Playlist
Little Feat

Little Feat
Hamburger Midnight
Year: 1989

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In the Magic Hour

Aoife O'Donovan
Jupiter
Year: 2016

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Sky Full of Holes

Fountains Of Wayne
Richie and Ruben
Year: 2011

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Vibrato

Paul Gilbert
The Pronghorn
Year: 2012

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Solo Concerts

Bruce Hornsby
Might As Well Be Me (Live)
Year: 2014

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Silver & Gold

Sufjan Stevens
I'll Be Home For Christmas
Year: 2012

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2013 two CD release from the British guitarist, songwriter, producer and former Dire Straits leader. Privateering is Knopfler's first double album, each song an original. They cover a wide range of locations and characters from both sides of the Atlantic and move through a number of genres which include several new Blues originals. The album is a soulful and heartfelt collection masterfully performed by a group of world class players. In addition to what has become Knopfler's long-time band, hand-picked guest aces include Kim Wilson (harp) of the Fabulous Thunderbirds, Tim O'Brien (mandolin), singer Ruth Moody of The Wailin' Jennys, Paul Franklin (pedal steel) and Scotland's Phil Cunningham (accordion). Twenty new titles were recorded at the artist's British Grove Studios in London with the following players: Richard Bennett (guitar), Jim Cox (piano) Guy Fletcher (keyboards), John McCusker (fiddle), Mike McGoldrick (whistle and flute), Glenn Worf (bass) and Ian Thomas (drums). Knopfler was assisted by co-producers Guy Fletcher and Chuck Ainlay.
Privateering

Mark Knopfler
Kingdom Of Gold
Year: 2013

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Fountains of Wayne is one of the leaders of the latest in a long series of power- pop revivals. If the music sounds a lot like mid-'60s pop rock, it's no accident, for the songwriters are unabashed British Invasion fans. The songs on the debut album, Fountains of Wayne, take perky, '60s-like hooks and marry them to ambiguous, unnerving, '90s-like lyrics. Some songs offer an untrustworthy narrator; when the singer complains about "Joe Rey," a Eurotrash jet-setter, you wonder whether he's expressing disdain or envy and whether the song's noisy guitar energy belongs to the band or to Joe Rey. And there's something about the pent-up Mersey-beat energy and pleading vocals of "Please Don't Rock Me Tonight" that make one suspect the singer doesn't really mean what he says. Schlesinger and Collingswood are undeniably clever, but they're not afraid to rock. --Geoffrey Himes
Fountains of Wayne

Fountains of Wayne
Everything's Ruined
Year: 2004

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Sometimes I Sit and Think, and Sometimes I Just Sit

Courtney Barnett
Debbie Downer
Year: 2015

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A Loud Bash of Teenage Feelings

Beach Slang
Art Damage
Year: 2016

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A Loud Bash of Teenage Feelings

Beach Slang
Spin the Dial
Year: 2016

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A Loud Bash of Teenage Feelings

Beach Slang
Atom Bomb
Year: 2016

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A Loud Bash of Teenage Feelings

Beach Slang
Future Mixtape for the Art Kids
Year: 2016

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Ape in Pink Marble

Devendra Banhart
Middle Names
Year: 2016

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Sometimes I Sit and Think, and Sometimes I Just Sit

Courtney Barnett
Dead Fox
Year: 2015

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Sometimes I Sit and Think, and Sometimes I Just Sit

Courtney Barnett
Dead Fox
Year: 2015

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Weezer (Green Album)

