Ellen McIlwaine - Women in (E)Motion 1998

This live recording from Germany captures the essence of her stage show at the turning of the millennium. It's stark evidence of how increasingly rhythmic her work became through the years. She routinely incorporates reggae, funk, and other black styles into her distinctive, perhaps unique, sound that includes a fat, rich tone achieved by few guitarists of either gender. Covers of songs by one-time collaborator Jimi Hendrix, John Lee Hooker, Bo Diddley, and the Isley Brothers reveal some of her touchstones, although by this point she's evolved far beyond her blues roots. Her yodeling will put off some listeners. If you can get past that, you're in for a ride. AMG.
 

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Bob Dylan - Shadows in the Night 2015

Other people's songs have long been a staple for Bob Dylan, who first made his name in Greenwich Village by singing folk songs in the early '60s and often returned to old tunes as the years rolled by. Sometimes, he'd dip into the pre-WWII collection of standards known as the Great American Songbook, peppering setlists with unexpected selections as early as the '80s and even covering Dean Martin's "Return to Me" for The Sopranos in 2001, and he's made no secret of his affection for old-fashioned crooning on the records he's made since 2001's Love and Theft, but even with this long history of overt affection for pre-rock & roll pop, the existence of 2015's Shadows in the Night might come as a surprise. Shadows in the Night finds the songwriter whose work marks the divide where artists were expected to pen their own material finding sustenance in the Great American Songbook, with every one of its songs recorded at some point by Frank Sinatra. Its songs are old and Shadows in the Night is appropriately a defiantly old-fashioned album: a record the way they used to make them, long before Dylan had a recording contract of his own. Archaic though it maybe -- it's a mere ten songs lasting no longer than 35 minutes, just like all the long-players of the '50s -- it's hard to call it musty, not when Dylan invested considerable energy in adapting these songs to the confines of his five-piece road band. Occasionally, this roadhouse crew is augmented by horns but the brass coloring bleeds into the sweet, mournful slide of Donnie Herron's pedal steel, accentuating that these renditions aren't nostalgic covers but reflections of Dylan's present. His voice shows gravelly signs of wear but he knows how to use his weathered instrument to its best effect, concentrating on the cadence of the lyrics and digging deep into their emotional undercurrent. In that sense, Shadows in the Night is a truer Sinatra tribute than the stacks of smiling, swinging empty tuxes snapping along to "It Had to Be You," for Dylan inhabits these songs like an actor, just like Frank did way back when. What Dylan is saluting is not the repertoire, per se -- none of these songs is heavily associated with the Chairmen of the Board -- but rather the mournful intimacy of Sinatra's "saloon" songs, the records he made to be played during the pitch black of the night. Four of the songs here can be found on 1957's Where Are You?, one of the very best of its kind, and that connection accentuates how Dylan has made a saloon song album with a band that could be heard at a saloon: just a guitar quintet, taking a moment to breathe, sigh, and perhaps weep. The fact that the feel is so richly idiosyncratic is a testament to just how well he knows these tunes, and these slow, winding arrangements are why Shadows in the Night feels unexpectedly resonant: it's a testament to how deeply Dylan sees himself in these old songs. AMG.

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Yo La Tengo - Stuff Like That There 2015

