Cristopher Clark

A unique figure in British music, Anne Clark is a singer and lyricist who works in both electronic and acoustic music, performing literate but emotionally charged songs of contemporary life.
Arguably her strongest overall release, this EP goes hard on the chilly synths except for the first track that's dominated by organic instrumentation. Thing is, even that composition is constructed as if the violins and such are emulating minimal cold synth-work. A unique track that doesn't lighten up concerning the tense, gloomy topics.
Anne's spoken word delivery gets a better mix than in her earlier days, sharper tone and a crystalline clarity that stands out from the soundscapes without overwhelming them. Thus this album sounds super-cold, almost menacing at times…

Texas singer-songwriter Guy Clark has been a patriarchal figure to many in the Nashville songwriting community for decades. Artists like Rodney Crowell and Steve Earle studied under the watchful eye of Clark during their early years. Like friend Townes Van Zandt before him, Clark is a master storyteller, a dream weaver blessed with the ability to match ear-catching melodies with poetic lyrics that aim for the deepest part of the listener's soul. Somedays the Song Writes You, Clark's eleventh studio album, is a well-crafted collection of compositions that rank among some of his best. Clark's tobacco-and-whiskey-stained voice has never sounded better than it does on such tracks as "The Guitar," a fiery number about a wayward musician and the pawnshop guitar that causes an unexpected awakening in him, and "Hollywood," a slow-grooving cut that takes a sideways look at the world-famous district of Los Angeles, CA. Clark, as he has on previous albums, covers a Townes Van Zandt tune on Somedays the Song Writes You.

Brilliant late '50s material by the great hard bop pianist and equally gifted supporting players, bassist Paul Chambers and drummer Philly Joe Jones. Clark was among the most inventive pianists of the period, a masterful ballad interpreter and dynamic uptempo soloist, while Chambers and Jones had few peers, either as accompanists or in the spotlight.

Clark-Hutchinson's debut album had been devoted entirely to long, tiresome psychedelic guitar instrumentals with Indian and blues-rock influences. On their second record, although some of that approach was retained, they at least branched out to some degree, adding some vocals and somewhat more deranged blues-rock tangents…