Playlist
OUT OF PRINT,2 CD SET.MUST HAVE FOR UTOPIA FANS.
Oblivion, POV & Some Trivia
Utopia
Mimi Gets Mad
Genre: Rock
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Charlie
Melt Banana
Giggle On the Stretcher
Genre: Alternative
Year: 1998
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So
Peter Gabriel
Don't Give Up
Genre: Rock
Year: 1986
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The Sound Of The Life Of The Mind
Ben Folds Five
Do It Anyway
Genre: Pop
Year: 2012
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This collection goes far beyond a simple career retrospective, with over 30 new songs (from Tom Waits's own versions of songs he gave to other artists, to pieces recorded in the garage with his kids). Also includes Tom's unique interpretations of songs by such diverse talents as the Ramones, Daniel Johnston, Kurt Weill & Bertolt Brecht, and Leadbelly. Each CD is sub-titled--"Brawlers," "Bawlers," and "Bastards"--to capture the full spectrum of Waits's ranging and roving musical styles. "Brawlers" is chock full of raucous blues and full-throated juke-joint stomp, "Bawlers" contains Celtic and country ballads, waltzes, lullabies, piano, and classic Waits songs, while "Bastards" is filled with experimental music, stories, and jokes. The limited edition deluxe package contains a bound 94-page booklet that reproduces Tom's lyrics in the style of a volume of old poetry, with 20 pages of never-before-seen photos.
Orphans
Tom Waits
Redrum
Genre: Alternative
Year: 2006
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Standards In Norway
Keith Jarrett Trio
Little Girl Blue
Genre: Jazz
Year: 1989
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New York guitar phenom walks tall in the blues tradition with this third album, jettisoning fiery riffs inspired by John Lee Hooker, B.B. King, Elmore James, and Albert Collins into the future with furious playing, a hard-rock sensibility, and a grizzled voice that owes a debt to Gregg Allman. Equally inspired by the Delta blues and the mid-'60s British blues boom, the young firebrand--who titled this CD after a Rod Stewart song penned while in the Jeff Beck Group--is able to fuse those two schools together, creating edgy blues rock. --Jaan Uhelszki
Blues Deluxe
Joe Bonamassa
Blues Deluxe
Genre: Blues
Year: 2003
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And In The Endless Pause There Came The Sound Of Bees
Jˇhann Jˇhannsson
Rainwater
Genre: Soundtracks
Year: 2010
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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
House Where Nobody Lives
Genre: Alternative & Punk
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
House Where Nobody Lives
Genre: Alternative & Punk
Year: 1999
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Egyptology
World Party
She's The One
Genre: Rock
Year: 2006
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In a thrilling UK Garage scene, blighted only by a reliance on drippy soul clich├ę and tiresome braggadocio, The Streets' eminently quotable Mike Skinner may just be the voice to take it to the next level with Original Pirate Material. This debut is a staggeringly eloquent and fearlessly honest snapshot of gritty street-level existence, as experienced by an ordinary bloke. At first listen, the Birmingham-born Skinner's cheeky cockney affectations grate slightly. But for every line that makes you squirm, there are 20 that drop your jaw. "Has It Come to This?" is "A day in the life of a geezer," a seductive encapsulation of London lifestyle, presented raw as a bootleg, but bulging with sharp wit and feverish detail. "Stay Positive" weaves a fearful tale of heroin addiction, while "The Irony of It All" makes a beguiling case for legalization, presenting a fictional exchange between a beered-up, self-righteous lager lout and a fey student weed enthusiast. Original Pirate Material is a milestone, the real voice of British youth set down on record. Don't miss it. --Louis Pattison
Original Pirate Material
The Streets
Turn the Page
Genre: Hip-Hop/Rap
Year: 2005
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In my humble opinion, Andy is the most innovative and exciting fingerstyle guitarist to emerge in years. Still in his 20's, Andy has developed a mastery of the 6-string guitar and the harp guitar that leaves me speechless. He is the most textural player of the instrument since Michael Hedges, and he creates sonic architecture worthy of the great modern composers for any instrument. - Don Ross
Art of Motion
Andy McKee
Shanghai
Genre: Folk
Year: 2006
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Levitate
Bruce Hornsby & The Noisemakers
In The Low Country
Genre: Rock
Year: 2009
