Carly Simon - Into White

Columbia/Sony BMG

Taking its name from the living legend, Cat Steven's 1970's Tea for the Tillerman album, Into White is a collective of exquisitely honest music--songs set to soothing roots acoustic and sung in in that purely evocative, dusky style that is signature Carly.
Truly an illustrious compilation, the album boasts newly fashioned versions of "Blackbird" (Beatles), "Over the Rainbow" (Judy Garland), "All I Have to do is Dream/Devoted to You" (The Everly Brothers) and "Scarborough Fair" (Simon & Garfunkel). It also includes traditional tunes repolished and redone like "I Gave My Love a Cherry," "Hush Little Baby/My Bonnie" and "Oh! Susanna."
For me, the nail that hangs Into White and Carly Simon securely above the rest is her dedication to her family. Her son, Ben Taylor, accompanies her throughout the album and along with her daughter, Sally, they sing a stellar familial rendition of the late James Taylor's "You Can Close Your Eyes," from the 1971 record Mudslide Slim and the Blue Horizon.
This is the album that will bring you to your zen, your secret garden, or, as Carly puts it, "lull you to sleep as it is meant to do."

Joe Ely - Happy Songs from Rattlesnake Gulch

Rack 'Em

In the Seventies Country was full of artist reffered to as "outlaws" mavericks bucked with the stodgy, Nashville music establishment by writing their own songs, recording with their road bands and producing their own records. The genre produced a slew of acts, but Amarillo, TX epitomized the form unlike most of that era's big names, Ely remained a viable artist.
He got his start from back in the 70's, working with Butch Hancock and Jimmie Dale Gilmore in a group called the Flatlanders. Their only album didn't go far and the group skipped. Around the mid-seventies. Ely formed an eclectic group that were able to swing from cajun to honky-tonk stomps and rockabilly.
For more than thirty years Joe Ely has been perfecting his personal groove, traveling worldwide and meeting thousands along the way. He has put all of his worldliness pleasure into his first album in more than four long years. In Rattlesnake Gulch, Ely shares kaleidoscopic recollections of his many road trips and numerous adventures.
This is a mandatory addition to any true blue Country music lover's collection. As a matter of fact, Happy Songs and Joe Ely are sure to become part of the foundation that makes a good collection of music a montage of A-class hits.
***Shelton's Single of the Week: Miss Bonnie and Mister Clyde***

Miles Davis - Relaxing With The Miles Davis Quintet

Prestige/Concord

Relaxing With The Miles Davis Quintet is in every way a masterpiece. When the trumpeter (1926-1991) had formed the band in 1955, his colleagues--tenor saxophonist John Coltrane, pianist Red Garland, bassist Paul Chambers and drummer Philly Joe Jones were not considered top of the line in the jazz world. And before conquering an addiction to narcotics in the 50's, Davis had seen his once promising career go into eclipse.
In 1956, he became the musical counterpart to the vocals of Billie Holiday and Frank Sinatra; he reestablished himself and his band, reclaiming, once and for all, the gold standard for small jazz ensemble.
Relaxing remains one of Davis' sunniest outings, with its bright tempos it is the prime example of how outstanding small group's can and have endured the test of time.

Barzin - My Life In Rooms

Monotreme

in "My Life In Rooms," Monotreme With a sound that is quite distinguished, as opposed to bands that imitated the Tindersticks sound, Barzin bursts forth with melancholy autumnal tones that conjure up images of the silver waves washing white sandy shores in the midnight sun.
Beginning as a solo project in 1995 in Toronto, Canada Barzin has gentley progressed into a collective of musicians who casually make appearances on the recordings and at live shows. My Life In Rooms is a poetic confessional of Barzin's creative mind. With lyrics sung barely above a whisper and set to arrangements of gentle strings and brushed drums, we have entered the smoother side of pop.

