Playlist
Arguably their best record, Crowded House had come to full maturation with this set of thirteen ear catching tracks. The occupant of the producer's chair on this album switched from longtime sound shaper Mitchell Froom to Killing Joke's Youth. The musical arrangements here reflected and encompassed more of their native Kiwi homeland (New Zealand) than any of their other albums. Each track on this desert island essential is played with passion and heart. Neil Finn was at the height of his golden songwriting skills and produced a modern classic. The music is simply breathtaking and the lyrics poetic and intelligent.
Together Alone
Crowded House
Together Alone
Genre: Rock
Year: 1993
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Murder Ballads
Nick Cave & The Bad Seeds
Stagger Lee
Genre: Alternative & Punk
Year: 1996
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The Ride
Los Lobos & Café Tacvba
La Venganza de los Pelados
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All Time High
Jimmy Wahlsteen
Halifaxation
Genre: Folk
Year: 2011
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In Absentia
Porcupine Tree
Strip the Soul
Genre: Alternative
Year: 2002
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Tom's audience vastly increased as he went #89 pop with this 1976 LP, which was recorded directly to two-track tape over six days that July. That's the legendary Shelly Manne on the skins, backing slinky saxophone runs and Tom's atmospheric song-stories: Tom Traubert's Blues; The Piano Has Been Drinking (Not Me); Bad Liver and a Broken Heart; Pasties and a G-String; The One That Got Away perhaps his quintessential '70s album!
Small Change
Tom Waits
The Piano Has Been Drinking (Not Me)
Genre: Rock
Year: 1989
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The Band - Greatest Hits [ORIGINAL RECORDING REMASTERED]
The Band
The Night They Drove Old Dixie Down
Genre: Rock
Year: 2000
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Tape Head
King's X
Higher Than God
Genre: Rock
Year: 1998
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Fourteen years, a live CD/DVD, some solo albums, and one tragic suicide after Crowded House's last release comes this highly anticipated reunion. Singer/songwriter Neil Finn and bassist Nick Seymour reunited after the 2005 death of drummer Paul Hester, brought in a new member and two producers (Ethan Johns and Steve Lillywhite) to replace longtime cohort Mitchell Froom, and the impressive result is a logical and overdue addition to the band's previous four albums. Finn's knack for a melodic ballad remains firmly in place as Time on Earth coasts on his dreamy voice and introspective, hook-laden pop choruses. However, this is a more reflective collection that requires a few spins to fully reveal its charms. Finn co-writes "Even a Child" with Smiths guitarist Johnny Marr, and that and the frisky "She Called Up" are the most buoyant tracks on this predominantly pensive disc. Finn has generally shaded towards a darker edge and this hour-long set might have benefited from more of the lighter touch he applies to "Transit Lounge," a song enhanced by Beth Rowley's lovely and startling wordless vocals along with jazzy electric piano and even airport sound effects. Strings, sitar, and intricate production add subtle elements that bolster the timeless musical qualities Finn has always reveled in. The ominous, even brooding "Silent House," a co-write with all three Dixie Chicks, is another highlight that sounds like nothing either has done before as it floats along on fuzz guitar and hurdy-gurdy, both courtesy of Johns. Trimming some weaker cuts would have made this a more focused listen, but Time on Earth is a worthy successor to Crowded House's existing catalog--a high compliment indeed. --Hal Horowitz
Time On Earth
Crowded House
She Called Up
Genre: Adult Alternative
Year: 2007
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After a four-year hiatus notable for some film and television soundtrack work, a lapsed contract, and a relaxed songwriting schedule Fountains of Wayne return with their third and best CD to date. The New York-based power-pop quartet delivers a diverse feast of infectious melodies and endlessly clever lyrics. Songwriters Adam Schlesinger and Chris Collingwood still slide on a sweet scale between the Beatles and the Monkees, but they've branched out from '60s sounds to include bona fide alt rock ("Little Red Light," "Bought for a Song"), orchestrated pop ("Halley's Waitress"), a country lark worthy of Dwight Yoakam ("Hung Up On You"), and hints of psychedelia ("Supercollider"). The Cars-flavored "Bright Future in Sales" and "Stacy's Mom" warrant heavy-rotation airplay. Following their acclaimed eponymous debut and the vastly underrated Utopia Parkway, Welcome Interstate Managers leaves no doubt that Fountains of Wayne are gaining strength. --Jeff Shannon
Welcome Interstate Managers
Fountains of Wayne
Fire Island
Genre: Alternative
Year: 2003
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Dig!!! Lazarus Dig!!! finds Nick Cave back at the helm of his long-term band The Bad Seeds after some impressive soundtrack work--2005's The Assassination of Jesse James--and a busman's holiday in the raw, rocking Grinderman. As the title suggests, Lazarus finds Cave returning to familiar themes of God and redemption, although some of the raw poise and wild-eyed humour that resurfaced in Grinderman remains: take the opening title track, which retells the Biblical story of the resurrection of Lazarus as transposed onto the sleazy, poverty-stricken backdrop of modern-day New York City. Musically, the likes of "Moonland" and "Night of the Lotus Eaters" have a swampy feel, all skittering drums, simmering bass and smoky organ riffs; elsewhere, there are rockers that tie on dissonant guitars without losing their dissonant touch ("Lie Down Here"). Probably the album highlight comes with "We Call Upon the Author", a sprawling, "Sister Ray"-like chugger that shows off Cave's skill for magnificent, sung-shouted narratives: "Now mixamatoid kids roam the streets, we've shunned them from the greasy grind/The poor little things, they look so sad and old as they mount us from behind". --Louis Pattison
Dig, Lazarus, Dig!!!