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After taking five leisurely years to follow up on 1996's Pinkerton, Weezer are apparently on a roll. Arriving just over 12 months after The Green Album, Maladroit finds the Los Angeles power-pop band in the midst of a particularly fertile creative period. "Dope Nose," which is easily stronger than anything on the last album, flexes a sinister shout-along chorus and vintage Van Halen riffs, while the potent garage-punk blast of "Fall Together" wipes out any lingering discomfort over the thoroughly Sugar Ray-sounding "Island in the Sun." In a sense The Green Album was just a taster for this, the blissfully thunderous main dish. Sure, there are some deadpan emo moments ("Death and Destruction") littering the course, but mostly Maladroit is Weezer doing what they do best--inverting and embracing dumb rock stereotypes and somehow making them sound smart. --Aidin Vaziri
Maladroit
Weezer
Love Explosion
Genre: Rock
Year: 2002
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Out of print in the U.S., Originally released in 1995, this was The Finn Brothers' first album as a duo, although they spent years together in Split Enz. Initially, brothers Tim and Neil began working on this album years earlier, but the songs they had written were so good that Tim joined Neil's band Crowded House for the Woodface album, which consisted of many of the songs they'd written together. Tim left the band within a year of the album's release. Four years later, they sat down and tried to do it again. This low-key album was the result and contains some of their finest songs including 'Only Talking Sense', 'Last Day Of June', 'Angel's Heap' and 'Where Is My Soul'. Though not as polished as Crowded House, the tracks here are melodic and enchanting. EMI.
Finn
Finn Brothers
Last Day Of June
Genre: Rock
Year: 1995
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Released in 1981, My Life in the Bush of Ghosts is a collaboration between ambient pioneer Brian Eno and Talking Heads frontman David Byrne. On Ghosts, the two strong-willed musicians manage to come to a meeting of the minds, blending Byrne's herky-jerky funk with Eno's atmospheric sound sculpting. More than anything, this is a large album, intent on pushing itself to the front of the listener's consciousness. Abundant percussion (everything from booming tribal drums to eerie electronics) reverberates in the background while Byrne and Eno toss all manner of found sounds, field recordings, and radio broadcasts into the mix. What results is a groundbreaking album that introduced a generation to the dazzling possibilities offered by electronic recording techniques. Highlights include "The Jezebel Spirit," an electro-funk workout that uses a recording of an exorcism as its focal point, and "Very, Very Hungry," a mysteriously ethereal display of electronic percussion and large-scale sonic architecture. --S. Duda
My Life In the Bush of Ghosts
Brian Eno/David Byrne
New Feet
Genre: Rock
Year: 2006
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Released in 1981, My Life in the Bush of Ghosts is a collaboration between ambient pioneer Brian Eno and Talking Heads frontman David Byrne. On Ghosts, the two strong-willed musicians manage to come to a meeting of the minds, blending Byrne's herky-jerky funk with Eno's atmospheric sound sculpting. More than anything, this is a large album, intent on pushing itself to the front of the listener's consciousness. Abundant percussion (everything from booming tribal drums to eerie electronics) reverberates in the background while Byrne and Eno toss all manner of found sounds, field recordings, and radio broadcasts into the mix. What results is a groundbreaking album that introduced a generation to the dazzling possibilities offered by electronic recording techniques. Highlights include "The Jezebel Spirit," an electro-funk workout that uses a recording of an exorcism as its focal point, and "Very, Very Hungry," a mysteriously ethereal display of electronic percussion and large-scale sonic architecture. --S. Duda
My Life In the Bush of Ghosts
Brian Eno/David Byrne
Help Me Somebody
Genre: Rock
Year: 2006
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Dizzy Heights
Neil Finn
Impressions
Genre: Rock
Year: 2014
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Dizzy Heights
Neil Finn
White Lies and Alibis
Genre: Rock
Year: 2014
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Now that Beck has effectively exorcised his personal demons with 2002's hyperconfessional Sea Change, he can get back to the business of being a total fruit loop. We all know what that involves: videogame sound effects, random shouting in Spanish, and rhymes about popsicles and vegetable vans. And that's just the second track. Guero is like every Beck album condensed into one, a no-holds-barred collision of two-turntables and a microphone with the added bonus of guitars, bossa-nova beats, Jack White, lyrics about spaceships, and dumptrucks full of ideas all fighting to be heard above the ruckus. It's an exhausting and exhilarating listen with lots of peaks, such as the digitized power ballad "Broken Drum" and handclap-drenched folk freak-out "Farewell Ride," and more than enough to restore anyone's faith in Beck as one of the most chaotically inspired songwriters of our time. -- Aidin Vaziri
