Showing posts with label Acoustic. Show all posts
Showing posts with label Acoustic. Show all posts

Monday, September 07, 2026

2003 - Pat Metheney - One Quiet Night



2003 -  Pat Metheney - One Quiet Night @320



Pat Metheny literally sat down One Quiet Night to record some solo guitar in his home studio. Using a semi-acoustic baritone made by the esteemed Canadian luthier Linda Manzer, he recorded most of these pieces towards the end of 2001. After returning from a lengthy tour Metheny was impressed with the results and decided to add six more tunes to make an album's worth of material.

It's as calming as you might expect, with Pat investigating a more esoteric tuning mode and playing pure, with no overdubs. His lone axe is given a big, reverb-soaked sound, acting like a virtual orchestra in a cavernous space. The bass strings resonate with a plump power, silvery high-string phrases dancing above.

Metheny deliberately avoids any flashy fingerpicking, concentrating on gentle plucks, savouring the scrape, rub and click of his strings and allowing gaps for thought. He's completely relaxed and spontaneous, sustaining a mellow mood throughout. Around the midway mark of "Time Goes On" and Keith Jarrett's "My Song", the ideas seem to get cut adrift, yearning for bold gestures or emphatic statements. One problem is that Metheny doesn't vary the sound zones that he's exploring.

On "Peace Memory", ascending lines never quite reach their conclusion, but climb back up from the bottom again, then "Over on 4th Street" introduces a vigorous strum, underpinned by seeping bass notes. "I Will Find the Way" rejoices in singing harmonics, producing a luminous stasis that's in sharp contrast with "Ferry Cross the Mersey", which is certainly an unexpected song-choice for Metheny. (Amazon)


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Thursday, August 20, 2026

2001 - The Best of John Renbourn



2001 - The Best of John Renbourn @320



This compilation provides an excellent overview of John Renbourn's recording career up to The Hermit (1976), showcasing his ability to balance tradition and studied technique with an innovative, adventurous sensibility. Jesse Fuller, Big Bill Broonzy, and Ramblin' Jack Elliot were among Renbourn's earliest muses, inspiring folk-blues explorations like the Appalachian tune "Winter Is Gone," from his 1965 self-titled solo debut. In addition to American music, Renbourn also drew on the sounds of Alexis Korner and Davey Graham; their influence began to manifest itself particularly on his 1966 record with Bert Jansch, Bert and John, which blended folk and blues with jazz. The guitar duets from that release appearing on the present compilation nicely capture what critics called Renbourn and Jansch's "folk Baroque" sound. The collaboration with Jansch led to the formation of the Pentangle and Renbourn's Another Monday (1966) featured his first recordings with that band's eventual singer, Jacqui McShee; of these, "Can't Keep From Crying" is included here. The medieval and Renaissance orientation of 1968's Sir John Alot of Merrie Englandes Musyk Thyng and Ye Grene Knyghte proved influential among new age Celtic musicians; however, that album is represented by a more bluesy track featuring African percussion, "Sweet Potato." Renbourn's sitar playing brings non-western nuances also to "The Cuckoo," from Faro Annie (1971). That record saw him revisit his folk-blues roots, re-enlisting an old collaborator, American gospel singer Dorris Henderson, whose vocal contributions help make "White House Blues" one of this collection's standouts. As a selection of work from 1965 to 1976, which also includes several Pentangle tracks, The Best of John Renbourn offers a solid introduction to his music. Above all, it attests to Renbourn's range as a writer and a performer, making the inadequacy of the catchall tag "folk guitarist" very apparent.



 

Thursday, August 13, 2026

1991 - The Essential Leo Kottke Collection






1991 - The Essential Leo Kottke Collection @320


The Essential Leo Kottke is the double album from 1991, which may surprise some listeners with the familiarity of its tunes. What I discovered was the supreme delight of seeing Kottke’s guitar wrapped around such familiar songs as Bob Nolan’s Tumbling Tumbleweeds, the Everly Brothers All I Have to Do is Dream, and most surprisingly Kris Kristofferson’s Here Comes That Rainbow Again, written from a scene in The Grapes of Wrath, which I had only heard live by Kristofferson and recorded by Johnny Cash. You suddenly realize that Kottke is unafraid of great melodies, and goes constantly in search of them. It isn’t just countermelodies that captivate his guitarist’s fancy, but the innate power of a melody as well. You can’t have one, he makes me realize, without the other. In the end, that’s why I love his playing, and have stayed true to his muse all these years. Leo Kottke is a guitarist’s guitarist, one who opens up the fret board to all manner of virtuoso invention, without losing sight of his original purpose in creating a world of beautiful sound.(FolkWorks)

When this is posted I will be on holiday so there won't be any quick responses to comments.