Nick Cave & The Bad Seeds
Lie Down Here (And Be My Girl)
Genre: Alternative Rock
Year: 2008
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The End of the Innocence
Don Henley
The End of the Innocence
Genre: Rock
Year: 1989
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The End of the Innocence
Don Henley
The End of the Innocence
Genre: Rock
Year: 1989
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I Don't Believe You (Acoustic Version)
Greg Holden
Empty Hands
Genre: Singer/Songwriter
Year: 2012
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Offramp (1982) / Vinyl record [Vinyl-LP] [Vinyl] Pat Metheny Group
Offramp
Pat Metheny Group
Eighteen
Genre: Alternative
Year: 1981
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Burden of Proof
Bob Schneider
Digging for Icicles
Genre: Rock
Year: 2013
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Los Lobos is celebrating the 20th anniversary of their seminal album Kiko with the release of Kiko 20th Anniversary Edition on CD. The Kiko 20th Anniversary Edition is newly remastered, and features bonus material including demo versions of album tracks and live recordings, and new liner notes written by Los Angeles journalist and longtime friend of the band, Luis Torres. Released in 1992, Kiko was embraced by fans and hailed by critics as the band s defining moment, the album that put Los Lobos back on the innovation track. Kiko was produced by Mitchell Froom, who received a Grammy nomination for Producer of the Year for his work on the album, and who had previously collaborated with the band on La Bamba. Dubbed one of the albums of the decade by The Wall Street Journal, "the album of the year" by the Los Angeles Times and the Chicago Tribune, and one of "The Essential Recordings of the '90s" by Rolling Stone, Los Lobos also took home an MTV Music Video Award for Breakthrough Video for "Kiko and the Lavender Moon" in 1993.
Kiko
Los Lobos
Whiskey Trail
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Los Lobos is celebrating the 20th anniversary of their seminal album Kiko with the release of Kiko 20th Anniversary Edition on CD. The Kiko 20th Anniversary Edition is newly remastered, and features bonus material including demo versions of album tracks and live recordings, and new liner notes written by Los Angeles journalist and longtime friend of the band, Luis Torres. Released in 1992, Kiko was embraced by fans and hailed by critics as the band s defining moment, the album that put Los Lobos back on the innovation track. Kiko was produced by Mitchell Froom, who received a Grammy nomination for Producer of the Year for his work on the album, and who had previously collaborated with the band on La Bamba. Dubbed one of the albums of the decade by The Wall Street Journal, "the album of the year" by the Los Angeles Times and the Chicago Tribune, and one of "The Essential Recordings of the '90s" by Rolling Stone, Los Lobos also took home an MTV Music Video Award for Breakthrough Video for "Kiko and the Lavender Moon" in 1993.
