Altan is one of those rare bands that can stay true to their loyal fanbase and to the music that got them to where they are, while managing to garner new fans by being masters of their craft.
Altan is far more than traditional old time music. Yes, they are masters of the fiddle and the flute, but they're so well produced that it's impossible not to listen to. It's really beautiful music.
Altan also benefits from being a group. It gets to have multiple sounds layered on each other, and subtleties that you're not going to get with one fiddle, one bass, and one guitar. With multiple fiddles, guitars, drums, bass, and flutes, you get a wonderful harmonious sound.
Altan is the perfect type of music for those looking to get into the old time genre.
Thursday, May 22, 2008
Wednesday, May 21, 2008
Super Radio Fun Time! Pt. 2
So I had my first show on Friday. It went really well. I was a little nervous on the mic the first time, cause I realized I hadn't cued up the next album.
Also, I didn't have a two-way jack for my iPod, so I had to use all my vinyl. It was kinda dicey, but VERY fun.
After a few minutes I was getting into a good flow.
But then the next DJ called, and said she was running late. So I'm in a jam here.
I needed to play a long song, cause I had run out of albums and needed to get an album from the library.
For some reason I brought Traffic's "Low Spark of High Heeled Boys" and the title track is about 12 minutes long. It's a good long song, and I played it.
What an error. It's not a folk song, not a country song, nothing even remotely related to the genre!
I WAS A FOOL.
But it was fine otherwise. I made fun of myself on air, and it was all good.
Very fun.
Also, I didn't have a two-way jack for my iPod, so I had to use all my vinyl. It was kinda dicey, but VERY fun.
After a few minutes I was getting into a good flow.
But then the next DJ called, and said she was running late. So I'm in a jam here.
I needed to play a long song, cause I had run out of albums and needed to get an album from the library.
For some reason I brought Traffic's "Low Spark of High Heeled Boys" and the title track is about 12 minutes long. It's a good long song, and I played it.
What an error. It's not a folk song, not a country song, nothing even remotely related to the genre!
I WAS A FOOL.
But it was fine otherwise. I made fun of myself on air, and it was all good.
Very fun.
Friday, May 16, 2008
Super Radio Fun Time! Pt. 1
I sat in on three shows this week, and caught the tail end of a couple.
I sat in on Tucker's show, which was interesting. He was prepared this week, and just played all the songs off of one CD. But instead of letting the songs do a natural fade out, he'd fade themselves out himself, change the track himself, then turn the volume up again. Weird.
Moira's show was very nice. She was kinda busy (she had homework) but it was a very chill show. She didn't talk a lot, and just let the CD she had play continuously.
Mario's show was AWESOME. He's so fucking hilarious. He interviewed people, and made jokes, and read the news. He's a real smart guy, and he just shot the shit. Cool stuff.
I sat in on Tucker's show, which was interesting. He was prepared this week, and just played all the songs off of one CD. But instead of letting the songs do a natural fade out, he'd fade themselves out himself, change the track himself, then turn the volume up again. Weird.
Moira's show was very nice. She was kinda busy (she had homework) but it was a very chill show. She didn't talk a lot, and just let the CD she had play continuously.
Mario's show was AWESOME. He's so fucking hilarious. He interviewed people, and made jokes, and read the news. He's a real smart guy, and he just shot the shit. Cool stuff.
Wednesday, May 14, 2008
Aly Bain-Lonely Bird (Review)
Most of the tracks on Lonely Bird are split into seperate sections called "reels", though played as one continuous song, so don't get thrown off by the multiple titles of songs.
"Gillian's Reel/Charles Sutherland/Donald Stewart the Piper" starts off with the fun and quick Gillian's Reel, then moves to the slightly lower key of Charles Sutherland, then moves to the even lower key of Donald Stewart the Piper. Bain is a fantastic fiddler, and gives a real smooth sound, as opposed to Doucet, whose fiddling often has rough parts in it, to give a tougher sound.
"Mrs. Jamieson's Favourite" is a sweet, slow song. A gentle tune, it brings back visions of earlier times. It could be used in a documentary about folks during the Dust Bowl.
"Rosemary Brown" continues the traditional, nostalgic sound. The fiddle sounds like it's singing to you, and telling the listener a story. It's got a lot of heart, and Bain gets it across perfectly.
