Tim Cheesebrow

I hadn't heard of Tim Cheesebrow until my buddy Ken passed along an advance copy of his new CD "Crooked Lines". Now, I'm so old that almost everything I hear reminds me of something else I've heard, and sure enough, one listen to Tim's voice and I immediately heard Clive Gregson (once with Any Trouble and Christine Collister). Tim's music isn't really anything like Clive Gregson's, but he does share the same clear, powerful voice, straight from the heart and hitting for the fences.

A few of the songs on the CD jump right out: "Lullabye", "You Are My Everything", "Take My Hand" and the title track, while many of the others hook you with the subtle arrangements and the variety of instrumentation. It's an extremely well-crafted album, part Americana, part country, heartfelt and worth repeated listening. (More information about Tim Cheesebrow and many other fine artists at www.newfolkrecords.com)

"I Am the Center: Private Issue New Age Music in America 1950-1990"

A few posts back, I mentioned the return of 'cassette culture', and this compilation from 2013 is drawn from new age albums that were initially released exclusively on cassette.  I remember those days fondly. You'd buy a sampler or two, and the catalogs were usually decidedly not slick. And the performers were pretty quirky; you'd have to be to attempt music in a genre that hadn't really existed before. Some stayed true to their original vision (Iasos, Laraaji, Don Slepian, Aeoliah, Larkin -- going by a single name helps, I guess) while others I won't name took the New Age banner when it emerged and ran with it. There are a few people on this compilation that I'd swear have releases numbering in the hundreds, everything from 'music to align your chakras' to 'music for a stressful day'.
But it is fun to listen to these releases from the dawn of the whole "new age movement", just before things started to coalesce. It's interesting how a movement moves into the center; young people with dog-eared copies of "The Hobbit" start eating brown rice and consider Eastern mysticism, and now soccer moms are going to yoga classes and eating organic food. What once was the fringe is now the new normal for a lot of folks. So this collection is a fond look back to some quirky little pioneers.

Saturn, the Bringer of Old Age

This piece by Gustav Holst was very comforting to me as my father was dying. You might not think so, because most of it depicts a long, slogging inexorable march to death. But at about 6:56, the atmosphere changes. To me, it portrays the moment of 'crossing over'; the soundscape opens up and there's a sense of vastness, of peacefulness, of wonder.

Charles Dutoit and the Montreal Symphony perform one of the best versions -- enjoy!

https://www.youtube.com/watch?v=6sbnsLmwlbc

Smile, Smiley Smile, and Love and Mercy

We watched the film "Love and Mercy" last night; as veteran Brian Wilson/Beach Boys fans, there wasn't much new information for us. Brian wants to experiment and record the music he hears in his head, Mike Love wants to stick to the formula, Murry Wilson was a bully, and Dr. Eugene Landy was too. It is fascinating to see scenes based on actual recordings of studio sessions, Brian coaching the musicians, and how unlikely instrumental combinations (basses playing in different keys?) resulted in the Beach Boys classics we know and love.

Besides the Beach Boys, the soundtrack bits by Atticus Ross offer a glimpse into the melodies swirling through Brian's head. Both "Good Vibrations", and to a greater extent, "Smile" were assembled from bits and pieces of music Brian had recorded in hours of studio sessions. Over the years, parts of "Smile" were polished up and released on later Beach Boys albums (most prominently on "Smiley Smile"), but the official release of "Smile" makes clear that Brian could have assembled dozens of different variations on what was eventually released. For me, that makes listening to "Smile" difficult at times, because I realized it was still an unfinished album -- it's just the version Brian ended up with.

The agony of too many choices plagued the completion of many great albums ("Tusk", "The River", for example), and it's no wonder that the maelstrom of melody Ross portrays in the film as the contents of Brian's brain drove him batty.