Various Artists - L Tunes: Music From and Inspired by The L Word/i>

The L Word returned for it's fourth season on Showtime, January 7. It claims a cast os superb stars--Jennifer Beals, Laurel Holloman, Mia Krishner, Leisha Hailey, Katherine Moennig, Rachel Shelly, Daniela Sea, Dallas Roberts and Pam Grier.
The newer additions to the cast claim some heavy stars like Cybill Sheperd, Marlee Matlin, Janina Gavankar and Rose Rollins.
The album has it's own killer line up. L Tunes is a compilation of tracks that musically echo the rich and substantial themes and conflicts that the series confronts. The CD combines classic and new artists better than the trendiest retro-look. Artist like the great Nina Simone, Fiona Apple, Tori Amos, PJ Harvey, Peaches and The Cliks.
This albums label, music With A Twist launched in 2006 and is the first major label dedicated to identifying and developing lesbian, gay, bisexual and transgender artists along with creating innovative music. I feel that this is a big step in the right direction.

Mardo - The New Gun

House Of Restitution

The New Gun is the perfect soundtrack for a night full of partying. On their second album, the Mardo brothers have polished their classic-rock roots into something brighter and more ferocious than previous recordings.
Recorded in four intense weeks, the base tracks were laid down at the brothers house before handing them over to Les Pierce who put the final touches on at his home studio.
The New Gun starts with a B*A*N*G that just won't let up. The opening "Lolita Live and Learn," mixed by rock legend Tom Lord-Alge comes on hard, fast and infectious and sets the presence for the entire album. It is a album that confronts youthful excess in a headstrong fashion. This is hard evidence that Mardo's true success lies in their element of surprise!

Mindy Smith - Long Island Shores

Vanguard

When I first listened to this album I was almost too quick to judge it as another female vocalist that has an illustrious sound, but no soul behind the voice. And I must admit that I was sorely wrong.
Mindy Smith is a success story that has taken eight years to come to fruition. Long Island Shores has raw emotion that guides you deep into the emotional intimate side of the woman behind the music. She is more than another rootsy-country-alternative singer, she is a determined artist who is always focused on evolving as a person, musician, lover--what have you.
Hers are songs of new love, old heartaches, self perseverance and admiration for the everyday wonders of life. I found her album full of hope that raises you up from your sorrow. Mindy Smith definitely knows how to make positive impression and all her youthful energy is reflected in her music.

Gilby Clarke - Gilby Clarke

Sheridan Square/Spitfire

This is the debut release from former Guns N' Roses guitarist Gilby Clarke. The album puts forth strong guitar riffs and aggressive drumming. It's strength comes from the no-bullshit attitude that Clarke presents in his legendary guitar skills and in his rough lyrical content.
I found it to be a fresh remaking of the up yours attitude that drove late eighties and early nineties rock. With great songs that are melodically driven Gilby has taken the facade out of rock'n'roll.

Kevin Doherty - Strange Weather

Breeze Hill/Woodstock

There can't be many albums that can make this claim: recorded in Levon Helm's Woodstock studio and in Hurley, NY, but mixed in Enniskillen. Kevin Doherty's album fits the bill. Strange Weather is the solo debut from the former Four Men & A Dog member. There's not a hint of the traditional sound that characterized that band; here the music and lyrics are infused with influences that are primarily American.
Strange Weather screams heavy Dylan influences. Music heroes like Rick Danko and Levon Helm make a guest appearances on a couple tracks. This is a calm uplifting album that makes you want to hit the traveler's road. Lyrics are catchy and soulful. And with such exemplary musicians to boast it is a sure fire winner of an album. This is worth every cent it must have cost to create.

Anais Mitchell - The Brightness

Righteous Babe

Her voice may be alarming but her music is profound. Having an almost angelic youthful childlike voice, she weaves a veil of mystery throughout her songs. With The Brightness Mitchell gives us a glimpse into the raw talent and infectious energy of underground folkies.
Her music is as much an enigma as the woman who writes it. Mitchell never yearned to be a singer she tells us.
"I used to tell people I wanted to be a journalist. There is a lonely egotism and self-composure to journalists. Not unlike artists, theyÕre always traveling, always writing, loving their loneliness, feeling somehow that they have their finger on the pulse Ð worshipping the truth and trying to render it legible."
Over the course of eleven songs listeners are carried away into different realms and times. You will find yourself in Bethlehem and in the hillsides of Virginia and in the next song you'll be basking in the New Mexican diamond night sky. But for all it's worldliness, this is a lovingly crafted, homemade album--instantly memorable.