"Spey in Spate/Pottinger's Reel/Dowd's Reel" picks up the pace but continues the traditional sound. Both Spey in Spate and Pottingger's Reel sound like the soundtrack to a silent film, but Dowd's Reel has a very unique sound, like an old pirate tune. It's very cool. Bain knows his way around a fiddle, and just gives off that smooth sound.
"The Beauty of the North/The Pirate's Hornpipe" shows why Bain is considered the carrier of Shetland's musical torch. Having been tought by the reknowned Shetland fiddler Tom Anderson. Bain keeps the old sound alive, and does right by the old master.
"Midnight on the Water/Bonaparte's Retreat" paints a wonderful picture. Bain sets the tone so well with the powerful fiddle, and the gentle strumming of the guitar in the background combined with the pacesetting bass gives a perfect frame to this beautiful work of art. Then Bonaparte's Retreat kicks it back up, and Bain goes wild, practically bouncing his bow on the strings of the fiddle, and it's an awesome sound it gives off.
"Herr Roloff's Farewell" is a sadder tune, but a tune that also brings back that nostalgic feel, as if you're remembering an old friend. It's a soulful, heartfelt tune.
"Aly's Waltz" is a happy tune, with the traditional style mixed in with a hint of folk. It's a beautifully composed piece, and the piano and the fiddle are well matched.
"Annalese Bain/Phil Cunningham's Reel/Andy Brown's Reel" shows us nothing new, but "Lonely Bird" is a very solemn, depressing track, and in a bizarre way, it's very refreshing. Just when the depressing part ends, it turns into this dark carnival sound, like something from the Addams Family. Very fun, and humorus in a dark way.
"Weindia Little/Da Fasion O Da Delting Lasses/Da Black Hat" is that traditional song we keep hearing.
"Junior's Waltz" is fun, and a little different from the other traditional songs you hear on this.
"Captain Campbell/Earl Grey/Largo's Fairy Dance" end the album on a little more of an epical old time sound, well, as epical as old time songs could be.
The album is filled with good ole traditional songs, bringing up visions of times past, times that your great-grandparents lived in, times of the pioneers of the early-20th century. Unfortunately, there's not much wiggle room, and Bain confines himself to that genre for pretty much the entire album. He's talented, but keeps himself in a cage.
Recommended tracks: "Mrs. Jamieson's Favourite", "Rosemary Brown", "Midnight on the Water/Bonaparte's Retreat", "Herr Roloff's Farewell", "Lonely Bird"
"Gillian's Reel/Charles Sutherland/Donald Stewart the Piper" starts off with the fun and quick Gillian's Reel, then moves to the slightly lower key of Charles Sutherland, then moves to the even lower key of Donald Stewart the Piper. Bain is a fantastic fiddler, and gives a real smooth sound, as opposed to Doucet, whose fiddling often has rough parts in it, to give a tougher sound.
"Mrs. Jamieson's Favourite" is a sweet, slow song. A gentle tune, it brings back visions of earlier times. It could be used in a documentary about folks during the Dust Bowl.
"Rosemary Brown" continues the traditional, nostalgic sound. The fiddle sounds like it's singing to you, and telling the listener a story. It's got a lot of heart, and Bain gets it across perfectly.
"Spey in Spate/Pottinger's Reel/Dowd's Reel" picks up the pace but continues the traditional sound. Both Spey in Spate and Pottingger's Reel sound like the soundtrack to a silent film, but Dowd's Reel has a very unique sound, like an old pirate tune. It's very cool. Bain knows his way around a fiddle, and just gives off that smooth sound.
"The Beauty of the North/The Pirate's Hornpipe" shows why Bain is considered the carrier of Shetland's musical torch. Having been tought by the reknowned Shetland fiddler Tom Anderson. Bain keeps the old sound alive, and does right by the old master.
"Midnight on the Water/Bonaparte's Retreat" paints a wonderful picture. Bain sets the tone so well with the powerful fiddle, and the gentle strumming of the guitar in the background combined with the pacesetting bass gives a perfect frame to this beautiful work of art. Then Bonaparte's Retreat kicks it back up, and Bain goes wild, practically bouncing his bow on the strings of the fiddle, and it's an awesome sound it gives off.
