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All of 21 years ago, these two headlining acts unexpectedly combined their talents on a majestic if admittedly very slightly flawed collaborative album Freedom And Rain, which has since become regarded as an unrepeated - and unrepeatable - benchmark. At least that's what we all thought, until June and the mighty Oysters combo reunited specially for fRoots' 30th birthday gig at The Roundhouse, when the spark was so vital that a decision was made then and there to get together to record a whole new album asap.

And Ragged Kingdom, the result, has turned out every bit the equal of Freedom And Rain, inevitably informed as much by the performers' increased maturity and experience and stature in the intervening decades as by their own realisation that what they have together is something really special and different that both celebrates and complements what they achieve as separate acts.

The delicate qualities of light and shade within June's unique dark-toned voice prove a brilliant foil for the legendary and comparably sensitive in its own way powerhouse energy of Oysterband, who have of late been honing back their power-chords and re-exploring their acoustic folk roots with a controlled vengeance.

All the elements come together on Ragged Kingdom to communicate the inherent drama of the songs, while striking an entirely believable, thoroughly contemporary balance between the folk and the roots-rock for want of a better phrase through exercising a deft selection of nuances that's harnessed truly in the service of the song.

June's never sounded in better voice, I suspect, and it says much for the excellence of the production that the innumerable subtleties of her masterful interpretations aren't drowned out by the backings, which are quite often but not by any means constantly several decibels above her customary chamber-mode settings.

As for the material chosen for this new collaboration, well we're not just talking about traditional songs here. Some folk specialists will doubtless raise an eyebrow at the sight of the hallowed Joy Division number Love Will Tear Us Apart among the tracklisting - in his defence of which Oysters' Ian Telfer rightly posits that "modern pop has its own version of the oral tradition". Harvey's That Was My Veil, especially when they interpret the lyric so knowingly?

But of course it's the realm of traditional song that sources the lion's share of the album's widescreen adventures, so to speak; the stage is set at the outset with a brooding, galloping account of Bonny Bunch Of Roses, which brings to the ballad an altogether different character of melodrama from the usual, more consciously respectful epic-folk treatment.

Here, as throughout, despite the driven momentum and electric charge, there's a compelling degree of restraint to the proceedings in Oysterband's ever-thoughtful and considered accompanying gestures. Lighter mando-filled meanderings throw into strange relief the mindless blood-soaked violence of the call-and-response duet version of Son David, while June makes the most of the potent narrative of Shel Silverstein's Hills Of Shiloh with the aid of a minimalist acoustic guitar backdrop.

Another highlight, tellingly placed immediately after the sparsely-scored cello and guitar heartbreak of Love Will Tear Us Apart, is a rather moving acappella group rendition of When I Was No But Sweet Sixteen, learnt from the singing of Jeannie Robertson, which here acquires some attractive gospel-like overtones along the way.

At the other end of the sonic scale come the fuller-on electric rock treatments: Maybe the more straightahead Albion-esque? Ragged Kingdom both sounds great the trademark Al Scott production investing both clarity and presence in abundance and looks great some stunning photography by Judith Burrows adorns the package , and I'm sure it will prove to be as successful and influential as its illustrious predecessor.

I really don't think I can improve on the recent BBC Online description of June as "perhaps the greatest interpreter and curator of indigenous British music", and readers should need no persuading that each successive CD she releases will be worth one's immediate, and priority, investment. It can be no accident, either, that due to their alphabetical appellation, June's CDs will be destined to automatically remain on one's A-List!

Ashore, her 13th solo recording, is no exception, and affords her audience an aquamarine adventure par-excellence. It presents 13 tracks 11 songs and two instrumental interludes , each of which is in some way connected to the sea. These are neither easy nor comfortable songs, and, like the sea itself, can be dangerous: Thus, the pinpoint accuracy of poised detail in June's performances enables the salty molecules to penetrate your skin with their cool, nay sometimes chilling passion.

The impression of aloofness and severity that some folks get from June's stance is but the mature expression of her generous compassion and humanity, her unswerving integrity of purpose. Musically speaking, the ebb and flow of the tides is abnormally accurately conveyed by the piquant instrumental backdrop to the first song, Finisterre, the exceptional Ian Telfer composition that first appeared on June's celebrated collaboration with Oysterband Freedom And Rain.

A limpid, sanguine, in fact quite underplayed account of The Grey Funnel Line follows naturally, effacing even my fond memories of June's earlier, quite different version with Maddy Prior on the Silly Sisters album. June later provides unique insights on another of Cyril Tawney's classics, the supremely wistful The Oggie Man. She also introduces us to the work of Shetland poet Jack Renwick through the grey, almost half-light tones of Winter Comes In so beautifully conveyed in a telling chiaroscuro conjured by Andy Cutting and Mark Emerson , which is fast becoming one of my favourite tracks.

And with her customary sense of idiomatic linguistic accomplishment, June also sings two contrasting items in French: Now, while noting June's practice of revisiting in full maturity songs she'd interpreted earlier in her career, it's also salutary to note the instances of "why hasn't she recorded this one before?

And it can often seem to take a lifetime for a singer to properly come to terms with a song and hone an interpretation with which he or she feels satisfied: Elvis Costello's Shipbuilding is evidently a case in point, for the uncommonly intuitive version enshrined on Ashore would, I would aver, be considered an immediate standout in any illustrious company.

But even so, the indisputed highlight of this new collection is the final track Across The Wide Ocean: June may have been photographed standing on the shore looking out to sea, but on this song in particular she feels to be more a part of the ocean itself and its swell, as well as literally inside the minds and bodies of the emigrants. This track is arguably the most extraordinary achievement of all those on the CD.

