"Sounds from the room"

if ever you've sat there wracking your brains wondering what that piece of music was, well if it happened in here this is the page to put you out of your misery. 

We hope you like the music we play

It is so intrinsically,

"The Jumble Room"

some of it's by me on my jack... and somes by some other hack

you'll have to listen for yourselves,   

BUT as you all know if it's on here i love it!

This morning i had to go and mow the lawn and thought it a good idea to listen to the old i-pod whilst i was there .......it's really difficult to mow with tears streaming down your face.....at the tender age of 44.... "tell her" seemed to sum up what me and Chrissy know about us ....god Amy it's beautiful........and you have the best of motherhood to come so enjoy every moment!........... i can't get "the songs that saved my life" out of my head and "who will you be" is just the most perfect message that only a pure and wonderful parent could understand ....god bless you Amy....it's almost perfect...the only reason i say it's not quite 100 percent is that i don't want you to stop making music...

as what you've done here is given birth to a........ sorry two most wonderful and beautiful treasures, Andy

yep i pretty much agree with that but she's so much more than a purvayer of tunes...she's an incredible wordsmith and keeper of the faith......... i love her work, Andy

He's the son of folk royalty Richard and Linda Thompson, best mates with Rufus and Martha Wainwright and has a new album 'A Piece of What You Need' that is set make him a star in his own right.
Teddy Thompson is set to be the break-through artist of 2008 with his stunningly brilliant new album, 'A Piece of What You Need' which, as Teddy puts it, is ". . . as close as I've gotten to making the record I've always wanted to make."
To achieve this Teddy teamed up with the superstar producer Marius De Vries, whose recent resume includes Bjork, Massive Attack and Rufus Wainwright. The incredible sound created by this "dream team" is a magical pop record that is upbeat, laid back and instantly catchy

.

Emily Smith is a singer~songwriter who works in the folk idiom, and is fairly traditional in her approach. My first reaction to her, some years ago, was that she has the voice of an angel. My opinion has not changed.
too long away", her third and newest album, picks up where "A Different Life" left off. A mix of traditional songs and her own make up the album. As usual, Emily surrounds herself with some of the finest folk musicians, and careful listening will reveal subtleties in the music that reward multiple listens. Emily's voice, as always, is pure joy to listen to; she has a clarity that is mind-blowing, a scary ability to convey emotion and feeling, and vocal nuances that most professional singers would kill for. There is also a spiritual quality that flows through all of her work that is a reward unto itself. Put on the headphones, push 'start', and kick back in a comfy chair, and Emily will take you to some amazing places.

"Justin Townes Earle is living proof that despite the freak show that is modern day Nashville, there are still artists out there who revere the deep roots of the American musical tradition while still pushing the boundaries to create something new and wonderful.PopMatters.com the cd is called the good life i love it!!

Amy Wadge is not a native of Wales but has clearly taken the country to her heart and it's clear that the Welsh nation has reciprocated. For the last two years she's won the best female vocal artist at the Welsh Music awards, ahead of the likes of former Catatonia lead singer, Cerys Matthews. She's built up a strong following and is undoubtedly one of the UKs brightest

emerging talents. Not only is she a stunning vocalist, adept guitar and piano player, an outstanding live performer, but she writes all her own material. Although she has recorded a couple of earlier albums, 'Woj' is her first major release. She has been signed to the same label for which Eric Bibb records, so they obviously know quality when they see it.

stop press there's a new album about to be released called "Bump"

i've ordered it it sounds fantastic with the added bonus of our old friend Robbie Mcintosh alongside for goood measure!!

This album for me was one of the most important albums i have ever owned and i love it with all my heart.. If i was on desert island discs there would definately be one of the tracks off this c.d in my choices, it is a beautifully crafted heart wrenching loving piece of work that just blew me away in the seventies and still to this day evokes nothing but happy, warm, family, loved summer afternoons sitting in the garden at the vicarage in Coniston playing and singing these songs on acoustics with my brothers......happy days

God bless you Dan....Andy

Amazon says Dirt Farmer is Levon Helm's first solo album in 25 years. Helm was a founder member of The Hawks, later to become legends as The Band, both for backing Bob Dylan on tour, and also for their own landmark studio albums. He has been described by Rolling Stone as "an inexhaustable, irreplaceable fountain of American music.

Growing up on a cotton farm in the Arkansas Delta, Levon Helm's Dirt Farmer album goes right back to his family roots. This is an all-acoustic offering from one of the great weather-beaten voices in rock history. The album was recorded at Levon's Woodstock, NY studio with Levon's daughter Amy Helm and famed multi-instrumentalist and producer Larry Campbell (Bob Dylan, Paul Simon, Rosanne Cash). The album has been nominated for a 2008 Grammy Award in the Best Traditional Folk Album category.

Amazon says:- A soulful song journey; a late night lullaby, a joyful uprising. A very personal album from a heartful song-writer. Born into a family of musicians May Erlewine has been playing music all her life. She learned to sing and play piano at an early age, and her acoustic guitar is seldom far from her side. Erlewine, who was home schooled, paid her singer-songwriter dues in her late teens with several years of hitchhiking back and forth across the U.S., even riding freight trains, and always writing songs and playing her music.

That's good enough for me!! Andy

Songwriting waited patiently as Kris traveled down various life paths: obtaining a studio art degree, living and working on a remote homestead farm in Maine, hitchhiking around Ireland while learning fiddle from old-timers, working on a seagoing schooner, and leading an outdoor education program for 5th graders on Cape Cod. The combination of these experiences led to the appearance of the first song in Kris' own voice in her early twenties. That beginning has since matured into a body of work reflecting the wide-ranging travels of an inquisitive artist, songs with pavement under their feet, dirt under their fingernails, and sometimes out of sight of land altogether.

Amazon says:- American bluegrass star Alison Krauss and Led Zeppelin frontman Robert Plant team up for one of contemporary music's most unlikely partnerships, and in doing so create a memorableand diverse collection of lovingly crafted songs. Recorded in Los Angeles and Nashville and produced by T-Bone Burnett (Roy Orbison, Elvis Costello), the album features a stellar supporting cast of musicians and includes interpretations ofclassics as well as lesser known gems by songwriters such as Gene Clark and Tom Waits.