"Herr Roloff's Farewell" is a sadder tune, but a tune that also brings back that nostalgic feel, as if you're remembering an old friend. It's a soulful, heartfelt tune.
"Aly's Waltz" is a happy tune, with the traditional style mixed in with a hint of folk. It's a beautifully composed piece, and the piano and the fiddle are well matched.
"Annalese Bain/Phil Cunningham's Reel/Andy Brown's Reel" shows us nothing new, but "Lonely Bird" is a very solemn, depressing track, and in a bizarre way, it's very refreshing. Just when the depressing part ends, it turns into this dark carnival sound, like something from the Addams Family. Very fun, and humorus in a dark way.
"Weindia Little/Da Fasion O Da Delting Lasses/Da Black Hat" is that traditional song we keep hearing.
"Junior's Waltz" is fun, and a little different from the other traditional songs you hear on this.
"Captain Campbell/Earl Grey/Largo's Fairy Dance" end the album on a little more of an epical old time sound, well, as epical as old time songs could be.
The album is filled with good ole traditional songs, bringing up visions of times past, times that your great-grandparents lived in, times of the pioneers of the early-20th century. Unfortunately, there's not much wiggle room, and Bain confines himself to that genre for pretty much the entire album. He's talented, but keeps himself in a cage.
Recommended tracks: "Mrs. Jamieson's Favourite", "Rosemary Brown", "Midnight on the Water/Bonaparte's Retreat", "Herr Roloff's Farewell", "Lonely Bird"
Tuesday, May 13, 2008
Michael Doucet-From Now On (Review)
Doucet gets right down to business in "Everything I Do Gonna Be Funky". The Cajun-Funk sound comes right through loud and clear. The fiddle growls and screeches with force. Talk about a guy having a fun time, Doucet recorded this entire album live in three sessions, no overdubs. He's just having a good time with his friends and playing some good music.
"Le two-step de Basile" kicks it up a notch, with the fiddle speeding like there was no tomorrow. You could swear there were two fiddles playing, but it's just Doucet. Real Cajun here, and it's got a serious kick. You just want to scream out "HOOOOOOOO-EEEEEEEEEEEEE!" A real good time. Short too, so you don't end up giving yourself a heart attack with all the dancing you'll be doing.
"Bee de la Manche" is sung in French, and you can feel the passion. It's a half-blues, half-Cajun song, and Doucet just pounds it out. Another song with just him and his octave violin.
"Madame Boudreaux" is another good song with Doucet on fiddle and vocals, with Todd Duke on the guitar keeping the pace. A song sung in French, it was originally an early-20th century Cuban tune, and Doucet sings it with a little Carribean flavor in there.
"Chez Denouse" is a great passionate number. It continues the albums pace and is another song which is great to listen to whether you're just sitting on the porch of a cabin drinking a fine glass of something or other or you're having a great get together. It's always a crowd pleaser.
"A Closer Walk With Thee/I Know" is a refreshingly slow placed, old time country song. Real country. It speeds up, but it stays as country as could be. It keeps the album fresh and very listenable.
"Reels de Mamou" goes back to the Cajun, and it's straight instrumental for over 5 minutes. He's just sawing the damn fiddle in half. Unbelievable.
"L'amour ou la folie" is like a truck barrelling down the highway in the form of dueling fiddlers Doucet and Mitchell Reed. They are with each other so well on this track. They just follow one another. An awesome sound.
"Fonky Bayou", as you may have guessed, has got a little funky spice in it, but just a little, and it's real nice.
"Amedee's Accordian" is a fantastic accordion number. But just when it gets going, it stops, clocking in at only 2:17. A damn shame.
"Contredanse de Mamou" is another great country-Cajun number. It just goes, and never stops. But the album is lacking a lot of variety at this point, and this track shows it. What Doucet is making is great, but the term too much of a good thing is starting to shine through just ever so slightly.
And just as I finished typing that sentence, here is "Brasse le gombo vite (Stir the Combo Fast)". With some Eastern European-esque influences (and Doucet's trademark Cajun style), it's a spooky number, but not haunting. Not scary, but you could picture a witch flying around to this tune.
"New Orleans" is a romantic number presumably composed while Doucet was thinking about that city where Cajun music was raised. Doucet pours his heart into this fun number, and it may be the best track on this entire album.