Brian McComas - Back Up Again

Katapult/KBR

He was born in Maryland, but moved to Ozark country at the age of four. Here he developed an everlasting appreciation for many various styles of music. He found himself having a hankering for country and moved himself to Nashville in 1990, where he sought to build a career.
This is the first manifestation of Brian's grueling work. His music is pure country with songs that nestle themselves up against your heart. His lyrics are about real hardships faced by everyday people and of course he has his "classic" country song about heartache and love sore affection. He does a real sweet rendition of The Everly Brother's "Wake Up Little Susie," and by the end of the album you have found your pot of gold, finding yourself yearning for more of his one of a kind sound.

dredg - Live at The Fillmore

Interscope/Universal

Live at The Fillmore is the follow up to Catch Without Arms. These are the recordings that personify the essence of their live show. Here you are pulled into the show by all the raw seeping power that the band puts center stage. You are lost in the crowd of fans as you catch yourself grooving to the haunting melody. When you reach the end of the recording you'll find yourself slightly shocked that you never left your room, but you'll be relieved that you don't have to fight to find your car among the mass chaos!

Thomas Mapfumo & The Blacks Unlimited - Rise Up

Real World/Narada

The legendary "Lion of Zimbabwe"--the father of electric mbira music that inspired the "Chimurenga" songs of revolution during Zimbabwe's struggle to independence in 1980--is in exile.
Mapfumo is once again at odds with the regime of his homeland. Just as his songs once spoke of rebellion in Rhodesia, today he rallies the people against the tyranny of Mugabe.
There is no prospect of a speedy return home from his adopted "home" base in Oregon, where this album was recorded.
Having matured splendidly over the years, Mapfumo sings mostly in his native tongue, Shona, and the mbira sits deep in the mix still--a sound known to invite ancestor spirits to posses the living during sacred Shona ceremonies.
Devoid of anger, hatred and spite Mapfumo's music is as powerful and pure as ever. From the opening bars it slips into a poised, relaxed groove with unfailing hooks, providing abundant hypnotic harmonizing refrains and encompassing all of the formidable grace and moral authority of the great Mapfumo.

Marina V - Simple Magic

Crazy Apples

This lady has everything that it takes to be a star. She has the voice that stops you dead in your tracks. Full of confidence and Jewel-esque appearance, she commands the respect of those who hear her music.
Born in Russia, Marina has come far from her home to become an U.S. citizen and promote herself as reputable singer and songwriter. Her album is full of hope and light. She has talked about the hardships of her humble birth and the perseverance it has taken to break free of oppression. She may rest assure that she is doing it right; her music is a definite embodiment of beauty.
Oh, and she is environmentally sound! She drives her Prius while on the road, one small step toward a greener industry!

Kassin +2 - Futurismo

Luaka Bop/V2-Artemis

Futurismo is the newest from Brazilian's Alexandre Kassin and his +2, Domenico LancelottiÊand Moreno Veloso. This album is the portrait of Rio Zona Sol's rich musical, cultural and ethnic diversity.
The song's on Futurismo are melodic gems. Written during different stages in Kassin's life they are nimbly threaded songs full of playfulness. They were recorded rather hastily. Mostly acoustic, the electric embellishments were added later.
+2 has been one of the most exciting name's in Brazilian music for the last couple of years. With Futurismo Kassin has exceeded all expectations. He has created a classic sounding album that reflects his heart and his own record collection. This is over flowing with a topnotch mix of samba, garage rock, bolero and bubbles of bossanova.
***So Nice, Gotta Do It Up Twice (Created by the Original NYC DJ, Jocko, 1955)***

Michael Powers - Prodigal Son

Baryon

Growing up to the sounds of Jimmy Reed, Jimi Hendrix, The Yardbirds and Bob Dylan, it is little wonder the Power's music is overrunning with with that Delta Blues groove tinged with the soul of Brit rock.
Add that to his mother's constant faith and support, having provided him his first guitar at age seven and having always stood behind his work as a musician, and you have a man determined to bring a supercharged soul rock revival!
Prodigal Son is a ticking time bomb of songs that daringly combine blues and rock. But it is Michael's soul that puts the finishing touch and finishes the package. He has the energy that it takes to be the pioneer of Neo-Southern Soul.