These days, every band seems eager to honor the anniversary of one of its landmark albums, usually in the form of a concert tour or an expanded reissue, and even Yo La Tengo have gotten into the act -- a quarter-century after they released their endlessly charming 1990 LP Fakebook, in which they covered a handful of their favorite songs and reworked a few of their own numbers in semi-acoustic fashion, YLT have recorded what amounts to a sequel, 2015's Stuff Like That ThereJust like a sequel to a 1980s horror movie, Stuff Like That  There follows the template of the original as closely as possible -- there are two new songs, three remakes from the YLT back catalog, and nine covers, which range from the instantly recognizable (Hank Williams' "I'm So Lonesome I Could Cry," inspired by Al Green's version) to the thoroughly obscure (unless you're a Hoboken pop obsessive or a James McNew completist, "Automatic Doom" by the Special Pillows is probably not on your hit parade). Just as importantly, original Yo La Tengo guitarist Dave Schramm, who appeared on Fakebook, returned for the Stuff Like That There sessions, and while his style would have been a poor fit beside Ira Kaplan's clouds of six-string skronk that became a highlight of YLT's work from President Yo La Tengo onward, for stuff like this, Schramm's graceful sound, full of echo and clean single-note leads, meshes gloriously with Kaplan's implacable strum and the steady shuffle of bassist James McNew and drummer and vocalist Georgia Hubley. As "quiet" Yo La Tengo goes, like Fakebook this is top shelf, beautiful, and subtly joyous, and while the songs are well-chosen and the performances are warm and passionate despite the low decibel level, the real secret weapon here is Georgia Hubley's vocals. Like Maureen Tucker singing "After Hours," what Hubley lacks in range she more than makes up for in her ability to infuse a song with feeling, and from the heartache of "My Heart's Not in It" and the lover's kiss-off of "Butchie's Tune" to the sweetly fractured romanticism of "Friday I'm in Love," Hubley's work beautifully demonstrates how much more less can be. If Stuff Like That There isn't as revelatory as Fakebook, it's a splendid, beguiling album that's perfectly suited for late nights and rainy afternoons, and a welcome reminder of one of the many, many things Yo La Tengo do so well. AMG.

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Ballake Sissoko - Tomora 2005

Sissoko is a Malian kora player who found success as a recording artist, generally in collaboration with others, most notably fellow Malian kora player Toumani Diabaté. Born in 1968 in Mali and based in Paris, France, he is the son of Jelimady Sissoko, a master of the kora. Sissoko first made a name for himself as a recording artist in 1999 with co-billing on the Toumani Diabaté album New Ancient Strings. The following year, he released the solo-billed album Déli (2000), which features his wife, the vocalist Mama Draba, among other musicians. Subsequent albums include Diario Mali (2003), a collaboration with Italian contemporary classical pianist Ludovico Einaudi; Tomora (2005); 3MA (2008), a collaboration with Moroccan oud player Driss el Maloumi and Madgascan valiha player Rajery; and Chamber Music (2009), a collaboration with French celloist Vincent Ségal. AMG.

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Nei Lisboa - Telas, Tramas & Trapaças Do Novo Mundo 2015

Keeping a low profile since the early '80s, when he caused a sensation in his home town (Porto Alegre, Rio Grande do Sul) with his iconoclastic show and debut album Pra Viajar no Cosmos Não Precisa Gasolina, Nei Lisboa despised the attraction of Brazil's central artistic billboards represented by the cities of Rio de Janeiro and São Paulo, continuing to live his own way in the same Porto Alegre. Even having lived in São Paulo and the U.S. and done shows in the so-called university circuit in the late '70s, Lisboa is virtually unknown in the rest of the country. On the other hand, he is celebrated in his state and by a handful of other fans throughout the country as the innovative composer of anthological albums like Pra Viajar no Cosmos Não Precisa Gasolina, Hein!? and Carecas da Jamaica. Touring only the South region to promote his records, he had a grateful surprise with the good reception got by Hi-Fi, an acoustic album recorded live at the São Pedro theater (Porto Alegre), backed only by Paulinho Supekóvia's guitar. In the repertory, no originals, only a panel of his underground and eclectic influences like "Everybody's Talking" (Fred Neil), "Bennie & The Jets" (Elton John), "I'm Having a Gay Time" (Alberta Hunter) and others. In 2000 Lisboa launched in France his book Um Morto Pula a Janela and realized the show Tudo de Novo Um Tanto Talvez pela Próxima Vez in Paris, at the University of Saint-Denis. AMG.