In the case of the latter more especially, June's very personal account of Child Ballad , both sympathetic and forthright in its re-telling of the legend, in which Huw Warren's strangely unsettling piano counterpoint depicting a choppy, broken-rippled seascape seems at first to be disembodied and disconnected, then gradually begins to make sense as the ballad progresses; to my mind, the spoken episode sits uneasily on June's thoughtfully classy if thorny interpretation and I feel blurs its impact at that point in the tale.

But to sum up: Here again June remains right at the top of her game, with her vocal armoury or should I say arsenal?! It's back to the alpha-rich "apple-ations" sic! There should by now be no questioning June's stature as simply one of the finest singers ever, one who transcends genre and whose approach to songs and their communication is a benchmark for any and every aspiring singer.

Here, on what is unquestionably one of her most intensely satisfying collections, she shares her love of songs that move her and for our delectation plucks some most exquisite fruits from the tree of tradition - which of course encompasses both ancient and modern writings.

With typical thoughtfulness, June's choice of song-apples, like the very fruits themselves, invoke a myriad of associations ranging from sweet tastes and aromas, childhood innocence, cosy times, through to the rosy exterior concealing the worm burrowing within and the ripest fruit becoming soonest rotten; all metaphors for love and life, win and lose, subjects which June is famous for penetrating to their core.

We know that June is all too often and totally unfairly! Indeed, it starts out not with doom and gloom but actually quite happily or should I say 'apple-ly?!

And by heavens you might say! Another standout performance comes with the spellbinding quality of expressive eloquence, and the sense of pace and structure akin to a classical Lied, that she brings to Burns' stern credo Speak Easy and I marvel at Mark's really special piano accompaniment here, a model of subtlety and unobtrusive reflection of the sung part.

The latter is rivalled, nay eclipsed, by June's unsurpassable interpretation of Lester Simpson's Standing In Line ; here, with deceptively understated passion, she so unerringly conveys amidst its potent evocation of sepia-soaked imagery all the associated complex cocktail of emotions: June's singing is peerless: I've said before that the controlled power and inherent poise of June's singing is breathtaking pun intended , but she's definitely excelled herself in the company of the musicians she uses on Apples - the trio Andy Cutting, Mark Emerson and Tim Harries also known collectively, and cryptically, as Needless to say June continues to be on splendid vocal form, and here she's come together with her accompanists to produce a uniformly mesmerising and utterly coherent album.

The curious thing is that even though you know that with a recorded artefact you'll get to hear exactly the same performance on each and every replay, you really do feel that June's responding to the song texts afresh each time rather than just wheeling out a predetermined response with exactly the same inflections and emphases.

And another factor which makes this new CD so special is undoubtedly the close rapport that June achieves with the members of her backing crew; in a manner of speaking, June enjoys the best of both worlds with her collaborators, with gifted exponents of both what you might call "art-song folk" pianist Huw Warren and violinist Mark Emerson and for want of a better term "strummed folk" ace guitarist Martin Simpson , all three being musicians with whom June's worked extensively in the past.

And as if that weren't enough, on some tracks there are well-judged contributions from Andy Cutting accordion and Mark Lockheart and Iain Ballamy saxes , and it's all reliably underpinned by Tim Harries' sensitively-moulded double-bass work.

June's careful adoption of specific instrumental timbres and combinations for voicing the mood and tenor of each song is remarkable and unerringly perceptive. For instance, there's a distinctly Schubertian air to the piano's short prelude to Ah! The Sighs a 16th century song of courtly love , giving the piece more of a Romantic resonance than the basic acknowledgement of its source might normally call forth. Interestingly, this contrast is turned on its head when Martin Simpson's poised guitar accompaniment to Heart Like A Wheel invests that song with something of the character of a courtly troubadour ballad, allowing us to concentrate on June's heartbreaking sorry, there's no other word for it!

These are but two acute examples of the sheer intelligence within June's new interpretations of the songs presented on this CD. Just over half of the twelve songs are genuinely traditional in origin, and their selection was galvanised by the inspiration June gained from a series of concerts she undertook with this particular group of musicians including an In Session broadcast for BBC4.

The repertoire June's chosen contains contrasts aplenty, too, with standout interpretations of Robert Burns' Lie Near Me the album's final, extended track , Bill Caddick's powerful The Cloud Factory June's always had a striking empathy with Bill's writing, as you know and Duke Ellington's Do Nothing 'Til You Hear From Me to name but three interpolated with some slightly more uptempo fare such as Oh!

Then, on classic folk standards like The Banks Of The Sweet Primroses, June's incredible innate talent for storytelling transcends the occasionally rarefied, quasi-classical nature of the song's arrangement and presentation that description's a statement of fact, not a criticism, I hasten to add!

So let's force those doubters who habitually think of June as a cool, unemotional singer to take a close listen to this CD, and prepare for the backlash - the sound of words being hastily eaten! So, without qualification, this often profoundly moving CD forms another dark and bitter masterpiece from June, and right up there on the 'A-List' in both the obvious and the oblique senses of the term.

This latest box-set to come our way from Topic celebrates the intense artistry of arguably the finest British female singer currently operating within what might loosely be termed the folk scene her province is normally viewed as such by dint of convenience, purely because she has long operated primarily in acoustic music contexts. June had been singing and gigging ever since her college days at Oxford the booklet includes a page-stealing photo of "Tabor" captaining the St.

Hugh's team on a late edition of University Challenge! The tiny handful of pre-'76 performances unearthed for inclusion on this box-set prove invaluable mementoes of June's early accomplishment as an unaccompanied singer of traditional song. The earliest recording featured here is A Week Before Easter captured in by Andrew Cronshaw , and this gives a potent indication of her individual approach to pace and metre that even then was idiosyncratic, albeit encompassing both a mature approach to decoration and a quality of considered understanding that was rare for someone of her relative youth.