Saturday, May 09, 2026

Grant McLennan - Fireboy (1992) 320


* Enjoy, Reb 😎 Link 👇 *

* I know many of you come to Vibes for the Reggae, Dub, Soul and Funk we share, but we share many more genres of music, with that in mind, I won't be sharing any Reggae, Dub, Soul or Funk, for the next few days. It will all be other genres that we share here, why not try something different!! You might like it and enjoy it, but if you don't try you won't know. I have always had an open mind with music, I have one simple rule, to take a listen and if I like it, and if I don't well it can always be deleted. I don't give a toss what others think and never have. I like what I like, we are different and have different tastes, but go on try something new *

 

Monday, April 20, 2026

1979 - Neil Young - Live Rust



1979 - Neil Young - Live Rust @320



All the kudos Neil Young earned for Rust Never Sleeps he lost for Live Rust, the double-LP live album released four months later. Live Rust was the soundtrack to Young's concert film Rust Never Sleeps (he had wanted to give it that title, but Reprise vetoed the idea, fearing confusion with the earlier album), and likewise was recorded October 22, 1978, at the Cow Palace in San Francisco. But much of the Rust Never Sleeps album had been recorded on the same tour, and Live Rust repeated four songs from that disc; besides, since Young had released the career retrospective Decade in 1977, critics felt he was unfairly recycling his older material and repeating his new material. In retrospect, however, Live Rust, now a single 74-minute CD, comes off as an excellent Neil Young live album and career summary, starting with the early song "Sugar Mountain" and running through then-new songs like "My My, Hey Hey (Out of the Blue)" and "Powderfinger." Young is effective in both his acoustic folksinger and hard-rocking Crazy Horse bandleader modes. The various distractions of the concert itself and the film, such as the pretentious props and cowled roadies, are absent, and what's left is a terrific Neil Young concert recording. (AllMusic)

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Sunday, April 19, 2026

1979 - Neil Young - Rust Never Sleeps



1979 - Neil Young - Rust Never Sleeps @320




Rust Never Sleeps, its aphoristic title drawn from an intended advertising slogan, was an album of new songs, some of them recorded on Neil Young's 1978 concert tour. His strongest collection since Tonight's the Night, its obvious antecedent was Bob Dylan's Bringing It All Back Home, and, as Dylan did, Young divided his record into acoustic and electric sides while filling his songs with wildly imaginative imagery. The leadoff track, "My My, Hey Hey (Out of the Blue)" (repeated in an electric version at album's end as "Hey Hey, My My [Into the Black]" with slightly altered lyrics), is the most concise and knowing description of the entertainment industry ever written; it was followed by "Thrasher," which describes Young's parallel artistic quest in an extended metaphor that also reflected the album's overall theme -- the inevitability of deterioration and the challenge of overcoming it. Young then spent the rest of the album demonstrating that his chief weapons against rusting were his imagination and his daring, creating an archetypal album that encapsulated his many styles on a single disc with great songs -- in particular the remarkable "Powderfinger" -- unlike any he had written before. (AllMusic)


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Monday, March 16, 2026

Ben Harper

Welcome To The Cruel World

(1994)

 










320

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Tuesday, March 10, 2026

Josh Ritter

Golden Age of Radio

(2000)

 










320

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Friday, February 27, 2026

Neal Casal

Fade Away Diamond Time

(1995)

 










320

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Cass McCombs

A

(2003)

 










320

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Tuesday, February 17, 2026

Various Artists

Badlands

A Tribute To Bruce Springsteen's Nebraska

(2000)

 










320

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Tuesday, December 30, 2025

Colin Vearncombe

The Accused

(1999)

 










320

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Black

Any Colour You Like

[Deluxe Edition]

(2016)

 










320

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Friday, November 28, 2025

Joanne Shaw Taylor

Wild

(2016)

 










320

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Wednesday, November 26, 2025

Joe Bonamassa

An Acoustic Evening at the Vienna Opera House

[2 cds]

(2013)

 










320

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