The Duhks - Migrations

Sugar Hill

The most vital acoustic music being made today acknowledges it's predecessors and lives with the motto "be here now." For four years, The Duhks, a band of five highly skilled, high energy, multi-tattooed twenty-somethings from Winnipeg, Manitoba, have been riveting audiences and scoring hardcore fans across Northern America and around the globe with just that kind of music.
Neo-folk and bluegrass is in a raging revival! Not that The Duhks could be classified as 'just folk music.' Migrations showcases The Duhks' unparalleled gift of genre-melding. With influences as diverse as blues, French-Canadian punk, gospel, soul, Celtic rhythm and old-time they have tremendously helped define the burgeoning movement of younger generations who are commandeering the future of bluegrass.
No matter if you are familiar with folk, or not, you will come to respect these young musicians as true artists.
Love's Single of the Week: "Out of the Rain"
This song was written by lead vocalist Jesse Havey inspired by a friend's rebirthing of self. It is a song of healing, and the uncertainty of moving on. It is touching and has become a source of encouragement when I find myself in a crux.

Paolo Rustichelli - Neopagan

Next Age

Whether he is composing scores for films in his native Italy, recording albums with jazz and rock legends or creating every melodic sound himself, Paolo Rustichelli always brings a hint of spirituality and mysticism to his creative experience.
Hailing from Rome, it is no wonder how he fell in love with music. The son of an opera singer and three time Oscar nominated film composer Carlo Rustichelli, he began playing the piano at the age of four.
To his music he brings his passions and spiritual insights. He seeks to create music that provides spiritual illumination. His efforts include raising awareness that "Gaia Mater" (Mother Earth) is to be loved, not wrecked beyond repair.
In a marketing move that has proven to be successful, Rustichelli released two versions of Neopagan. One is mostly instrumental smooth jazz, and the other is tailored for the Adult Contemporary audience with vocals in English and Latin. If you listen to AC you will not be let down by checking this album out.

Dead Celebrity Status - Blood Music

Bodog

Woah! These boys know how to begin a record. The intro song gave a haunting warning of how music will be blood-letted to death. I was captivated. The songs are creative, catchy and original.
With the storytelling skills comparable to Eminem, and the lack of excessive obscenities I feel that Dead Celebrity Status is really out there to make a statement. And that is something that is too far and few between in the music industry today.

George Jones - Hits I Missed ...And One I Didn't

Bandit/Welk

Originally conceived as "songs I wished I had recorded," Jones recorded eleven songs that included many he has passed on over the years that went on to be hits for other people. The one hit that he didn't miss is the first new version of "He Stopped Loving Her Today" in 25 years.
This album includes the first ever duet/video with Dolly Parton on "The Blues Man," a song that Hank Williams Jr. wrote about the life of a singer who "started drinkin', took some things that messed up his thinkin'...got cuffed on dirt roads, got sued over no shows" not unlike Jones himself. It is a monumental collection of songs that the 75 year old proudly does justice.
Shelton's Single of the Week: "He Stopped Loving Her Today"

Bitter:Sweet - The Mating Game

Quango

This album is intoxicating. It is sassy and playful with experimental pop beats and a melodically sweet and sexy vocalist.This is a beautiful 11 track album from the duo of Shana Halligan (daughter of Dick Halligan, Blood, Sweat & Tears) and Kiran Shahani (Supreme Beings of Lesuire).
Together they create a racy blend of phonotic pleasure and, with lines like "I'm just a bad girl, that's why we get along," you get hooked.

London Philharmonic Orchestra - Stories In Music: The Sorcerer's Apprentice

Rounder/New Sound Music/Allegro

This is a story that is over 2,000 years old. The Sorcerer's Apprentice is carefully adapted to the award winning Stories In Music format, with narration and music telling the tale of a mighty wizard and his hapless assistant Fritz. Additional tracks provide information about the composition, composer, story and music.
This was a delightful breathe of air. I get excited when I see classical music and literature being targeted at children. It makes a refreshing statement, something I don't see when I see my kid want the crap they sell you on TV And we don't have television. Still looking for a seasonless gift? This is a great gift for anyone, young and old.

