Ruth Theodore is a young singer-songwriter and acoustic guitarist from Southampton whose songs are so quirky and unexpected that it's impossible to imagine anyone else performing them.
White Holes of Mole Hills
Muddy Waters's wailing slide guitar, stuttering rhythm and boisterous, sex-drenched lyrics (see "Hoochie Coochie Man" and "I Got My Mojo Working") inspired a generation of bluesmen and rock-and-rollers including a modish band of Brits who copped their name from his classic tune "Rollin' Stone." In this engaging biography, Gordon ("It Came from Memphis") mines some new territory, but the real punch comes from his telling, which reads as if he were on the front porch with friends, passing a half-pint of whiskey. Describing Waters's (n‚ McKinley Morganfield) birthplace in Issaquena, Miss., he writes that it was "where farmhands partied on weekends because they'd survived another week, because the land didn't swallow them, the river didn't drink them, the boss man didn't kill them...."
In the early 1940s, Muddy fled to Chicago, cut several big hits for the budding Chess record label and became an international star. The author points out, however, that Muddy never left behind an ingrained obedience from his sharecropper days. Over the years, he would allow his bosses to tamper with his style often with embarrassing results and with his fair take of the profits. And as Gordon notes, success never did satisfy his other main passion. "He went through several wives, and always had women on the side, and women on the other side too." After all, Muddy wasn't just talkin' blues he was the blues.
Patti Smith and Robert Mapplethorpe weren't always famous, but they always thought they would be. They found each other, adrift but determined, on the streets of New York City in the late '60s and made a pact to keep each other afloat until they found their voices--or the world was ready to hear them. Lovers first and then friends as Mapplethorpe discovered he was gay, they divided their dimes between art supplies and Coney Island hot dogs.
Mapplethorpe was quicker to find his metier, with a Polaroid and then a Hasselblad, but Smith was the first to fame, transformed, to her friend's delight, from a poet into a rock star. (Mapplethorpe soon became famous too--and notorious--before his death from AIDS in 1989.) Smith's memoir of their friendship, Just Kids, is tender and artful, open-eyed but surprisingly decorous, with the oracular style familiar from her anthems like "Because the Night," "Gloria," and "Dancing Barefoot" balanced by her powers of observation and memory for everyday details like the price of automat sandwiches and the shabby, welcoming fellow bohemians of the Chelsea Hotel, among whose ranks these baby Rimbauds found their way.
A less marketable, but equally accurate description is blooming enjoyable pop music.
In 2006 Corinne Bailey Rae released her self-titled debut album, a record she had recorded on a shoestring budget while still unsigned. An early appearance on BBC2's 'Later With Jools' and some intimate gigs around the UK had already started a word-of-mouth buzz leading her to be tipped as the next big thing. But the success of that album was instant and immense. Debuting at Number One in the UK, featuring hit singles such as 'Put Your Records On' and 'Like A Star', becoming a smash-hit around the world, and crashing straight into the Billboard Top 20 in the US - the first British female singer-songwriter to do so in decades - meant Bailey Rae gained a huge global audience within months.
And now, four years and four-million album sales later, comes the long-awaited second album. For the 30-year-old singer and songwriter from Leeds, this meant politely declining the suggestions that she work with this or that big-league producer in this or that big-money studio. It meant co-producing the album herself with friends and musicians she had worked with in the past to retain intimacy and control, shrugging off the huge, worldwide expectations engendered by the self-titled debut and refusing to be bedazzled by that album's multiple Grammy and Brit Award nominations.
BUY HER MUSIC HERE: http://astore.amazon.com/corinnebaileyrae-20
BY GLO
MY MUSIC: http://bit.ly/4HnFnY
A humble, happy look back from the man in black. Johnny Cash answers to many names; he's JR to childhood friends and family, John to bandmates, and Johnny to fans. ``Cash'' is the name wife June Carter reserves for ``the star, the egomaniac.'' The star gets plenty of ink here, from the early days at Sun Records--with Elvis, Carl Perkins, and Jerry Lee Lewis--to his current status as a darling of the alternative rock set. But it's the private man who's most compelling and surprisingly complex.