This teaming of Linda Ronstadt and Cajun folk traditionalist Ann Savoy, billing themselves as the Zozo Sisters, shows how wide is the musical range of bittersweetness. The harmonies and shared lead vocals offer a complementary contrast between Ronstadt's purity of tone and Savoy's more piquant expressiveness. The arrangements turn folk songs into art songs, drawing as much upon chamber strings as Cajun fiddle and accordion. There's an exquisite beauty to the vocals, but the real surprise is how well the album holds together, given a range of material that extends from Cajun songs in French patois to stellar material from Julie Miller ("I Can't Get Over You," with husband Buddy Miller on guitar) and Richard Thompson ("King of Bohemia," "Burns' Supper") to a disarming revival of the Left Banke's 1960s hit "Walk Away Renee." Among other highlights, "Go Away from My Window" provides a showcase for the upper register of Ronstadt's soprano, and Savoy's lead vocals on Bill Monroe's "The One I Love Is Gone" bring out the blues in bluegrass. --Don McLeese

Has to be one of my favorite albums of the moment!

Kane Welch Kaplin, the group's third release, weaves a driving beat through the poetic lyricism of Kieran and Kevin's portraits of lost friends ("Last Lost Highway"), lonely hotel rooms ("Red Light Blinking") and determined rebirth ("Ain't Gonna Do It"). Fats and Lucas add a subtle beauty that brings emotion to the forefront. “I think the record sounds more austere and a little darker, maybe kind of reflective, looking back on things, life,” says Kieran.

Ripping old-time music - driving fiddle tunes, and powerful, edgy harmonies. ** Co-winners of the 2006 Northwest String Summit band contest! ** "Flat Mountain Girls - It's some of that corn-slurping old-time craziness, this time psycho-conducted from '30s Appalachia by three clogging, harmony-singing female maniacs." Willamette Week The Flat Mountain Girls are a high-energy old-time string band based in Portland, Oregon, known for tight, raw three-part harmonies, powerful fiddling, and performances that explode with irrepressible glee and bawdy humor. Their repertoire includes arrangements of Carter Family classics, traditional songs from the Southern mountains, cowboy yodels, romping fiddle tunes, and the occasional original, combining tremendous enthusiasm with great respect for the old-time tradition. With Lisa Marsicek playing fiddle, Rachel Gold on banjo, Nann Alleman on guitar and Laura Quigley, the newest Flat Mountain Girl, on bass, the Flat Mountain Girls bring foot-stomping fun to every performance. 1 Little Black Train 2 Sandy Boys 3 Closer to the Mill 4 Poor Orphan Child 5 Lonesome Pine Special 6 Forgiveness 7 Greasy Coat 8 Jealous-Hearted Me 9 My Epitaph 10 Sleepy-Eyed John 11 Old Yeller Dog 12 All My Love in Vain 13 Leaving Home 14 Angel Band 15 Big Scioto

If you love the to be good tanya's you'll love this!!

When John Prine wrote and recorded the likes of "Hello in There," "Angel from Montgomery," and "Souvenirs" in the early '70s, he came across like a Social Security recipient in a young man's body. As he revisits those tunes and more favorites from his salad days, the wisdom Prine possessed as a twentysomething troubadour seems all the more remarkable. The raison d'être for Souvenirs may be rather prosaic. Prine rerecorded 15 early classics so that he could own master recordings of a bunch of songs from his first three albums, as well as a few stragglers from the late '70s and early '80s. But the flatteringly spare arrangements and Prine's wizened delivery only add weight to these heavy-hearted folk tunes. "It took me years to get those souvenirs / And I don't know how they slipped away from me," Prine sings on the title track, a remnant from 1972's Diamonds in the Rough. Well, John, they didn't slip away at all; they're still shining like gems under a layer of dust. --Steven Stolder

Quite an old album now but definitavly my favorite John Prine Album....a must for any collection

On first listen, Railroad Earth sounds like traditional bluegrass, but it soon becomes evident they are so much more than bluegrass. Their music is quality folk-rock played on bluegrass instruments, with touches of awe-inspiring Grateful Dead style jamming and improvisation. Each of these guys is a master of his instrument(s), but I'm especially blown away by Tim Carbone and his magical violin playing. The songs, mostly written by lead singer Todd Sheaffer, are sometimes sad (Bird In A House), moving (Railroad Earth), or just plain fun (Head, Like a Buddha). And they all have interesting, non-trivial, and beautiful melodies. Did I mention these boys can jam? If this music doesn't get you dancing, no matter where you're listening to it, you better get yourself a doctor -- quick!

Though the strength of her songwriting has distinguished previous releases by folk troubadour Lucy Kaplansky, here she covers a wide range of material, from "More Than This" by Roxy Music's Bryan Ferry and Johnny Cash's classic "Ring of Fire" (written by his wife June) to Loudon Wainwright III's idyllic "The Swimming Song" and Ian Tyson's "Someday Soon" (a '60s hit for Judy Collins). What's as surprising as the song choices is that Kaplansky makes so much of the material sound so much the same, as if she isn't as emotionally invested in it as she is in her own writing. An exception is her duet with Buddy Miller on "Somewhere Trouble Don't Go," written by Buddy's wife, Julie. Kaplansky receives stellar support from Larry Campbell (formerly with Bob Dylan) on slide and steel guitars, and harmonies from Jonatha Brooke, Eliza Gilkyson, and Richard Shindell. Yet "Today's the Day," a song about the death of Kaplansky's father, with minimal musical backing, is the most compelling performance here. --Don McLeese

For Widescreen, Robbie McIntosh has drafted in the help of some heavyweight colleagues. And it's no wonder, really: his resume reads like a "who's who" of adult contemporary music--guitarist with both the Pretenders and the Paul McCartney Band, session musician with Rod Stewart, Joe Cocker, Eric Clapton, Mark Knopfler, etc. Some of his old bosses lend support to this rootsy, hook-laden album: Paul Young throws in vocal support on the down-tempo "Separate Tables", while Chrissie Hynde gives a shimmering harmony on the bluesy love ballad "Fire and Flame". Elsewhere, the music switches from folksy guitar-pop to Bob Wills-style Texas swing and whiskey blues; nowhere is this better exemplified then on the epic "Edge of the Same Old World". --Jerry Thackray

Southern-born, Paris-honed Billie Holiday sound-a-like Madeleine Peyroux has been charming audiences with her sophisticated renditions of jazz/blues standards and torch songs for a decade now. Half The Perfect World differs from previous albums Dreamland and Careless Love in that Peyroux covers songwriters from recent times, rather than those of yesteryear. Not only that, but she has also included more of her own compositions -- four in total -- penned with long-time collaborator/producer Larry Klein. It's her own "It's All Right" (which also has writing credits from Steely Dan's Walter Becker) that gets the album off to an infectious and insouciant start. Backed by musicians Sam Yahel (Norah Jones, Bill Frisell), David Piltch (Holly Cole), Jay Bellerose and drummer Scott Amendola, amongst others, Peyroux then proceeds to take us through a smoky, emotive world of romance, eroticism and heartbreak populated by re-interpretations of classics like Joni Mitchell's "River" (a duet with k.d. lang), Tom Waits' "The Heart Of Saturday Night", Leonard Cohen's "Blue Alert" -- even Charlie Chaplin's "Smile". A string-laden version of Serge Gainsbourg's "La Javanaise" provides the anticipated French touch, while the remainder of Peyroux's own songs, in particular the heartfelt "California Rain" and the poignant "Once in a While", stand up surprisingly well next to the rest of the material.--Paul Sullivan

all this is good and well......but is it as good as the last?.......very nearly and still worth loving!

i must admit to not hearing of Kris until i was given his c.d this year by none other than the wonderful m/s rusby and gang...........your a lucky man Kris to have mates such as these...wow....he deserves all that comes his way it's atruly wonderful album not to folky just multifacited it's just worth having go and buy you will not be dissappointed!....