Craig Morgan - Little Bit of Life

Broken Bow

This man has worked hard his entire life to make a little bit of comfort for him and his wife and kids. He has done it all, Army Ranger to Wal-Mart clerk. His songs are inspired by his life, the good, bad and hard everyday life.
He is one of country's steadfast warriors. Craig plays more than 200 live shows a year, and he has made over 100 appearances on the Grand Ole Opry. His fourth album, Little Bit of Life, is such a good album. He has strong words in his music that pull you out of your life and into his. He really has shown us that he can do country.

Tony Levin - Resonator

Narada/Virgin/EMI

"Thought we had a generation that talked about peace and wanted to live it too. But I read the news today and I ask myself, Tell me what would Jimi do?" -Tony Levin "What Would Jimmi Do?" from the Resonator album.
The core of the Tony Levin Band remains the same group that has recorded and toured together for years: On synthesizers, Larry Fast, of Synergy, Nektar, and the Peter Gabriel Band. On drums, Jerry Marotta, who has recorded with Paul McCartney, in addition to the Peter Gabriel Band. Playing guitar, Jesse Gress, who also plays with Todd Rundgren.
New in the band is Tony's brother, Pete Levin - an accomplished keyboardist. And Adrian Belew, the inimitable guitarist, has a guest appearance on the track Throw the God a Bone, which, in re-uniting the two King Crimson players, gets a flavor something like their famous Elephant Talk.

Cari Lee and The Saddle-ites - Brought to You Via Saddle-ite

Star Tone

Cari Lee and The Saddle-ites' music reflects a range of vintage roots music while incorporating a contemporary edge. Their stage show offers a style of entertainment that is reminiscent of the old-style Opry days, with a mix of entertaining dance music and comedic banter. This combination of entertainment has placed the band on stages with Brooks and Dunn, Willie Nelson, Emmylou Harris and Hank Williams III.
With a mixture of hillbilly and western swing Cari Lee's voice is the perfect choice to blend with The Saddle-lites, who play in rockabilly, big band fashion. This album is a good find. I hope you check it out.

Dark Side Of The Cop - Dark Side Of The Cop

Auger Down

Dark Side of the Cop narrates the tale of a badge from Detroit, lonely and lovesick, and follow him to Los Angeles in search of his childhood love. This album was originally conceived as the soundtrack to the 80's classic movie Beverly Hills Cop. It gradually evolved into the shimmering synth-pop masterpiece it is today.

Boy Hits Car - The Passage

Rock Ridge

Boy Hits Car is known for playing the sickest, loveliest, ugliest, prettiest, most beautiful, melodic, heartfelt music, which the band dubs "Love Core." Their self-titled debut was released in 2001, and it has been rereleased on Rock Ridge.
These boys have toured with System of a Down, Incubus and more kick ass bands. They have the reputation for playing powerful and captivating shows. They have a musical presence that demands respect. The Passage is a manifestation of these boys hard work and determination.

Pat Green - Cannonball

BNA/Sony BMG

Pat Green commands a position in the music world uniquely his own. He sells out stadiums like the Houston Astrodome, which I have seen and it's not small. Still, Pat also gets to tour with major artists like Kenny Chesney, Keith Urban and the Dave Matthews Band.
Cannonball, his explosive album, captures Green's joyous, provocative songwriting style with a new sharpness and swagger. It is a record full of virtues of hard work, holding up your word and giving it all you have everyday.

Flipsyde - We The People

Cherry Tree/Interscope/Universal

The beats flow like raging rains on my tin roof, constantly strong and alarming. The lyrics are full of the disappointments of life, the falling down and climbing back up. With songs that display such aggressive feelings in such a positive way, I hope to see a lot more music from these men. A message to all rap artists, please know that you can relay a great message in the way you write, over the way you look.
Their message is: it doesn't matter what the past has given you to work with, if you keep your head straight you can make many beautiful things happen. Don't get down with all the negativity.

