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The "Try It, You'll Like It" Thread - Music Edition


scottieking

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Here's a thread to champion something that you think the community at large may be neglecting but you think they would like. Today's edition, the obvious, music.

My pick is Donavon Frankenreiter's Move By Yourself.

If you heard Donavon live or own his last album, you (as was I) might be tempted to dismiss him into the Jack Johnson category.

That is not this album.

I don't know who is in this band, but I saw them on Conan and immediately thought "Wow! They gots chops". The album's got depth and serious, serious groove.

I dare you to listen to the first track, all the way through and not be fully engaged in, at the very least, a vicious chair groove.

Try it, you'll like it.

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Todd Rundgren - Something/Anything

It takes a while to realize this guys genius. But once you realize his mastery at crafting great songs, and the fact he is an amazing guitarist, producer and singer, you will be hooked.

Soon you will also realize he has a very signature sound you will crave. Todd grows on you.

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The Gourds

NPR - Good Gourds on 'Heavy Ornamentals'

As soon as people get by the whole Gin & Juice cover (the worst cover they do) they find The Gourds have an awesome catalog of original music & an wide arsenal of amazing covers.

Here's a track off their most recent CD & some other tracks hosted on my google page.

The Gourds - Burn The Honeysuckle

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A couple of covers

Locomotive Breath

Pressure Drop

No Diggity

Unreleased Studio track from 2003.

Tear Down The Shed

Live track (original)

On Time

Anyone interested in some live Gourds just check my trade list below and let me know, I have generous collection of em.

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You know, M. Ward doesn't get enough praise on this board. Fantastic imaginative guitarist and an even better singer/songwriter.

Iron & Wine does not suck either.

And, what about Bonnie Prince Billy aka Will Oldham? Check out the beautiful tone and mood he sets on I See A Darkness . Johnny Cash covered the title track on American III: Solitary Man with Bonnie Will Oldham doing some soulful background singing.

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Recorded quickly and cheaply in 1973, this record marks a turning point for this one-time Fairport Convention guitar player and sets a template for the kind of emotionally charged and bracing songs that he would touch upon again and again in the future.

Thompson's worldview was never sunny, and dark corners are all over this album. A conniving beggar girl finds glee in receiving a pittance from "a snob like you". Spiritual searchers sing "hallelujah" to try and coax an answer from the heavens, with none forthcoming. A man driven to the edge by the brutal work and bleak future offered in his native homeland longs for a new life beyond the border, if he can only get there. "My love has withered and died" sighs one heartbroken loser in love. A newborn baby is welcomed to the world with the brutally sage advice "there's nothing at the end of the rainbow, there's nothing to grow up for anymore".

It takes a special songwriter to imbue these kinds of sentiments with life, to drag them from the depths of dourness and despair. With a flair for impeccable melody and a well-turned phrase, Richard Thompson manages to make these stories sing rather than sink. And it takes a special singer to find the hidden empathies within those bleak lines, to bridge the gap between the universalities of the sentiments, and the particularities of the subject matter. Thompson's new wife Linda - regarded at the time as London's finest folk-singer - delivers her responsibilities with great sensitivity and aplomb.

And then there's the guitar playing. While other releases more fully demonstrate Thompson's pedigree, listen here to the ripping electric guitar as bag-pipes licks in "When I Get To The Border", or the 3-chord devastastion of "The Cavalry Cross". His acoustic dexterity highlights "The Great Valerio", not so much flash as determination to counterpoint his wife's aching melody. Thompson remains one of the most original - and least imitated - guitar players I can think of. His technique is idiosyncratic, and devastatingly effective.

Here's an album where every song is a winner, a jewel in the crown of a songwriter's songwriter. It is a bloody shame this album isn't held in the same regard as Dylan's "Desire", or Neil Young's "On The Beach", for sheer determination on the face of a bleak perspective. Highly recommended.

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or the 3-chord devastastion of "The Cavalry Cross".

I'd be interested to hear your impression of Tortoise / Bonnie 'Prince' Billy's version of Cavalry Cross. It was on the 2006 record 'The Bold and The Brave.'

Also, did you write up that review of 'I want to see the bright lights tonight?' If so, you should do more writing. Professionaly.

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