Review: This 1977 album marked a sublime chapter in the trio's career, showing their unparalleled vocal harmonies and masterful musicianship. Often hailed as their most accessible album, it seamlessly blends folk-rock sensibilities with heartfelt lyricism. Reissued on pristine 180-gram vinyl, the warmth of this record shines through every groove, providing a listening experience as timeless as the music itself. Opening with 'Shadow Captain', the outfit sets the tone with rich vocal layers and Russ Kunkel's understated yet captivating percussion. Tracks like 'See The Changes' and 'Carried Away' exemplify their ability to create beauty through simplicity, with Nash's songwriting and Crosby's harmonies reaching extraordinary heights. The album's emotional centerpiece, 'Cathedral', is a profound and reflective masterpiece, echoing the introspective brilliance of their earlier work while standing out as one of Nash's crowning achievements. Songs like 'Anything At All' and 'Just A Song Before I Go' further underscore the trio's knack for blending authenticity with melodic perfection. Even with moments like 'Fair Game' and 'I Give You Give Blind' slightly veering toward experimentation, the album remains cohesive and compelling. From the poignant storytelling to the impeccable sound quality of this vinyl reissue it endures as an essential in the folk-rock canon.
Review: A multifaceted personality, 24-year-old breakout folk star Maya Delilah shares The Long Way Round on Decca Records, fresh off the back of a Spotify "One To Watch" award. "I get so influenced by different genres, people, places, and experiences that it's always felt hard for me to fit my music into a consistent sound or mood," the singer said in a statement. Forerun by the likes 'Squeeze' and 'Necklace', Delilah's vocals are breathy and her backing instrumentals smooth, tinged with the torrid strokes of Ayers-esque sunshine funk. Recorded between LA and London, the record flags up themes from cyclical relationships to predestination, with Delilah feeling that the record expresses a future nostalgia for someone she's never met before.
The Same Stars (feat Joe Minter & Open Mike Eagle)
Kings In The Jungle, Slaves In The Field
Strength Of A Song (feat Alabaster De Plume)
What's Going On? (feat Isaac Brock)
Fear
I Looked Over My Shoulder (feat Billy Woods)
Did I Do Enough? (feat Jesca Hoop)
That's Not Art, That's Not Music
Those Stars Are Still Shining (feat Saul Williams)
A Change Is Gonna Come
Review: Lonnie Holley crafts music that is immersive and expansive, rich in both sound and storytelling and that's the case once more on this new long player. If finds Holley craft a symphony of sounds that stitch together effortlessly, each moment feeling like a discovery. The album's opening track, 'Seeds,' sets the tone with its nine-minute journey weaving sparse sounds, chants and Holley's powerful voice to explore themes of survival, pain and the failure of home while 'The Same Stars' (feat Joe Minter & Open Mike Eagle) brings more yearning and lyrical depth. Tonky is an album that invites you to listen closely and reflect deeply.
The Burden (I Turned Nothing Into Something) (feat Angel Bat Dawid) (3:11)
The Same Stars (feat Joe Minter & Open Mike Eagle) (4:46)
Kings In The Jungle, Slaves In The Field (4:45)
Strength Of A Song (with Alabaster DePlume) (2:57)
What's Going On? (with Isaac Brock) (3:24)
Fear (2:15)
I Looked Over My Shoulder (with Billy Woods) (2:54)
Did I Do Enough? (with Jesca Hoop) (5:43)
That's Not Art, That's Not Music (3:38)
Those Stars Are Still Shining (with Saul Williams) (0:56)
A Change Is Gonna Come (4:33)
Review: Tonky is a collection of found sounds and intimate storytelling reflecting his life of survival and invention. The album's title comes from a childhood nickname given to Holley when he lived near a honky tonk. Opening with the nine-minute 'Seeds,' the song builds from a sparse sound into a complex symphony, blending chants, keys, strings and Holley's raw voice. The track explores themes of hard labour, violence and the failure of home and Tonky is an album of abundance that shows Holley's mastery in combining personal narrative with expansive sound, all while featuring contributions from various talented artists.
Review: Originally recorded in 1966 during his remarkable comeback - he'd been playing since the 20s but was rediscovered by various musicologists and found a new audience at Newport and Philadelphia's folk festivals in 1963 - this album demonstrates why he became a beloved mainstay of the folk revival. Unlike traditional bluesmen, Hurt's style is rooted in melody and intricate fingerpicking, making him a profound influence on the folk musicians of the 60s. His dexterous guitar work, often feeling as if multiple players are involved, pairs seamlessly with his soothing, almost meditative voice. Tracks like 'Pay Day', 'Louis Collins', 'Spike Driver's Blues', and 'Make Me a Pallet on Your Floor' showcase his ability to transform folk and blues traditions into something uniquely personal. He even delivers a rare but successful slide guitar performance on 'Talking Casey'. A particularly stunning moment comes in 'Beulah Land', where his intricate cross-rhythms add new emotional depth to a traditional song. Every track exudes a gentle, comforting presence, as if Hurt himself is sitting beside the listener, easing their troubles. His voice, often described as a balm for the soul, remains as rich and warm as ever, untouched by time. A beautiful, healing and profoundly moving experience that continues to impress more than half a century later.
Review: American jazz singer, guitarist, violinist and songwriter Lonnie Johnson is widely recognised as a pioneer of jazz guitar and jazz violin, at the storied late 1950s cutoff point where blues crossed into "jass". Known as one of the first, if not the first, blues-jazz players to ever play the electric violin, this new retrospective record, documenting his best works with fellow guitarist Elmer Snowden, sadly nonetheless does not feature this remarkable feat, although it does scout an impressive terrain through Johnson's versatility on electric guitar and vocals. Though masterful, these performances still flaunt the make-do character of the Toronto native's musical upbringing. Take 'Blues For Chris', a rather avant-garde domestic tease of a track that only faintly pulses through the blues form, as Johnson janks and picks at the guitar whilst seeming to tell a premortem joke.
Review: The 1999 collaboration between The Black Crowes and Jimmy Page delivers a rock experience that feels as monumental on record as it did in the live setting of the Greek Theatre in Los Angeles. With a setlist stacked with Zeppelin classics like 'Celebration Day', 'Heartbreaker' and 'Whole Lotta Love', the performance sticks to the original arrangements, but it's the unexpected deep cuts like 'Sick Again' and 'Ten Years Gone' that resonate most. Page's guitar work is tight and focused, complemented by Chris Robinson's impassioned vocals, which channel the essence of Robert Plant while adding his own gravitas. The mix of Led Zeppelin anthems with the Crowes' blues-driven originals such as 'Shake Your Money Maker' and 'Mellow Down Easy' proves to be a potent combination and the recording captures an electric vitality, where the playing never feels overly polished but instead retains the raw power and spirit of a live jam session. A release where musical chemistry speaks louder than any reworking of the classics, reaffirming the timeless strength of these rock legends.
I Just Want To Make Love To You (Aka Just Make Love To Me) (2:51)
Long Distance Call (2:41)
Louisiana Blues (2:54)
Honey Bee (3:23)
Rollin' Stone (3:08)
I'm Ready (3:03)
Evans Shuffle (bonus track) (2:12)
Too Young To Know (bonus track) (3:15)
(I'm Your) Hoochie Coochie Man (2:52)
She Moves Me (2:57)
I Want You To Love Me (Aka Mad Love) (3:04)
Standing Around Crying (3:22)
Still A Fool (3:18)
I Can't Be Satisfied (2:43)
She's So Pretty (bonus track) (2:14)
I Feel Like Going Home (bonus track) (3:09)
in stock$14.76
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