'Blackwater' was produced by John McCusker at Pure Studios. If I hadn't read the credits, I would have known it was John anyway both from the production and from his own contributions. Kris also has the sterling support of Kate Rusby herself, Andy Cutting, Eddi Reader, Roddy Woomble, Andy Seward and Donald Shaw - names to make your mouth water. I just love the way these people work together, live and on one another's albums - never incestuous, just great networking with each one taking their turn at the front. They add colour to the album, but Kris' voice and guitar are always the main focus.

All in all, there really is nothing to fault in this album. We're going to be hearing a lot more of Kris Drever, make sure you start here.

Playing with Taj Mahal....on you tube but it'll give you an idea!

This is Andrews' second album on the Powerhouse label, the first "Journey" was rated as a masterpiece of fine contemporary interpretations of Delta & Chicago classics & a hard one to beat. Well if he hasn't beaten it he's certainly matched it with "Gallows Pole". Once again Ben Andrews shows, with effortless virtuosity his total command of early American Blues & Folk music. His playing is beyond comparison & his voice a perfect match to his intricate picking. This album has already received rave reviews in The Times, Guitar Magazine, Blues on Stage, Rhythm & Blues & Blueprint to name just a few. Anybody into Taj Mahal, Keb Mo, Eric Bibb or Kelly Joe Phelps will want this CD.

Contemporary material is well chosen to include laments for lost work which, though hard, gave people identity in Boo Hewardine's Harvest Gypsies and the magnificent Navigator, to the consequences in Poor Man's Son when work has no identity and robbery is turned to instead, to more elusive themes with Steel and Stone (Black Water) and Beads and Feathers.

The traditional material includes the well known - Patrick Spence (didn't think I ever wanted to hear another version but Kris makes it new again) and Green Grow the Laurel, together with Braw Sailin' on the Sea and the secret track (don't tell anyone) Farewell to Fuineray which others may know but I didn't.

Oh She's just so gorgeous...............

A succession of plaudit-harvesting folk albums and subsequent international renown means that Yorkshire's Kate Rusby no longer needs to be nurtured with kind words of condescension along the lines of lass, babe and starlet, and yet there remains something irredeemably youthful about The Girl Who Couldn't Fly. It’s not just the butterfly flutter of Rusby's voice--which allows the nudge and wink of a smutty traditional favourite like "Game Of All Fours" to retain its charade and the magic of innocent years to linger. Sometimes the songs are bare--guitar and vocals--but they're never spartan, pink as nature intended, a curiously roseate melancholia where even an ill-fated adieu such as "No Names"--one of three songs sang, improbably, with Roddy Woomble of Idlewild--mollifies as fluently as a lullaby. The jolly virtues of the traditional "Mary Blaize" and Rusby's very own faux-traditional epic "Elfin Knight" are fleshier, finding Rusby accompanied by such folk scene luminati as Michael McGoldrick, Andy Cutting and John McCusker to ebullient effect. Proof, indeed, that folk music need not be studiously dour or touristically picturesque. If the current British folk scene is to produce a genuine household name, it's likely to be Kate Rusby.--Kevin Maidment

Young James Morrison has "success story" written all over him. Drawing influence from soul greats like Cat Stevens, Otis Redding, and Van Morrison, debut album Undiscovered reveals this Rugby-born vocalist has the sort of world-weary voice and songwriting chops to take the Later…With Jools Holland path to mainstream success that’s formerly made stars of Damien Rice, James Blunt, and former tour-mate Corinne Bailey Rae. In keeping with his soul influences, much of Undiscovered has a full, warm multi-instrumental sound neatly rendered by Martin Terefe, producer for the likes of KT Tunstall and Ron Sexsmith. "Under The Influence", a passionate upfront love song, is borne along on florid piano and Beatles-esque string arrangements, while the tear-stained "Wonderful World" matches its emotional message ("I know that it’s a wonderful world/ But I can’t feel it right now") with optimistic brass and cascading percussion. Album stand-outs come with "You Give Me Something" and the closing "Better Man", a solo acoustic number that really showcases the range of Morrison’s voice. Purists may still baulk at the prospect of a white lad from the North of England singing soul, but the sure success of Undiscovered ought to prove that a strong voice will always be the bottom line .--Louis Pattison

Well...........of all the bars in all the world who should walk into mine only the most gentle lovely man and his family toddling back from the far flung corner of Scotland infact the ulllapool  guitar festival if my memory and Robbie's T-shirt serve me correctly on their way to deepest south land...somewhere below kendal apparently...but of course i didn't recognize him other than he'd been in before and so i welcomed him back and one thing led to another and somehow i statrted talking about music...huh thats never happened before!! and so i asked him who he'd played with....and after i'd picked my chin up off the table and tried to be nonchalant...it would of been quicker to have asked who he hadn't played with, i.e he started with the PRETENDERS, PAUL MCARTNEY,  PAUL YOUNG, TEARS FOR FEARS, JOE COCKER, CHER, ERIC BIBB oh the list was endless i saw on the list on his website he also played with boyzone (he never mentioned that one!!!probably just aswell)

The C.D.well it's just fantastic...................the bloke... pure gold...cheers Robbie

Robbie McIntosh - biography

IN HIS DEBUT CD, MERCY, Austin singer-songwriter Sam Baker reveals a poetic genius so straightforward and undemanding it evokes wonder.
Rarely do such plain truths do life—or listeners—justice.
Laced with quiet lamentation, Baker’s lyrics lay bare the lies we live in pursuit of dreams.
Mercifully, his songs are anything but morose.
Baker’s music celebrates equally the ugly and the exquisite, the mundane and the mysterious—
giving us all a reason to take another look at ourselves and each other.   
Baker’s songs reflect a life lived well and nearly lost—a bomb set off by Peru’s Shining Path
killed his seatmates, left him deafened and dying - and left him with the unwavering conviction that every moment counts.