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The Golden Palominos - A Dead Horse 1989

By and large, A Dead Horse tosses out the supersession approach of previous Golden Palominos efforts to concentrate on a steady core roster of Anton Fier, Bill Laswell, and Nicky Skopelitis; vocal chores are evenly divided among the Numbers Band's Robert Kidney and Amanda Kramer, formerly of Information Society. A subdued, moody effort, A Dead Horse lacks the energy and spark of the group's earlier work; only Kramer's lovely "Darklands" makes much of a lasting impression. AMG.

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Peanut Butter Wolf - My Vinyl Weighs A Ton 1999

Digger of crates, master of tracks, Peanut Butter Wolf has an influences list that stretches into the hundreds (nearly all of them are actually listed in the credits, broken down by year) and a working knowledge of beats and samples that must number in the thousands. There aren't quite that many on his first production album, but he winnowed it down to a cool 75 or 100 to create one of the grooviest, funkiest underground records of the '90s. Unlike fellow NoCal mixer/producer DJ Shadow, PBW has plenty of space for collaborations, with nearly a dozen different rappers stopping by, along with nearly every top turntablist of the era: Babu, Q-Bert, Rob Swift, Cut Chemist, Kid Koala, Z-Trip, Shortkut, and A-Trak (granted, quite a few of them all show up for one gigantic posse track, "Tale of Five Cities"). My Vinyl Weighs a Ton boasts deep beats and choice samples, all of them working brilliantly together, and enough great cutting to keep each track raw and full of energy. Obviously learning a few lessons about sequencing and pacing from classic mixtapes (of his and of others), PBW sprinkles the rappers throughout this record and only recruits the best. Vocal highlights come with Planet Asia's mid-tempo grind "In Your Area," Pablo's feature on "Rock Unorthodox," and a two-part soundclash for the excellent Lootpack crew on "Styles Crew Flows Beats." He name-checked Wild Man Fischer along with Erick & Parrish; got recommendations from rare-groove heroes like Reuben Wilson, Galt MacDermot, and Fred Wesley; and delivered an excellent record that offered just as much to fans of rare grooves, great rappers, and deft DJs. AMG.

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Chico César - Chico César 2000

His melodies and lyrics reflect the centuries of European-African-Indian intercultural strife and matings that provide the essence of modern northeastern Brazilian music. César's style draws heavily on the region's signature off-center, chugging forro rhythms and breathlessly fast, unrelenting frevo beats, but hearty helpings of Carioca samba and African-based imports like reggae, R&B, and rock are also grist for his busy mill. His songwriting is influenced by the rebellious art-song esthetic of the Tropicalismo crowd, but also reaches further back to the chilled-out, boozy intellectualism of '60s bossa nova. He surrounds his high, reedy vocals with undulating vocal chorales, mellow guitars, blithe squeezeboxes, and percolating drums and shakers, and occasional lush overlays of brass, violins, and flutes. Despite his obvious taste and aplomb, César's compositions tend to come across as pleasing, graceful exercises that don't aspire to touch a deeper chord. Nonetheless, despite the fact that he seldom approaches the complexity and passion so often exhibited by, let's say, Caetano Veloso or Milton Nascimento, his work has considerable charm. His melodies are easy to fall into, they are catchy enough to augment the pleasure of an idle hour but barely avoid being facile. This confection is would add a festive, relaxed ambiance to al fresco pursuits like picnics, cocktails on the patio, and beach parties. Detailed liner notes and English lyric translations are included. AMG.
 