Guero
Beck
Emergency Exit
Genre: Alternative
Year: 2005
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Now that Beck has effectively exorcised his personal demons with 2002's hyperconfessional Sea Change, he can get back to the business of being a total fruit loop. We all know what that involves: videogame sound effects, random shouting in Spanish, and rhymes about popsicles and vegetable vans. And that's just the second track. Guero is like every Beck album condensed into one, a no-holds-barred collision of two-turntables and a microphone with the added bonus of guitars, bossa-nova beats, Jack White, lyrics about spaceships, and dumptrucks full of ideas all fighting to be heard above the ruckus. It's an exhausting and exhilarating listen with lots of peaks, such as the digitized power ballad "Broken Drum" and handclap-drenched folk freak-out "Farewell Ride," and more than enough to restore anyone's faith in Beck as one of the most chaotically inspired songwriters of our time. -- Aidin Vaziri
Guero
Beck
Que' Onda Guero
Genre: Alternative
Year: 2005
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The Both is Aimee Mann and Ted Leo
The Both
The Both
No Sir
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The Both is Aimee Mann and Ted Leo
The Both
The Both
Milwaukee
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In 2011, an eponymous, self-recorded EP led to touring, and before long The Lumineers started attracting devout fans. They're drawn by songs like "Ho Hey" and "Stubborn Love," Americana-inflected barn burners in the vein of the Avett Brothers and Mumford & Sons. The roots revival has primed listeners for a new generation of rustic, heart-on-the-sleeve music. The Lumineers walk that line with an unerring gift for timeless melodies and soul-stirring lyrics.
The Lumineers
The Lumineers
Morning Song
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Keith Jarrett at the Blue Note: The Complete Recordings
Keith Jarrett
La Valse Bleue
Genre: Jazz
Year: 2000
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New York guitar prodigy Joe Bonamassa opened for B.B. King before he was a teen, but blues is just the springboard for the sound on this second solo outing. Bonamassa spotlights his songwriting this time, using his fluid and fiery guitar work to punctuate muscular melodies more akin to anthemic arena rock than basic blues. While Bonamassa's debut disc, A New Day Yesterday, featured a supporting cast of Gregg Allman, Rick Derringer, and Leslie West, the follow-up keeps the focus on his power trio, with drummer Kenny Kramme and bassist Eric Czar providing most of the accompaniment (although keyboardist Cliff Magness creatively colors around the edges). Bonamassa is indeed a certifiable fretboard phenom, consistently capable of startlingly effective solos, but he's also a strong singer, and that's what makes the collection of songs, a dozen of the 13 cowritten by Bonamassa, successful. The title track, complete with a sizzling solo, sustains a Southern blues-rock feel, but most of the other songs, such as the power pop "Unbroken," the hard-rocking "Sick in Love," and the retro "Never Said Goodbye," which features Bonamassa on mandolin, showcase his abilities in different stylistic settings. --Michael Point
So It's Like That
Joe Bonamassa
The Hard Way
Genre: Blues
Year: 2002
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"Play with Fire", is The Reign of Kindo's 3rd full length record and 1st with newest member Danny Pizarro Jr. on piano. Newly relocated to New York City as a base, Kindo has released possibly their best record yet. The record starts out with "The Hero, The Saint, The Tyrant, and The Terrorist a song that screams "The Reign of Kindo" and would be a fit on any thier first two records. "Help It" has a killer bass line and sounds like every band member is having a musical conversation with one another, a perfectly in sync and melodic conversation. "Sing When No Ones Around" is more guitar driven than past records and the percussion kills when it comes in. "Dust" is a brilliant tune pulsing with rythym and slide guitar licks. Rare is it to find modern music that pinpoints the middle ground between a respect for past greats and a boldness to pave tomorrow. This is, quite modestly, the definition of The Reign of Kindo. Citing influences from Dave Brubeck to Ben Folds to Japanese composer Ryuichi Sakamoto to John Mayer, there's not a degree of pomposity in this sound, just an honesty in the group's craft to blend such diverse influences into an identity
Play with Fire
The Reign Of Kindo
The Man, The Wood & The Stone
Genre: Rock
Year: 2013