Kiko
Los Lobos
Saint Behind the Glass
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Los Lobos is celebrating the 20th anniversary of their seminal album Kiko with the release of Kiko 20th Anniversary Edition on CD. The Kiko 20th Anniversary Edition is newly remastered, and features bonus material including demo versions of album tracks and live recordings, and new liner notes written by Los Angeles journalist and longtime friend of the band, Luis Torres. Released in 1992, Kiko was embraced by fans and hailed by critics as the band s defining moment, the album that put Los Lobos back on the innovation track. Kiko was produced by Mitchell Froom, who received a Grammy nomination for Producer of the Year for his work on the album, and who had previously collaborated with the band on La Bamba. Dubbed one of the albums of the decade by The Wall Street Journal, "the album of the year" by the Los Angeles Times and the Chicago Tribune, and one of "The Essential Recordings of the '90s" by Rolling Stone, Los Lobos also took home an MTV Music Video Award for Breakthrough Video for "Kiko and the Lavender Moon" in 1993.
Kiko
Los Lobos
When the Circus Comes
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Los Lobos is celebrating the 20th anniversary of their seminal album Kiko with the release of Kiko 20th Anniversary Edition on CD. The Kiko 20th Anniversary Edition is newly remastered, and features bonus material including demo versions of album tracks and live recordings, and new liner notes written by Los Angeles journalist and longtime friend of the band, Luis Torres. Released in 1992, Kiko was embraced by fans and hailed by critics as the band s defining moment, the album that put Los Lobos back on the innovation track. Kiko was produced by Mitchell Froom, who received a Grammy nomination for Producer of the Year for his work on the album, and who had previously collaborated with the band on La Bamba. Dubbed one of the albums of the decade by The Wall Street Journal, "the album of the year" by the Los Angeles Times and the Chicago Tribune, and one of "The Essential Recordings of the '90s" by Rolling Stone, Los Lobos also took home an MTV Music Video Award for Breakthrough Video for "Kiko and the Lavender Moon" in 1993.
Kiko
Los Lobos
Arizona Skies
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Los Lobos is celebrating the 20th anniversary of their seminal album Kiko with the release of Kiko 20th Anniversary Edition on CD. The Kiko 20th Anniversary Edition is newly remastered, and features bonus material including demo versions of album tracks and live recordings, and new liner notes written by Los Angeles journalist and longtime friend of the band, Luis Torres. Released in 1992, Kiko was embraced by fans and hailed by critics as the band s defining moment, the album that put Los Lobos back on the innovation track. Kiko was produced by Mitchell Froom, who received a Grammy nomination for Producer of the Year for his work on the album, and who had previously collaborated with the band on La Bamba. Dubbed one of the albums of the decade by The Wall Street Journal, "the album of the year" by the Los Angeles Times and the Chicago Tribune, and one of "The Essential Recordings of the '90s" by Rolling Stone, Los Lobos also took home an MTV Music Video Award for Breakthrough Video for "Kiko and the Lavender Moon" in 1993.
Kiko
Los Lobos
Kiko and the Lavender Moon
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Los Lobos is celebrating the 20th anniversary of their seminal album Kiko with the release of Kiko 20th Anniversary Edition on CD. The Kiko 20th Anniversary Edition is newly remastered, and features bonus material including demo versions of album tracks and live recordings, and new liner notes written by Los Angeles journalist and longtime friend of the band, Luis Torres. Released in 1992, Kiko was embraced by fans and hailed by critics as the band s defining moment, the album that put Los Lobos back on the innovation track. Kiko was produced by Mitchell Froom, who received a Grammy nomination for Producer of the Year for his work on the album, and who had previously collaborated with the band on La Bamba. Dubbed one of the albums of the decade by The Wall Street Journal, "the album of the year" by the Los Angeles Times and the Chicago Tribune, and one of "The Essential Recordings of the '90s" by Rolling Stone, Los Lobos also took home an MTV Music Video Award for Breakthrough Video for "Kiko and the Lavender Moon" in 1993.
