think I Don't Think About It (3:03)
04. Learn To Live (3:48)
05. If I Had Wings (4:03)
06. History In The Making (3:29)
07. Alright (3:51)
08. It Won't Be Like This For Long (3:39)
09. Drinkin' And Dialin' (3:04)
10. I Hope They Get To Me In Time (3:27)
11. While I Still Got The Time (3:49)
12. Be Wary Of A Woman (3:26)

Review
Darius Rucker's leap into country music is not a move without precedent for the Hootie & the Blowfish lead singer, as his band was loosely rooted in country-ish roots rock. Nevertheless, a more important antecedent for Learn to Live is a 2005 Burger King commercial where Rucker was decked out in a Nudie suit while singing a spin on "Big Rock Candy Mountain." It was the unveiling of Rucker the country singer, and caused enough of a sensation to make a country album seem like a feasible move. As slight as the commercial was, it provided a stronger musical foundation than the urban R&B behind his 2002 solo debut Back to Then did, as Rucker showed no inclination toward modern soul in Hootie, whereas Learn to Live appeals directly to the frat boys and sports fanatics that made Cracked Rear View perhaps the most inexplicable multi-platinum hit of the '90s. Like those songs, the tunes on Learn to Live are big and simple, powered by obvious hooks delivered plainly — and truth be told, apart from the 2-step shuffle of "All I Want," the loping modern country of "Alright," and the slow pace of the clever barroom crawl "Drinkin' and Dialin'," they don't feel especially country, either. They may not be made for honky tonks, but they do feel rootsy, much like Cracked Rear View did, and as they're written with Rucker in mind, not a jam band, they're more pop in form and feel than anything he's done since. Which, of course, also makes them ingratiating: these songs aren't knockouts, but they're friendly and comfortable, the kind of sturdy roots-pop that seems like it'd be easy to pull off but must not be, as this delicate balance of conversational melody and guy-next-door appeal has proven elusive to Rucker for over a decade now. -- AllMusic

MARTINA McBRIDE [2009] Shine

Tracklist ...
01. Wrong Baby Wrong Baby Wrong (3:41)
02. I Just Call You Mine (4:20)
03. Sunny Side Up (3:01)
04. Walk Away (3:45)
05. I'm Trying (4:01)
06. What Do I Have To Do (3:41)
07. Don't Cost A Dime (3:12)
08. Ride (3:52)
09. You're Not Leaving Me (3:45)
10. Wild Rebel Rose (3:55)
11. Lies (4:06)

Review
Shine is Martina McBride's first recording in two years, following up her successful album Waking Up Laughing. While the previous album was entirely self-produced — a rare reward in Nashville, but one McBride earned with a string of platinum selling recordings — on this set she is listed as a co-producer with the veteran Dan Huff. As is customary, husband John recorded and engineered the set. McBride has long been associated with anthemic songs, and an album by her without them would seem incomplete; in other words, there have to be real showcases for that incredibly powerful singing voice of hers, and Shine is no exception. The album's first single, "I Just Call You Mine," has the big swelling choruses, enormous string arrangements, wailing electric guitars, and singing pedal steel — all with larger than life drums by Matt Chamberlain — fits that bill. The set opener, "Wrong Baby Wrong," is another trope in McBride's arsenal in that it contains an uplifiting message of perseverance in tough times all set to a catchy, insistent, guitar-based rocker complete with power chords in the intro. What's most compelling about Shine, though, is its sound. In many ways, McBride has always been among the most contemporary sounding of her peers while always maintaining a sound of her own. Not so this time out. In fact, this disc sounds more like a Keith Urban record than it does one of McBride's. And that's not necessarily a criticism, just a bit of a shock. Musically it's consistent all the way through. The songs are all of a piece and flow seamlessly from one another. Textures are also remarkably similar, but the difference is the rock & roll sound at the heart of Shine. And make no mistake, McBride can sing rock as well as anything else she sets her mind to. Check the wildly celebratory single "Ride," with its shuffling, big drums and chugging guitars (which feel almost like outtakes from .38 Special's hit book) and the gradually ascending chorus. That said, even the ballads come across with a very modern slant — check the faux Celtic "Wild Rebel Rose," or the breakup anthem "Walk Away," that gives way to rock in the chorus with its Urban-esque banjo textures flowing through the drums, pedal steel and power chords with a lilting fiddle tag. The set closes with another McBride trademark, the big, sophisticated adult contemporary ballad disguised as contemporary country music — the one thing here Keith Urban wouldn't attempt on one of his own records: "Lies." A lone piano accompanies the vocalist through a heartwrenching verse. It threatens to explode at every turn, especially when the strings enter, but the tension just builds as synths, a slow, funereal snare and bass drum, and a dollop of acoustic guitar come in. Finally, two thirds of the way through, it does, but it's McBride's voice exploding over the top of the instrumentation that never competes with her. It remains staid so she can allow the catharsis to come pouring out. This is a solid, consistent date all the way through that is evidence of McBride's long chart success. -- AllMusic

RICK SPRINGFIELD [2008] Venus In Overdrive

Tracklist ...
01. What's Victoria's Secret? (3:15)
02. I'll Miss That Someday (3:20)
03. Venus In Overdrive (2:48)
04. One Passenger (4:29)
05. Oblivious (3:52)
06. 3 Warning Shots (3:26)
07. Time Stand Still (4:16)
08. God Blinked (Swing It Sister) (3:31)
09. Mr. PC (2:41)
10. She (4:18)
11. Nothing Is Ever Lost (1:40)
12. Saint Sahara (3:58)