June's first solo album proper, Airs And Graces , initiated the Tabor Template by serving up what in appropriate restaurateur-speak might be dubbed "a traditional repertoire garnished with a few choice contemporary morsels". It also initiated - whether consciously or not - the enigmatic Tabor practice of beginning her album titles with the letter A a device which, disappointingly, remains obstinately unexplained in the booklet, which otherwise contains more than a fair share of enticingly revealing snippets of background information.

It's probably somewhat of an over-simplification to observe that over and during the course of her career thus far, June has moved from being a classy interpreter and transmitter of songs mostly traditional, if accompanied then mostly by guitar for an extended period of time her principal accompanist was Martin Simpson, indeed until he moved to the States in the late 80s , to being an equally superlative interpreter and transmitter of modern, composed song in tandem with her expertise in traditional repertoire, and accompanied most often by piano-based or, latterly, chamber-textured instrumental arrangements.

Folk song to art-song? Well no, not exactly, but it's a tempting analogy - at least until you begin to dig deeper into June's all-embracing talent for rediscovering folk as art. June's performing style mirrors her approach, in its precise diction, careful attention to detail and exemplary control and poise, whereby every syllable and nuance is weighed and measured yet never sounds coldly calculated. Her choosiness with regard to performing repertoire reflects her view that in contrast to a traditional song, a modern song, being "the creation of one person rather than an ongoing process", is presented to the performer as a finished article, and so she opines "if it isn't right for me" in that form, "then I don't touch it", an admirable policy; it works for her, though it may not suit all!

In this way, June is enabled as the personification of the singer and the song; she conveys each and every song she sings as a personal experience. Martin Simpson provides a telling quote in this context: She can really, really transmit pain, hurt, unfairness, anger. A number of these turn out to be live renditions of existing album tracks, often utilising different backing musicians or arrangements and invariably casting new light on the interpretations; Lal Waterson's Fine Horseman , the traditional Young Johnstone and Will Ye Go To Flanders, Richard Thompson's Pharaoh a stunning performance with Filarfolket and Mrs Rita - all these are really illuminating.

The brightest jewel in this final crown, amongst many shining diadems, is undoubtedly a Purcell Room performance with musicians from the Creative Jazz Orchestra of Kris Kristofferson's Casey's Last Ride , which just stopped me in my tracks and literally reduced me to tears "it's one of those songs", "a song of such heart-wrenching desolation", that had the very same effect on Martin Simpson too, we learn from June in the booklet.

Other highlights include Virginia's Bloody Soil a lone survivor from an aborted American Civil War-themed programme and an extraordinary performance of Tracy Chapman's Behind The Wall, which further spotlights June's eclecticity of repertoire.

She always used to pair that song with Bill Caddick's barmaid's song She Moves Among Men ; the latter is itself probably the most surprising omission from this set, although Les Barker's priceless January June parody should have earnt a pride of place - while as compensation I'm glad to find that Les's variant on the Cutty Wren saga has been included here, demonstrating that June's reputation as a primarily "miserable, serious" artiste is ill-conceived as she so evidently relishes and rejoices in the genuinely humorous repertoire.

June's sense of timing and phrasing is as important in lighter material as in the more earnest fare, in the classic ballads and the torch-jazz standards alike, and there are plenty of examples of each to delight us anew here.

The performances on these four CDs effortlessly demonstrates June's versatility and consistency of integrity, all without a trace of contrivance. Several times while playing through the set I was thinking "oh, I'd almost forgotten she did that so well too"! The hallmarks of a Tabor interpretation are there in abundance, and the tonal quality of her voice is unimpaired whatever challenges the song throws her way.

Exquisitely stylish, June always dazzles with a quiet beauty and subtle shadings and expressively stamps her personality on the song with an intense but never overwrought passion and true feeling for the text in every case, whether it be a dramatic narrative or "a mere pop song" like Lou Reed's All Tomorrow's Parties.

Then again, she'd recorded the acid classic White Rabbit for a Peel session, and there are moments as in Pharaoh where there's a Grace Slick-like quality of potent menace in her voice too. Indeed, part of the special stature of June's singing arises from the fact that she now sings exclusively in her low register having abandoned her high register several years back , giving her voice a unique, cool depth.

Interestingly, the set also includes, at the perfectly reasonable insistence of compiler David Suff, one purely instrumental track Hug Pine emphasising the importance to June of her current accompanists Mark and Huw. Finally, mention must be made of the high-art standard of the presentation of this box, whereby the booklet not only excels in its particularly well-balanced overview of June's career thus far by Ken Hunt , including some fascinating interview extracts, but also contains some stunningly beautiful and highly artistic photographs by John Haxby that provide the binding framework for the text and ancillary archive photos.

So, how to sum up? Well, in the true spirit of Tabordom, I'll just say, as in the words of the "A" Team, that Always, as an ambitious anthology, absolutely astounds! This is expressive and musical drumming at its aural and visually thrilling best. I'll paint you a picture. Pete Lockett tattooed arms, plaster-protected thumbs and forefinger, fair hair flying and shoeless attacks his drums with passion and purpose alternating with sensitive singing drum patterns from fingers the tiny tambourine-like Kanjira from south India, pitch bending with one hand whilst drumming with the other or voice accompaniment to finger drumming on a frame drum reminiscent of scat singing.