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Amina Claudine Myers - The Circle of Time 1984

In terms of depth, spirit, originality, and diversity, this is the recording that best brings those vibrant elements of Aminda Claudine Myers' musicianship to ultimate fruition. With bassist Don Pate and drummer Thurman Barker, Myers freely explores jazz, blues, and gospel-tinged creative music in her own inimitable way. All of these six pieces were written by Myers, each showcasing a different side of her joyous persona, making her music deep, listenable, tuneful, and emotional. Starting off with the hot instrumental modal bop number titled "Louisville," the pianist proves to be a capable, refreshing melodicist in this area, with Pate's complimentary lines to the piano and Barker's crackling drums setting the upbeat pace nicely. "Plowed Fields" has a loose structure with equally peaceful and soulful, tender and poignant motifs. Myers sings the line "seeing the plowed fields, made me want to go barefooted, until my mother spoke of soles (souls?) tied to her feet." "Do You Want to Be Saved?" is an anthem for the ages -- organ and piano strains are overdubbed for this hip, steady tempo gospel blues. Inexorable caravan-like processional pacing for "Christine" has a dual line of Myers cascading piano apreggios with a deft chordal four-bar line that is dramatic and dynamic. Pate's avant bowed bass introduces "The Clock," which has several aspects of time musically represented. Creaking bass, meandering piano, free stride, and completely free segments are featured, and are liable to speed or slow at a moment's notice. "The Circle of Time" further illuminates this with the lyric "time moves by slowly, time moves by quickly." Myers adopts a little girlish falsetto over another patiently slower, steady rhythm, injecting ai-yi-yis in a rather Native American inflection on this song that represents Myers at her creative, free-flowing zenith. This recording and Sings Bessie Smith are must-buy items for fans of this brilliant musician, and iconic signposts for where African-American expressionism can be directed. AMG.

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Cowboy Mouth - Word of Mouth 1992

This is passionate, professional rock from a tight quartet whose members seem to enjoy playing their all-original material en masse. You wouldn't know from their sound that they're from New Orleans. The first track leads off like Omar and the Howlers from Texas. While most of the songs here are smoking hot, "Maggie Don't Two-Step" is a waste of time for this talented band. AMG.

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Justin Townes Earle - Harlem River Blues 2010

Justin Townes Earle's previous records were promising -- if uneven -- offerings that revealed a considerable talent trying to find his own musical identity as a songwriter, apart from his parental heritage. It may have taken him three albums, but Harlem River Blues delivers in spades what his earlier offerings only hinted at. With co-production by Earle and Skylar Wilson and the backing of a killer, intuitive band, the songwriter drops 11 weighty originals steeped in American musical tradition yet bearing his own inimitable lyric and stylistic signature. The title track is an electrifying rockabilly-cum-truck-driving shuffle adorned by slapping bass, guitars, snare and cymbal, and a Hammond B-3. Despite the upbeat tempo and finger-popping rhythmic thrust, Earle's lyrics reveal the protagonist's intention to commit suicide by drowning. With a country gospel vocal chorus complete with handclaps on the refrains, the lyrics and music are intriguingly at odds; somehow the sense of near gleeful purpose in the protagonist's view -- revealing a sense of relief at the prospect of release from this plane of existence -- makes the tune gell. On the breezy summertime groove of "One More Night in Brooklyn," the Tennessee backwoods meets the urban street corner, led by guitars, a skeletal drum kit, Wilson's vibes, and a popping upright bass. "Move Over Mama" is a scorching rockabilly-and-reverb number, full of erotic bravado à la Warren Smith or Billy Lee Riley. (And does that bass ever get slapped!) "Wanderin'" captures the spirit of early Bob Dylan under the influence of Cisco Houston and Woody Guthrie, but the lyrics and sense of necessity and acceptance of the situation at hand are pure Earle. With a country fiddle added to the mix, you can also hear traces of early string bands and even the ghostly presence of A.P. Carter in the refrains. The horns on "Slippin' and Slidin' marry the late Eddie Hinton's brand of Muscle Shoals R&B to laid-back country rockabilly. The narrative love song "Christchurch Woman" is among the moving things here; Earle's vocal is underscored by a female backing chorus and organic instrumentation that also includes beautifully arranged horns -- as if Tom Waits' "Downtown Train" or "Jersey Girl" were filtered through Memphis R&B and Waylon Jennings' early-'60s country. "Ain't Waitin'" is a rockabilly blues, so skeletal it could be played on the back porch. Anyway you cut it, Harlem River Blues is utterly balanced, skillfully crafted, and exquisitely written and produced. Earle proves that he is a force to be reckoned with; in these grooves he embodies the history, mystery, and promise of American roots music. AMG.