Singer, guitarist, and harp man Guy Davis's sixth album is a study in restlessness. He leaps from style to style--string band, solo folk blues, stone country blues, bouncy John Hurt storytelling, Appalachian jigs, lush contemporary soul--as often as the characters in these 14 songs ride the rails. What's surprising is how well Davis does it all. The organ and weeping single-note guitar runs of "Set a Place for Me" establish the mood for its murderous protagonist's hard reckoning with God. And Davis turns the children's play song "Shortnin' Bread" into a clog-stepper's romp. Alongside plenty of originals, Davis visits the catalogs of John Lee Hooker, Ishman Bracey, Blind Lemon Jefferson, and Charles Brown with easy conviction. The link through all of these songs and styles, besides their ties to African-American tradition, is Davis's old worn boot of a voice. It's full of creases and cracks, but his gruff delivery resonates with a sense of experience that makes everything he tackles sound honest, comfortable, and inviting. --Ted Drozdowski and Dave Smith ofcourse

Not every 16-year-old white, English girl can hang with the likes of Betty Wright ("Clean Up Woman") and Angie Stone. Joss Stone (no relation), however, is blessed with a strong voice and a will to sing old-school soul. This debut CD is worthy of more than novelty status, though. Wisely avoiding iconic songs by the genre’s biggest names, Stone and a production team that includes Wright opt for lesser-known tunes more often by the likes of Laura Lee, Joe Simon, and the Soul Brothers Six--not to mention their digging out (with guest co-producer ?uestlove from the Roots) the great soul lyric in the White Stripes’ "Fell in Love with a (Boy)." Joss Stone occasionally misses a connection; her "Some Kind of Wonderful" is listless, and when she develops a bit more subtlety, it’ll be welcome. But The Soul Sessions has a spark beyond the album’s obvious good taste. --Rickey Wright

to me we have just returned to classic Keb mo country thank goodness i though he was losing the plot for a while, fantastic country blues go out and purchase.....Andy

Drawing on Austin's finest musicians and the expertise of co-producer/engineer, Mark Hallman, Eliza has gathered a lean and mean team of players who shared her vision for this project. Utilizing the core rhythm section of bassist Glenn Fukanaga and drummer Rafael Gayol, this recording flows easily between the ballads and the rock tunes. The addition of Mike Hardwick on acoustic guitars was, according to Eliza, "essential because Mike is a virtuoso/minimalist who says more by playing less than any guitar player I know". She also uses slide guitarist Matt Andes for the "extremes", and adds simple cameo performances by Austin artists David Webb, Mark Hallman, and Randy McCullough.

The songs chronicle a year of love, loss and personal growth. The CD opens with "Beauty Way", a semi-autobiographical homage to the plight of being a guitar slinger by trade. It goes to the depths of sorrow and grief, re-emerges with a brighter perspective, and ends with the comforting "Sanctuary". "This last year was one of the most difficult times of my life and make no mistake about it, this recording is a diary of how I negotiated those dark waters. Between the death of my father (folksinger Terry Gilkyson), a difficult relationship breakup, and the path I took to get myself through it all, the music was my vehicle for expressing the whole process of coming to terms with loss". Fans of Eliza's live shows will be happy to find the title song, "Baby's Waking" and other recent songs included. 

Not that i would pick anyone out of the wonderful artists that i like....but i'm playing this a lot at the moment...Andy

While Eddi Reader's Sings the Songs of Robert Burns may sound like something deeply unpalatable foisted upon cowering school music students as part of the National Curriculum, it isn't. And besides--the former Fairground Attraction vocalist has come up with a folk album sensitive to the protestations (Jacobite rebel songs), lusts and romantic tragedies ("Ae Fond Kiss" and the unbearable tenderness of "My Love Is Like a Red Red Rose") of Rabbie Burns's work. While poetry may not be the new rock & roll, Alloway's 18th Century "ploughman poet" made more of a decent fist at getting pissed and overly frisky with the ladies than was ever managed by Jim Morrison. And when it came to poetry, Burns wrote "Tam O' Shanter". Morrison wrote "Death of My Cock". Enough said.

Abetted by some of the most prestigious names in the contemporary British folk world--John McCusker, Colin Reid, Boo Hewerdine, Kate Rusby (who duets harmoniously on the homesick Highland panorama of "Wild Mountainside") and with Kevin McCrae's eloquent string arrangements (with the Royal Scottish National Orchestra) meriting comparisons to Robert Kirby's work on the first two Nick Drake albums, this is an album that serves to impress upon the listener the desire to explore the works of Burns--and Reader--further. If "Jamie Is My Darling"--a call to sexual initiation--is justly delivered with all the juvenile frisson of a tentative knee-trembler behind the bike sheds then "John Anderson My Jo" is breathtakingly poignant in its tale of life-long commitment. Thoughtfully--and for the benefit of Sassenach speakers of the "De'il's tongue"--Reader's sleeve notes provide handy translations of some of the more abstruse elements of Burns' Scottish dialect. She also admits to being a bit coy about Burns' bawdiness ( "Brose and Butter" omits the most offensive, female crotch-area word in the English language) so one can only hope she'll be brave enough to include a version of "Nine Inch Will Please a Lady" on her next Robert Burns album. After all, on the strength of this effort, a second volume is surely warranted. --Kevin Maidment

Louise Taylor has one of the most expressive voices recording today in acoustic music. At times her alto is reminiscent of Emmylou Harris. "Written In Red" is most often dark in tone, but with a struggle toward the lighter side, one illuminated by love. Using the George Washington story as a departure point, in the first track "Cherry Tree" Louise sings that she cannot tell a lie. For the rest of the CD, she delivers what is at times a painfully honest portrait of a woman struggling with the darker side of her nature. "Over the Mountain" is a deceptively beautiful tune about "where the angels play" and encourages us that it's "time to learn to pray," but these positive sentiments are undercut by a sinister electric guitar that wails with a plaintive roar. This is a brilliant track with a creative tension between lyric, melody & arrangement. "Meet You here" musically downsizes to just acoustic guitar & Louise's world-weary voice, "Living's lived up to my worst fears." The directness creates a musical honesty that is breathtaking. With "Two Bends in the Road" we finally get a needed break with happy guitar lines as Louise sings, "I never needed anybody so." "His Hands" is lyrically inventive, recounting the attraction to a man because of the beauty of his hands. "Miriam Bell" is a driving folk ballad about a poor girl used & discarded by a rich man, not a happy love song. "Gunny Hole" has some very tasty electric guitar in a song about a whaling town. Taylor gives about as boozy bluesy smokey barroom vocal in the title track as you're likely to hear. Singing about what a little morphine can do, the imagery that the closing sign is "written in red" makes one almost taste the blood on the tracks. "My Dove" is a pretty folk tune with what sounds like a flute playing a Gregorian chant. "Stubborn as a Gun" is one of the best melodies on the CD. Taylor sings, "Somebody ought to point me in a new direction" because this road is the "way to the blue connection." "While My Love Is Away" closes with a bright piano, a pretty melody, and Louise's alto, about as beautiful and expressive as you're likely to hear. As a writer, Taylor's lyrics are stronger than her melodies; but as a singer & arranger, all combine for an impressive, honest musical achievement. This CD is on the dark side, one of the best of 2000. Don't miss out!....my god but do they go on..................but it's right!!