Various Artists Featuring Iron Horse - Fade to Bluegrass Vol. II The Bluegrass Tribute to Metallica

CMH

You can't spell "metal" without Metallica. For over twenty years, they've set the platinum standard for high-velocity ferocity, with their chain saw guitars, machine gun drumming, and in-your-face tales of society's outcasts. Brilliantly assured musicians, Metallica has forced critics and fans to accept and finally to love their brand of hard-thrash rock. Their songs have become classics, driven by riffs that stick to the insides of our skulls, long after we've pressed the eject button in a spasm of metal-ized satisfaction.
From out of the metal storm rides Iron Horse, the Alabama bluegrass band with the passion to match Metallica song for song. Fade to Bluegrass Vol. II is a hand-picked collection of hits, restrung and refined into beautiful acoustic jams. Reeling fiddles, blazing banjos and the sweetest harmonies prove that bluegrass and metal have more in common than meets the ear--they're both on a mission to connect to the music that moves them.

Fergie - The Dutchess

will.i.am/A&M

The Dutchess, is the chart-topping solo-debut album from Fergie of the mega-platnium group, The Black Eyed Peas. The album features her wide-ranging abilities as a solo-artist, and features such guests as John Legend, Ludacris and Rita Marley. Her vocal ability is exhaulted in her music. Her single "London Bridge," debuted at #84 and made the second highest jump ever recorded in the 48-years of the Hot 100. She is hot in every way applicable.
***So Nice, Gotta Do It Up Twice (Created by the Original NYC DJ, Jocko, 1955)***

Hot Mute - Hot Mute

Self Released

It's like finding out about a band that everyone else but you knew and loved for the past 20 years, they've just kept it secret from you.
Hot Mute, a new quartet from San Francisco has impeccably tapped into a sound reminiscent of 80's pop, though it aims well beyond the current state of pop fluff. Be careful when listening to this in your stereo; you might forget you're not on the 80's channel!

Thad Jones - One More--"The Summary" Vol. II

IPO (Sale Date: Feb. 13, 2007)

For those of you who have been fortunate enough to come by One More--The Music of Thad Jones you know just how good things get while you are listening to it. Everyone who has heard it--the musicians who made it, other musicians, enlightened critics and the jazz loving audience--recognize the exceptional feeling that it brings.
There had to be a sequel. And it is due to come out February 13th, 2007. It includes most of the same musicians as the prequel. There isn't a mediocre track anywhere. The new IPO release includes more of Thad Jones' unique compositions performed by musicians who knew Thad and worked with him throughout his career.

MoZella - I Will

Maverick/Warner Bros.

After failing to land a much wanted role in a high school play, Mozella set her eyes on having a career in the music industry. She left home at 18 to get her foot in the door down in LA. Pursuing her dreams has been tough. She found her experiences educating her and she wrote about them.
She is a confident songwriter. Her soulful voice can turn from seductively husky to girlishly vulnerable on a dime. Her music is infectious, groovy and enjoyable. She is no longer just a coffeehouse name.

David LaMotte - Change

Lower Dryad Music

With nine previous albums to his credit, you must wonder if David LaMotte could keep on suprising you. With his tenth CD in my hand I must say that he proved that he can.
Constructed around themes of maturity and rites of passage, Change, holds some of LaMotte's most subtle and authentic writing yet. The lyrics are evocative in their observations of political, social and personal struggles. Yet he refrains from being preachy and sentimental. The guitar playing is exquisite. Eleven songs are original, two covers include "Mi Luna," the first song he has recorded in Spanish, and "Walking In Your Footsteps," written by Sting for the Police.

Johnny Whitehorse - Johnny Whitehorse

Silver Wave

This is an awesome collection of Native American music. It tells the tales of Whitehorse, a man gifted in Horse Medicine. Many Native American tribes including the Apache honored the horse through their music, ceremonies, in war and death, in their way of life. Because without the symbiotic relationship they had with the horses much would have been lost for them. There are stories in this record that bring out the memories of heroes and warriors. A time that has long past, and is too quickly being forgotten. The Red Road should not be forgotten.