"Wade's Two-Step" is as it sounds, a cool two-step number. The song returns to the slight repetitive country-Cajun song that has begun to show up, but there's no ignoring Doucet's talent, so it's easy to let it slide.
"Chere Evangeline" is a slow, traditional song. No blazing fiddles here, and it's nice. Doucet is great at playing the fiddle fast, there's no question. But his talent shows through when he's able to stretch out to different genres and pull them together.
"Happy One-Step" is another one of those fiddle-blazers that are so common on this album. It's becoming a bit tedious here.
"Madame Young" is more traditional, but still sounds similar to other songs on the album.
Ah, now "Saint Louis Blues" is the kind of variety I'm looking for. A very country-blues song, but with a little flavor in there, like you could start doing the tango. Again, a different tone, a different sound, and the violin really means something in this. Before, he's just killing the damn instrument, and it's boring with how fast it's going. You really savor it on this track, and the guitar shines through as well. A real nice track with a lot of different sounds in it.
The album ends on the song "You Gotta Move". Doucet croons on this track, and it's real dark and haunting. It's addictive how dark it is. "You may be rich/you may be poor/you may be high/you may be low/but when the lord/get ready/you got to move" This is Doucet on the guitar, and it hums so soulfully. Really amazing, and a great track to end the album on.
The album, musically, is insanely good. Doucet is a master of the fiddle, and knows how to make a soulful song. Sometimes though, it's too much off a good thing. Too many tracks does he play the fiddle so fast it catches fire. It's as if it's second nature, and when it becomes that way, it's not special or amazing anymore. But when Doucet tosses it up, changes the sound, it's like a warm rainstorm. So refreshing, so beautiful, just right.
Recommended tracks: "Le two-step de Basile", "Madame Boudreaux", "Amadee's Accordian", "Brasse le gombo vite", "New Orleans", "Saint Louis Blues", "You Gotta Move"
"Le two-step de Basile" kicks it up a notch, with the fiddle speeding like there was no tomorrow. You could swear there were two fiddles playing, but it's just Doucet. Real Cajun here, and it's got a serious kick. You just want to scream out "HOOOOOOOO-EEEEEEEEEEEEE!" A real good time. Short too, so you don't end up giving yourself a heart attack with all the dancing you'll be doing.
"Bee de la Manche" is sung in French, and you can feel the passion. It's a half-blues, half-Cajun song, and Doucet just pounds it out. Another song with just him and his octave violin.
"Madame Boudreaux" is another good song with Doucet on fiddle and vocals, with Todd Duke on the guitar keeping the pace. A song sung in French, it was originally an early-20th century Cuban tune, and Doucet sings it with a little Carribean flavor in there.
"Chez Denouse" is a great passionate number. It continues the albums pace and is another song which is great to listen to whether you're just sitting on the porch of a cabin drinking a fine glass of something or other or you're having a great get together. It's always a crowd pleaser.
"A Closer Walk With Thee/I Know" is a refreshingly slow placed, old time country song. Real country. It speeds up, but it stays as country as could be. It keeps the album fresh and very listenable.
"Reels de Mamou" goes back to the Cajun, and it's straight instrumental for over 5 minutes. He's just sawing the damn fiddle in half. Unbelievable.
"L'amour ou la folie" is like a truck barrelling down the highway in the form of dueling fiddlers Doucet and Mitchell Reed. They are with each other so well on this track. They just follow one another. An awesome sound.
"Fonky Bayou", as you may have guessed, has got a little funky spice in it, but just a little, and it's real nice.
"Amedee's Accordian" is a fantastic accordion number. But just when it gets going, it stops, clocking in at only 2:17. A damn shame.
"Contredanse de Mamou" is another great country-Cajun number. It just goes, and never stops. But the album is lacking a lot of variety at this point, and this track shows it. What Doucet is making is great, but the term too much of a good thing is starting to shine through just ever so slightly.
And just as I finished typing that sentence, here is "Brasse le gombo vite (Stir the Combo Fast)". With some Eastern European-esque influences (and Doucet's trademark Cajun style), it's a spooky number, but not haunting. Not scary, but you could picture a witch flying around to this tune.
"New Orleans" is a romantic number presumably composed while Doucet was thinking about that city where Cajun music was raised. Doucet pours his heart into this fun number, and it may be the best track on this entire album.