Weezer
Hash Pipe
Year: 2001

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Solo Concerts

Bruce Hornsby
Here We Are Again (Live)
Year: 2014

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Although America's first great songwriter, Stephen Collins Foster, died 140 years ago, his legacy lives on in the hundreds of songs he left behind. Beautiful Dreamer: The Songs of Stephen Foster was recorded to celebrate his enormous gift to American culture. Foster's compositions (including "Oh! Susanna," "My Old Kentucky Home," "Camptown Races," "Jeanie With The Light Brown Hair" and "Hard Times Come Again No More") are woven into the fabric of our national identity, yet most music fans today know little about him. Foster has been unjustifiably overlooked in recent decades. No collection of his music recorded by contemporary artists has existed until now. Although tribute albums have become much too common, this project's historical significance distingusihes it from a crowded field. Beautiful Dreamer: The Songs Of Stephen Foster is a collection of Foster's most beloved compositions – and lesser-known exquisite parlor songs of his day – sung by some of today's most respected musical artists. The album includes songs by: Raul Malo, Alison Krauss with Yo Yo Ma, Edgar Meyer and Mark O'Connor, BR549, Alvin Youngblood Hart, Judith Edelman, The Duhks, John Prine, Henry Kaiser, Beth Nielsen Chapman, David Ball, Michelle Shocked & Pete Anderson, Grey De Lisle, Mavis Staples, Ollabelle, Roger McGuinn, Suzy Bogguss, Will Barrow and Ron Sexsmith. All of the proceeds from Beautiful Dreamer: The Songs of Stephen Foster will benefit American Roots Publishing, a nonprofit organization dedicated to preserving American regional culture through literature and art. Goals are accomplished by supporting artists who honor regional culture through their work and by linking them with communities in focused educational programs.
Beautiful Dreamer - The Songs of Stephen Foster

Stephen Foster
Willie We Have Missed You
Year: 2004

Amazon MP3

Grinderman is the sound of indie rock legends growing old disgracefully, and that is by no means a criticism. From the opening rant of "Get It On," this is an album with all the menace of an angry drunk, dripping with anger and testosterone (as the surfeit of facial hair in the band's interior photo will attest). It could even be the sound of Nick Cave's midlife crisis, but it doesn't matter, because Grinderman rocks. It's the sound of four musicians having a grand time, turning the volume up to 11 and really cutting loose. For that reason, it's the more upbeat tracks here that are probably the best: "Honey Bee (Let's Fly to Mars)" with its driving electric organ, the primal urgency of "Depth Charge Ethel," and the strutting album closer "Love Bomb." After all the po-faced seriousness he's displayed in recent years, it's good to know that Cave has rediscovered his sense of humour: "I cleaned the sheets on my bed, I combed the hairs across my head, I sucked in my gut and still she said, 'I don't want to,'" he sings on "No Pussy Blues," with his tongue firmly in cheek (amongst other places). Simply put, Grinderman is a hoot. --Ted Kord
Grinderman

Grinderman
Go Tell The Woman
Year: 2007

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7 Summers

Shaun Martin
The Torrent
Year: 2015

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There's little risk of confusing Tom Waits with the gentle pop folk who have covered his songs--Rod Stewart, Sarah McLachlan, Everything But the Girl, just to name a few. That's because even though the eccentric songwriter is capable of summoning the most tender sentiments, his preferred method of delivery is through carnival melodies, crackpot instruments, and a bourbon-soaked bark. Real Gone continues the dark experimental streak of not just its predecessors like Alice and Blood Money, but the past 30 years. Yes, the percussion is sharper, the arrangements stranger, and the voice more ghost-like than ever, but at the center of all the chaos remains an uncanny storyteller--capable of ripping down governments ("Sins of My Father") and building up tears ("Day After Tomorrow"). --Aidin Vaziri
Real Gone

Tom Waits
Green Grass
Year: 2004

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Donald Fagen's 1982 solo debut extends the sleek, smart pop craft of his work with Steely Dan into the realm of the concept album, taking the Dan's penchant for intricate plotting, evocative narrative voices, and allusive imagery to the logical next step. Fagen's connective thread is futurist nostalgia for the "New Frontier" as anticipated from the prosperous vantage point of late-'50s America. He romanticizes a brave new world of technology in the sultry diorama of "I.G.Y.," celebrating the coming glories of the Atomic Age. He then filters that view through his own suburban adolescence--a would-be seduction in a fallout shelter, the siren song of a graveyard-shift jazz DJ, a not-quite-hard-boiled noir adventure ("The Goodbye Look") that borrows its title from an early '60s Ross MacDonald mystery. Song for song, the set's a stunner and stands apart from Steely Dan thanks to a unique, poignant romanticism embodied in Fagen's yearning "Maxine" and a creamy update of Dion & the Belmonts' "Ruby Baby." --Sam Sutherland
The Nightfly

