What are you listening to right now?

Captainhemo · « **Reply #66700 on:** 31 Jan 2015, 05:42 am »

Matthias Kirschnereit - Händel: Piano Concertos

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Really enjoying the mix of the piano & violin on this album

ACHiPo · « **Reply #66701 on:** 31 Jan 2015, 06:19 am »

Santana
Abraxas

Captainhemo · « **Reply #66702 on:** 31 Jan 2015, 06:50 am »

Susanna Henkel - Violin & Cello: Duos 09
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lowtech · « **Reply #66703 on:** 31 Jan 2015, 11:03 am »

Alt-J - The Gospel of John Hurt

elasticnorseman · « **Reply #66704 on:** 31 Jan 2015, 04:17 pm »

Bolcom: Songs Of Innocence & Of Experience - Leonard Slatkin: Michigan University Symphony Orchestra (2004)

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Captainhemo · « **Reply #66705 on:** 31 Jan 2015, 05:29 pm »

Loreena McKennitt - The Book of Secrets '97
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elasticnorseman · « **Reply #66706 on:** 31 Jan 2015, 08:58 pm »

Sibelius: Symphony No. 5 & En Saga - Belshazzar's Feast - Adrian Leaper: Slovak Philharmonic Orchestra (1991)

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ACHiPo · « **Reply #66707 on:** 1 Feb 2015, 01:23 am »

Mike Bloomfield, Al Kooper, Steve Stills
Super Session

Music holds up very nicely, and the Audio Fidelity SACD sounds really good.

All Music Review by Lindsay Planer
As the Beatles' Sgt. Pepper's Lonely Hearts Club Band (1967) had done a year earlier, Super Session (1968) initially ushered in several new phases in rock & roll's concurrent transformation. In the space of months, the soundscape of rock shifted radically from short, danceable pop songs to comparatively longer works with more attention to technical and musical subtleties. Enter the unlikely all-star triumvirate of Al Kooper (piano/organ/ondioline/vocals/guitars), Mike Bloomfield (guitar), and Stephen Stills (guitar) -- all of whom were concurrently "on hiatus" from their most recent engagements. Kooper had just split after masterminding the groundbreaking Child Is Father to the Man (1968) version of Blood, Sweat & Tears. Bloomfield was fresh from a stint with the likewise brass-driven Electric Flag, while Stills was late of Buffalo Springfield and still a few weeks away from a full-time commitment to David Crosby and Graham Nash. Although the trio never actually performed together, the long-player was notable for idiosyncratically featuring one side led by the team of Kooper/Bloomfield and the other by Kooper/Stills. The band is fleshed out with the powerful rhythm section of Harvey Brooks (bass) and Eddie Hoh (drums) as well as Barry Goldberg (electric piano) on "Albert's Shuffle" and "Stop." The Chicago blues contingency of Bloomfield, Brooks, and Goldberg provide a perfect outlet for the three Kooper/Bloomfield originals -- the first of which commences the project with the languid and groovy "Albert's Shuffle." The guitarist's thin tone cascades with empathetic fluidity over the propelling rhythms. Kooper's frisky organ solo alternately bops and scats along as he nudges the melody forward. The same can be said of the interpretation of "Stop," which had originally been a minor R&B hit for Howard Tate. Curtis Mayfield's "Man's Temptation" is given a soulful reading that might have worked equally well as a Blood, Sweat & Tears cover. At over nine minutes, "His Holy Modal Majesty" is a fun trippy waltz and includes one of the most extended jams on the Kooper/Bloomfield side. The track also features the hurdy-gurdy and Eastern-influenced sound of Kooper's electric ondioline, which has a slightly atonal and reedy timbre much like that of John Coltrane's tenor sax. Because of some health issues, Bloomfield was unable to complete the recording sessions and Kooper contacted Stills. Immediately his decidedly West Coast sound -- which alternated from a chiming Rickenbacker intonation to a faux pedal steel -- can be heard on the upbeat version of Bob Dylan's "It Takes a Lot to Laugh, It Takes a Train to Cry." One of the album's highlights is the scintillating cover of "Season of the Witch." There is an undeniable synergy between Kooper and Stills, whose energies seems to aurally drive the other into providing some inspired interaction. Updating the blues standard "You Don't Love Me" allows Stills to sport some heavily distorted licks, which come off sounding like Jimi Hendrix. This is one of those albums that seems to get better with age and that gets the full reissue treatment every time a new audio format comes out. This is a super session indeed.

ACHiPo · « **Reply #66708 on:** 1 Feb 2015, 01:30 am »

Tom Waits
Heart of Saturday Night

I love the beat poetry set to funky piano and drums.

All Music Review by William Ruhlmann
If Closing Time, Tom Waits' debut album, consisted of love songs set in a late-night world of bars and neon signs, its follow-up, The Heart of Saturday Night, largely dispenses with the romance in favor of poetic depictions of the same setting. On "Diamonds on My Windshield" and "The Ghosts of Saturday Night," Waits doesn't even sing, instead reciting his verse rhythmically against bass and drums like a Beat hipster. Musically, the album contains the same mixture of folk, blues, and jazz as its predecessor, with producer Bones Howe occasionally bringing in an orchestra to underscore the loping melodies. Waits' songs are sometimes sketchier in addition to being more impersonal, but "(Looking For) The Heart of Saturday Night" and "Semi Suite" are the equal of anything on Closing Time. Still, with lines such as "...the clouds are like headlines/Upon a new front page sky" and references to "a 24-hour moon" and "champagne stars," Waits' imagery is beginning to get florid, and in material this stylized, the danger of self-parody is always present.

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elasticnorseman · « **Reply #66709 on:** 1 Feb 2015, 01:59 am »

Dirt Don't Hurt - Holly Golightly & the Brokeoffs (2008)

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elasticnorseman · « **Reply #66710 on:** 1 Feb 2015, 02:58 am »

My Head Is an Animal - Of Monsters and Men (2012)

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WC · « **Reply #66711 on:** 1 Feb 2015, 03:19 am »

Till We Have Faces - Over the Rhine (CD (1991))

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elasticnorseman · « **Reply #66712 on:** 1 Feb 2015, 04:05 am »

The Caution Horses - Cowboy Junkies (1990)

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Captainhemo · « **Reply #66713 on:** 1 Feb 2015, 04:50 am »

Quote from: ACHiPo on 1 Feb 2015, 01:23 am

Mike Bloomfield, Al Kooper, Steve Stills
Super Session

Music holds up very nicely, and the Audio Fidelity SACD sounds really good.

That's a great album

Captainhemo · « **Reply #66714 on:** 1 Feb 2015, 05:52 am »

Patricia Barber - The Cole Porter Mix '09
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pansixt · « **Reply #66715 on:** 1 Feb 2015, 06:42 am »

No. 9 No. 9 No. 9. No. 9. Take this brother, may it serve you well. The Watusi, The Twist.
The Beatles White Album. Scottish, UK Copy. To Be Continued.

pansixt · « **Reply #66716 on:** 1 Feb 2015, 06:49 am »

Cass Elliott.
Dream a Little Dream of Me.

Captainhemo · « **Reply #66717 on:** 1 Feb 2015, 07:04 am »

Holly Cole - The Holly Cole Collection '04
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ACHiPo · « **Reply #66718 on:** 1 Feb 2015, 06:11 pm »

Pink Floyd
The Wall

elasticnorseman · « **Reply #66719 on:** 1 Feb 2015, 06:23 pm »

Your Funeral... My Trial - Nick Cave & the Bad Seeds (1986)

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