"Working with former Prince sideman David Z, Leo Kottke comes up with one of his most unusual records with Standing in My Shoes. David Z doesn't necessarily bring Kottke toward funk, but the spare rhythm section gives the guitarist a stronger sense of groove than ever before, and Kottke really shines in such a setting. His solos are loose and swinging, and even his trio of vocal numbers have a charming, carefree quality. Standing in My Shoes does bog down occasionally, particularly when the execution is more compelling than the material, but on the whole, it is one of his more fascinating records of the '90s." (Allmusic)
Twee albums, uit 1986 en 1988, in één 2CD-set. Allmusic over "A Shout Towards Noon": "Though the opening cuts are typical Kottke instrumentals -- bouncy guitar pieces with nods to jazz, folk, and blues -- the album is dominated by more moody, somber tunes. In some cases these are in bright folk territory -- "Four Four North" has the tense, repetitive activity of a Hitchcock soundtrack and features some unusual guitar techniques that magnify the sense suspense. Other cuts like "The Ice Field" have the meditative, melancholy character that is more typical of John Fahey's later work. This is one of Kottke's most intriguing albums." Over "Regards From Chuck Pink": "As a whole, the vibe is somewhat lighter in touch, leaning toward jazz and new age shadings with splashes of synth guitar, violin, and electronic woodwinds for accompaniment. Although "Chuck Pink" doesn't have the fire of his earlier work, Kottke hasn't lost his feel for a catchy rhythmic groove and his interpretive reach has grown over the years."
'Leo Kottke's 1995 release, Leo Live, is a welcome addition to his repertoire. Kotke has gotten past his earlier reluctance to perform vocals, and his voice here sounds comfortable and assured on tracks like "Room at the Top of the Stairs" and the talking blues "Jack Gets Up." Yet, as is characteristic of his style, it's his instrumental work on cuts like "Peg Leg," "Little Martha," and a mellow version of the old classic "Twilight Time" that show the artist in peak form. Kotke's mildly "Oddball" proclivities may come through in song titles like "I Yell at Traffic" and "Flattened Brain," yet whatever he names it, his playing is consistently top of the mark. Definitely recommended'. (Murrday Fisher, Allmusic).
De titel geeft in feite het recept voor het merendeel van 's mans platen: knappe miniatuurtjes op akoestische gitaar, uitgevoerd met meesterlijke techniek.
Akoestische gitaarvirtuoos met Phish-bassist. Luchtig aandoende mengeling van folk, blues en bluegrass in evenwel zeer vernuftig geconstrueerde stukken vol razendknap spel. Dat de heren er soms ook bij zingen had niet voor iedereen gehoeven...
"The subjects of death and betrayal permeate this understandably dark album. Opening with the Nick Lowe chestnut "Endless Sleep" as a slow acoustic blues, this unpredictable guitar un-star also sings about "Sonora's Death Row" and offers the opinion that "Everybody Lies." His always problematic singing assumes a prominent role, which might not be the best strategy. He showcases his string wizardry on "A Dull Thud" and several other instrumentals." (Mark Allen, Allmusic)
Gitaarvirtuoos op mainstream-country-tour op dit album uit 1983 met oa z'n instrumentale versie van 'Memories Are Made Of This'. T-Bone Burnett weet hoe je dat moet produceren. Leo zingt erg veel, gelukkig vaak ondersteund door Emmylou Harris.
Live opgenomen in een Theater in z'n woonplaats Minneapolis in 1972. De gitaarvirtuoos speelt meer slide dan we van hem gewend zijn en slaat met gemak heen en weer tussen sensationele passages en sentimentele momenten. (naar AMG)
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