Jazz Is Dead - Blue Light Rain 1998

With a rhythm section made up of two electric jazz legends, bassist Alphonso Johnson and drum godBilly Cobham, this quartet uses the Dead's music as a starting point, then takes off to places unimagined by most Deadheads. Dixie Dregs founder T. Lavitz sits in the organ and keyboard chair, while guitar wunderkind Jimmy Herring steps to the front to take fusion guitar to heights unreached since Al Di Meola left Return to Forever. Looking like the Allmans' little brother, Herring moves from looping lines reminiscent of Jerry Garcia and Dickey Betts to inspired improvisations out of the Larry Coryell/John McLaughlin/Al Di Meola playbook. Longtime Dead listeners will recognize most of the melodies, but the arrangements and solos by this amazing quartet transform the originals. And, while this album only hints at the phenomenal interplay Jazz is Dead achieves in concert, it is one of the most remarkable studio recordings to fall under the often-maligned jazz-rock fusion banner in many a year. Cobham's work with Mahavishnu Orchestra and Johnson's with Weather Report helped redefine the parameters of jazz and rock in the '70s. Through this project, they and their bandmates bring musical adventurousness, rhythmic complexity and instrumental virtuosity to a whole new generation, while rekindling the spark in those who were around for fusion's heyday 25 years earlier. With Blue Light Rain, Jazz Is Dead affirms that this music anything but. AMG.

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Johnny Hickman - Tilting 2012

Hickman is best known for co-founding the band Cracker. His fiery lead guitar sound and spirited co-writing give flavor to that band's alternative radio hits, including Teen Angst, Low, Get Off This, and Eurotrash Girl. Cracker, founded in 1991 with childhood friend David Lowery, has nine full-length releases to date. Kerosene Hat (1994) remains an alternative music collection staple. Lowery and Hickman together are seen as godfathers of the alternative music scene, who turned gently away from plaid-clad grunge in the 1990s with more countrified and bluesy stylings. Their collaboration with the jam-band Leftover Salmon in 2003 further proved that no one genre could contain them. Cracker's most recent album, Sunrise in the Land of Milk and Honey (2009), garnered indie press rave reviews, with the song "Tune In, Turn On, Drop Out" finding its way into the soundtrack for the cult TV hit Californication. Cracker (Lowery, Hickman, drummer Frank Funaro and bassist Sal Maida) continue to tour internationally, with a future release likely to appear in 2013.
Johnny's solo work includes the soon-to-be-released Tilting (July 2012), which takes Hickman's reliable blazing guitar and roots-rock sounds in a broader direction that includes melodic pop, and 2005's solo debut Palmhenge. No Depression magazine called Palmhenge "wildly diverse - from the arena rock of 'Harvest Queen' to the Bakersfield country of 'Friends' to the splendid folk rock of 'Little Tom' and 'The San Bernardino Boy' - it blends those genres with a dash of alt-rock to create a surprisingly coherent whole."
Prior to his tenure in Cracker, Hickman toured as a solo/folk acoustic performer, had a brief stint in the Unforgiven (a tongue-in-cheek-Western guitar rock band), and co-founded the Inland Empire (California) cult band the Dangers. Influenced by punk rock, surf guitar, and true Bakersfield country, Hickman's sound is often imitated but never perfected by anyone but he and his signature 1977 Les Paul.
Occasionally, Hickman ventures away from solo work and Cracker to spearhead side projects, including his Colorado-based outlaw country band The Hickman-Dalton Gang. Retired side projects include All Thumbs Trio (with moe. guitarist Chuck Garvey, and East Coast guitarist Gibb Droll), and Crazysloth, an Arizona-based band he formed while recording Palmhenge. Film and TV work to date include one full film score for the independent River Red, placement of "Lucky" from Palmhenge in the FX series "Sons of Anarchy," as well as the placement of Cracker songs in several popular movies.