Review
Don't get fooled by the title of "What's Victoria's Secret?," the first song and single on Rick Springfield's Venus in Overdrive, his 14th or so studio album (depending if soundtracks to Mission Magic and Hard to Hold are counted). Despite its goofily punning title and tight, pulsating guitars that consciously recall "Jesse's Girl," the song does not herald a return to the power pop heyday of the '80s; once its giddy thrill wears away, it's clear that Venus in Overdrive is every bit the sequel to 2004's heavy-lifting Shock/Denial/Anger/Acceptance, its song cycle of the grief cycle not at all an anomaly among Springfield's post-fame albums. Ever since his father's death in the mid-'80s, Springfield has avoided the frivolous whenever he could, which has as much to do with his slow slide off the charts as it does any changing fashion. Once off the charts, Springfield had the freedom to dig deep, something he earned through a decade-long layoff in recording — and since that 1999 comeback, Karma, he's tackled big issues like spirituality, life and death, and, now with Venus in Overdrive, love in its many guises, from the flesh to the soul. Heady stuff, but love is always a good subject for a pop song, and thankfully this doesn't shy away from pop hooks, dredging up his past on "What's Victoria's Secret?" and drifting toward a hazy psychedelia in "She," which recalls Lenny Kravitz as much as it does John Lennon (who surfaces again on the gorgeous "Nothing Is Ever Lost" and whose assassination is explicitly referred to in "3 Warning Shots"). Springfield has a knack for offhand allusions like this — and not just references to older tunes, either; "Mr. PC" is as successful a Foo Fighters homage as possible — and this helps give Venus a lightness to balance its topical heaviness, a trait not so evident on Karma or Shock and wholly welcome here as it keeps the record from feeling like a drag. Not that Springfield escapes his ponderous instincts — his earnest quest for answers can result in a slab of arena rock on "One Passenger" and lead him to inadvertently borrowing a title from Rush on "Time Stand Still" — but this is balanced by that gift for giant pop hooks plus a sweet generosity, crystallized in "Saint Sahara" and "Oblivious," two tributes to a young fan who has passed on. By letting all of his sides surface here, Springfield winds up with a satisfying album, as it gets to his sober nature without abandoning his fizzy gifts. -- AllMusic

PET SHOP BOYS [2009] Yes

Tracklist ...
01. Love Etc. (3:32)
02. All Over The World (3:50)
03. Beautiful People (3:41)
04. Did You See Me Coming? (3:42)
05. Vulnerable (4:50)
06. More Than A Dream (4:58)
07. Building A Wall (3:49)
08. King Of Rome (5:31)
09. Pandemonium (3:45)
10. The Way It Used To Be (4:46)
11. Legacy (6:20)

DIANA JONES [2006] My Remembrance Of You

Tracklist ...
01. Pretty Girl (3:10)
02. My Beloved (3:29)
03. All My Money On You (3:09)
04. Pony (4:40)
05. A Hold On Me (4:20)
06. Up In Smoke (4:25)
07. Cold Grey Ground (2:21)
08. Fever Moon (3:12)
09. Lay Me Down (4:13)
10. Willow Tree (2:54)
11. My Remembrance Of You (3:40)

Review
With My Remembrance of You, Diana Jones has released a top-notch set of Americana that deserves mention alongside works such as Gillian Welch's Time (The Revelator), Kelly Willis' What I Deserve, and Iris DeMent's Infamous Angel. Here, Jones relies upon Appalachian string band-style instrumentation, but her writing is of a progressive, poetically charged strain. The spare, pretty, and weary "Pony" unfolds the tale of a young Dakota Indian girl of the Plains in 1924. An ominous, sawing violin spurs the haunting "Cold Grey Ground," which is a Confederate soldier's lament. The waltzy "Up in Smoke" is one of the best songs here, with a strong vocal performance from Jones, showcasing her fragile, vibrato-laden falsetto swoops. The tragic, tuneful "Willow Tree" and the stark, pretty title track are highlights as well. What resonates most strongly on My Remembrance of You is Jones' carefully controlled empathy for her protagonists and her ability to lash their inner lives to nuanced and melodic songcraft that has one foot in tradition and another in something altogether unique and new. -- AllMusic

Biography
Singer/songwriter Diana Jones' country music is far from the mainstream brand. She performs the kind of literary, progressive, yet historically rich music (evocative of old-timey mountain music) that puts her in a league with predecessors such as Gillian Welch and Iris DeMent. Jones — raised in New Jersey, Long Island, and Rhode Island (her father was a chemical engineer) — is a northerner by rearing but a southerner by heritage, having been adopted as a baby. Jones left home as a teenager but was eventually able to rise above the down-and-out possibilities of her circumstances by getting into Sarah Lawrence College. In the late '80s, she tracked down her birth family in Tennessee. As she sought out her roots, she was exposed to traditional country music, particularly that of eastern Tennessee, via her newfound connection with her biological grandfather. Her birth mother had moved to England, and while staying there with her, Jones was badly injured in a car accident.

Upon recovering, she spent some time in Austin in the '90s, establishing herself as a folk artist and releasing two barely noticed albums, one in 1997 and another in 1998, then returning to the Northeast (to Northampton, MA) in mourning after the death of her grandfather. There, she experienced a creative renaissance of sorts, and it was during this fertile era that she found her voice as a poetical country-folk songwriter. My Remembrance of You, the bounty of all that woodshedding, emerged in the spring of 2006, boasting Appalachian string band-style instrumentation and Jones' character-driven, often historical portraits, such as the Dakota girl of "Pony" and the Confederate soldier of "Cold Grey Ground." The album was lauded in Americana critical circles, ending up on best-of lists in Nashville Scene and the Chicago Tribune. (The latter publication called her "the best American songwriter most people have never heard of.") She also racked up other notices in 2006, including Best New Artist at the Kerrville Folk Festival Awards and a nomination for Best Emerging Artist at the Folk Alliance Awards. -- AllMusic