From the Label
On April 28th, Josh Rouse makes his debut with the Slow River/Rykodisc release DRESSED UP LIKE NEBRASKA (SRR 36), a collection of vignettes soaked in raw emotion and wrung out, elegantly. Sort of Freedy Johnston meets Nick Drake, Rouse's vocals resonate with a can't-quite-put-your-finger on it longing, making his music as much about what's left in it, as it is about what's left out.  Born in Nebraska and recently relocated to Nashville, Tennessee, 25-year-old Rouse lived for spells in California, Utah, Wyoming, Nebraska, South Dakota, Georgia and Arizona. Though he wanted to be in a band since he was 15, and was more than mildly obsessed with Morrissey's Viva Hate, the Cure's Kiss Me, and U2's Joshua Tree, he was 18 before he wrote his first song. His uncle taught him guitar by teaching him Neil Young material, but the English record collection moved with Josh from state to state. Not even ten years since his first writing effort, DRESSED UP LIKE NEBRASKA is unsurprisingly equal parts rootsy, straight-ahead rock, with just enough British pop to reflect his earliest infatuations.  Showcasing his evocative songwriting and unassuming musicianship, DRESSED UP LIKE NEBRASKA is performed on acoustic guitar, brushed drums, and subtle bass, with arrangements including cello, organ, and violin (augmented by producer/collaborator David Henry, a Cowboy Junkies tour alumnus) that tint the songs with a shimmery warmth. Part moody and melancholic, part music for the freeway, NEBRASKA collects 10 original songs that move from one to the other with an easy grace.

Austin's Darden Smith has worked long and hard at being soft, writing pleasant country-tinged folk that deals with matters of the heart and the thousand natural knocks that people endure. He sees friends who lack the courage to separate after years of mutually inflicted misery ("Satellite"), the anguish of broken relationships ("Dreams Don't Lie"), and he gets positively ambitious on "New Gospel," a jazzy shout of beatitude. Sometimes whimsical, other times weary, Smith's heart can be found right on his sleeve, and he brings in background singers Patty Griffin and the ever-wonderful Kim Richey to help convey his emotions. Smith claims to be getting "stronger every day"--clearly he sees his art as a healing activity, and with songs that take root as sweetly as those on Sunflower, it seems to be working. --Henry Cabot Beck

"As usual the girl done great" i never tire of having Kate and gang playing at the Jumble room.      The album is a beautiful piece of work  and although covering some pre-visited ground they show a tour matured supreme quality, that intense tightness that you only get from playing together and enjoying...................  and this is truly a c.d not to be without,   if for nothing else the live version of Sir Eglamore.   But there's definitely a little return to the folk roots perhaps she's been stretching the "OLD FOLK RULES"  and has felt the folk police breathing hard on her neck !!. as Kate herself would joke .........although i doubt that Kate and the mohecan haired John will worry too much about them....buy it ......Andy!

I played it tonight 27th of October and i can always guarantee with "Kate Rusby" someone will ask, but tonight there were four! so get lots made Kate, it's a stonka 

You'll never guess who dropped the c.d in yesterday "only kates Mum and sister!"      and where was Andy..........yep just typical.... the one time i can meet and greet and sit and drink tea.........he's just gone to get changed to finish off another 16 hour day...it's a hard life i know!!!

I am in awe ....and i regret because of my growing years of which i mainly spent listening to rock and roll (which i don't regret) i.e the rolling stones, deep purple and zep...and thought that folk music was sung by bearded men in corduroy trousers with one finger in their ear hmmmmmmmm, you know the script.  That sadly i am having to eat my words ...buy a pipe and sit quietly in the corner of a pub sipping real ale and complaining that farming hasn't been the same since the Toddpuddle martyrs...then promptly writing an ode to it!!!. YES, YES... this is a fantastic c.d Bob Dylan eat your heart out infact if Dylan wasn't influenced by Mr  Jansch i'll eat my shorts (ofcourse i'll get Chrissy to cook em first so they taste great) this truly is a must from the sexy rockin acoustic start of "Rock baby Rock" to something i thought would never be possible to achieve...........a truly beautiful, poignant song about the 9-11 disaster at the twin towers in N.y with a kick in the shorts finish!!   don't be without it! ........Brilliance

Rosie's voice is strong, with a folky quiver and, when not backed by a steady, resourceful band, she accompanies herself on acoustic guitar and a piano so deep and resonant it recalls the purposefully homespun work of Victoria Williams. Yet despite its nostalgic bent, When We Were Small is far from twee. "Farewell" opens with the family happily chatting back in 1980, chirpy little Rosie's voice ringing out, then it slides into a pained lament about her parents' eventual divorce. "Wedding Day" sees Rosie seeking a life as joyful as the first day of a marriage turned sour. "I'm gonna be carefree", she ends, "and let nothing pass me by / Never ever again". "I Run" is like a sorrowful yet angry Tori Amos. Heavily marked by fear of abandonment, yet romantic and hopeful still, this is an unexpectedly beautiful piece. --Dominic Wills: I wish i had the time to listen to all the reviews i wouldn't leave the radio, television, web and would be a sad blue figure gathering dust but i would get the chance to hear people like Rosie Thomas earlier! Every now and then i come across artists like this like jewels in a rock pool, treasure in the flotsam and this is how i see this c.d a masterful piece of a loving, hurting persons heart PERFECT!

I suppose there may be a dark corner in his house filled with crumpled bits of paper with some really "pants" songs on...................but somehow i doubt it!     Vintage claret James Taylor,   Andy.....  www.jamestaylor.com   

 It's always risky to praise an artist for what she isn't rather than what she is. Although she's a 22-year-old singer with tremendous vocal talent, Norah Jones, unlike contemporaries Christina Aguilera and Mariah Carey, doesn't wring every emotion out of a note as if squeezing a sponge.