There is a name for this and I know someone will enlighten me. Joji Hirota conjurs up the spirit of Buddhist temples with bowed brass gong, bamboo flute and resonating prayer bell. He is intensely in control of the elements: Together they weave, oppose and compliment one anothers techniques.

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Heidi's voice has been described as "impossibly lovely"; her phrasing is smooth and largely intuitive, much like you'd imagine an Irish Kate Rusby might sound that's meant as a compliment to both ladies!

There's also a distinctly Rusby-like soft-focus air to the musical arrangements on the majority of the tracks, with light and airy textures skilfully managed, though the additional string section on If You Stay is perhaps a tad obtrusive. The best of the songs suit Heidi's approach down to the ground and need no special pleading: Less successful to my mind are Whispering Grass no contest with the celebrated Sandy Denny version!

The arty design and presentation of the digipack housing the CD are intended to be a selling-point I'm sure, but I find it less appealing simply because the typeface used is rather fussy and cramped and not at all easily readable, and the booklet reprints lyrics for only seven out of the 12 songs presumably for copyright reasons?

Record companies have had a field day releasing 'remastered' CDs of classic albums but the value provided to the listener can, sometimes, be questioned. In this first batch of Talking Heads releases, some benefits are immediately obvious as 'Talking Heads: Surround Sound for those suitably equipped as well as some added videos.

I'm sure that I don't have to spell out their legendary status. They are a band without comparison because nobody sounds at all like them. Though they have influenced many others from their contemporaries such as Gang Of Four to the modern day Franz Ferdinand. Taking each of these in turn, let's look at the detail. As a debut album, it was staggering and is found here in all its splendour.

Great additions to the original record. Here, the additions provide tastier alternatives with growling guitar being layered over versions of 'Life During Wartime', 'Cities' and 'Mind' sat alongside the intriguing, unfinished 'Dancing For Money'. These are worthy alternatives that might have been preferred at other points in their career.

Unfortunately, the four additions are all unfinished outtakes with 'Fela's Riff' flagging up where their influences were coming from at this point. So, as you'd expect, the additional tracks are variable though they all offer interest to the Talking Heads fan. If there is a disappointing element to this first batch, it is the rather dull videos that are all from live appearances.

However, bleating at this is pretty churlish given that these double discs are currently available for under ten quid. Roll on the next set of reissues from them. You can check out formats and chat of their legendary status in that Netrhythms review. Let's get down to the nitty gritty here.

The first one in this second batch is 'Speaking In Tongues'. It was their last release for WEA Records and a point in their career where rumour suggested that the band started to fall out.

Certainly, some of the material is fairly lightweight and hardly at the cutting edge of earlier records. It was the dawn of the drum machine and the disco beat in their music.

It sparked bemused comment from some disconcerted fans. However, it does contain the mighty 'Burning Down The House'. There are remixes of this track on the CD and DVD as well as a video on the latter but it seems to be one for the completist. However, the album still had some filler material and the extra tracks - yes, even the Pop Staples version of Papa Legba - are pretty disposable. The main plus is that the DVD contains the promo videos as opposed to live versions of the songs.

With their next record, 'Naked', there was something of a return to form with Mr Byrne's interest in South American music seemingly introducing a funk that had been lost amongst the studio gadgets. Unfortunately, the extras here are pretty limited with interest only added by some more music video promos.

With the last release here, 'Little Creatures', that return to form was sustained and provided one of their best-known songs, 'Road To Nowhere'. If you're a big fan of the song, the DVD contains the music video, too. So, all in all, the second batch isn't as enthralling as the first batch and might suggest that the Talking Heads fan pulls down the 'Storytelling Giant' video from their shelves with all their promo videos on it - what price this available on DVD soon?

Getting a full release after being available for some time as downloads from his website, these cds are ample evidence that James Talley's talent and musical vision remain intact more than thirty years after his debut recording. His vision is to bring us tales of ordinary lives - his own and those he works among - and to mark in song the familiar trials and tribulations that most of us would recognise.

All his influences are here: All of these are stamped with his warm, laid -back baritone. Frustratingly, at times, he has a tendency to sing in stacatto phrases which is a shame because when he connects the phrases you could bathe in the warmth of his voice.

On occasion here he sounds remarkably like Willie Nelson - that nasal twang - but mostly he sounds remarkably unchanged from that 34 year old debut record. As a performer, he's definitely on the mellow side which might lead you to overlook the steel core at the centre of his music. There's sentimentality here and overt Christianity but in his own quiet way it's a radical Christian message that Jesus himself might recognise.

On 'Cold Blooded Killers' - a country blues song if there ever was one - and 'The Most Influential Teacher', which has a blunt directness of language that George Orwell would have been proud of, James makes clear his disdain for those in power who would wrap themselves in their bibles whilst pursuing the most un-Christian behaviour. Performances of songs that cover his entire career, the first selection was released previously as 'Journey'.

This second batch of songs has been added to in the studio to flesh out the sound but still retains the warm feel of a performance and features some beautiful musicianship. In fact, throughout both of these albums I'm reminded of liner notes Mike Nesmith wrote back in the 70's in which he said - to paraphrase - that his aim was to achieve the purity of intent and execution that Jimmy Rodgers and Hank Williams achieved in their time.

Making it look easy is where the art lies, and that's what James Talley and his musical pals pull off. Apparently the record made quite a splash at the time, it's simple directness contrasting hugely with most other Nashville product of the time. Sadly, perhaps, for James Talley, it didn't lead to a lasting career as a musician; though still writing, he's had to earn his living in other ways.

He takes a deep pride, though, in being a working man, working alongside ordinary folk, so maybe he's happy enough that that was how life turned out for him. Described in contempotary reviews as country-folk, these songs straddle those fields of music as much, and as well, as any other record you might care to name. The album opens with a swinging tune motored along by Johnny Gimble's fiddle that celebrates Talley's Oklahoma childhood and the Saturday nights when they would dance to "W.