Donald Fagen
Green Flower Street
Year: 1982

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In the Valley of Notes

Salomon Jakobsson
Green Eyes in Disguise Behind the Piano
Year: 2016

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Big Bach Set

Paula Robison, flute, Kenneth Cooper, harpsichord, Timothy Eddy, cello
Sonata in B Minor for Flute and Harpsichord in B minor, BWV 1030 I. Andante
Year: 2012

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Bon Iver

Bon Iver
Beth/Rest
Year: 2011

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Bon Iver

Bon Iver
Lisbon, OH
Year: 2011

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Bon Iver

Bon Iver
Calgary
Year: 2011

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Bon Iver

Bon Iver
Wash.
Year: 2011

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Bon Iver

Bon Iver
Hinnom, TX
Year: 2011

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Bon Iver

Bon Iver
Michicant
Year: 2011

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Bon Iver

Bon Iver
Towers
Year: 2011

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Bon Iver

Bon Iver
Holocene
Year: 2011

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Repave

Volcano Choir
Acetate
Year: 2013

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Repave

Volcano Choir
Acetate
Year: 2013

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Repave

Volcano Choir
Tiderays
Year: 2013

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22, A Million

Bon Iver
33 “GOD”
Year: 2016

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For Emma, Forever Ago

Bon Iver
For Emma
Year: 2007

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For Emma, Forever Ago

Bon Iver
Team
Year: 2007

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For Emma, Forever Ago

Bon Iver
Creature Fear
Year: 2007

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The Randy Newman Songbook

Randy Newman
The Great Nations of Europe
Year: 2003

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Seven years passed between the release of Bone Machine and Mule Variations. During that time Tom Waits eschewed cutting another "conventional" (the term used loosely here) song collection, occupying his time with acting projects, a soundtrack (Night on Earth), a stage project (The Black Rider), and sundry smaller diversions. What's surprising about Mule Variations is how little he's strayed from the old Bone yard through the years. As with his Grammy-winning 1992 outing, Waits intersperses the tough and the tender, mixing exercises in creative noisemaking with tunes that fall on just the right side of maudlin. As with Bone Machine's "The Ocean Doesn't Want Me," "What's He Building?" is an experiment in word jazz that owes a debt to its creator, Ken Nordine. Waits has again assembled a crew of attuned sidemen (including Primus and steadfast backers Ralph Carney, Larry Taylor, and Joe Gore). And, as always, Waits and his wife-cosongwriter-coproducer Kathleen Brennan exhibit an uncanny ear for the arcane. In the end, Mule Variations is the aural equivalent of a salvage shop that, while largely familiar, still has a few secluded chambers and trap doors. --Steven Stolder
Mule Variations

Tom Waits
Black Market Baby
Year: 1999

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Seven years passed between the release of Bone Machine and Mule Variations. During that time Tom Waits eschewed cutting another "conventional" (the term used loosely here) song collection, occupying his time with acting projects, a soundtrack (Night on Earth), a stage project (The Black Rider), and sundry smaller diversions. What's surprising about Mule Variations is how little he's strayed from the old Bone yard through the years. As with his Grammy-winning 1992 outing, Waits intersperses the tough and the tender, mixing exercises in creative noisemaking with tunes that fall on just the right side of maudlin. As with Bone Machine's "The Ocean Doesn't Want Me," "What's He Building?" is an experiment in word jazz that owes a debt to its creator, Ken Nordine. Waits has again assembled a crew of attuned sidemen (including Primus and steadfast backers Ralph Carney, Larry Taylor, and Joe Gore). And, as always, Waits and his wife-cosongwriter-coproducer Kathleen Brennan exhibit an uncanny ear for the arcane. In the end, Mule Variations is the aural equivalent of a salvage shop that, while largely familiar, still has a few secluded chambers and trap doors. --Steven Stolder
Mule Variations

Tom Waits
What's He Building In There?
Year: 1999

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In My Room

Jacob Collier
Don't You Know
Year: 2016

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In My Room

Jacob Collier
In the Real Early Morning
Year: 2016

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In the Name of Mozart

Alex Masi
Allegro: Eine Kleine Nachtmusik K. 525
Year: 2004

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