"Wade's Two-Step" is as it sounds, a cool two-step number. The song returns to the slight repetitive country-Cajun song that has begun to show up, but there's no ignoring Doucet's talent, so it's easy to let it slide.
"Chere Evangeline" is a slow, traditional song. No blazing fiddles here, and it's nice. Doucet is great at playing the fiddle fast, there's no question. But his talent shows through when he's able to stretch out to different genres and pull them together.
"Happy One-Step" is another one of those fiddle-blazers that are so common on this album. It's becoming a bit tedious here.
"Madame Young" is more traditional, but still sounds similar to other songs on the album.
Ah, now "Saint Louis Blues" is the kind of variety I'm looking for. A very country-blues song, but with a little flavor in there, like you could start doing the tango. Again, a different tone, a different sound, and the violin really means something in this. Before, he's just killing the damn instrument, and it's boring with how fast it's going. You really savor it on this track, and the guitar shines through as well. A real nice track with a lot of different sounds in it.
The album ends on the song "You Gotta Move". Doucet croons on this track, and it's real dark and haunting. It's addictive how dark it is. "You may be rich/you may be poor/you may be high/you may be low/but when the lord/get ready/you got to move" This is Doucet on the guitar, and it hums so soulfully. Really amazing, and a great track to end the album on.
The album, musically, is insanely good. Doucet is a master of the fiddle, and knows how to make a soulful song. Sometimes though, it's too much off a good thing. Too many tracks does he play the fiddle so fast it catches fire. It's as if it's second nature, and when it becomes that way, it's not special or amazing anymore. But when Doucet tosses it up, changes the sound, it's like a warm rainstorm. So refreshing, so beautiful, just right.
Recommended tracks: "Le two-step de Basile", "Madame Boudreaux", "Amadee's Accordian", "Brasse le gombo vite", "New Orleans", "Saint Louis Blues", "You Gotta Move"
Kristy Hanson-Already Gone (Review)
Already Gone starts off with the song "Comfort" a short but sweet song. It's very quick in it's tempo, and it works very well. It really sets the pace for the whole album.
"Swansong" is a bit darker, and very bass heavy, but Hanson's voice shines through. Really beautiful orchestration. The guitar sounds like it's a whale song.
Both the first two songs deal with either falling out of love or ending love. It feels very personal.
"Already Gone" deals with the same topic. The lyrical content early on is somewhat a downer, but Hanson really puts a lot of effort and passion into each song. Her voice is very dominating, which is usually good, but the music itself is so beautiful it's almost a shame she has such a powerful voice.
"Wake Up" deals with Hanson as, you guessed it, a woman who has lost love. It's gone from being passionate to solemn. It's a beautiful song but how many downer songs can you take?
In "Careful", Hanson is just pitying herself. "You are so much cooler than I'll ever be/You've got it all figured out/I will never be cool enough to live like I am/living without a doubt" Where "Comfort" and "Swansong" were songs of strengths, the album has made Hanson to look very weak. The song does, however, have a very neat keyboard interlude, and sounds almost like a steel drum. It's a cool effect.
"It's Not Over" is a fun song. Hanson makes up for all the mopiness, though she keeps the mopey lyrics. The double bass is quick and keeps it loose, and it's very dancable. A great song.
"Let Me Out of this House" goes right back into the depressing lyrical content. It wouldn't be such a problem if Hanson didn't have such a passionate voice (I never thought that could be a bad thing). She commands attention to what she's singing about, and it's a broken record.
Each of the songs are good on their own accord, but with them being in a row together like this, it's just a very depressing album.
"Who Can Say?" is a very demented little number. The bass sets a bizarre tone. And you don't know what it's about until... "Woke up today/with a big smile on my face/no one can hurt me/I'll just say that I don't care/Woke up today/it was as good as any day/and I don't miss him/it was like he was never there" OH GREAT. ANOTHER SONG ABOUT HOW A GUY LEFT HER. Christ, is it any wonder? When she's not putting herself down, she moping about how her love left her. Enough already! Get a hobby!
"Peace of Mind" is basically keeping the tone. Take all the songs from this album, throw them in a blender, suck out the flavor, and you get "Peace of Mind".
