New Multitudes: New Songs with Lyrics by Woody Guthrie

"Jay Farrar ... and his collaborators — My Morning Jacket’s Jim James (in Yim Yames persona), Centro-matic’s Will Johnson and Anders Parker, who has worked with Farrar before in Gob Iron — gravitated toward songs Guthrie wrote while living in California in the 1930s. ... Each singer takes the lead on three tracks, lending shades of stylistic variation: Farrar dabbles in the Eastern-flavored drones he’s been fond of in recent years on the title track, Yames swathes his voice in his customary reverb for a dreamy sound on 'My Revolutionary Mind,' Johnson dials in the crumbly guitar sound familiar to Centro-matic fans and sings in his tousled, rasping voice on the wry 'VD City,' while Parker surveys Depression-era Los Angeles in his mellow voice on the big-sky rocker 'Old L.A.' ... The album is part of a commemoration of the 100th anniversary of Guthrie’s birth, and these songs — less political-minded than socially attentive — show the singer’s words remain timeless, nearly 45 years after his death" (Eric R. Danton, "Album Review," Sound Check, 2/28/12).

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Joseph Arthur: The Graduation Ceremony

"His Lonely Astronaut record label is well named; Mr. Arthur’s spare folk songwriting shares a solemn yet roving bend. His latest record, 'The Graduation Ceremony,' is certainly more elegantly wounded than his laissez-faire alt-folk supergroup Fistful of Mercy, with Ben Harper and Dhani Harrison, but it is no less bright" (Stacey Anderson, "Pop and Rock Listings," New York Times, 12/29/11).

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Kathleen Edwards: Voyageur

"The making of Voyageur (Rounder Records) was both productive and painful on a professional and personal level as she happily explored new ground, went through a divorce and took her creative partnership with [Justin] Vernon in a more intimate direction. ... Their working relationship proved to be an invaluable time together as Edwards tried to distance herself from a brand -- sorry Americana fans -- she doesn't find to be that inspiring. ... And with Vernon also playing guitars and other instruments while providing backing vocals on a record of 10 songs all written by Edwards, 'Everything he came up with was cool,' she said.  'And I was really open to whatever he wanted to try'" (Michael Bialas, "Fine Folks, Part I: Kathleen Edwards Keeps Moving On," Huffington Post, 8/9/12).

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Jana Kramer (self-titled)

"The young country singer Jana Kramer has a reedy, harmless voice, and she spends a good deal of her warm, approachable self-titled debut album (on Elektra Nashville) hiding behind it. Her breakthrough hit 'Why Ya Wanna' is a wounded plea to an ex to keep his distance; weakness is its selling point, and it’s an effective sell. An actress who’s had roles on 'One Tree Hill,' '90210' and 'Friday Night Lights,' Ms. Kramer may not be built for rowdiness, though she’s trying. 'I hate four-inch heels,' she chirps on 'Goodbye California,' the song in which she swaps milieus but doesn’t abandon her good mood. And yet it’s her voice, with its narrow message, that makes her sour songs that much more sweet. 'I Hope It Rains' is sung cheerfully, like an encouraging pep talk to a friend, except really she’s patronizingly patting an ex on the head: 'I hope it rains, hope it pours/I hope she’s in heels and some little white shorts.' But her best moments are on 'Over You by Now' and on the outright devastating 'When You’re Lonely,' which seethes with the fire of early Reba McEntire, or the darker side of Dolly Parton’s oeuvre, with Ms. Kramer letting her voice bleed at the edges and drawing her vowels out and down, landing on fertile, strange ground somewhere between Faith Hill and Gary Allan" (Jon Caramanica, "Sanding Down the Grit on Rap and Metal," New York Times, 6/22/12).

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The Farm Inc. (self-titled)

"Its debut album begins with 'Farm Party,' a rousing, stomping jubilee. ... From there, the group spins off into several directions, showing flexibility and, occasionally, real strength. 'The Train I’m On' opens with a resonant blues guitar, and 'Walkin’' has echoes of Jason Mraz’s easy-living lite rock, with some goofy scatting near the end. On the single 'Home Sweet Home,' the harmonies between [Damien] Horne — who has a smooth, light tone — and [Krista] Marie, who’s wrestling with real power, are refreshing. For a group with such lighthearted and sometimes loose ideas about country music, it’s a surprise that the album’s showstopper is its most dour song. But 'Be Grateful,' which falls into a grand country tradition of celebrating the downtrodden, is just that" (Jon Caramanica, "Gloriana, Farm Inc. and Christian Scott Release New Music," New York Times, 7/30/12).