Instead, Jones is a relative rarity, a rock singer who fits perfectly in a low-key jazz context. Jones touches down between Sheryl Crow and Natalie Merchant, but she's more soulful than either. Producer Arif Mardin, who oversaw classic Aretha Franklin and Dusty Springfield sessions, keeps the session almost maddeningly quiet, teasing the listener into waiting for Jones to cut loose.

But she doesn't, even on Hank Williams' classic tearjerker "Cold Cold Heart," which in Jones' hands becomes a torch song, cocktail lounge piano matching every line. The album's best track is another would-be honky-tonker, John D. Loudermilk's "Turn Me On," but Jones doesn't do it country-style. She sings soft and sexy, drawing out lines like, "like a desert waiting for the rain/I'm just sitting here waiting for you to come on home and turn me on," so you can picture her bored on a couch, twirling the phone cord on her finger.

If anything, Jones is too relaxed -- all "I Never Loved a Man (The Way I Loved You)" and no "Think." But unlike Franklin, who took several years to get from jazz to soul, Jones finds the right setting on her first try. Even better, she can go in any direction from here -- pop, rock, country, blues, soul, jazz or whatever mixture she's in the mood to invent.

Steve Knopper

Richard Pierce Havens
BORN: January 21, 1941, Brooklyn, NY

Born in the Bedford-Stuyvesant section of Brooklyn, Richie Havens moved to Greenwich Village in 1961 in time to get in on the folk boom then taking place. Havens had a distinctive style as a folksinger, appearing in such clubs as the Cafe Wha? His guitar set to an opening tuning, he would strum it while barring chords with his thumb, using it essentially as percussion while singing rhythmically in a gruff voice for a mesmerizing effect. Havens was signed to Douglas Records in 1965 and recorded two albums that gained him a local following. In 1967, the Verve division of MGM Records formed a folk section (Verve Forecast) and signed Havens and other folk-based performers. The result was Havens's third album, Mixed Bag. It wasn't until 1968 and the Something Else Again album, however, that Havens began to hit the charts -- actually, Havens's fourth, third, and second albums charted that year, in that order. In 1969 came the double album Richard P. Havens 1983. Havens's career benefited enormously from his appearance at the Woodstock festival in 1969 and his subsequent featured role in the movie and album made from the concert in 1970. His first album after that exposure, Alarm Clock, made the Top 30 and produced a Top 20 single in "Here Comes the Sun." These recordings were Havens's commercial high-water mark, but by this time he had become an international touring success. By the end of the '70s, he had abandoned recording and turned entirely to live work.

Havens came back to records with a flurry of releases in 1987: a new album, Simple Things; an album of Bob Dylan and Beatles covers; and a compilation. In 1991, Havens signed his first major-label deal in 15 years when he moved to Sony Music and released Now. ~ William Ruhlmann, All Music Guide

Landreth's virtuosity as a slide guitarist has drawn a good deal of acclaim his way, but all that fuss may well have overshadowed his considerable talent as a songwriter. Perhaps Levee Town will find its mission in correcting that oversight. Landreth authored, or co-wrote, every song on this album, and his tunes are an evocative group, steeped in the exotic landscape of south Louisiana and the bayou lore of Landreth's past and present.

The title track opens the album, and it's a readily identifiable Landreth groove -- an uncanny swamp blues number sporting a rhythmic Zydeco bounce, animated by a sinewy slide guitar that leads us on a merry chase from one end of the song to the other. The tune is based on an event that transpired in the Atchafalaya Basin when Landreth was a young man. His "my world and welcome to it" theme continues with "This River" and "U.S.S. Zydecoldsmobile," a fitting tribute to cruisin' in comfort and a man's love song to his car, couched in a tasty Zydeco groove and the ever-present howl of Landreth's fiery slide.

Like anyone who honed his chops playing Louisiana dance halls, Landreth enjoys busting it down whenever possible. You'll catch him going full-tilt, power-trio-like, on "Z. Rider," an instrumental that develops into a funky/bluesy tour de force.  CD now

 Like most of the new wave of tradition-oriented British musicians, Rusby credits her parents with her introduction to the music. "It all started when I was really, really small," she explained last January, in a cheerfully chatty phone conversation from her home near the onetime coal-mining town of Barnsley. "Both of my parents have been interested in folk music for years and years, since they were 19 or 20." Ann and Steve Rusby were active amateur musicians and fans, playing in a local ceilidh band, working in the summer as festival staffers, and attending lots of concerts year round with their children in tow. "So when I was young I was brought up with the music, because they were always singing and going to folk festivals and sessions and things like that where there was live music around all the time. Most kids over here don’t get in contact with live music until they go see their first rock band when they’re teenagers, but I’d already had it. We always had a lot of instruments hanging around the house as well; I’d been a-plunkin’ and a-plinkin’ and all that kind of stuff. My dad is a sound man at a lot of the folk festivals, and he’s been doing that since I was about four or five. It was just another reason that I was around music. Most of the weekends through summer I was at these festivals with the rest of my family, and just kind of lapping up all of the music.  (cd now)

Kate Rusby is the current darling of the U.K. folk scene. She’s praised for
her pure, sweet, expressive voice and for her love of traditional music.
Every one of her musical projects, from her duo work with Kathryn Roberts, her
involvement with an early version of The Equation (which she left because she didn’t want
to sing pop music) to her work with the female band The Poozies, as well her solo career,
has met with critical success. And what’s so unusual about it is every last bit of this praise
is highly deserved. 
(Amazon/cd.now)

Far from all that darling stuff she's an enormously talented woman this album being a particular favorite of mine. The latest album is also superb but i like that slightly natural feel almost unsure that sets this album afire. "Our town" i could listen to a hundred times and never get bored and it's particular accent makes it all the more perfect. Great song Iris.......love the interpretation Kate!

Bob Gulla

 All that aside this is not an album to be missed the jumble room loves it. 

Don't let the packaging, label (the recently reactivated, legendary OKeh imprint) and Robert Johnson covers fool you: Keb'Mo' is not a hard line walkin' blues revivalist or traditionalist. Keb'Mo' wisely realizes that, in 1 994, anyone (especially if he's under 60) who pretends to have grown up in a blues vacuum, impervious to other, more contemporary influences, is not only sadly misled, but will most likely make music that won't ring true, bogged down in awkward kowtowing towards the greats. Instead, Keb'Mo' (a k a Kevin Moore) takes his loving reference for country-blues and formidable talents on acoustic and slide guitar, and combines `em with strains of folk, pop and soul. "Angelina" and "She Just Wants To Dance" are bouncing soul-pop, "Victims Of Comfort" is a folk song, "Anybody Seen My Girl" oddly recalls Bob Dylan's more tender moments, and "Don't Try To Explain" (probably the LP's most satisfying moment), a plaintive soul ditty with organ placed high in the mix, wouldn't sound out of place on a Percy Sledge record.