Oh, god. "Packed My Bags" is a double depresser. Not only does she sing about losing a love (SURPRISE) but also how she can't find success or happiness in L.A. It's the perfect song for the album to end on. Just reestablishes the depressing motif of the whole damn album.
Clocking in at 29:29, the album is short, and ends before you throw the CD player at the wall. It's a personal album, and Hanson really gets her feelings across, but the problem is the only feeling she has is that of depression about men leaving her. Don't listen to this album all at once, it's just not good for the soul. In fact, you can skip the last two tracks altogether, they're just filler. It's a shame too. It's clear Hanson has a bright mind and good musical sense, but her lyrics and her depressing sound are just the pits.
Recommended tracks: "Comfort", "Swansong", "It's Not Over"
"Swansong" is a bit darker, and very bass heavy, but Hanson's voice shines through. Really beautiful orchestration. The guitar sounds like it's a whale song.
Both the first two songs deal with either falling out of love or ending love. It feels very personal.
"Already Gone" deals with the same topic. The lyrical content early on is somewhat a downer, but Hanson really puts a lot of effort and passion into each song. Her voice is very dominating, which is usually good, but the music itself is so beautiful it's almost a shame she has such a powerful voice.
"Wake Up" deals with Hanson as, you guessed it, a woman who has lost love. It's gone from being passionate to solemn. It's a beautiful song but how many downer songs can you take?
In "Careful", Hanson is just pitying herself. "You are so much cooler than I'll ever be/You've got it all figured out/I will never be cool enough to live like I am/living without a doubt" Where "Comfort" and "Swansong" were songs of strengths, the album has made Hanson to look very weak. The song does, however, have a very neat keyboard interlude, and sounds almost like a steel drum. It's a cool effect.
"It's Not Over" is a fun song. Hanson makes up for all the mopiness, though she keeps the mopey lyrics. The double bass is quick and keeps it loose, and it's very dancable. A great song.
"Let Me Out of this House" goes right back into the depressing lyrical content. It wouldn't be such a problem if Hanson didn't have such a passionate voice (I never thought that could be a bad thing). She commands attention to what she's singing about, and it's a broken record.
Each of the songs are good on their own accord, but with them being in a row together like this, it's just a very depressing album.
"Who Can Say?" is a very demented little number. The bass sets a bizarre tone. And you don't know what it's about until... "Woke up today/with a big smile on my face/no one can hurt me/I'll just say that I don't care/Woke up today/it was as good as any day/and I don't miss him/it was like he was never there" OH GREAT. ANOTHER SONG ABOUT HOW A GUY LEFT HER. Christ, is it any wonder? When she's not putting herself down, she moping about how her love left her. Enough already! Get a hobby!
"Peace of Mind" is basically keeping the tone. Take all the songs from this album, throw them in a blender, suck out the flavor, and you get "Peace of Mind".
Oh, god. "Packed My Bags" is a double depresser. Not only does she sing about losing a love (SURPRISE) but also how she can't find success or happiness in L.A. It's the perfect song for the album to end on. Just reestablishes the depressing motif of the whole damn album.
Clocking in at 29:29, the album is short, and ends before you throw the CD player at the wall. It's a personal album, and Hanson really gets her feelings across, but the problem is the only feeling she has is that of depression about men leaving her. Don't listen to this album all at once, it's just not good for the soul. In fact, you can skip the last two tracks altogether, they're just filler. It's a shame too. It's clear Hanson has a bright mind and good musical sense, but her lyrics and her depressing sound are just the pits.
Recommended tracks: "Comfort", "Swansong", "It's Not Over"
Monday, May 12, 2008
Chip Taylor-New Songs of Freedom (Review)
According to the liner notes, "'New Songs of Freedom' is a special mini-album from Taylor bringing together songs from several upcoming projects along with a couple of lost classics from the out of print cult album 'Black and Blue America'. These powerful folk-rock songs reflect Taylor's unique original and unique perspective on America's past, present and future."
The album opens with the gutsy and powerful "Dance With A Hole In Your Shoe". If I'm correct, the song is singing about learning from mistakes and be willing to listen to each other. It also warns to be aware of the reprocussions of actions. "So kill everybody that's not like you/Who's friends can come back and they can kill you too/and everybody can kill somebody/And maim somebody/And lame somebody/And tame somebody/And shame somebody/Dance with a hole in your shoe"
The album is peppered with podcasts that Taylor recorded live. The first of these is "Former American Soldier", written about American soldiers left in Vien Tiem (sp?) after the Vietnam War. It's straightfoward storytelling, and is very passionate. It's very soft but you can feel the serious tones in Taylor's voice.
