Mozaïek van de levens van bijzondere personages in afgelegen streken in de Verenigde Staten.
"Zangeres Angie Stone is net als vele andere soulartiesten op het kleine Shanachie-label beland. Dat is goed nieuws, want ze kan daar gewoon doen wat ze wil zonder dat er direct hippe hits gescoord hoeven worden. Daardoor is dit zevende soloalbum haar meest soulvolle plaat in tijden. In midtempo oldschool-ballads als "Magnet", "2 Bad Habits" en het titelnummer krijgen we een aardige kijk op haar bestaan vol liefdesperikelen. Al heeft Stone doorgaans het hart op de tong, over de op het web veelbesproken en gewelddadige ruzie met haar dochter geen woord. De productie is in handen van Walter Millsap III, die voor de uptempo liedjes - net erg origineel - teruggrijpt op het Motown-geluid. Stone's romige stem klinkt echter ook daarin heerlijk vertrouwd en warm, waarmee dit voor de fans een zeer welkome aanvulling is op haar plaatwerk. Is Angie Stone nieuw voor je, luister dan vooral ook eens naar haar eerste twee albums uit 1999 en 2001." (Kees Smallegange, Oor)
"The band's first pure studio recording since "Will the Circle Be Unbroken", this is another very different earful sort of psychedelic country/bluegrass. The band is joined by Linda Ronstadt, Leon Russell, and actor Gary Busey (as "Teddy Jack Eddy"). The sound is more varied than on previous albums, with a harder electric country feel on "Bayou Jubilee," which segues directly into the bluegrass instrumental "Sally Was a Goodun." Ronstadt does a great job singing "Hey Good Lookin'," but mostly it's the Dirt Band singing, including a superb rendition of "(All I Have to Do Is) Dream." They offer a non-country instrumental, "Sleeping on the Beach," which could have come from a '50s mood instrumental album -- of course, they follow it up with William McEuen's carnival music-inspired "Santa Monica Pier," which segues into the gorgeous lost single "Ripplin' Waters," by Jim Ibbotson, one of two hits that should have been off this album (the other is Ken Edwards' "Mother of Love")." (Bruce Eder, Allmusic)
Nadat deze androgyn klinkende jazzzanglegende door Lou Reed uit de obscuriteit werd getrokken (Scott was te horen op "Magic And Loss") maakte Scott zijn comeback op datzelfde grote Sire-label als waar Reed toen onder contract stond. Dit is de tweede weerslag van die comeback, in de subtiele handen van veelgevraagde producers Mitchell Froom en Tchad Blake (o.a. Los Lobos, Crowded House). "His abnormally high, nearly feminine vocals (the result of a rare disorder called Kallmann's Syndrome, which arrests development permanently during puberty) are even more dominant than usual on this program of standards; without strings arrangements, nothing gets between Scott and the sadness of songs like "It's The Talk of the Town" and "I'm Through With Love", both reclaimed from his brief '50s heyday. Milt Jackson's vibes drift through the tunes like snowfall, while the rest of the playing is so tight and sympathetic as to be invisible. This is exactly what many fans had long been dreaming of." (Dan LeRoy, Allmusic)
Geffen GEFD 24477
"The Orb's 2005 classic on the Kompakt label -- aptly titled Okie Dokie It's the Orb on Kompakt -- easily proved that Dr. Alex Paterson and company could hang with the techno avant-garde of the new millennium, taking the minimalist blueprint of many who had followed the Orb and delivering a great record within that context. The follow-up The Dream is just as good, but in a completely different way. Ironically, it sounds more Orb-like than any other record they've done. (There's a certain inverse surprise in following the least likely record with the most likely.) The Orb's return to the green fields of sample-laden ambient-dub may not be welcome to all, but it's clear they've applied a few lessons learned from the Kompakt LP -- it's one of the best-produced of the Orb's career." (Allmusic)
"Susannah McCorkle, one of the finest jazz-influenced vocalists to emerge during the 1970's and 80's, sings a wide variety of music on her Pausa disc. In addition to some prebop material (including Cole Porter's "At Long Last Love," a vocalese version of "All Of Me," "I Get A Kick Out Of You" and Johnny Mercer's title cut), she also tackles tunes by Paul Simon, Oscar Brown Jr, Antonio Carlos Jobim and Leiber & Stoller. No matter what the style (she is essentially a swing singer), Susannah McCorkle uplifts each song. She is assisted by the Ben Aronov trio, and occasionally guitarist Gene Bertoncini and tenor-saxophonist Frank Wess." (Allmusic)
Een trip door Oosterse en Westerse ambient muziek. Producer Micheal Brook (Canada) en Indiase mandolin virtuoos Srivinas werken hier samen met o.a. Nigel Kennedy, Nana Vasconcelos en Jane Siberry.
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