Various Artists - Pickin' On Vince Gill, Vol II: A Bluegrass Tribute

CMH

He's a superstar with deep roots in bluegrass and classic country. Vince Gill has accomplished a rare feat in Nashville by cranking out crossover hits while respecting the traditions that originally inspired the young musician from Oklahoma. Sophisticated with a down-home sensibility, Vince's music succeeds both commercially and artistically. From ballads to up tempo blugrass-inflected hoe downs, Vince's sweet tenor voice and tasty guitar licks continue to set new standards for country music.
Pickin' On Vince Gill Vol II, gigs deeper into the heart and soul of his music, offering more unique instrumental interpretations performed by some of the hottest in bluegrass. The sounds of the fiddle, mandolin, dobro, guitar, banjo and bass create a rich tapestry that blends raw emotion with hot pickin' on Vince's biggest songs including "Never Knew Lonely," "Pretty Little Adriana," and "Which Bridge to Cross (Which Bridge to Burn.)" Pickin' On Vince Gill is a bold tribute fit for the reigning king of country music.

The Lost Trailers - The Lost Trailers

BNA/Sony BMG

Strengthened by five years of continuous touring, the Georgia quintet share a bond born of overcoming setbacks that would have crippled many bands. Their name, which was originally a misfortunate nickname, comes from a series of equipment trailers that were stolen.
As the band pieced everything back together, they felt a sense of renewal and the group decided to take the unlucky streak into a sign to get back to the good ole basics and return to where they started. Making hardcore country in Nashville, Tennessee.
Almost immediately the band found their curse lifted. Now they are appreciating a surge of good things happening. They are signed and here is the product of their work. Lost Trailers is a refreshing smack over the head. They have the hooks to boot. Lyrics that resonate that down-home appeal. This album sent me straight home to my velvety rich country summer nights sipping sun tea and chasing fireflies.

Johnny Cash & Others - We The People

Folk Era/Wind River

Originally recorded to celebrate the Bicentennial of the U.S. Constitution in 1987, this album has been remixed, reworked and remastered to become a stirring tribute to the United States, to our Constitution, and to Johnny Cash--a proud American who delighted in this opportunity to express his love for the land and the people of it.
The songs of this album, performed by Johnny Cash and other favorite artists, tell the story of how our Constitution has led the United States from those difficult times following the Revolution and securing our independence throughout the Civil War, both World Wars, to the tumultuous 60's and today.

John Adams feat. BBC Symphony Orchestra - The Dharma at Big Sur/My Father Knew Charles Ives

2 Disc, Nonesuch/Warner Music Group

The Dharma at Big Sur was composed in 2003 for the opening of Disney Hall in Los Angeles. This new building was designed by the great Frank Gehry, and promised to be more than just another music hall. Facing such a tremendous dedication, a proportionate composure had to be created; drawing inspiration from Jack Kerouac John Adams perfectly captures the surging emotion one feels upon gazing upon the majesty of the California coastal mountain scenery for the first time. As you listen you will relate through the six string electric violin, which carries you into liberation, excitement and ecstasy. Truly as awe inspiring as the land of which inspired it's birth, The Dharma at Big Sur encapsulates all the beauty that John was aiming for.
On My Father Knew Charles Ives you will find a musical autobiography and homage to a composer whose had vast influence upon the composers of today. Ive's music, for all it's daring experiments n rhythm and polyphonic, always mixed the sublime with the vulgar and sentimental. He did so with a freedom and insouciance that could only be done by an American. My hope is that all who hear this album enjoy it as much as it was meant to be.