The Carter Family - The Carter Family: Together Again

Sphere

The original Carter Family, A.P. Carter, Sara Carter and Maybelle Carter first recorded in 1927. The original family disbanned in the early 1940's, and Mother Maybelle formed a group with her daughters, Helen, Anita and June.
In the mid 1960's the Carter Sisters and Mother Maybelle again became known as the Carter Family and in 1973 and 1974 added a third generation of Carters to the act. Anita's daughter, Lorrie Davis (Bennett), joined the group, along with Helen's sons, Danny and David Jones.
The Carter Family consisting of Helen, Anita and June Carter Cash (Good old Johnny's wife) recorded this CD in 1991 at the old LSI Studios in Nashville. This project was on the shelf until Sphere came into possession of it and contacted the Carter Family. And here it is in all of it's Southern glory. The sweet pungent voices of the Carter Sisters, rest their souls. It is a must for any true country fan.

Mr. Backlash, Mr. Backlash
Just who do you think I am
You raise my taxes, freeze my wages
And send my son to Vietnam
You give me second class houses
And second class schools
Do you think that alla colored folks
Are just second class fools

Mr. Backlash,
I'm gonna leave you
With the backlash blues

When I try to find a job
To earn a little cash
All you got to offer
Is your mean old white backlash

But the world is big
Big and bright and round
And it's full of folks like me
Who are black, yellow,
beige and brown

Mr. Backlash, I'm gonna leave you
With the backlash blues
Mr. Backlash, Mr. Backlash
Just what do you think I got to lose

I'm gonna leave you
With the backlash blues
You're the one will have the blues
Not me, just wait and see

