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The songs on "The River The Thread" rock like a cradle, and the rhythm rings true while Rosanne Cash explores her roots. The mesmerizing musical journey takes her to Arkansas, the Mississippi Delta and the Gulf Coast as Cash encounters the ghosts of Robert Johnson, Emmett Till, AM radio and her Civil War ancestors. There's also the repeated tug of Memphis, where Cash was born around the time her father cut his first record. This Southern music stretches far beyond the confines of country that's a violin on "Night School," not a fiddle. The 11 songs blend Tennessee flattop twang with gospel, the blues, and even hints Gucci Belt Red Green White of jazz while building a bridge from Dust Bowl ballads to Dusty Springfield pop. Covering so much territory takes time, but Cash makes it well worthwhile. In these days of downloads, "The River" offers an eloquent argument for albums. Her husband and producer, John Leventhal, pulls it all together and ensures the set's considerable ambitions don't overwhelm the immaculate arrangements. There's no hot pickin' here; instead, Cash's marvelous material is the star as she shares her story of rediscovery.
album is due Feb
That's the Beck album set for release Feb. 25 through Capitol Records, his first studio disc since "Modern Guilt" in 2008. With instrumental support by players including Smokey Hormel, Justin Meldal Johnsen and Joey Waronker, "Morning Phase" is said to be something of a return to "Sea Change," Beck's 2002 collection of sad sack folk songs.
is a 1970s style creative statement, recalling classic Carole King and Linda Ronstadt rather than any of her country or pop contemporaries. It's a reminder of how powerful music can be when it comes from the heart and tilts more toward talent than technology.
Mikael Wood, Los Angeles Times
Michael McCall, Associated Press
veer toward country blues). Either way, the music never fails to be supremely moving.
As lead singer in the contemporary country duo Sugarland, Jennifer Nettles and partner Kristian Bush kept growing increasingly experimental over four albums. For her first solo album, "That Girl," Nettles takes a different tact, stripping her songs to their basics both sonically and emotionally. Nettles is blessed with a voice that features a wide range and a distinct, vinegary tone. But it's her ability to connect with a song's emotional content that makes her stand out most. "That Girl" shows off that quality remarkably well, whether she's singing an openhearted ballad like "This Angel," a playful yet meaningful bopper like "Moneyball" or a complicated confessional like the title cut. Producer Rick Rubin balances spare acoustic arrangements with inventive rhythms and orchestrations. Even the most dramatic moments shine because of a deft, light touch, from the Latin rhythms of "Jealousy" to the way horns come in on "This One's For You" to how drums and strings are introduced in "Me Without You." "That Girl" Gucci Belt Black Red And Green
In addition to "Blue Moon," the album contains a dozen other tracks, including "Unforgiven," "Blackbird Chain," "Country Down" and "Waking Light."
There's an avuncular looking dude, there's some old fashioned equipment and there's a pristine slab of vinyl that the dude appears to transform into a copy of "Morning Phase."
The promotional clip features a snippet of "Blue Moon," the album's lead single. "Oh, don't leave me on Ferragamo Belt For Sale
my own," Beck sings over a downcast electroacoustic groove, "I'm so tired of being alone." The song, which Rolling Stone called "lush and folky," can be downloaded at iTunes.
Within the narrow confines of 1960s R Paul Cebar throws a lot at the wall. And most of his shtick sticks. "Fine Rude Thing" lives up to its title from the pickup to the first measure, with Cebar screaming something unintelligible before the baritone sax joins in. The tune quickly settles into a satisfying groove, and that's where Paul Cebar Tomorrow Sound remains for the rest of the 11 song set, ramshackle yet super tight. Most of the tunes recall hitmakers of the distant past Dion on "Baby Shake," Al Green on "You Owe It to You," Sly Stone on "Might Be Smiling" and the Shangri Las on "Not Necessarily True." There's some ska, a taste of the Caribbean and the closing "Like Loving People Do," which sounds like a New Orleans traffic jam. Almost everything swings, including "Shack Shambles," which manages to overcome Cebar's worst singing. His two pack a day vocals sometimes are an asset, however, and he can make a roadhouse seem like home. "Hope you make it through another struggling day," he sings. This album helps.
Now 81 years old, Leo "Bud" Welch has spent a long life making music in his native Mississippi. "Sabougla Voices," however, is his first record. And what a joyous blast it is. Welch melds the church and the juke joint. The subject matter is gospel "Praise His Name," "You Can't Hurry God," "The Lord Will Make a Way" but the vehicle for delivery almost always is the blues. The singer guitarist (sometimes with a backing chorus) tears into full band electric blues that can be as lowdown and dirty as the sentiments are spiritual and high minded. In Welch's still vigorous hands, the gospel blues combination reaches some ecstatic peaks ("Praying Time," "His Holy Name") but also takes some quieter turns ("Mother Loves Her Children," one of the acoustic based numbers that Lv Belt Man
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