Kasey Chambers - Carnival

Reprise/Essence/Warner Bros.

Australia's reigning queen of alternative country sure has evolved in the last couple of years. No longer the lost little girl of her earlier days, Kasey has stepped outside the musical borders that had previously held her down.
Raised on the vast Nullabor Plain, she grew up on a strict diet of Hank Williams and Johnny Cash. Heading the advice of her longtime producer and brother, Nash Chambers, she hung up her traditions, opened her mind and welcomed two new additions to her studio band--Midnight Oil's Jim Moginie and The John Butler Trio's Michal Barker.
What's uncanny, although beneficial about Carnival is that despite its new path musically and emotionally this album is still Kasey. The warm crackle of her girlish voice and the unpretentious, homespun quality to her song writing are still present, allowing this singer's past to inspire her future.

Who's watching
Tell me, who's watching
Who's watching me

I'm just an average man
With an average life
I work from nine to five
Hey, hell, I pay the price
All I want is to be left alone
In my average home
But why do I always feel
Like I'm in the twilight zone

And (I always feel like)
(Somebody's watching me)
And I have no privacy
Whooooa-oh-oh
(I always feel like)
(Somebody's watching me)
Tell me, is it just a dream

When I come home at night
I bolt the door real tight
People call me on the phone
I'm trying to avoid
But can the people on TV see me
Or am I just paranoid

When I'm in the shower
I'm afraid to wash my hair
'Cause I might open my eyes
And find someone standing there
People say I'm crazy
Just a little touched
But maybe showers remind me
Of Psycho too much
That's why

(I always feel like)
(Somebody's watching me)
And I have no privacy
Whooooa, oh-oh
(I always feel like)
(Somebody's watching me)
Who's playin' tricks on me

(Who's watching me)
I don't know anymore
Are the neighbors watching me
(Who's watching)
Well, is the mailman watching me
(Tell me, who's watching)
And I don't feel safe anymore
Oh, what a mess
I wonder who's watching me now
(Who)
The IRS

(I always feel like)
(Somebody's watching me)
And I have no privacy
Whooooa, oh-oh
(I always feel like)
(Somebody's watching me)
Tell me, is it just a dream

(I always feel like)
(Somebody's watching me)
And I have no privacy
Whooooa, oh-oh
(I always feel like)
(Somebody's watching me)
Who's playin' tricks on me
(Who's watching me)
(I always feel like)
(Somebody's watching me)
Oooooooh
Whooooa-oh-oh
(I always feel like)
(Somebody's watching me)
So ? who can it be
(Who's watching me)
(I always feel like)
(Somebody's watching me)
Whooooa-oh-oh
(I always feel like)
(Somebody's watching me)
Who's playing tricks on me
(Who's watching me)
(I always feel like)
(Somebody's watching me)
Can I have my privacy
Whooooa-oh-oh
(I always feel like)
(Somebody's watching me)
Who's playing tricks on me