Spirit of the Century simultaneously honors those profound traditions while at the same time striking out on courageous new paths. With Lindley's slide ringing behind them, the Blind Boys cover songs as offbeat as Ben Harper's "Give a Man a Home" and Tom Waits' "Way Down in the Hole," alongside more trad spirituals like "Motherless Child" and "No More." They even turn one of gospel's most revered songs upside down, singing "Amazing Grace" to the tune of "House of the Rising Son."

Obviously, this set is designed to reach a wide, secular audience, and it succeeds hands down. It's brilliantly contemporary, with enough spiritual orientation to appeal to a traditional audience, too. In fact, it should have such broad appeal; this could be one gospel disc that'll end up on many year-end "best-of" lists.........Bob Gulla............i bought the album because i heard a track which "Moby" copied on the album "Run for a long time" and was blown away by the rest of the album. if you like blues it's a must ....if you don't ...it's a must!, Andy

Album of the year an absolute must!!!!!!

Kelly Joe Phelps! just found this man and i've been blown away by this album it's absolutely the best album i've heard this year!  gosh what a scary statement shows i don't get out much. This man is truly brilliant i've been listening to Tom Waits for the past twenty years and here's a musician of the next generation upbeat, clever, poiniont, sad, lonely passionate. i like this album. a definative Stilton in a musical world of chedder. (c.d now)

Eva Cassidy:- what can i say we've been playing   Eva for about 2 years now and we're gonna keep on playing her. There are five albums all of them brilliant. (1) Songbird,(2)Live at blues alley, (3)Eva by heart,  (4) Time after time, (5)The Other Side (with Chuck Brown) not my first choice. There's a link on the album cover below to her cousins web site where you can leave your e-mail address and they'll send you a newsletter

This) delicious new project from 3 stellar songwriter/performers who are all
quite adept with vocal harmonies celebrates the joys of covering songs
others have written. The greatest joy is that when you are doing a song
that you have not written, you have full freedom to play with it and bend
and shape your take on the song to your own ends, not having to conform with your own
creator’s concepts as you do when it is your own work. That Dar Williams, Lucy Kaplansky
and Richard Shindell will be bound only by their own collective taste is neon signed by the
opening selection “Fall On Me,” an eloquent work from the canon of the very literate rock
band R.E.M. Other writers whose work is included here are Ron Sexsmith, Robert Earl Keen,
Greg Brown, Julie Miller, Cliff Eberhardt, Leslie Smith, James Keelaghan, Buddy Mondlock,
Jim Armenti and Nerissa Nields. Most fittingly the closer is a cover of Shindell’s “The Ballad
Of Mary Magdalen” with Dar singing lead. 
yeah it's pretty good actually (c.d now)

Songbird cherry-picks tracks from the three locally released albums of Eva Cassidy, whose
hauntingly beautiful vocals went virtually unheard outside her native Washington, D.C., during
her short 33 years with us. Lost to melanoma in 1996, Cassidy sang with an unaffected purity
and an astonishing ability to make both classic and contemporary songs sound like they were
written just for her. Sting's "Fields Of Gold" finally lives up to its title through the alchemy of
Cassidy's transcendent rendition, while other tracks on this anthology showcase her ease in the
realms of pop (Christine McVie's "Songbird"), soul ("People Get Ready"), gospel ("Wade On
The Water") and traditional standards ("Autumn Leaves" and "Over The Rainbow"). Framed
by understated jazz and pop arrangements, Cassidy's clear, soulful voice and exquisite
phrasing make her that rarest of vocalists whose interpretations are a complement to any song.
A fine introduction to a true talent.

I would recommend, Songbird, Live at blues alley, time after time and Eva by heart. They are all stunning and a must in any record collection, Andy(Amazon/cd now)

B.B King I am ultimately a great fan so although Chrissy complains occasionally BB can get quite a bit of air time. From such great albums on his own (as the two that are mentioned below) to his work with great artists in Deuces and with E.C on riding with the King, a song written by a greatly underrated musician and favorite of mine for ten years or so John Hiatt( latest album is superb by the way and called "crossing muddy waters"

What can i say about my main man he just keeps getting better and better. This particular album is one of my favorites. ( my absolute favorite is "One more time" an album that even the king himself admits is the best thing he's done) "Let the good times roll" is BB's tribute to the late great Louis Jordan an album of great music from a great era some of it serious but most of it light hearted with tracks such as " there ain't nobody here but us chickens", "Let the good times roll" and "Jack you dead". Great fun from the King himself.

Available from(Amazon/cdnow).

Eliza Carthy  an extra ordinarily talented woman, i met her recently and she said this c.d wasn't going as well as expected i'm absolutely gobsmacked!!  It's superb, from a person so deeply set in the folk family she is, and has produced without doubt the freshest most talented piece of work to come out of an area of music, rightly or wrongly clinging to  it's safe and often stifling roots. Here's what the critics say:-    She might be the daughter of British folk icon Martin Carthy and singer
Norma Waterson, but 24-year-old singer and fiddle player Eliza Carthy has her own ideas about making music. Already a veteran of five eclectic albums of varying genres and roots (from hi-tech experiments to Basque traditionalism), Carthy's major label debut, Angels & Cigarettes, incorporates classical strings as often as her own fiddle playing, and light dance beats as much as Latin rhythms, creating a rich mix that is as much rooted in pop as it is in folk and world (Amazon/cdnow)That's what i said wasn't it!!