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Andrew Bird - Break It Yourself 2012

After a long string of lush, intricately plotted collections of classically minded indie pop, crafty violinist, minutia-loving songwriter and peerless whistler Andrew Bird offers up Break It Yourself, an intricately plotted collection of classically minded indie pop that eschews the meticulous studio refinement ofArmchair Apocrypha and Noble Beast. Recorded mostly live at his studio barn in Western Illinois,Bird, drummer/percussionist Martin Dosh, and guitarist Jeremy Ylvisaker have crafted a sunny, unpredictable set of tunes that reflects the pastoral Mississippi river valley that birthed them. Meandering and soulful, the album relies on the usual pizzicato loops, orchestral flourishes, and oddball subject matter that's preoccupied Bird since 2003's Weather Systems, but for the first time since his Bowl of Fire days, it feels less like a one-man band. Stand-out cuts like "Orpheo Looks Back", "Eyeoneye," and "Danse Caribe," the latter of which manages to balance elements of Americana, Celtic, and calypso without coming off as contrived or fractured, display an artist in the kind of relaxed, creative state that can only come from putting one's feet up on their own desk after a rigorous bout of touring, which in Bird's case was about five years. This new-found "band" feel also makes itself known on more exploratory tracks like opener "Desperation Breeds" and the eight minute "Hole in the Ocean Floor," songs that despite their art rock lengths, remain engaging and immediate throughout. On first spin, Break It Yourself may sound like a typical outing, but repeated listens unveil an assembly of songs that are as verdant and mercurial as they are rooted in the Bird tradition. AMG.

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Band Of Susans - The Word and the Flesh 1991

Despite featuring their third pair of guitarists in as many albums (Love Agenda's Page Hamiltondeparted to form Helmet), Band of Susans deliver their most assured, accessible album. The guitars operate as interlocking pieces of a larger puzzle, while bassist Susan Stenger floats below, providing structure without being chained to the beat. The sound alternates between haunting and crushing, and the guitars are finally consistently corralled into the dramatic service of the song. The clean, nearly reverb-less guitar sound leaves plenty of room to hear the guitars' idiosyncratic directions while maintaining a nearly opaque wall of sound. Most rewarding are the moments when the band breaks loose from their throbbing chords to deliver a crunchy punch to the solar plexus, such as on "Plot Twist" and "Silver Lining." Mostly, though, the effect is of rich lattices of guitar and intermingling swells, lifting and propelling the songs through an omnipresent guitar drone. Bassist Stenger's throaty vocals add a moody counterpoint to the guitars' pitched screech and anchor the album's opening two tracks, not incidentally two of the better compositions on the disc. The album closes with a nod to Robert Poss' mentor, Rhys Chatham, with a cover of Chatham's hypnotic, slow-building fugue "Guitar Trio." AMG.

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The Orgone Box - Orgone Box 2001

Sheffield-based multi-instrumentalist/songwriter/producer Rick Corcoran, who plays nearly every instrument here, is the only member of the Orgone Box. He reportedly used four eight-track tape machines, a 32-channel mixing desk, three guitar amps, a half-dozen effects-laden guitars, and laid down guide drums to a click-track during the initial home-recording sessions. Later, during four days of overdubbing at a mansion called "the House in the Woods," Corcoran was aided by a couple of friends, drummer Tam Johnstone (ex-the Green Tambourines, the General Store) and bassist/keyboardist Tim McTighe, who provided "orchestral arrangements" on a Roland MC300. The result, of course, is thatthe Orgone Box has that identifiable studio sheen that low-budget self-produced solo efforts of this ilk often have, where the drum/bass rhythm tracks are purposefully simplified in the early stages of recording to easily allow for sonic layers to be added above.
Even so, unlike most albums that are built this way, brick by brick, from the foundation to the penthouse, the more you listen this CD, the more you realize the Orgone Box is a stylish triumph of substance over simple revisionist psych-pop. Corcoran was evidently inspired by listening to his favorites from the original 1967 era -- the Fabs, Butterfly-eraHollies, early Pink Floyd are a few that come to mind -- and "informed" by later albums released by the Dukes of Stratosphear, Robyn Hitchcock, and Oasis, but he doesn't seem to be too interested in ripping off any of his precursors. On the second track, "Anaesthesia," Corcoran even lets listeners know that he's "not into psychedelia/I've got a psychedelic mind...whatever," probably meaning that his music simply pours out of him whenever he hits "record," without him having to "psychedelicize" to get into the mood. Each track abounds with effective Lennon-esque vocals, ringing Byrds-ian 12-strings, phase-shifting guitar solos, and mellifluous multi-tracked vocal harmonies, all swirling amid confectionery pop melodies. The collective result resembles a fantastic Baroque pop construct of Sgt. Pepper-yproportions, the kind of record that headphones were invented for. AMG.

