Letters

Letters 08-25-14

Save America

I read your paper because it’s free and I enjoy the ads. But I struggle through the left wing tripe that fills every page, from political cartoons to the vitriolic pen of Mr. Tuttle. What a shame this beautiful area of the state has such an abundance of Socialist/democrats. Or perhaps the silent majority chooses to stay silent...

Doom, Yet a Cup Half Full

In the news we are told of the civil unrest at Ferguson, Mo; ISIS war radicals in Iraq and Syria; the great corporate tax heist at home. You name it. Trouble, trouble, everywhere. It seems to me the U.S. Congress is partially to blame...

Uncomfortable Questions

defending the positions of the Israelis vs Hamas are far too narrow. Even Mr. Tuttle seems to have failed in looking deeply into the divide. American media is not biased against Israel, nor or are they pro Palestine or Hamas...

The Evolution of Man Revisited

As the expectations of manhood evolve, so too do the rules of love. In Mr. Holmes’s statement [from “Our Therapist Will See Us Now” in last week’s issue] he narrows the key to a successful relationship to the basic need to have your wants and needs understood, and it is on this point I expand...

Home · Articles · News · Music · 4Play: Paul Simon, Alison Krauss &...
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4Play: Paul Simon, Alison Krauss & Union Station, Alexander, Robbie Robertson

Kristi Kates - April 18th, 2011
Paul Simon - So Beautiful, So What - Hear Music
Simon returns with some of his best music since back in the Graceland
days, featuring an emotional range of new songs fully graced (ahem) with
diverse worldbeat instrumentations pinned to intelligent-folk roots. With
vocals barely aged even as Simon approaches 70 years old, he crafts smart
storytelling vehicles via music that beckon the ear and spark discussion.
“Questions for the Angels” harkens empathy for the homeless through one of
Simon’s trademark ballads; “The Afterlife” throws a bit of humor into the
mix; “Dazzling Blue” mixes exotic percussion and fiddle; and highlight
“Love is Eternal Sacred Light” is as catchy as Simon’s music ever was.
 
Alison Krauss and Union Station - Paper Airplane - Rounder Records
It took a few years for Krauss and crew to craft something that they
apparantly felt would stand up to their 3-Grammy-winning 2004 release
(Lonely Runs Both Ways), but they’re back in full force with this one,
which showcases every facet of Krauss’ influences, from
Americana/roots/bluegrass music to country and pop. Krauss’ voice is a
consistent element throughout for the most part (three songs are sung by
Union Station’s Dan Tyminski), whether on the pensive “Lie Awake,” the
serene “Dimming of the Day,” and the slightly darker “Sinking Stone.” It’s
nothing particularly groundbreaking, but a consistent, strong, and
appealing set of tunes.
 

Alexander - Alexander - Vagrant
Alexander Ebert - otherwise known as the frontman for indie band Edward
Sharpe and the Magnetic Zeros - steps out as a solo artist for the first
time on this set, which features ten songs that Ebert wrote, performed,
and recorded entirely by himself, solely on guitar, organ, violin,
clarinet, and his vocals. Reminiscent of the simpler, candy-coated songs
of the ’60s, these are appealing numbers for the most part, and slightly
more in-depth than the songs of that earlier era - “Glimpses” is a pretty,
soul-inflected number, while “In the Twilight” is a deeper mediation on
life happenings; the highlight may be “Million Years” with its unexpected
hook.
 
Robbie Robertson - How to Become Clairvoyant - 429 Records
Robertson’s fifth solo album sees the guitarist bringing in a colony of
heavy-hitters for his first album in over a decade, including Eric
Clapton, Robert Randolph, Tom Morello, Steve Winwood, and Trent Reznor,
plus production by Marius de Vries. Heavy on retro-rock and various (if
obvious) guitar variations, this is more mainstream than Robertson’s
previous recent-ish efforts, and includes the heavy attackers “Straight
Down the Line” and “He Don’t Live Here No More” for starters (complete
with Clapton on backing vox); diversions from the rockers include the
atmospheric title track, and closer “Tango for Django” with its
instrumental flair.
 

 
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