Political Article: Iraq is Vietnam-and You'd Better Believe It By: John Graham Back To Top I was a civilian advisor/trainer in Vietnam, arriving just as US troops were going home. I wasn't there to fight, but I hadn't been in country a week when I learned that the word "noncombatant" didn't mean much where I was posted, fifty miles south of the Demilitarized Zone (DMZ) that then divided South Vietnam from North. I got the message when a sniper's bullet whistled past my ear on the main highway twenty miles south of Hue. Joe Jackson, the burly major who was driving, yelled at me to hold on and duck as he gunned the jeep out of range, zigzagging to spoil the sniper's aim. Snipers or not, in 1971 it was the U.S. Government's policy not to issue weapons to civilian advisors in Vietnam, even to those of us in distant and dangerous outposts. The reason was not principle, but PR-and here begin the lessons for Iraq. Sometime in 1969, the White House, faced with unrelenting facts on the ground and under siege from the public, had quietly made the decision that America couldn't win its war in Vietnam. Nixon and Kissinger didn't put it that way, of course. America was a superpower, and it was inconceivable that it could lose a war to a third rate nation whose soldiers lived on rice and hid in holes in the ground. So the White House conceived an elaborate strategy that would mask the fact of an American defeat. The US would slowly withdraw its combat troops over a period of several years, while the mission of those who remained would change from fighting the North Vietnamese and Vietcong to training the South Vietnamese to carry on the fight on their own. At the same time, we would give the South Vietnamese a series of performance ultimatums which, if unmet, would trigger a total withdrawal and let us blame the South Vietnamese for the debacle that would follow. This strategy was called "Vietnamization." Implementing it cost at least 10,000 additional American and countless more Vietnamese lives, plus billions of dollars. It was a rigged game from the start. All but the wildest zealots in Washington knew that the South Vietnamese would not and could not meet our ultimatums: an end to corrupt, revolving-door governments, an officer corps based on merit not cronyism, and the creation of a national state that enjoyed popular allegiance strong and broad enough to control the political and cultural rivalries that had ripped the country's fabric for a thousand years. During the eighteen months I was in Vietnam, I met almost no Americans in the field who regarded Vietnamization as a serious military strategy with any chance of success. More years of American training could not possibly make a difference in the outcome of the war because what was lacking in the South Vietnamese Army was not just combat skills but belief in a cause worth fighting for. But none of that was the point. Vietnamization was not a military strategy. It was a public relations campaign. The White House hoped that Vietnamization would keep the house of cards upright for at least a couple of years, providing what CIA veteran Frank Snepp famously called a "decent interval" that could mask the American defeat by declaring that the fate of South Vietnam now was the responsibility of the South Vietnamese. If they didn't want freedom badly enough to win, well, we had done our best. To make this deceitful drama work, however, the pullout had to be gradual. The plan (Vietnamization) had to be easily explained to the American people. And the US training force left behind had to be large enough and exposed enough to provide visual signs of our commitment on the 6:00 news. Pictures of unarmed American advisors like me shaking hands with happy peasants would support the lie that Vietnamization was succeeding. Living in the bulls-eye, we understood the reality very well, especially when, as public pressures for total withdrawal increased in 1971-72, most of the "force protection" troops went home too. That left scattered handfuls of American trainers left to protect themselves. As the very visible US advisor to the city of Hue, I was an easy target for assassination or abduction, anytime the Viet Cong chose to take me out. I kept a case of grenades under my bed, I slept with an M-16 propped against the bedstead, and I had my own dubious army of four Vietnamese house guards whom I hoped would at least fire a warning shot before they ran away. In April 1972. North Vietnamese forces swept south across the DMZ, scattering the South Vietnamese Army (ARVN) defenders and driving to within six miles of HuŽ. I and a handful of other American trainers and advisors could only watch as a quarter-million panicked people gridlocked the road south to Danang, in a terrifying night reverberating with screams and explosions. We knew that any choppers sent to save us would be mobbed by Vietnamese eager to escape. I'm alive because American carrier jets caught the advancing North Vietnamese just short of the city walls and all but obliterated them. Now we have the Iraq Study Group Report, advising that the mission of US forces shift from fighting a war to training Iraqi troops and police. The Report calls for the US to lay down a series of performance conditions for the Iraqis, including that the Iraqis end their civil war and create a viable national state. I've lived through this one before. Deteriorating conditions on the ground soon will force President Bush to accept this shift in mission strategy. It is Vietnamization in all but name. Its core purpose is not to win an unwinnable war, but to provide political cover for a retreat, and to lay the grounds for blaming the loss on the Iraqis. Based on what I saw in Vietnam, here's what I think will happen next: The increased training will make no difference. It could even make things worse since we will be making better fighters of many people who will end up in partisan militias. What the Iraqi military and police need is not just technical skill but unit cohesion and loyalty to a viable central government. Neither can be taught or provided by outside trainers. When US troops pull back from fighting the insurgents, most Iraqi units will lack both the military skills and the political will to replace them. More soldiers and police we've trained will join the militias. Violence and chaos will increase across the country. As the situation continues to deteriorate in Iraq, anti-American feelings will increase. Cursed for staying, we will now be cursed for leaving. Iraq will become an ever more dangerous place for any American to be. At home, political pressure to get out of Iraq completely will increase rapidly as the violence gets worse. The military force left behind to protect the US trainers will be drawn down to-or below-a bare minimum, further increasing the dangers for the Americans who remain. Military affairs commentator General Barry McCaffrey issued this sober warning in the December 18 Newsweek: "We're setting ourselves up for a potential national disaster in which some Iraqi divisions could flip and take 5,000 Americans hostage, or multiple advisory teams go missing in action." Nothing destroys troop morale faster than being in a war you know is pointless. At this same stage in Vietnam, drug use among Americans became a serious problem. Our ultimatums and conditions won't be met. As the situation gets worse, whatever remains of a central government in Baghdad will be even less able to make the compromises and form the coalitions necessary to control centuries of factional and tribal hatreds. The civil war will spiral out of control, giving us the justification we need to get out, blaming the Iraqis for the mess we've left behind. Then we will face the regional and global ramifications of a vicious civil war whose only winners will be Iran and Al-Queda. US leaders may decide, as they did 37 years ago, that we must again create a "decent interval" to mask defeat and that the PR benefits of that interval are worth the cost in lives and money. If they do, however, they should-unlike the Iraq Study Group-not lie to us that such a strategy has any military chance whatsoever of success. John Graham is the president of the Giraffe Heroes Project and author of Outdoor Leadership, It's Up to Us: The Giraffe Heroes Program for Teens, and Stick Your Neck Out; A Street-smart Guide to Creating Change in Your Community and Beyond. He can be reached at jgraham@whidbey.com

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