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Emily Kate Boyd - In the woods 2014

Emily Kate Boyd is an American rock, folk, blues, and country music singer and songwriter. As a performing artist, she's a poet and storyteller, making her live performance an original and deeply heartfelt experience.

A woman of the world, her hometown is Chattanooga, Tennessee, though Emily splits residency in Buenos Aires, Argentina where she is currently expanding her independent label, ARCA Records. Her latest release, “In
the Woods”, includes sessions recorded in both Floyd, Virginia and Buenos Aires with local musicians from both cities.
Emily has shared the stage with many notable singer-songwriters, including live performances with Clay Cook (o/ Zac Brown Band), Shawn Mullins, Angie Aparo and many more. Her rich, bluesy voice is reminiscent of Laura Marling, though many associate her style with artists like Janis Joplin, Bonnie Raitt and Madeleine Peyroux. Best served in a listening room environment, Emily’s acoustic set brings a passion and energy that deeply connects with her audience.
EKB has contributed to many works, including collaborations with contemporary writers Clay Cook, Gareth Asher, Nick Niespodziani (Yacht Rock Revue), Paul Warner, Jesse Tyler, Heather Luttrell and many more. EKB is the author of several published creative works, including multiple albums of music.. Thanks to B.

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Gail Ann Dorsey - Rude Blue 1992

Gail Ann Dorsey is one of contemporary rock's top session bass players and background vocalists. Although her solo albums -- The Corporate World in 1988 and Rude Blue in 1992 -- failed to generate much interest, Dorsey has continued to attract acclaim with her imaginative playing and luscious vocals. In addition to working with such bands asGang of Four, The The, Tears for Fears, God's Home Movie, Affinity, and Mall, Dorsey has made important contributions to the music of the Indigo Girls, Dar Williams, and Jane Siberry.
Dorsey's greatest work has come as a member of David Bowie's band since 1995. She was featured on Bowie's 1997 album, Earthling, and tours in 1995-1996, 1997, 1999, 2000, and 2002. High point of the shows were a duet version of "Under Pressure" that she performed with Bowie, and renditions of "London Boys" and "I Dig Everything," on which she played clarinet.

A native of West Philadelphia, Dorsey grew up eight blocks from the Tower Theater, where Bowie recorded an influential live album in 1974. Playing guitar from the age of nine, she cites Mark Farner of Grand Funk Railroad, the late Terry Kath of Chicago, Jimi Hendrix, and Nancy Wilson of Heart as early influences. Although she acquired a bass shortly after her 14th birthday, she didn't consider herself a bass player until she was 20. Although her earliest aspirations were to become a screenwriter and she studied film at CalArts, a small arts-oriented college in Santa Clarita, CA, Dorsey turned to music after realizing the difficulties of earning a living in film. AMG.

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CPR - Just Like Gravity 2001

By now, the story behind the reunion which begat CPR is well known. David Crosby, while awaiting a life-saving liver transplant, was found by keyboardist James Raymond, whom Crosby had given up for adoption years before. This would just be great People magazine rock & roll fodder if not for the great fortune that Raymond is an incredible keyboardist whose harmonies blend in sweetly with his legendary dad's. Veteran Jeff Pevar's crack guitar work once again helps drive these provocative pop/rock tunes, particularly on the few more aggressive tracks like "Katie Did"; elsewhere, he's a little more restrained on acoustic, and Raymond's blues-influenced keyboard and piano playing dominated behind the powerful vocals. Raymond also shows propensity for a jazzy riff on the solo a few minutes into the romantic funk-rocker "Map to Buried Treasure." "Breathless" and "Darkness" show the gentler, folksier, and more emotional sides of the trio. "Gone Forever" is CPR's appealing stab at social commentary, while the harmonica-enhanced "Jerusalem" tackles spirituality. Along those lines, the gorgeous, methodical "Angel Dream" comes across as a gentle prayer. The title track is the most sparsely produced, just Crosby's sweet voice and a swampy acoustic guitar. CPR could have easily just capitalized on their story of origin, done one album, and tour and been relegated to the novelty bins. But this smartly conceived collection proves that father, son, and Pevar are in it for the long adult contemporary haul. AMG.