Kiko
Los Lobos
Short Side of Nothing
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After variously celebrating their 30th anniversary with the star-studded The Ride, documenting their bracing live shows on Live at the Fillmore and doing a little intimate musical retrenchment on the self-released Acoustic En Vivo, Los Lobos returned to the studio with creative exploration on their minds. The result is their most sonically adventurous, thematically taut collection since the heady days of Kiko and Colossal Head. With lyrics penned mostly by multi-instrumentalist Louis Perez, the album's first-person narrative views a myriad of larger issues through slices of local life, from the immigrants' physical and spiritual travails of "The Valley" and "Hold On" to the liturgical grace of "Little Things" and the haunting impressionism of "The City." The musical tack is even more adventurous, a melange of diverse flavors that ranges from the infectious calo Spanglish patois of Cesar Rosa's "Chuco's Cumbia" and neo-norteno "The Road to Gila Bend" to the chunky r&b groove of "Don't Ask Why," the Caribbean-Latin fusion of "No Pueda Mas" and the shadowy, jazz reflectiveness of the "The Town." The Lobos blend it all into a compelling sonic landscape, one that's tamed the playful, psychedelic spirit of Perez and David Hidalgo's free-spirited Latin Playboys side project and focused it into a band context with rich rewards at every turn. -- Jerry McCulley
The Town and the City
Los Lobos
The Valley
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This triple-Grammy winning group of consummate musicians and songwriters out of East L.A. began their career interpreting Mexican folk music and went on to be a globally renowned purvayor of a diverse and adventurous repertoire of roots-flavored masterpieces. Drawing from rock, country, blues, folk, R&B, Americana, and traditional Spanish and Latin American idioms, Los Lobos continually pushed the boundaries of their sound, while remaining magnificently gritty and graceful throughout. Warner. 2006.
Wolf Tracks: The Best of Los Lobos
Los Lobos
Kiko and the Lavender Moon
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This triple-Grammy winning group of consummate musicians and songwriters out of East L.A. began their career interpreting Mexican folk music and went on to be a globally renowned purvayor of a diverse and adventurous repertoire of roots-flavored masterpieces. Drawing from rock, country, blues, folk, R&B, Americana, and traditional Spanish and Latin American idioms, Los Lobos continually pushed the boundaries of their sound, while remaining magnificently gritty and graceful throughout. Warner. 2006.
Wolf Tracks: The Best of Los Lobos
Los Lobos
Will the Wolf Survive?
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King’s X's Ogre Tones is nothing less than a grand slam. Loaded with the trio’s trademark vocal harmonies, Doug Pinnick’s patented bass burps, Ty Tabor’s signature guitar stylings and Jerry Gaskill’s unmistakable rhythmic skills behind the drum kit, this 14-song celebration is both accessible and heavy, somber and inspiring. The band has long been compared to The Beatles and herein lies the proof. The Beatles comparisons are more than simply the ethereal vocals. They’re also about Pinnick and Co.’s ability to craft memorable songs, whether the opening stomp "Alone," the rifftastic "Fly," the uplifting rocker "If," or the gorgeous acoustic track "Honesty," which stands as a new career high. Lyrically, the group grapples with issues ranging from death to aging to global unrest with humor and warmth, injecting each song with the perfect balance of levity and curiosity. From beginning to end the Texas-based collective demonstrates its unique ability to bring pop, progressive and heavy rock together into one seamless blend that can only be called King’s X. --Jedd Beaudoin
Ogre Tones
King's X
Goldilox (Reprise)
Genre: Rock
Year: 2006
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King’s X's Ogre Tones is nothing less than a grand slam. Loaded with the trio’s trademark vocal harmonies, Doug Pinnick’s patented bass burps, Ty Tabor’s signature guitar stylings and Jerry Gaskill’s unmistakable rhythmic skills behind the drum kit, this 14-song celebration is both accessible and heavy, somber and inspiring. The band has long been compared to The Beatles and herein lies the proof. The Beatles comparisons are more than simply the ethereal vocals. They’re also about Pinnick and Co.’s ability to craft memorable songs, whether the opening stomp "Alone," the rifftastic "Fly," the uplifting rocker "If," or the gorgeous acoustic track "Honesty," which stands as a new career high. Lyrically, the group grapples with issues ranging from death to aging to global unrest with humor and warmth, injecting each song with the perfect balance of levity and curiosity. From beginning to end the Texas-based collective demonstrates its unique ability to bring pop, progressive and heavy rock together into one seamless blend that can only be called King’s X. --Jedd Beaudoin
Ogre Tones
King's X
Honesty
Genre: Rock
Year: 2006
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1996 album is their most straight-forward, lacking the art-rock tendencies of their earlier efforts. What is left is a psychedelicized heavy metal, with swirling harmonies & guitar riffs.
Ear Candy
King's X
Run
Genre: Metal
Year: 1996
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1996 album is their most straight-forward, lacking the art-rock tendencies of their earlier efforts. What is left is a psychedelicized heavy metal, with swirling harmonies & guitar riffs.