Lyrically, that about sets the tone for the rest of the album: So far, so sentimental, and the sweetness of the singing and the arrangements re-enforces that sentimental sound. Thirty years on when we've embraced the darker moods of alt.

There is, however, a rugged spine to these songs, a rootedness in real lives that means they deserve their place of honour in the line that leads from Woody Guthrie to where we are today.

So, "Give him another bottle, let him ease his mind". And whilst the Nashville mainstream would have given this a slow sickly over-sweet arrangement, Talley and his fiddler turn it into a fast-chugging railroad song, a celebration of the drunk's earlier life. Elsewhere, he gives us his take on "Red River Valley", beautifully played and with an added verse of his own in the middle; the famous tune is abandoned for a sparse dreamy sequence at that point in a songwriting experiment that reminds me of stuff Don Maclean was doing at the time, all of which makes it about as "folk" as you can get in an American context.

Not content with that , "Sing Song Kitty", which I only knew from Doc Watson's version, turns up with different words - nonsense and otherwise- as "Daddy's Song", and sounds just great. It seems there are as many versions of that song as there are households that sang it. Throughout, the playing is warm, lively and sensitive and Johnny Gimble's fiddle is a particular delight; recording back in was a protracted and informal affair and the core musicians were augmented by more than a dozen others who "happened by", including a young John Hiatt who contributes the lead acoustic guitar on one track.

All in all, a quiet delight. For his latest release, Jeff Talmadge has gathered some of Nashville and Austin's top musicians and produced an album that is as gentle as it is deep.

Texan Talmadge has a rich experience to draw on for his poetic songs and has worked as a janitor, a Capitol Hill Congressional press secretary, an associate scout for a major league baseball team and a board-certified lawyer. Country and very easy going. Let Her Go showcases Talmadge's velvet voice and is some more easy going Country.

Wrong Train sets me to thinking that it is going to be gentle sounds all the way through the album. This guy is so laid back and the idea for the song came from a time that he caught the wrong train in Groningen in the North of Holland. He says that he enjoyed the journey even though he was going in the wrong direction and sometimes in life we have to go in a different direction to reach our destination.

Austin When It Rains has an obvious drumbeat! However, it picks up only slightly from those that have gone before but does have a sense of melancholy. Talmadge says that this is one of his favourite Dylan songs and that he'd always wanted to record it. He should be pleased with the result as the band plays as one. Because Of You gets him out of first gear - almost.

Like the others, this skirts the area between folk, Americana and Country. Train From Amsterdam slows things back down again and is just so easy to listen to. This song came from his thoughts about how much his life had changed whilst on another train in The Netherlands.

White Cross remains firmly in the slow lane and mixes Americana with Country. In the US it is common practice for people to place small white crosses at the scene of road accidents and it was spooky that both Talmadge and his friend, Claudia Russell, were both working on a song on this topic at the same time.

They thought it would be best if they collaborated and the result is here. Scrapbook is an almost seamless transition from its predecessor and keeps up the gentle theme. This idea came from Talmadge thinking that every place he visits is like turning the page of a scrapbook. The slightly jazzy Chet Baker Street closes the album and Talmadge doesn't crank it up, even for the last song.

This album is perfect for when you have a few friends around and don't want the music to completely drown out the conversation but still want to raise a few talking points. Texan singer-songwriter Jeff writes strongly and powerfully, much in the tradition of Townes Van Zandt and Guy Clark those especially called to mind - well at least that's on the evidence of Blissville , which would seem to be Jeff's fifth CD release.

I was very much taken with the warmth of Jeff's idiomatic, honest, intimate, sometimes half-spoken vocal style, and by his plain-speaking and simply evocative lyrics.

He cloaks his stories of regret and oblique reminiscences in attractively homespun and often decidedly ironic philosophy, a fetching combination that yields as much intellectual as pure listening pleasure. Examining the liner notes, though, Blissville would also seem to be, at least in part, an anthology of sorts, for it's stated that of the album's thirteen tracks, three had originally appeared on Jeff's album Bad Tattoo , whereas a further two are from 's Secret Anniversaries and two others from 's The Spinning Of The World the versions here differing in that they benefit from remixed vocals, it says.

That leaves just six tracks having been newly recorded in But whatever the provenance or vintage of the songs here, Jeff's output is heard to be mightily consistent and always better than likeable, with the more recent tracks in particular really characterful in a soft-edged alt-country mode that's often reminiscent as much of the rootsy mid-period Band albums as anything else.

Blissville sure makes you want to hear more of Jeff's work; indeed, I can't quite fathom why he'd never appeared on my own personal radar before. Jeff Talmadge - The Spinning World Bozart Records Singer-songwriter, acoustic guitarist Jeff Talmadge is an impressive talent from Austin, Texas who we haven't heard of this side of the pond for the usual reasons: We are privileged at NetRhythms that sometimes we get sent music that we wouldn't otherwise get to know about.

Who is Jeff Talmadge? His website gives a little background information about the man, ' Associate Baseball Scout for a major league baseball team, Capitol Hill spin doctor, award-winning poet, practicing lawyer Jeff Talmadge is a man of multiple talents and many hats.

The Spinning World is an album of polished songs which I've found easy to play again and again and hard to chose a favourite from. Care and craftsmanship are evident throughout - the lyrics are sharp and insightful, wry and witty, the musicianship with the assistance of Stephen Bruton on slide guitar, mandolin and mandola is excellent and on the twangy side of folk, and the backing vocals from Iain Matthews and Eliza Gilkyson are a joy.