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Listening to the high-energy, florid runs, quirky twists, and trademark whines that tattoo "Bouncin' with Bud," the opening track of Whisper Not, it's hard to believe that Keith Jarrett was still in the throes of chronic fatigue syndrome when his trio recorded this date in Paris in July 1999. This isn't the Keith Jarrett of moody ruminations we heard on his solo CD The Melody at Night, with You, released in the fall of 1999. Whisper Not is closer to the Jarrett who launched the Standards Trio with drummer Jack DeJohnette and bassist Gary Peacock in 1983. The trio is still mining the songs of their youth, resurrecting "Poinciana," a signature song of Ahmad Jamal, an early Jarrett influence, and paying tribute to the bop masters with a rollicking take on Dizzy Gillespie's "Groovin' High" and a sophisticated excursion into Thelonious Monk's "'Round Midnight." The interplay between these three musicians has never been higher, operating at a level beyond intuition, playing inside each other's heads. --John Diliberto
Whisper Not
Keith Jarrett, Gary Peacock, Jack DeJohnette
What Is This Thing Called Love
Genre: Jazz
Year: 2000
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Listening to the high-energy, florid runs, quirky twists, and trademark whines that tattoo "Bouncin' with Bud," the opening track of Whisper Not, it's hard to believe that Keith Jarrett was still in the throes of chronic fatigue syndrome when his trio recorded this date in Paris in July 1999. This isn't the Keith Jarrett of moody ruminations we heard on his solo CD The Melody at Night, with You, released in the fall of 1999. Whisper Not is closer to the Jarrett who launched the Standards Trio with drummer Jack DeJohnette and bassist Gary Peacock in 1983. The trio is still mining the songs of their youth, resurrecting "Poinciana," a signature song of Ahmad Jamal, an early Jarrett influence, and paying tribute to the bop masters with a rollicking take on Dizzy Gillespie's "Groovin' High" and a sophisticated excursion into Thelonious Monk's "'Round Midnight." The interplay between these three musicians has never been higher, operating at a level beyond intuition, playing inside each other's heads. --John Diliberto
Whisper Not
Keith Jarrett, Gary Peacock, Jack DeJohnette
What Is This Thing Called Love
Genre: Jazz
Year: 2000
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Strata
Steve Roach & Robert Rich
Magma
Genre: Dance & DJ
Year: 1990
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Aural archaeologists Rich and Steve Roach delve deep into the strata of the primordial mind in this acclaimed 1990 collaboration. They forge a symbiotic artistic alliance where their signature sonic motifs are generally abandoned for the sake of a collective sound. Implementing their combined arsenal of synths, samplers, flutes, drums, and steel guitar, the duo creates a variety of moods and atmospheres--serene ambiences ("The Grotto of Time Lost"), ritualistic, rhythmic invocations ("Fearless"), intense dark ambient spaces ("Magma"), and surreal, bubbling soundscapes ("Persistence of Memory [For Dali]"). As with their other works, the composers utilize a balanced blend of organic and electronic instrumentation in an exploration of the human psyche that is simultaneously primal and cerebral. This album was a critical and commercial success, remaining on the Billboard New Age charts for several months after its initial release. --Bryan Reesman
Strata
Steve Roach & Robert Rich
Magma
Genre: Dance & DJ
Year: 1990
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What a return to form for Rundgren! Arena's baker's dozen, one-word-named tunes are from another time entirely: thoughtful, intense and expertly crafted rock songs that straddle the line between pop and prog. Rundgren continues to make music that pushes the envelope of his best work, regardless of current musical trends. The great songwriter and genius producer of Cheap Trick, the Runaways, Meat Loaf, Hall and Oates, and XTC is neither resting on his laurels nor performing his greatest hits at the Kansas state fair--although he did assume Rix OcasekÔÇÖs mantle with the New Cars, but that's something else entirely. The album title is ironic. Music like this hasn't been an arena draw in twenty-plus years. --Mike McGonigal
Arena
Todd Rundgren
Gun
Genre: Rock
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Radiance
Keith Jarrett
Radiance, Pt. 10
Genre: Jazz
Year: 2005
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The Slip
Nine Inch Nails
Head Down
Year: 2008
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The Slip
Nine Inch Nails
Echoplex
Year: 2008
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The Slip
Nine Inch Nails
Discipline
Year: 2008
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The Slip
Nine Inch Nails
Letting You
Year: 2008
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The Seeds
The Seeds
Pushin' Too Hard
Genre: Rock
Year: 1966
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The Seeds
The Seeds
Pushin' Too Hard
Genre: Rock
Year: 1966
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