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Jack White: Blunderbuss

"After six albums with the White Stripes and two each with the Raconteurs and Dead Weather, Jack White has finally gotten around to recording a solo album. 'Blunderbuss' (Third Man/Columbia) is full of songs that sound pretty much like Jack White songs, but more so. With no co-equal bandmates to consider, these 13 tunes find White at his, er, Whitest, as if instead of chasing his muse White bundled her into the back of his car and sped off in pursuit of his vision. The result is a wide-ranging collection of songs, from White Stripes-style guitar rockers like 'Sixteen Saltines' to the jaunty 'Hip (Eponymous) Poor Boy,' which falls somewhere between Vaudeville piano-pop and honky-tonk. In fact, keyboards are prominent throughout: there’s luminous electric organ on 'Love Interruption' and opener 'Missing Pieces,' a rich, earthy piano vamp on 'Hypocritical Kiss' and even jazzy touches on 'I Guess I Should Go to Sleep' and closer 'Take Me With You When You Go.' Elsewhere, White is all about hypnotic guitar riffs, with an up-and-down figure on 'I’m Shakin’' and a relentless seven-note part prowling through 'Freedom at 21.' Although it’s an eclectic record in terms of sound and style, it’s also a unified album, held together by White’s skillful musicianship the sheer force of his magnetic personality" (Eric R. Danton, "Album Review," Sound Check, 4/24/12).

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Lee Brice: Hard 2 Love

"Is he a wide-eyed celebrant of everlasting love or a kooky raconteur of life’s little offbeat surprises? A little of both, as it happens, especially when it comes to the subject of crazy, which straddles the two. ... And on Mr. Brice’s new album, 'Hard 2 Love' (Curb), which was released on Tuesday, he slyly updates the theme, weaving it into 'That Way Again,' a heartrending tale of a shattered marriage. 'He used to love her like crazy/You couldn’t pull ’em apart/God, she felt so unbelievable in his arms,' he sings, his voice swelling as he concludes, 'She don’t wanna leave/She just needs him to be that way again.' Mr. Brice sings versions of those phrases three times: first, as the narrator; second, as the wife considers another man; and finally, in the words she unleashes on her husband as he threatens to undo her for good with his disregard. Each time Mr. Brice’s singing gets nervier and more sweaty, hard with bravado but teetering on a thinner and thinner edge. It’s vivid, bloody stuff. 'This is my favorite song on the new album,' Mr. Brice said before playing 'That Way Again' on Monday night at Joe’s Pub, early during a show celebrating the release of the moving and often wise 'Hard 2 Love,' one of the year’s most impressive country albums" (Jon Caramanica, "Wholehearted Songs for Lovelorn Joe Six-Packs," New York Times, 4/24/12).

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A Chorus Line (Original Broadway Cast Recording)

"Marvin Hamlisch, the Pulitzer Prize-winning composer who imbued his movie and Broadway scores with pizazz and panache and often found his songs in the upper reaches of the pop charts, died on Monday in Los Angeles. ... He is one of a handful of artists to win every major creative prize, some of them numerous times, including an Oscar for 'The Way We Were' (1973, shared with the lyricists Marilyn and Alan Bergman), a Grammy as best new artist (1974), and a Tony and a Pulitzer for 'A Chorus Line' (1975, shared with the lyricist Edward Kleban, the director Michael Bennett and the book writers James Kirkwood Jr. and Nicholas Dante). ... His melodies were sure-footed and sometimes swashbuckling. 'One,' from 'A Chorus Line,' with its punchy, brassy lines, distills the essence of the Broadway showstopper. 'A Chorus Line,' a backstage musical in which Broadway dancers told their personal stories, started as a series of taped workshops, then evolved into a show that opened at the Public Theater in 1975 and moved to Broadway later that year. It ran for 6,137 performances, the most of any Broadway musical until it was surpassed by 'Cats'" (Rob Hoerburger, "Marvin Hamlisch, Whose Notes Struck Gold, Dies at 68," New York Times, 8/7/12).

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Rush: Clockwork Angels

"The venerable Canadian rock band Rush had its best sales week in 10 years, landing at No. 2 with 103,000 sales of its 20th studio album, 'Clockwork Angels' (Roadrunner). It is Rush’s second No. 2, after 'Counterparts' in 1993; despite more than 25 million album sales, according to the Recording Industry Association of America, the band has never hit No. 1" (Ben Sisario, "Usher Scores His Fourth No. 1," New York Times, 6/20/12).