Throughout the collection of eleven songs the professional production by Bradley Kopp is bright, full and warm with acoustic guitars, gentle bass and percussion, strings cello and violin and touches of accordion and harmonica.

His latest release, Bad Tattoo, which I've yet to hear, brings back several players from The Spinning World plus and she's always a ' plus ' Annie Gallup on backup vocals. Want to hear more? You may download soundclips from his website before clicking on to Amazon. We may live in a spinning world but Jeff Talmadge's albums are for those important ' time out ' moments - lay back and enjoy!

Singer-songwriters of the Saharan desert, the Touareg ex-rebels Tinariwen, birthed distinctive blues grooves - intense and enthralling - now taken up by the young seven-strong Touareg blues-rock band Tamikrest. Their name "Tamikrest" is Tamashek the Touareg language for "union" and "knot" - a symbol for the desert, language and culture which unifies and binds them. And unified they are. A western band might be considered "tight" but Tamikrest are another thing entirely.

The slow-paced caravan of bass-driven rhythms, electric guitars, tunes layered with claps and harmonies punctuated by the ululation of female backing singers and even echoes of the Eagles and a few reggae beats , become trance-like. The words of lead vocalist of Ousmane Ag Mossa in the Tamashek language seem totally comprehensible to the Western heart, even if to the ears they aren't. It's the universal voice of pain and passion of struggle, of war, the beauty of the desert, of travelling grooves and - ultimately and hopefully - prayers for freedom.

If you need an actual translation, the sleeve notes are also in English and French. John Tams - The Reckoning Topic. John Tams rocks - oh, yes he does! You don't believe me? You think he's all songs of desolation, Napoleonic adventure and industrial turmoil?

Think again, my friend. Just as it was surprising to realize that Unity , the album before this, was Tams' first solo outing, it's still a little shocking that, with more than 30 years' experience and a hand or two in at least one of folk-rock's seminal albums, Home is only the second collection to carry the Tams monicker. And, as might be expected, he's learned a thing or two with all those years under his belt.

One of those lessons is to keep your material varied, for that way is the path to holding the attention of your audience. Thus, possibly with that thought in mind, he's penned some stirring uptempo firecrackers and sprinkled them, like hundreds and thousands, across his latest home-baked offering. The first of them, to draw the punters in, is track number one, You don't know me anymore. With telling, hurting observations, it concerns a man's realization that the relationship with his lover has lost its spark.

But, though the song brims with sadness, it's sung to a strident beat pushed along by Keith Angel's drums, swollen by the lovely rich tones of Alan Dunn's Hammond organ and lifted by the first of many fine lead guitar breaks from Graeme Taylor. In stark contrast to the superficial happiness of the album's opener, track two is like a damp, overcast afternoon stood among the ruins of a derelict northern mill. Featuring just Tams - singing and playing guitar, bass and keyboards - and Angel, it's dark and doomy, with the percussionist really coming into his own.

His marimba soaks through the melody with all the persistence of a relentless drizzle at the same time as his staccato drums seem to mimic short, sudden downpours. The song has a bleak beauty that's hard to ignore. In The ballroom , Tams slips into his pumps for the first of two songs marking the lure of the dance. Littered with characters looking for something they'll not find in this palais de danse, the song's filled with a sadness not entirely bereft of hope.

Dunn again shines, initially on piano accordion and then with a delicious Hammond organ pattern filling the latter half of the song. Red gown starts with Tams' acoustic guitar and vocals, and the organ, this time played by Barry Coope, before Taylor lets rip with a perfectly measured lead break.

Unlike The ballroom , the lyric is filled with the excitement and expectation of an evening's fun: But it's historical ballads at which Tams excels and Home has a belter right at its heart. She was an angel all in my eye, which made me from my colours to fly". He is eventually betrayed, court martialled and executed with a timely warning to all young men who fall in love.

Other top-notch tracks on a top-notch album are: Right on time - Tams solo with his acoustic guitar - The traveller and Bound east for Cardiff. It may say John Tams on the front of the package but due credit must go to his fellow players, each of whom more than earns his crust here. In addition to the already mentioned Taylor, Dunn, Angel and Coope, Andy Seward 's bass is bang on the money throughout. Home is an album that reveals new treasures with each play. It's a natural progression, and a more than worthy follow-up, to Unity and it's stating the obvious to say that any who enjoyed Tams' first album will love this.

JT call Home sorry! Music Of The Good Hope T2 The recent National Theatre production of the play The Good Hope , relocating the tale in Whitby, provided the vehicle for a new musical collaboration between Messrs Tams and Taylor reunited in an echo of former Home Service and Albion Band glories , providing a telling 17 minutes' worth of soundtrack that's recorded here.

They've roped in the talents of Chris Coe, Alan Dunn, Charlie Hart and Clare Taylor; Chris Coe's is certainly the dominant presence, contributing some extraordinary vocals, hammer dulcimer and even some clogging! Personally, I could easily have done with three times as much music, but the absorbing and riveting nature of what there is proves a sufficiently poignant and effective tribute to the fishing communities around the tragedies of which the play is based.

Named for a favourite hiking spot in the Adirondacks region of northern New York state, this is the new project by Mike Ferrio, the former frontman of Tandy which came to an end with the death of multi-instrumentalist fellow member Drew Glackin.

Deciding to start over rather than continue without Glackin's integral input, Ferrio assembled a collective of musicians who played with names such as The Silos, Ron Sexsmith and the Guthries plus violinist Eleanor Whitmore to put together what he describes as 'an artistic project for a lost friend. Recorded live on vintage analogue equipment, the songs inevitably deal with the big issues of death, friendship, life and love, the music embracing elements of soul, rock, folk, gospel, and Americana with instrumentation that includes organ, horns, harp, strings and, notably on the wide open prairie skies ambience of More Than A Feeling no, not that one , harmonica.