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Ally MacLeod - Astor Place 2011

Thanks to B. here another excellent album. Ally has been singing and writing songs since her childhood but became captivated by the theatre in her teenage years and decided on a career as an actor, writer and director for both film and theatre. Her theatre work took her to many places on the globe, finally settling in New York for a number of years. On her return to Scotland at the end of the '90's she began concentrating more on music and in the spring of 2010, through a happy happenstance, she met Martin Stephenson and began working with him on her first album - Astor Place - which was released in November 2011. During the summer of 2010 she teamed up with singer-songwriter Donald Forbes, touring with him under the name Red Hook Rapids. Their quick rise to prominence confirms the talent within and the past year has seen them support, among others, Michael Weston King, the Lush Rollers, Martin Stephenson, Christine Collister, Viper Central and Suzette Lawrence. Within just over a year of working together they were supporting Martin Stephenson at the Jazz Cafe in London and performing on two different stages at Belladrum Tartan Heart Festival.
Red Hook Rapids first album will be released at the end of June, in plenty of time for their North of England tour in July and the plethora of festivals they're lined up to play this summer.
Ally's second solo album will be released in September.

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Duster Bennett - Fingertips 2003

Originally released in 1975 on Toadstool, Fingertips became U.K. bluesman Duster Bennett's last album. The harpist, vocalist, and guitarist died tragically in an automobile accident the following year. More soul than hardcore blues, much of this material sounds like a combination of the Meters, the Average White Band, and Billy Preston's "Outa-Space." The original nine tracks include Stevie Wonder's "Fingertips" (Bennett's harp playing here is equal parts Wonder and the laid-back approach of Toots Thielemans), "Risk It for a Biscuit," and "Take Care (But Don't Take It Easy)" with Peter Frampton on guitar. The six bonus tracks, recorded at the same sessions, make this reissue especially appealing to completists. For the most part, these tracks are steeped in traditional blues and gritty soul, with the exception of the disc's closing track, "Everyday," a beautiful string-laden ballad which sounds like a Harry Nilsson outtake. [The 2007 Castle Music reissue features bonus tracks.] AMG.

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Blake Mills - Break Mirrors 2010

Blake Mills is a guitarist, producer, and recording artist. He is best known as a session musician, having performed on recordings by Kid Rock, the Avett Brothers, Conor Oberst, Norah Jones, Dixie Chicks, Zucchero, P!nk, Lana Del Rey, Dangermouse, Paulo Nutini, and Weezer.

After he left, the band shortened its name to Dawes. Millsbecame a touring guitarist for Jenny Lewis. He also served as a hired gun for Band of Horses, Lucinda Williams, andJulian Casablancas.Mills began his musical career as a founding member ofSimon Dawes with Taylor Goldsmith. They recorded and released the EP What No One Hears in 2005, and the 2006 full-length Carnivore.

His strategy worked. He co-produced Jesca Hoop's The House That Jack Built in 2011, and produced fiddler Sarah Watkins sophomore release, Sun Midnight Sun. He produced, co-produced, and/or played on several tracks by several other musicians as well as contributing to compilations. His co-production and performance of "Oh Well," with Billy Gibbons and Matt Sweeney, on the tribute album Just Tell Me That You Want Me: A Tribute to Fleetwood Mac, was considered by many the set's highlight.Until that time, Millsnever really considered himself a solo artist. His first recording on his own, Break Mirrors, was released with the intention of securing more session work and becoming a producer. The end result was widely acclaimed for its overall originality in writing, arranging, and producing.

Mills began recording his sophomore offering Heigh Ho at Capitol's Ocean Way studio (the room was built for Frank Sinatra), with a host of guests that included Fiona Apple, Jon Brion, Benmont Tench, Don Was, and Jim Keltner. The album was released in September of 2014. AMG.

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