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Stone Raiders - Truth to Power 2012

This excellent trio formed by guitarist Jean-Paul Bourelly, Darryl Jones bass player with the Rolling Stones, and Will Calhoun former Living Colour drummer. This album it's a mix of rock, jazz, and funk. Don't miss it. 

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Youssou N'Dour - Nelson Mandela 1985

The debut album from Senegalese singing sensation Youssou N'Dour was originally dedicated to Nelson Mandela during his stay in prison (as the title track would suggest). The arrangements are tight, laden with horn riffs and keyboard flute loops. Aside from "The Rubberband Man," all songs were penned by N'Dour himself here, and it is N'Dour that powers the album throughout with his vocals. With the exception of "The Rubberband Man," all of the songs have a nice groove to them, with some outstanding vocal prowess soaring over the arrangements. The songs have the feeling which has come to be associated with his work, with simple grooves hailing both from Paris and Dakar studios, and his singing providing a focus. Any pre-existing fan of N'Dour should be pleased by this album, and those who are just looking to make inroads into Senegalese music wouldn't find this a bad starting point, although Immigrés might be a more standard place to begin. Pick it up for a nice wander through the early sounds of one of the ambassadors of African music. AMG.

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Calamity Jane - Martha Jane Cannary 1992

Calamity Jane was an all-female American grunge/punk band, formed in Portland, Oregon, United States, in 1989.

Gilly Ann Hanner (vocals/guitar) and Lisa Koenig (drums) started playing together as a band in 1988 along with Ronna Era (bass). After a few live appearances Hanner's sister Megan took over on bass and the band was renamed Calamity Jane the following year. Their first gig was supporting Scrawl. The band then supported Fugazi on their 1990 tour. The band released three singles and an album Martha Jane Cannary with their original line up, and a final single with Marcéo Martinez - later of Team Dresch) on drums and Joanna Bolme (later of Quasi and The Jicks) on bass.

The band played two support slots with Nirvana. One of these shows, in Buenos Aires, Argentina, ended in Calamity Jane being booed off the stage, which motivated Nirvana to intentionally sabotage their own performance.

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Cake - Fashion Nugget 1996

Sounding like a suburban, melodic white-funk-injected version of King Missile's performance art/standup comedy, "The Distance" became a novelty hit in the fall of 1996, sending Cake's second album, Fashion Nugget, to platinum status. Certainly, "The Distance" was the only reason Fashion Nugget went platinum, because the remainder of the album is too collegiate and arcane for mainstream music tastes. It isn't because it's obscure or intellectual -- it's because the band is smirking. An "ironic" cover of Gloria Gaynor's "I Will Survive" is the key to the album, sending the signal that Cake consider themselves above everyone else, and nothing is too insignificant to make fun of. And that wouldn't necessarily have been a problem if they had the wit or musical skills that would make their music either funny or listenable. Instead, they wallow in sophomoric jokes that rely on self-consciously elaborate wordplay. Occasionally, their blend of collegiate musical styles -- funk, hip-hop, alternative rock -- makes the music easy to digest in small doses, such as "The Distance," but it isn't varied enough to prevent the album from becoming tedious when played straight through. AMG.

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J.J. Cale - Travel-Log 1989

Cale's first album in six years finds him taking a more aggressive stance in terms of tempos and playing, although he remains a man with a profound sense of the groove and, especially as a singer, a minimalist. But as he says, "Shuffle or die." AMG.

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