Political Article: Note to Nancy Pelosi: Challenge Market Fundamentalism By: Ruth Rosen Back To Top Allison Stevens, a contributor to WomenÕs enews, a news service which too few good men bother to read, has just reported that the hugely expanded bipartisan Congressional Caucus for Women's Issues now has the power to put womenÕs issues on the national agenda. The caucus, which Stevens says may end up outnumbering the so-called ÒBlue Dog Coalition, a caucus of 44 fiscally conservative Democrats, and the New Democrat Coalition, a group of 63 pro-business Democrats,Ó also has access to, and probably the support of Speaker Nancy Pelosi, who was a member of the caucus, which was founded in 1977. Among the issues on their Òwish listÓ according to WomenÕs enews, are womenÕs health, educational equity and sex trafficking, women in prison, and international domestic violence. All are important but will go nowhere if they donÕt challenge Market Fundamentalism, the exaggerated and quite irrational belief in the ability of markets to solve all problems, an economic fundamentalism that has dominated our national political debate for a generation. Without directly challenging Market Fundamentalism, they will ultimately fail to improve the lives of ordinary American women and their families. Put it this way: What do catastrophic climate change, the widening gulf between the wealthy and the poor, America's obesity epidemic, and our societyÕs lack of care for the young and the elderly have in common? Each has powerful special interests who insist that we need to let the market work its private magic and that government action would create more problems than it would solve. These interest groups also block any effort to enlist the government by invoking the arguments of Market Fundamentalism: privatize everything, rely on yourself and expect nothing from your government. Market fundamentalism has become like the air we breathe; we hardly notice it. Every time George W. Bush argues for more tax cuts, he relies on the unquestioned assumption that we all embrace Market Fundamentalism. Like religious fundamentalism, it is based more on faith than on reason. Through constant repetition, however, the American public has been bullied into believing that private spending is rational and efficient while public spending is always wasteful and unproductive. (Tell that to people in New Orleans.) Progressives and liberals have assumed that Americans would eventually turn against these ideas, much as they become disillusioned with the Iraq War. But the truth is, neither the women in Congress nor progressives outside of D.C challenge Market Fundamentalism directly. Two decades of the reign of Market Fundamentalism have impoverished both the language and aspirations of progressive Democrats. Instead, they dance around Market Fundamentalism; they try to gain support for their cause without directly attacking the 800 pound gorilla that sits in Congress, in our deteriorating schools, and at the bottom of the gulf between those who hold stocks and those who wait for their next minimum-wage paycheck. Ideas that are not challenged or questioned become even more deeply entrenched. We have private Òsecurity guardsÓ who are doing the work of soldiers in Iraq, but who are not accountable to the military. When Hurricane Katrina tore through New Orleans, many of us imagined that the Bush AdministrationÕs callous and incompetent failure to rescue the people of New Orleans and to provide the leadership to rebuild the city would lead to massive disillusionment with the AdministrationÕs market-oriented rhetoric. But has it? IÕm not sure. Many people saw BushÕs incompetence, but they also viewed it as one more example of the governmentÕs incapacity to solve problems. This is a huge problem for liberals and progressives. Even if a decent Democrat wins the White House in 2008, his or her ability to offer compelling leadership and to propose new progressive solutions will be limited if Market Fundamentalist ideas remain unquestioned. Ditto for the women in Congress who think they will push womenÕs issues on to the national agenda. So, itÕs necessaryœno,urgentœthat we immediately challenge Market Fundamentalism every chance we get. Between now and the 2008 election, we need take every opportunityœon blogs, among political progressive---to explain to others why this exaggerated faith in markets is so dangerous and misplaced. Fortunately, there is now a resource to help us make these arguments. The Longview Institute, a progressive think tank with which I am affiliated, has just launched a Market Fundamentalism resource page, designed to help people recognize and refute these arguments. LongviewÕs Fred Block, a sociologist at the University of California at Davis, has long been articulating the dangers of Market Fundamentalism. Take a look: www.longviewinstitute.org The plan is to steadily add new arguments and new material, but what is already there provides plenty of fodder for a collective assault on the irrational ideas that support Market Fundamentalism. Market Fundamentalism is what prevents us from having universal health care, mass transit, affordable housing, trains that cross the nation, subsidized care for the young and elderly, and government efforts to reduce carbon emissions. The list, of course, is endless. Aside from ending the war in Iraq, there is nothing more important we can do to improve our domestic future. Ending the reign of Market Fundamentalism is a precondition for every kind of progressive cause. For a quarter of a century, Conservatives have tried to convince us that we, rather than the government, should be responsible for what is know in other industrialized nation as the Òcommon good.Ó If we donÕt attack the effort to privatize every public service that belongs to this common good, we will ultimately fail to move this nation in any progressive direction. Ruth Rosen is a journalist and historian. She is a senior fellow at the Longview Institute in Berkeley and a professor emerita of history at the University of California, Davis. She is currently a visiting professor of public policy and history at U.C. Berkeley.

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