Etta James is a class act. Anyone who's seen the great blues vocalist perform is quick to realize how much James is on top of her craft. A career's worth of show-stopping live performances and a string of hit records in the '60s has earned James her rightful place among  legendary blues vocalists.
Life, Love & The Blues is as close to a definitive.                    Etta James record as she's ever made, and it's as monumental a career-summation as has ever been wrought by a high-caliber
blues artist. She moves through a wide variety of styles: from down-low Howlin' Wolf covers to funky R&B, to deep soul to classy, jazz-inflected dinner club blues. The fact that James can sing them all is testimony to her profound abilities. The albums that one is drawn to compare this record to are a classic lot: Muddy Waters's albums with Johnny
Winter, Buddy Guy's return to form in the early '90s and, of course, Etta's own classic
Chess recordings of so many years ago. (cd Now)

  What happens when world music label Putumayo meets up with Scottish singer/songwriter
Dougie MacLean? Dougiemayo? Well no, but you do get a cracking good ``best of'' and his
first Stateside released album. Drawing heavily from MacLean's most recent three or four
albums, the collection still includes some older classics as ``Caledonia'' and ``Singing
Land.'' For the newcomer, this is a wonderful introduction to the joys of MacLean's heartful
music. For the long time fan the album offers no new or rare material and I greatly miss
Jenny MacLean's cover art which graces all of her husband's Scottish releases. Still, if
you're Dougie curious and you want to dip your toes into a sampler, this is an essential
album to get before jumping joyously into the rich ocean of Dougie MacLean's music.(cd now/Amazon)

Rory McLeod An amazingly talented musician he just exudes warmth from his songs. My favorite album is "Lullabies for big babies" with such epics as "Spitlefield market".Troubadour, fire-eater, busker, tap dancer--Rory McLeod has, it can safely be said, seen life.
For much of the 1990s he traveled the world armed with nothing more than a guitar,
harmonica and a pair of spoons, occasionally dropping into studios to record an impressive
body of work. His fifth album confirms his status as one of our great-unsung musical heroes.
Accepted song structure is ignored--McLeod says what he has to say whether it takes 48
seconds or over ten minutes. Lyrically he can move from a simple tribute to his grandmother to
the joys of booze ("my friends say without olives in my drink I'd starve to death"), all delivered
with charm and panache and a slight, but forgivable, tendency to meander. Despite
supplementing his own vocals, guitar, foot percussion, spoons, trombone and frankly incredible
harmonica work with a range of guest players--all of whom add neat touches--it is Rory who
dominates throughout, the sheer force of his personality shining though every moment.(Amazon)

I never found his music until last year and Lullabies and it's probably as Rory himself says "it takes fifteen years to be an overnight success

" Latest News 12th Feb 2002 Rory Mcleod voted BBC Radio Folk Awards Best Live ACT"

Hello Just to let you know the news
Best Live Act : Rory McLeod

BBC Radio 2 Folk Awards - for 2002

For British Singer Songwriter, storytelling,
harmonica-playing, tap-dancing one-man-rhythmic-dance-band Rory McLeod,

(see website for biographical, info, stories from the road, tour dates,
links etc. CDs, Photo Gallery)
www.rorymcleod.com

  Kevin Montgomery my favorite album of the year. We've played it that much at the Jumble Room that we've worn it out,  " Broken" has got to be an all time great. simply truly brilliant..........The critics said of it "Literate, melodic and muscular it's an album that grabs your attention straight away and doesn't let   go"(Amazon).BUY IT!!!!

Paul Brady  Spirits Colliding, my favorite album of the year ( haven't i said that already) oh well i'll just have to have a few. Other great albums include "oh what a world" and "Back to centre" but this is just simply fantastic!!

"What the Critics Say... 
Q Magazine (7/95, p.115) - 3 Stars - Good - "...he brings to everyday thoughts and feelings
a robust delicacy of balance between his voice, a weave of acoustic guitars, and other
refinements... Which i think is the biggest under statement i've heard all year, my favorite Paul Brady album it lifts the soul truly brilliant, Andy.    (Amazon/cd now)

. 

Stacey Kent Dreamsville an album to send you weak at the knees, men would go to war for a voice like this, throw themselves from buildings, give up beer(whoa boy) truly brilliant   Stacey Kent has given jazz singing a huge fillip in the last two years. She has swiftly become
the favorite of musicians and ordinary listeners alike. Her work has also defined the field, for
she is not aiming, as are most other singers, at a "cabaret" or "night club" audience. Stacey
Kent is a committed jazz singer as were Lee Wiley and Billie Holiday before her. She also has
musical qualities in common with those two. This album is made up entirely of ballads, the
singer's forté, and this far-sighted idea pays off generously. Her versions of these classics are
awash with ingenious invention and her inspired timing is unique. It was an imaginative idea to
put the verse of "I've Got A Crush On You" in the middle of the song instead of at the
beginning. But that sort of thinking abounds in an album that is destined to become a classic.
Miss Kent has the advantage of superior accompaniment, provided by her husband Jim
Tomlinson on reeds and by the Dave Newton Trio.(Amazon/cd now)

Joni Mitchell   Hits This album was recently given to me by my friend Rosie Thomas. I probably wouldn't have bought it myself as i've bought Joni in the past and always found that i liked some and didn't others.( sorry Joni) All i can say is that we love this album at the Jumble Room and it never ceases to amaze me the song writing talent of this incredible woman. it is simply a great and groovy album from a great era...(Amazon)

One unsuspecting day, Stacey Earle consented to sing back-up on her brother
Steve’s fourth studio album, The Hard Way. Two weeks later, she was tossed
into the performance fire, ordered (kindly, of course) to sing back-up and play guitar on
Steve’s accompanying tour. Stacey enjoyed the rock & roll life so much she decided to
start writing songs and make a go of it on her own. 
Years later, we at last have Simple Gearle, Stacey’s self-released debut and a fine
collection of poignant country folk. Like her brother, Stacey maintains a fierce
independence as a writer, stylist, and performer, and that independence serves her well on
the record. 
On side one (the CD has "needle noise" before cuts #1 and #8), songs like the sadly
tender "Tears That She Cries" and the melancholy, memory-laden "Losers Weep," featuring
Steve on backing vocals, demonstrate that Earle has a nice flair for acoustic melody
without resorting to elaborate arrangements or lavish musicianship. 
Side two hosts a few acoustic gems, including the mandolin and accordion piece "Weekend
Runaways" and the soaring "Show Me How." With lots of depth, a passionate songwriting
voice, and a piercing vision, Earle’s future looks bright despite her dim views. 
Bob Gulla

If you want to tell me about someone you really like or need help finding a c.d please mail away i will get back to you a.s.a.p......on the left are two links to c.d sites where you'll find all the above c.d's "Have Fun!"

That's all for now folks. I'll keep on adding to them as i get them. Stephen Bruton...nothing but the truth,  James Taylor....hourglass, Eric Bibb....and needed time good stuff,  Michelle Shocked...Arkansas traveler,  Alison Krauss....Toploader....Paulo Cont'e.....Rory Block....Beth Nielson-Chapman.....Buena vista social club....Ry Cooder..... the list can never be to long for me.......

Back to The Jumble Room

It appears i have something attached to the bottom of my web page! it doesn't necessarily mean i agree with what it says... Andy