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Milos Karadaglic: Pasión

"Milos Karadaglic, known to fans simply as Milos, sat alone on the bare stage at Joe’s Pub, a concert venue in Manhattan, last week, just himself and his guitar. Playing from his newest album, ‘Pasión,' he took command, not by demanding attention, but by drawing the audience in, sensuously, hauntingly, and with a clarity of purpose and technique. ... When Deutsche Gramophone signed Karadaglic last year, reporters were quick to note his status as the first classical guitarist added onto the label in years, a sign of the instrument's waning popularity (Karadaglic blamed pop music for the trend). His first album Mediterráneo garnered glowing reviews. ... 'Pasión' has a delicious depth to it. Opening the album is the chilling ‘Libertango,’ by Argentine tango composer Piazzolla. The piece is accompanied by a string quartet and is a nice change to the primarily solo-driven pieces featured in the album. He also plays the sensual, 'Danza Brasilera,' by Argentine classical guitarist and composer Jorge Morel, as well as two gorgeous pieces composed by Heitor Villa-Lobos, the Brazilian composer considered one of the most significant musicians of 20th century Brazil" (Hallie Sekoff, "Milos, Classical Guitar Sensation, Talks 'Pasion,' The Brilliance of Segovia, And Breaking Into the U.S.," Huffington Post, 7/30/12).

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Andrew Bird: Break It Yourself

"With his chamber pop and rich, mellifluous voice, this singer-violinist sometimes suggests Rufus Wainwright with a fiddle. But there's a sense of whimsy -- whether he's plucking those strings or just whistling -- that's all his own" ("Quick Cuts," People, 3/26/12, p. 48).

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Marty Robbins: Gunfighter Ballads and Trail Songs

"Country singer/songwriter (and NASCAR driver!) Marty Robbins was born in Coolidge-era Arizona into a large family, raised on a love of music. Stirring through his rough-and-tumble teens, Robbins straightened his hat and enlisted in the Navy, where he picked up guitar. Postwar, Robbins made his bones on the Arizona club circuit and radio, leading to his own TV show, Western Caravan. By the early '50s, with recording contracts in his pocket, Robbins burned up the country charts, stacking up a legacy of hits and soundtrack features. Collaborations include Ray Conniff, Johnny Cash, Bobby Sykes, Don Winters, and Shirl Milete. Highlights include two Grammys, a Grammy Hall of Fame award, inductions into the Nashville Songwriters Association International Hall of Fame (1975) and the Country Music Hall of Fame (1982), and a star on the Hollywood Walk of Fame. The cowboy troubadour passed away from heart complications in 1982. Remember him with 'Saddle Tramp,' from his 1959 Gunfighter Ballads and Trail Songs" (Phil Ramone and Danielle Evin, "Dog Ears Music," 7/6/12).

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The Who: Tommy

"In 1966, three years before the original release of this album, Pete Townshend played a tape of a spoof song called 'Gratis Amatis' to Who manager Kit Lambert. The 10-minute aria consisted of high pitched Goon Show voices singing 'Gratis Amatis' over and over for what seemed like an hour. As they fell about laughing, a friend said, 'It's rock opera,' which caused more laughter. Suddenly Lambert stopped laughing and looked thoughtful. 'Now there's an idea,' he said. A couple of years later, having dabbled with 'A Quick One' and 'Rael,' Townshend was piecing together early versions of this album; a truly serious 'rock opera.' Lambert, son of classical composer Constant Lambert, encouraged Townshend all the way, eventually becoming the album's producer. The story line was influenced by Townshend's rejection of psychedelic drugs and simultaneous discovery of mysticism, particularly the works of Meher Baba. In those days Townshend positively radiated spiritual vibes. He was working on a metaphorical story device that put across the idea of different states of consciousness. The premise was that we had our five senses but were blind to Reality and Infinity ..." (CD notes by Richard Barnes).

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Quincy Jones: The Dude

"MR: You mentioned 'Just Once.' BM: ... I had always sung on all my demos, and I felt that this demo had an R&B quality about it, so I asked around our publishing company if they knew of any singers who could sing the song who was an R&B singer. They mentioned this guy James Ingram. We never heard him sing, and we hired him. Usually, we listen first, but for some reason, we just hired him. ... He goes in behind the mic, and we turn on the tape, and the intro begins, and then he starts to sing. We nearly fell on the floor. We couldn't believe what we were hearing. He was so great. ... We loved it, and then we sent it to Quincy hoping that he would see how great the song is for James. About an hour after we sent it to Quincy, Quincy calls up, and he says, 'Man, I love this. Barry is singing his ass off!' He thought that was me singing, and we told him, 'No, it's this guy James Ingram.' ... Then we found out, James told us years later, he had never sung lead ever. ... MR: Yeah, and actually Quincy's production on that was amazing, and then it ends up on The Dude, one of the great contemporary jazz/pop albums. CW: Right. MR: In addition to James' vocal, that small trumpet answer on the chorus back was such a hook. I guess it just takes the right notes sometimes, doesn't it. BM: Yeah. That's Quincy. He's very tasteful" (Mike Ragogna, "A Conversation with Songwriters Barry Mann & Cynthia Weil," Huffington Post, 7/9/12).