"New Song of Freedom" picks the album's tone back up while continuing the political nature of the lyrical content. It's very, very refreshing to hear lyrics that sing of peace without using silly metaphors like many politically-charged songs written today. Much in the style of Neil Young's "Living with War", the album is critical at time of governments past and present but also paints a picture of hope.
"Sunshine's a Waterfall" is a song that speaks about helping others, even just a little bit. It's a fun little number with a good message. A very nice song.
"Black and Blue America" opens with a audio montage of moments from America's past, such as the announcement of MLK and JFK's assasinations, Rosa Parks refusing to give up her seat, a DJ announcing an Elvis Presley single, the retirement of a baseball player, and others. The song itself sings about the 50s and 60s, both the good times and the bad times. The song just tells it like it was, not critical or appraising, but just an observation. It's a slow, somewhat solemn-sounding song.
"Dance with Jesus" is a fun old-time song, just singing about himself. Best line is "I say 'I'm bad, Lord.'/ he says 'Whatever.'/ 'Son in time you're gonna dance with me.'
"Theme from An American Hero" is written about America, as if she were a person. 'She was with me across the sea/south of the Bay of Japan/Just Give Her your love and your pride/and lay down beside her/and give her what's left of your heart.' A love song for America that sings about his relationship with America.
The last track is the blooper reel/recording session from "Dance With a Hole In Your Shoe". It reveals the song to have been much more upbeat, and actually works a little better.
Overall, the album is powerful, but is still very listenable on a casual level. A great travelling album.
Key Tracks: "Dance With a Hole in Your Shoe", "New Song of Freedom", "Sunshine's a Waterfall", "Dance with Jesus"
The album opens with the gutsy and powerful "Dance With A Hole In Your Shoe". If I'm correct, the song is singing about learning from mistakes and be willing to listen to each other. It also warns to be aware of the reprocussions of actions. "So kill everybody that's not like you/Who's friends can come back and they can kill you too/and everybody can kill somebody/And maim somebody/And lame somebody/And tame somebody/And shame somebody/Dance with a hole in your shoe"
The album is peppered with podcasts that Taylor recorded live. The first of these is "Former American Soldier", written about American soldiers left in Vien Tiem (sp?) after the Vietnam War. It's straightfoward storytelling, and is very passionate. It's very soft but you can feel the serious tones in Taylor's voice.
"New Song of Freedom" picks the album's tone back up while continuing the political nature of the lyrical content. It's very, very refreshing to hear lyrics that sing of peace without using silly metaphors like many politically-charged songs written today. Much in the style of Neil Young's "Living with War", the album is critical at time of governments past and present but also paints a picture of hope.
"Sunshine's a Waterfall" is a song that speaks about helping others, even just a little bit. It's a fun little number with a good message. A very nice song.
"Black and Blue America" opens with a audio montage of moments from America's past, such as the announcement of MLK and JFK's assasinations, Rosa Parks refusing to give up her seat, a DJ announcing an Elvis Presley single, the retirement of a baseball player, and others. The song itself sings about the 50s and 60s, both the good times and the bad times. The song just tells it like it was, not critical or appraising, but just an observation. It's a slow, somewhat solemn-sounding song.
"Dance with Jesus" is a fun old-time song, just singing about himself. Best line is "I say 'I'm bad, Lord.'/ he says 'Whatever.'/ 'Son in time you're gonna dance with me.'
"Theme from An American Hero" is written about America, as if she were a person. 'She was with me across the sea/south of the Bay of Japan/Just Give Her your love and your pride/and lay down beside her/and give her what's left of your heart.' A love song for America that sings about his relationship with America.
The last track is the blooper reel/recording session from "Dance With a Hole In Your Shoe". It reveals the song to have been much more upbeat, and actually works a little better.
Overall, the album is powerful, but is still very listenable on a casual level. A great travelling album.
Key Tracks: "Dance With a Hole in Your Shoe", "New Song of Freedom", "Sunshine's a Waterfall", "Dance with Jesus"
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