Ear Candy
King's X
Mississippi Moon
Genre: Metal
Year: 1996
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Such is the arresting beauty of Tord Gustavsen's sound, it's no surprise that his albums have captured a significant following, surpassing even those of other rarified artists on the ECM label. But the Norwegian pianist doesn't live on beauty alone. His sculpted playing, which draws strongly on his church background with its tidy gospel voicings while also incorporating Spanish and South African accents, has a kind of liquid weight that brings to mind Ethan Iverson of the icon-bashing Bad Plus, as markedly different as they are stylistically. Beyond that, it's the remarkable shift-shaping qualities of Gustavsen's trio that make Being There so compelling. Gustavsen has talked about being influenced artistically by "the psychology of relationships." The psychology of the relationship among him, bassist Harald Johnsen, and drummer Jarle Vespestad is made compelling not only by standard interactive effects, but also by the unique shape-shifting that occurs through continual shifts in how much voice each player has in relation to the others, how much lightness or darkness, how much intensity. A notable advance over the trio's first two albums, on which being deliberate sometimes translated into dull, Being There rarely loses its grip. There are stories being told here, with endings that change with each spin. --Lloyd Sachs
Being There
Tord Gustavsen Trio
Where We Went
Genre: Jazz
Year: 2007
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Such is the arresting beauty of Tord Gustavsen's sound, it's no surprise that his albums have captured a significant following, surpassing even those of other rarified artists on the ECM label. But the Norwegian pianist doesn't live on beauty alone. His sculpted playing, which draws strongly on his church background with its tidy gospel voicings while also incorporating Spanish and South African accents, has a kind of liquid weight that brings to mind Ethan Iverson of the icon-bashing Bad Plus, as markedly different as they are stylistically. Beyond that, it's the remarkable shift-shaping qualities of Gustavsen's trio that make Being There so compelling. Gustavsen has talked about being influenced artistically by "the psychology of relationships." The psychology of the relationship among him, bassist Harald Johnsen, and drummer Jarle Vespestad is made compelling not only by standard interactive effects, but also by the unique shape-shifting that occurs through continual shifts in how much voice each player has in relation to the others, how much lightness or darkness, how much intensity. A notable advance over the trio's first two albums, on which being deliberate sometimes translated into dull, Being There rarely loses its grip. There are stories being told here, with endings that change with each spin. --Lloyd Sachs
Being There
Tord Gustavsen Trio
Wide Open
Genre: Jazz
Year: 2007
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Such is the arresting beauty of Tord Gustavsen's sound, it's no surprise that his albums have captured a significant following, surpassing even those of other rarified artists on the ECM label. But the Norwegian pianist doesn't live on beauty alone. His sculpted playing, which draws strongly on his church background with its tidy gospel voicings while also incorporating Spanish and South African accents, has a kind of liquid weight that brings to mind Ethan Iverson of the icon-bashing Bad Plus, as markedly different as they are stylistically. Beyond that, it's the remarkable shift-shaping qualities of Gustavsen's trio that make Being There so compelling. Gustavsen has talked about being influenced artistically by "the psychology of relationships." The psychology of the relationship among him, bassist Harald Johnsen, and drummer Jarle Vespestad is made compelling not only by standard interactive effects, but also by the unique shape-shifting that occurs through continual shifts in how much voice each player has in relation to the others, how much lightness or darkness, how much intensity. A notable advance over the trio's first two albums, on which being deliberate sometimes translated into dull, Being There rarely loses its grip. There are stories being told here, with endings that change with each spin. --Lloyd Sachs
Being There
Tord Gustavsen Trio
Karmosin
Genre: Jazz
Year: 2007
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Such is the arresting beauty of Tord Gustavsen's sound, it's no surprise that his albums have captured a significant following, surpassing even those of other rarified artists on the ECM label. But the Norwegian pianist doesn't live on beauty alone. His sculpted playing, which draws strongly on his church background with its tidy gospel voicings while also incorporating Spanish and South African accents, has a kind of liquid weight that brings to mind Ethan Iverson of the icon-bashing Bad Plus, as markedly different as they are stylistically. Beyond that, it's the remarkable shift-shaping qualities of Gustavsen's trio that make Being There so compelling. Gustavsen has talked about being influenced artistically by "the psychology of relationships." The psychology of the relationship among him, bassist Harald Johnsen, and drummer Jarle Vespestad is made compelling not only by standard interactive effects, but also by the unique shape-shifting that occurs through continual shifts in how much voice each player has in relation to the others, how much lightness or darkness, how much intensity. A notable advance over the trio's first two albums, on which being deliberate sometimes translated into dull, Being There rarely loses its grip. There are stories being told here, with endings that change with each spin. --Lloyd Sachs