With tracks clocking in between two and a half and six and a half minutes, it's clearly a work born of great personal emotion, Ferrio's dusty timbre leaking wistful reminiscence and sadness but also, as with the uptempo The Seven Sisters, alight with hope.

Lyrically there's much religious imagery alongside that of mortality and transience with, as on the sparsely arranged The Perfect Circle with its otherwordly background ambience, calls to make the most of the 'diamond days', before 'your deal goes down.

One to let wash over you as things like Requiem For Andrew, On Faith and Heaven In The Haze with its gospel choir seep into the soul, it's both a poignant, reflective elegy and the birth of a new future. You know you're good when such an august figure as Steve Earle is in your corner. Just how good is demonstrated by the fact that yours is the first music he featured on his radio show. Rarely has a set of songs contained such an impact and achieved it so deftly.

Tandy draws you into an intimate and personal world until you're not so much a listener as a welcome confidant. Ferrio's voice sits squarely in the middle of some gossamer delicate melodies and, throughout both albums, tracks build thoughtful layer upon thoughtful layer until they become utterly irresistible.

Ferrio is joined on his endeavours by kindred spirits Ana Ege and Malcolm Holcombe. While both Ege and Holcombe are talented musicians, it's the combined spirit and determination of the three to cosset and comfort the music that provide the albums true delights. Tandy may not shout from the rooftops but its music is deafening in what it has to say.

Ferrio and co display an unerring accuracy in getting to the root of every note and word, there is not a wasted second on either album. Musicians like Ferrio, Ege and Holcombe don't deserve labeling, leave that cheap trick for lesser talents.

Two for the price of one - with a bonus track on each! There's two ways of looking at this. Either Tandy's publicist is pursuing the 'less is more' line of thinking or the band prefers to let its music do the talking because biographical details are scarce. The other members of the band are: Whether they are roots rockers, rock n rollers or something completely different, I'm A Werewolf hits with the force of an express train. A malevolent harmonica stalks it, like some unseen predator in the night, you can almost taste the fear.

If you have a gravelly singing voice and write the kind of deep, dark songs that fit that voice perfectly, then there are certain people you must expect to be compared to.

Tom Waits is one, Tom Ovans and Warren Zevon are a couple of others and Ferrio slots right in with them, however this is an album that has as much light as shade.

Without cooling the white-hot intensity of the rock 'n' roll, the album moves into Bait. To describe it as 'lighter' would be wrong but it's certainly airier than its predecessor. Listening to Tandy is akin to being caught in a vice-like grip, even if you wanted to escape there's no chance. All you can do is sit tight and listen intently, the effort is rewarded by the tender Evensong.

After the maelstrom to hear a heart being poured out is a startling moment. It's brought into even starker relief by the almost operatic feel to Misery Boys, a song of distinct parts - neither the lyrics nor the melody are there merely to support each other - which come together to produce a much grander whole. Singer-songwriter Mike Ferrio is occasionally joined by Ana Egge, their duets creating the sense that he's Gram, and she's you-know-who!

Incidentally, in terms of packaging this CD ought to be regarded as the benchmark against which all self-released albums are judged. The package includes a lyric booklet, sticker, personally signed band photograph and the video for Girls Like Us - all mightily impressive for a release limited to a mere five hundred copies.

This would, of course, matter not a jot were the music not so captivating. To A Friend is an album as intimate as it's title suggests, a mature, crafted meditation on the past, which is destined for 'buried treasure' status in the future.

Tandy - The Lowdown Gammon Fronted by gifted songwriter Mike Ferrio who has a voice somewhere between John Prine and Steve Earle, the New York quartet have been making the rounds now for some six years, totting up three self released albums along the way. With a rising awareness of their brand of Americana and now signed to a proper label, they've taken the opportunity of gathering together the best of the old tracks with a couple of new numbers for good measure.

The presence of tabla on Becky California is indication that they're prepared to explore beyond the usual roots rock fence without sacrificing their distinctive rural mood, and if more recent numbers such as The Truth Is Better Than A Lie or the Byrdsian pedal steel driven Sister Golden Hair are stripped down, the more musically fleshed out likes of The District Doctor, Shine and Ted are no less convincing testimony to the band's keening charms.

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Queen - A Night at the Opera. Supertramp - Breakfast In America. Supertramp - Crime Of The Century. The Band - Last Waltz. The Beatles - Abbey Road. The Eagles - Hotel California. Classic Lightfoot - Gordon Lightfoot Tribute. The Music of The Carpenters. Coast 2 Coast Artist Showcase. Coast 2 Coast Live Interactive Showcase. Cody Canada and The Departed. The Beatles Concert Experience. Comedy Palace Comedy Showcase.

Contemporary Native American Music Showcase. Control for Smilers - Tribute to Phish. Country Crossings Music Festival. Czech National Symphony Orchestra.

Pel and Strange Attractors. Dallas Symphony Christmas Pops. Damnit - A Tribute To Blink Dani Bell and The Tarantist. Danny Carmo's Mathematical Mysteries. Dark Desert Eagles - Eagles Tribute. Darling Nikki - A Tribute to Prince. Davey Muise and the Sons Of Zero. Davidson College Holiday Gala.