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Tedeschi Trucks Band: Everybody's Talkin'

"This husband-wife led Grammy-winning 11-piece ensemble are definitely road tested as this live 2CD set shows. Much more than just a Delaney & Bonnie & Friends knockoff, Derek, Susan, and company swing easily from R&B to jazz to blues to rock, sometimes all within the same tune. Case in point is this 16-minute cover of Stevie Wonder's glorious 'Uptight' featuring jazzbo Maurice Brown's searing trumpet solo and J.J. Johnson's and Tyler Greenwall's drum solos!" (Dusty Wright, "Best Rock, Pop and Soul Music for Summer 2012," Huffington Post,

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Risky Business: Film Soundtrack

"Lush foreboding and a restless pulse run through the music of Tangerine Dream, the synthesizer-centered German group that played its first New York City concert since 1992 at the Best Buy Theater on Saturday night. Tangerine Dream — formed in 1967 and led since 1988 by its lone remaining original member, Edgar Froese — hasn’t been silent during those 20 years. It has released a deluge of music: three new studio albums in 2011 alone, along with a number of EPs, compilations and live recordings. It certainly had plenty of material to draw on for its three hours of music on Saturday night. Tangerine Dream is best known for its many movie soundtracks, particularly 1980s pieces like 'Love on a Real Train,' used in 'Risky Business.' The group’s music has changed from the rhapsodic, slowly evolving, sometimes noisy pieces it recorded in the 1960s and ’70s to more straightforward, concise compositions. Tangerine Dream thoroughly mastered two crucial soundtrack functions: making melodies that are present but don’t dominate the image, and treating music as a pacemaker, ticking off the underlying tempo of a scene while subdividing it to raise suspense" (Jon Pareles, "Synthesizers and Drum Machines, Sure, but With a Touch of the Human," New York Times, 7/9/12).

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The Beach Boys: That's Why God Made the Radio

"The Beach Boys strive to smile together through 'That’s Why God Made the Radio,' the reunion album tied to the band’s 50th-anniversary tour. This album could easily have been a throwaway. ... Instead, and sometimes despite itself, it’s a reflection on aging and memory, on longing and mortality. ... The album opens not with bouncy rock but with the wordless vocal harmonies and mournful descending chords of a track called 'Think About the Days.' Then the Beach Boys gear up a nostalgia machine: 'How about doing it just like yesterday,' they sing on 'Isn’t It Time,' which goes on to insist, 'The good times they aren’t only in the past' on the way to 'doo-be-doobie-doobie' harmonies. But after [Mike] Love pushes for optimism in 'Daybreak Over the Ocean' and 'Beaches in Mind' ... the last stretch of the album turns to [Brian] Wilson’s more autumnal visions and meandering, pop-defying structures. In 'Strange World' he sees 'the uninvited who’ve lost their way' on the Santa Monica pier. 'From There to Back Again,' a wishful, piano-centered ballad that turns into a minisuite, wonders, 'Why don’t we feel the way we used to anymore?'; near the end Mr. Wilson sings, 'We had a lot to live, we gave it all'" (Jon Pareles, "Another Solstice in an Endless Summer," New York Times, 6/4/12).

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Don Byron New Gospel Quintet: Love, Peace, and Soul

"The clarinetist and tenor saxophonist Don Byron, one of jazz’s keenest omnivores, has lately been obsessed with gospel music; his most recent album, 'Love, Peace, and Soul' (Savoy), is a rollicking tribute to the gospel trailblazers Thomas A. Dorsey and Sister Rosetta Tharpe" (Nate Chinen, "Jazz Listings," New York Times, 7/12/12).

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Fiona Apple: The Idler Wheel Is Wiser ...

"Today marks the official release of 'The Idler Wheel Is Wiser than the Driver of the Screw and Whipping Cords Will Serve You More than Ropes Will Ever Do,' a relatively short name from a woman who once used an eight line poem as an album title. The seven year span since 2005′s Extraordinary Machine has given Fiona Apple plenty of time to redevelop, tweak, redevelop again, and mature her sound to its fullest nature. With eclectic melodies stripped down yet full of complex subtleties, the sounds work to further highlight the real showcase- Apple’s sweet tremolo voice and raspy poetry. With three area performances, including two this weekend ... it would be worth the time to get acclimated to these 10 tracks of wonder. 'Idler Wheel…' runs the gamut of brutal emotion, from the passion of the hope for love in Valentine to howls of tortured anger over a failed relationship in Regret. Anything We Want, a song performed on Jimmy Fallon on the eve of the album’s release, has Apple coyly playing the child-like innocence of romance with seductive maturity in the same breath. The album closes with Hot Knife, a round of symphonic beauty that melts across the ears with a richness that would make Paula Deen blush" (Nick Caito, "New Releases," Sound Check, 6/19/12).

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