Cash writes candidly of his recurring addiction to amphetamines and his concomitant shortcomings as a father, addresses his spirituality without sounding maudlin, and displays genuine humility at his success and very little bitterness at his abandonment by the country music establishment. A more accurate subtitle might be ``The Second Autobiography,'' since this volume covers some of the same ground as Cash's previous work, The Man in Black (1986), but a life so chock full of oddments (he once started a forest fire with an automobile and on another occasion was nearly disemboweled by an ostrich) and renegade stands (he opposed Vietnam, heresy to the nation's blue- collar constituency) easily merits a second look.
Organized around the domiciles where he divides his time--homes in Tennessee, Florida, and Jamaica, as well as his tour bus--the book stays grounded in the present, mixing reflections on his 40-year career with a running chronicle of an ongoing tour. This novel approach minimizes the as-told-to blahs that plague many a celebrity autobiography and highlights Cash's wry humor and introspection. With the help of Carr, editor of Country Music magazine, Cash keeps the pace lively until the end, when the roses he throws everyone from grandkids to music biz buddies bog things down. Mostly, though, a pungent, substantive autobiography from one the most iconoclastic talents on the American music scene.
"Brilliant, uplifting, showy and epic."
A world away from their ladrock roots, you might say.
West Ryder Pauper Lunatic Asylum
“I’m a man in great pain over great beauty,” he concludes; “but you know, I’m pretty sure that I’ve been through worse / I’m sure I can take the hit.” At this point in the game, you’d be hard-pressed to disagree
"I'm not yet resigned to fate/ I'm not gonna be ruled by hate," Everett rasps on "In My Younger Days": motherless, fatherless, sisterless, loverless, but still shaking a fist at the sky.
A colloboration between Norwegian saxophonist Jan Garbarek Pakistani classical music master Ustad Fateh Ali Khan.
The music is predominantly Pakistani in sound, tonality, and structure; voice, sarangi, and tabla improvise along with Garbarek’s saxophone on every track.
Music
Flick through your albums. Listen to a unique mix created just for you. Or watch the video for your favorite song. With iPod touch, it's more than just hearing your music.
Cover Flow
What a song does for your ears, Cover Flow on iPod touch does for your eyes and fingers. It's a virtual party for the senses. Turn iPod touch on its side and glide through your music by album art with the flick of your finger. Tap an album cover to flip it over and display a track list. Tap again to start the music.
Genius Mixes
Now the Genius feature is even more powerful. Introducing Genius Mixes. All you do is sync iPod touch to iTunes, and Genius automatically searches your library to find songs that sound great together. Then it creates multiple mixes you'll love. These mixes are like channels programmed entirely with your music.
Genius Playlists
Say you're listening to a song you really like and want to hear other tracks that go great with it. The Genius feature finds other songs on your iPod touch that sound great with the one you were listening to and makes a Genius playlist for you. Listen to the playlist right away, save it for later, or even refresh it and give it another go. Count on Genius to create a mix you wouldn't have thought of yourself.
Shake to Shuffle
Shake things up a bit. Musically speaking, that is. The next time you're listening to your tunes, turn on Shake to Shuffle, then give iPod touch a shake to shuffle to a different song in your music library.
iTunes
Fill your iPod touch with songs and music videos from your iTunes library on your computer. Or buy and download new music on your iPod touch when you access iTunes over Wi-Fi. Songs you purchase on iPod touch transfer to your Mac or PC the next time you connect iPod touch to your computer.
Bluetooth
Look, no cables. iPod touch includes the iPhone 3.1 software, so you can pair Bluetooth stereo headphones with it. Keep your iPod in your bag or charging on your desk across the room and still listen to your music.
Kairos Moment signals the arrival of a powerful new voice in British jazz, that of saxophonist Adam Waldmann. He and colleagues Jasper Høiby on bass, pianist Rob Barron and drummer Jon Scott comprise the Kairos 4tet, the ‘4’ presumably replacing the ‘quar’ in order to distinguish them from the celebrated contemporary German string ensemble the Kairos Quartett. Or the Washington-based string group the Kairos Quartet. Or the Californian world-jazz outfit the Kairos Quartet. You get the point.Guardian - read the full review
The band sometimes reveals a skewed-romantic Django Bates/Loose Tubes connection that may come down through Waldmann's enthusiasm for former Tubes saxist Julian Arguelles, but they also touch on the ambiguities of Wayne Shorter, the catchy ostinato-led themes of Avishai Cohen, and the bright lyricism of Chick Corea
one of "approximately 13" -- which the singer showed off on "The Ellen DeGeneres" show Monday while dropping by to perform her current top 10 single, "Hard."
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