Heigh Ho, The Green Holly and not just another Nutcracker

For me, the best Christmas music covers the full spectrum of emotion. It's not all tinsel and candy; there are moments of reflection, reminiscence, and in Van Morrison's words, "a sense of wonder". "Heigh Ho, The Green Holly" captures those moments of the Christmas season in fine fashion, 

The Celtic instrumentation makes for a refreshing wintry blast of traditional carols and Irish/Scottish melodies. Flutes, pipes, fiddle and.. trombone (!) -- I'm a sucker for trombones -- this one is in the CD player a lot. I love the tunes, the variety of instruments, and the musicians -- this collection is compiled from 2 earlier releases, and despite the revolving cast of characters, the sequencing and pacing is masterful. Happy holidays!  

Transcribing orchestral music to the guitar is a monumental task, especially if you're dealing with Tchaikovsky, who is a master of instrumental color and melody. Tim Sparks is up to the task, and this is sure to be the definitive acoustic version of the Nutcracker Suite.

She Is Shelby Lynne

Shelby Lynne for me occupies the same territory as Lucinda Williams, Wynonna Judd, Cassandra Wilson, Christine Collister and Bonnie Raitt; they sound nothing alike (okay, Shelby does sound a bit like early Bonnie Raitt), but they all share a sense of unfettered choice in their material. They are not to be pigeon-holed, yet the record labels insist on cramming them into something easily marketable.

Shelby's early albums were slick country affairs, and she finally rebelled, reassessed, and released "I Am Shelby Lynne", her 6th album which won her a Best New Artist Grammy -- go figure. A greatest hits collection "The Definitive Collection" (not), features 7 out of 10 tracks from "I Am...", and the songs they didn't pick are good too. Initially, I was put off by the album, until last week, listening again, I realized she was putting out her resume. What I took for a grab-bag of styles was essentially her way of showing the world "I can do ALL of these things -- country, blues, soul...I have more to offer than what you've heard from me before."

But that can come back and confuse the public. Everyone loved "I Am...", but her next album "Love, Shelby" went all slickety again. Good songs, but...huh? Shelby zigzagged like this for a while; later albums featured powerhouses like Bill Payne (Little Feat) and Benmont Tench (Tom Petty), but still asked the question "Where's the Shelby we all love?"

I mentioned in an earlier post that her Dusty Springfield tribute "Just a Little Lovin'" is totally excellent. She's lately slipped into a groove with her last 2 albums. "Thanks" (more accurately an EP than an album) is Southern gospel/soul, and "I Can't Imagine" is a back-porch version of the country/blues vibe encountered in "I Am..." -- but the songs are not quite as memorable to me. Production is excellent, but the songs don't quite measure up.

Still, she's producing herself, making her own choices, and I'm positive there's more great work from Shelby in the future. 

David Grisman and Patty Loveless: Christmas Time's A-comin'!

Here's the thing with me about Christmas music: I really enjoy it, but I'm picky. I've left stores just because they've audibly assaulted me with Mariah Carey or Mannheim Steamroller or Trans-Siberian Express or [insert your choice here]. Really? It's not Christmas until someone's belting in a range only dogs can hear? 

 That said, we started early with the Christmas music this year; the weather's been particularly bleak lately, so we wanted to lighten things up. As much as my wife and I at Christmas time love to blast Phil Spector, we tend to listen to more acoustic fare. I had picked up the David Grisman album at Value Village a while back, so it was good to finally listen to it at length -- and what a treat! Grisman (and Tony Rice) have been favorites of mine for a long time; their brand of 'spacegrass' (Tony's term) or the more familiar 'Dawg music' is probably my favorite offshoot of traditional bluegrass. Grisman's version of "God Rest Ye Merry Gentlemen" isn't just 6:47 of great Christmas music, it's plain great music. It smokes!

Ah, sweet Patty Loveless. She started out in a more traditional country vein, but for years now, she's veered off into Kentucky bluegrass, and this 2010 album is another fine example. The song selection was a slight disappointment at first-- the usual suspects, on most every Christmas album, including other country/bluegrass  albums like "Christmas Time with the Judds" and "Light from the Stable" by Emmylou Harris. But Patty's voice, the beautiful arrangements, and the original material ("Santa Train" -- what a hoot!) lifts this album above the pack. Add in Vince Gill, Amy Grant, Dolly Parton, Ricky Skaggs and more guests, and you've got a fine Kentucky mountain Christmas album