If the afterworld includes a red-light district, Erotic Rhythms from Earth would qualify as its soundtrack. The third recording from Austin, Texas programmer/multi-instrumentalist Shane O'Madden beckons you into an off-focus world of amorphous boundaries, one that hovers somewhere between eternity and soft-core carnality. Offering an assortment of quirky temptations too intriguing to resist, O'Madden blurs Middle Eastern textures (principally generated via violin) and ambient electronic wayfaring with sultry, unhurried trip-hop textures, subtle female cooing, and understated rhythms. It all combines to exude a beguiling mood of faint danger and fashionable decadence, where the final destination is a bazaar of hidden, delicious pleasures…
Hopefully this reissue of Chapman's 1993 disc will find a wider audience than it managed the first time around. For those who love his late-'60s work, there's a real harking back to the classic Rainmaker in the title, and even a new version of one of his best-known songs, "Postcards of Scarborough." Doing everything himself, Chapman melds his gritty voice with thoughtful lyrics and rippling guitar work, although he does cut loose on a couple of occasions, on the instrumentals "Akublu" and "Elinkine," while his non-vocal take on "She Moves Through the Fair" glides with an almost ethereal grace. He can still write some stunning, insightful songs, like "Fool in the Night," with its remorse, or the wistful "Falling from Grace."
This is effectively the entire studio catalogue, and includes all the American singer-songwriter’s albums recorded as John Cougar, John Cougar Mellencamp and John Mellencamp for various record labels. The set contains a total of 223 tracks and spans 35 years. Twelve of the albums have bonus tracks, sourced from the 2005 re-mastered versions of Mellencamp’s Mercury releases.
Because more than half of the 35 songs on this two-disc retrospective of Marianne Faithfull's 1979-95 output come from her three great albums – Broken English, Dangerous Acquaintances, and Strange Weather – or are previously unreleased outtakes or B-sides from them, A Perfect Stranger: The Island Anthology makes a fine primer to Faithfull's often challenging, always mesmerizing (or would that be always challenging, often mesmerizing?) music…
Ottmar Liebert's popular Nouveau Flamenco sound has never paid strict homage to the history of Spanish guitar; rather, it has combined tradition with modern pop influences to create an accessible style that successfully bridges new age, jazz, and worldbeat. Paris born, Toronto bred Jesse Cook draws from the same ancient rhythms, but takes even more aggressive liberties with the form. So much so, in fact, that he labels the back sleeve of his new Narada Equinox disc, Gravity, with a colorful explanation of his unique hybrid: "Gravity Is Rumba Flamenco World Beat Jazz Pop."…
In the press release that accompanies Michael Chapman's 2017 album 50, the iconic British guitarist refers to it as his "American album." While the material does sound less idiosyncratically British than much of Chapman's body of work, 50 could be more accurately described as his indie rock album. He's best known as a master of the acoustic guitar, but on these sessions, the dominant instrument is the electric guitar of Steve Gunn, who also produced the sessions. Gunn assembled a band of like-minded musicians whose passions encompass indie rock, experimental rock, and the more abstract corner of Americana, and while Chapman's impassioned vocals ride over the top and his acoustic guitar is audible in the mix, the band doesn't bow to Chapman so much as encourage him to keep up with them.
Marianne Faithfull, one of the iconic figures of 1960s music, has sustained a successful and highly acclaimed career for 40 years. Her distinctive voice and passionate songwriting have ensured that her fan base has remained intensely loyal and that she has continued to attract new devotees.
Faithfull pegged her comeback to a brutal survivalist persona, but by this fourth album of her second career, she had mellowed at least to the extent of constructing flowing song structures with her collaborators, Barry Reynolds and Wally Badarou, that eased the bitterness still found in many of her lyrics…