Davidson College Jazz Ensemble. Davidson College Symphony Orchestra. Day Tripper - The Beatles Experience. Dean Falcone's Annual Thanksgiving Vomitorium. Dearling - Tribute To Fleetwood Mac. Decades Collide - 80's vs. Deft Ones - Deftones Tribute. Diamond - A Neil Diamond Tribute. Diamond Dave - Tribute to Neil Diamond. Dimenation - Pantera Tribute. Ding Dong's Character Circus. Dirty Rotten Scoundrels' Jukebox Jamboree. The Music From Final Fantasy.

Distinguished Concerts Singers International. Django a Gogo Music Festival. Don Amero's Amero Little Christmas. Doyle Wolfgang von Frankenstein. Duluth Superior Symphony Orchestra. Dvorak's New World Symphony. Dweezil Zappa Guitar Masterclass. The Extra-Terrestrial Live in Concert. Eaglemania - Tribute To The Eagles. Echoes of Pompeii - Pink Floyd Tribute. Eclipse - A Tribute To Journey. El Gran Combo de Puerto Rico. Ellis Dyson and The Shambles. Elton Dan and the Rocket Band. Elvis Presley Birthday Party.

Elvis Tribute Artist Spectacular. End of Year Choir Masterworks Performance. Epic Evolve - The Decades Show. Eric Burdon and The Animals. Ernie Haase and The Signature Sound. Essentially Ellington Jazz Festival. Estonian Philharmonic Chamber Choir. Etc - School of Musical Arts. Fabulous Armadillos - Eagles Tribute. Fast Times Ultimate 80's Tribute.

Fat Tuesday Mardi Gras Party. Festival Chamber Music Concert Series. Florida Blue Battle of The Bands. Formidable - The Aznavour Tribute. Fort Worth Symphony Orchestra. Franck's Symphony in D Minor. Frank Muffin - The Wall Tribute. Frank Sinatra's Birthday Celebration. Free Fallin - Tom Petty Tribute.

From Shtetl to Stage: A Celebration of Yiddish Music and Culture. Funner, Gooder Than Just Fun. Gershwin's Rhapsody in Blue. Giant Panda Guerilla Dub Squad. Golden State Youth Orchestra. Goosebumps Bloodfeast Halloween Dance Party. Gordon Goodwin's Big Phat Band. Grand Royale - Beastie Boys Tribute. Green Dazed - Green Day Tribute. Growing Mindz Talent Showcase. Halden Wofford and the High Beams. Second Annual Sinatra Celebration.

Hardcore Hip Hop House Party. Harry Potter and the Chamber of Secrets. Harry Potter and The Goblet of Fire. Harry Potter and The Prisoner of Azkaban. Hazel Gaze Album Release Party. Hazy Holidaze Winter Ball and Brunch. Head Games - A Tribute to Foreigner. Head Games - Foreigner Tribute.

Heroic Beethoven and Enigmatic Elgar. Holiday Doo Wop Extravaganza. Holiday Pops in the Heartland. Home for the Holidays Comedy Show. Home for the Holidays Family Concert. Horseshoes And Hand Grenades. Hotel Desperado - Eagles Tribute. House Of Blues Gospel Brunch. How The Moon Stole Christmas. Idol X - Tribute to Billy Idol. Illeagles - Tribute To The Eagles. Illinois State University Band. Illinois State University Symphony Orchestra. Illinois State University Wind Symphony.

Improv Class Performance. Influence of The World: Interstellar Echoes - Pink Floyd Tribute. A Tribute to Michael Jackson. Moses and The Ragged Sunday.

Jamie Laval's Celtic Christmas. Jason Boland and The Stragglers. Jason Bonham's Led Zeppelin Experience. Jazz At Lincoln Center Orchestra. Jeramy Norris and The Dangerous Mood. Jeremy's Ten - Pearl Jam Tribute. Jerry Garcia Band Cover Band. Jerry Joseph and The Jack Mormons. Jesse Pino and The Vital Signs. Jim Curry - John Denver Tribute. Jim Parker's Songwriters Series. Joan Jett And The Blackhearts.

Joe Gransden and His Big Band. Joe Hertler and The Rainbow Seekers. Joe Hisaishi Symphonic Concert. John Denver's Rocky Mountain Christmas. John Mueller's Winter Dance Party. Jon Thrasher's Birthday Bash. Jose Negroni Jazz Symphony: Josh Gachette and His Pioneers. Josh Roberts and The Hinges. Joshua Bell's Mendelssohn Violin Concerto. Journeyman - Tribute to Eric Clapton. Joy Columbus Gay Men's Chorus.

Just Fine - Mary J. Kalichstein Laredo Robinson Trio. Karl Denson's Tiny Universe. Karla Perez - Tribute To Selena. Kashmir - The Led Zeppelin Experience. Katie McMahon's Celtic Christmas. Kendell Marvel's Honky Tonk Experience.

Kennedy Center Chamber Players. Kick The Inxs - Inxs Tribute. Kurt Vile and The Violators. Kyle Duke and the Brown Bag Boys. La Arrolladora Banda El Limon. Lake Havasu Rockabilly Reunion. Landslide - A Tribute to Fleetwood Mac. Lanes Laire Album Release Party.

Larry Vuckovich's All-Star Sextet. Latshaw Pops Spectacular Show. Lavola - Radiohead Tribute Show. Led Zepagain - Led Zeppelin Tribute. Led Zeppelin 2 - Tribute Band.

Ledfoote - Tribute to Led Zeppelin. Legendary Ladies of Country. Black History Month Celebration.

伊藤製作所は液体、気体の吸引から吐出までの流路に関係する部品の製造販売をしています。ノズル、ポンプ、シリンジ、配管を一貫して製作しています。. Fukuoka | Japan Fukuoka | Japan. Download-Theses Mercredi 10 juin