Archive for October, 2007

Paste Magazine offer

Posted October 30, 2007 By admin

“For a limited time, name your own price for a one-year subscription to Paste. Yes, it’s up to you. What is a good read and a good listen, delivered to your door once a month, worth to you?

11 issues and 11 CDs (roughly 220 songs) covering the best in music, film and culture—and we even made it easy for you to give gifts.

For more about the Paste Magazine, including previous covers, CD samplers, awards and more, visit our overview.”


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Bob Dylan- Blood On The Tracks NY Sessions

Posted October 28, 2007 By admin

Following on the heels of an album where he repudiated his past with his greatest backing band, Blood on the Tracks finds Bob Dylan, in a way, retreating to the past, recording a largely quiet, acoustic-based album. But this is hardly nostalgia –this is the sound of an artist returning to his strengths, what feels most familiar, as he accepts a traumatic situation, namely the breakdown of his marriage. This is an album alternately bitter, sorrowful, regretful, and peaceful, easily the closest he ever came to wearing his emotions on his sleeve. That’s not to say that it’s an explicitly confessional record, since many songs are riddles or allegories, yet the warmth of the music makes it feel that way. The original version of the album was even quieter –first takes of “Idiot Wind” and “Tangled Up in Blue,” available on The Bootleg Series, Vols. 1-3, are hushed and quiet (excised verses are quoted in the liner notes, but not heard on the record) –but Blood on the Tracks remains an intimate, revealing affair since these harsher takes let his anger surface the way his sadness does elsewhere. As such, it’s an affecting, unbearably poignant record, not because it’s a glimpse into his soul, but because the songs are remarkably clear-eyed and sentimental, lovely and melancholy at once. And, in a way, it’s best that he was backed with studio musicians here, since the professional, understated backing lets the songs and emotion stand at the forefront. Dylan made albums more influential than this, but he never made one better.

Bob Dylan
Blood On The Tracks NY Sessions

Tangled Up In Blue (Alternate Take)
Simple Twist Of Fate
You’re A Big Girl Now (Alternate Take)
Idiot Wind (Alternate Take)
You’re Gonna Make Me Lonesome
Meet Me In The Morning
Lily Rosemary / Jack Of Hearts (A.T.)
If You See Her, Say Hello (Alternate Take)
Shelter From The Storm
Buckets Of Rain


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Amel Larrieux- Bravebird

Posted October 27, 2007 By admin

A 9-year veteran of the indie R&B circuit, Amel Larrieux stretches her vocal wings on the stellar, yet painfully overlooked “Bravebird.” Serving as her solo sophomore set, the New York-based singer/songwriter has crafted a disc that mixes mid-tempo melodies with beautiful and lush lyrics. Lead single “For Real,” written by Larrieux and her husband Laru Larrieux, opens with a serene piano solo that is accented by the voice of a young baby cooing. Backed by an infectious, hand clap-accented groove, Larrieux sings about “real love”–the kind of love that makes you a better person. Larrieux can also rock out and does just that on the funk-fueled “All I Got.” The result is a bass-heavy affair that is accented by an electric guitar wah-wah and some impressive improvisation. However, it’s on the heartbreaking “Beyond” that Larrieux truly shines. Backed by an acoustic guitar and quiet string section, Larrieux’s lyrics of everlasting love make you want to believe in something more. Like fellow soulsters Anthony Hamilton and Goapele, Larrieux, who began her career as one-half of the R&B duo Groove Theory, sings with an ease that is rare in many of today’s R&B artists. Her voice is natural and engaging, and that’s what makes Bravebird truly soar.

  • For Real

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Posted October 26, 2007 By admin

Day Four
Performer One



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Posted October 25, 2007 By admin

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Rissi Palmer

Posted October 23, 2007 By admin

As the first black woman to land a single on the Billboard charts in nearly 20 years, Rissi Palmer knows that she stands out, but she’s not complaining.

“It’s been a very interesting experience, but in good way, for the most part,” she tells Newsweek. “I think initially everyone is really curious to see if I’m for real. Once they get past the ‘Oh my God, you’re black’ phase, people are able to focus on the music. Let’s face it, there aren’t many 5-foot-9 black women with big curly hair performing country music in Nashville. It’s a definite attention getter!”

Rissi, who made her Grand Ole Opry debut in June, says the experience “was truly one of the most amazing moments of my life. I first came to Nashville when I was 19, and one of the first places I visited was the Opry. I swore that one day I was going to play there, and there I was, six years later, standing in the sacred circle, singing my single and a Patsy Cline cover in front of a full house that included my family, friends and label family. It was extremely emotional. I cried several times that night. I feel like it was a milestone in my career, it was validating.”

Rissi admits the lack of African-American country singers scared her in the beginning of my career. “I was like, ‘I can’t be a country singer. There are no black women country singers,’ ” she says. “It was the encouragement of my first managers, partnered with my very defiant ‘tell me I can’t and I will’ attitude that propelled me forward.”

Rissi is proud to be representing a genre that she says has no boundaries. “There are a lot of African-Americans who love country music,” she says. “Most of the feedback I get have been comments like, ‘Finally there’s someone out there that looks just like me that I can relate to.’ I personally feel that anyone who is truly touched by country music, whether they’re black, white or whatever, can sing it with sincerity. In my opinion, it’s universal music and exclusive to none.”

  • Hurt Don’t Know When To Quit
    Hold On To Me
    Country Girl
    Anybody Out There


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