Being There
Tord Gustavsen Trio
Around You
Genre: Jazz
Year: 2007
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Such is the arresting beauty of Tord Gustavsen's sound, it's no surprise that his albums have captured a significant following, surpassing even those of other rarified artists on the ECM label. But the Norwegian pianist doesn't live on beauty alone. His sculpted playing, which draws strongly on his church background with its tidy gospel voicings while also incorporating Spanish and South African accents, has a kind of liquid weight that brings to mind Ethan Iverson of the icon-bashing Bad Plus, as markedly different as they are stylistically. Beyond that, it's the remarkable shift-shaping qualities of Gustavsen's trio that make Being There so compelling. Gustavsen has talked about being influenced artistically by "the psychology of relationships." The psychology of the relationship among him, bassist Harald Johnsen, and drummer Jarle Vespestad is made compelling not only by standard interactive effects, but also by the unique shape-shifting that occurs through continual shifts in how much voice each player has in relation to the others, how much lightness or darkness, how much intensity. A notable advance over the trio's first two albums, on which being deliberate sometimes translated into dull, Being There rarely loses its grip. There are stories being told here, with endings that change with each spin. --Lloyd Sachs
Being There
Tord Gustavsen Trio
Vesper
Genre: Jazz
Year: 2007
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Such is the arresting beauty of Tord Gustavsen's sound, it's no surprise that his albums have captured a significant following, surpassing even those of other rarified artists on the ECM label. But the Norwegian pianist doesn't live on beauty alone. His sculpted playing, which draws strongly on his church background with its tidy gospel voicings while also incorporating Spanish and South African accents, has a kind of liquid weight that brings to mind Ethan Iverson of the icon-bashing Bad Plus, as markedly different as they are stylistically. Beyond that, it's the remarkable shift-shaping qualities of Gustavsen's trio that make Being There so compelling. Gustavsen has talked about being influenced artistically by "the psychology of relationships." The psychology of the relationship among him, bassist Harald Johnsen, and drummer Jarle Vespestad is made compelling not only by standard interactive effects, but also by the unique shape-shifting that occurs through continual shifts in how much voice each player has in relation to the others, how much lightness or darkness, how much intensity. A notable advance over the trio's first two albums, on which being deliberate sometimes translated into dull, Being There rarely loses its grip. There are stories being told here, with endings that change with each spin. --Lloyd Sachs
Being There
Tord Gustavsen Trio
Cocoon
Genre: Jazz
Year: 2007
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Such is the arresting beauty of Tord Gustavsen's sound, it's no surprise that his albums have captured a significant following, surpassing even those of other rarified artists on the ECM label. But the Norwegian pianist doesn't live on beauty alone. His sculpted playing, which draws strongly on his church background with its tidy gospel voicings while also incorporating Spanish and South African accents, has a kind of liquid weight that brings to mind Ethan Iverson of the icon-bashing Bad Plus, as markedly different as they are stylistically. Beyond that, it's the remarkable shift-shaping qualities of Gustavsen's trio that make Being There so compelling. Gustavsen has talked about being influenced artistically by "the psychology of relationships." The psychology of the relationship among him, bassist Harald Johnsen, and drummer Jarle Vespestad is made compelling not only by standard interactive effects, but also by the unique shape-shifting that occurs through continual shifts in how much voice each player has in relation to the others, how much lightness or darkness, how much intensity. A notable advance over the trio's first two albums, on which being deliberate sometimes translated into dull, Being There rarely loses its grip. There are stories being told here, with endings that change with each spin. --Lloyd Sachs
Being There
Tord Gustavsen Trio
At Home
Genre: Jazz
Year: 2007
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Raditude
Weezer
Get Me Some
Genre: Alternative Rock
Year: 2009
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Raditude
Weezer
The Prettiest Girl In The Whole Wide World
Genre: Alternative Rock
Year: 2009
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Raditude
Weezer
Tripping Down the Freeway
Genre: Alternative Rock
Year: 2009
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Raditude
Weezer
Can't Stop Partying
Genre: Alternative Rock
Year: 2009
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