Record Reviews
📝 2096 reviews| Artist | Title | Review |
|---|---|---|
| Herbie Hancock | Head Hunters | |
| Herbie Hancock | New Standard | <p>On first glance this record would not seem to have much promise from a jazz standpoint. Herbie Hancock performs a set of tunes which include numbers from the likes of Peter Gabriel, Stevie Wonder, Sade, Paul Simon, Prince, the Beatles ("Norwegian Wood") and Kurt Cobain. However by adding vamps, reharmonizing the chord structures, sometimes quickly discarding the melodies and utilizing an all-star band, Hancock was able to transform the potentially unrewarding music into creative jazz. Hancock, who sticks to acoustic piano, shows that he is still in prime form, taking quite a few fiery solos. With Michael Brecker on tenor and surprisingly effective soprano, guitarist John Scofield, bassist Dave Holland, drummer Jack DeJohnette and percussionist Don Alias (along with an occasional horn or string section that was dubbed in later), the results are often quite hard-swinging and certainly never predictable. Although it is doubtful that any of these songs will ever become a jazz standard, Herbie Hancock has successfully created a memorable set of "new" music. Well worth investigating.</p><p>— <b>Scott Yanow</b></p> |
| Herbie Hancock | 1+1 | |
| George Fredrick Handel | Fireworks / Water Music | |
| Tim Hardin | Bird On A Wire | |
| Roy Hargrove | Hard Groove | <p>A new musical vision for ace jazz trumpeter Roy Hargrove has manifested itself in the form of <I>Hard Groove</I>. This neo-soul/jazz project showcases Erykah Badu, Common, D'Angelo, Marc Cary, and jam band icon saxophonist Karl Denson on a 14-track set that is laden with funk, groove, freestyle rap poetry, and sultry hip-hop/R&B mood swings. Hargrove's interesting horn and keyboard improvisations stem from extensive knowledge of each musician's work and, perhaps even more importantly, from close personal friendships developed as an underground club jam session warrior in N.Y.C.</p><p>He also plays flügelhorn and percussion, and adds background vocals on several compositions. Opening with "Hardgroove," the set eases into a groove that is skillfully combined with Hargrove's meticulous riffs and segues into the band's free interpretation of an all-out jam session. "Common Free Style" is just that, a free rap session crammed with intimate details. This team-up works, and Common's prose style is exemplary in his choice of words and inspiring atmosphere. As one of the ladies who sings with the band, Grammy-winning Erykah Badu presents a valuable addition to the literature of hip-hop and jazz on several levels. On "Poetry," her rap is an entertaining and unpretentious chronicle of knowing the way to go in life, recounted with honesty and sincerity.</p><p>Overall, Roy Hargrove has evolved as a hipper version of himself and given his listeners an entirely new musical direction than that heard on his Grammy-winning release <I>Habana</I> or his sensuous ballad recording <I>Moment to Moment</I>. <I>Hard Groove</I> is simply an exploration of his multidimensional musical attributes and his belated recognition of years of "open-eared moonlighting." In any case, the ultra-hip trumpeter manages not to alienate his die-hard jazz fans by intersecting with many of the icons of hip-hop, R&B, and neo-soul. Highly recommended.</p> <p>— <B>Paula Edelstein</B></p> |
| Ben Harper | Faded (EP) | |
| Ben Harper | Live From Mars | <p>Ben Harper is a road dog. He and his band, the Innocent Criminals, travel around the world playing nearly 200 shows a year; therefore, it was only a matter of time before this guitar virtuoso made a live album. <i>Live From Mars</i>, an enigmatic two-disc set of 25 songs, celebrates the rise of Harper, his incredible live presence between 1998 and 2000, and the appreciation between him and his audience. His fragile acoustics have been thrown into a massive guitar storm on disc one, a thunderous combination of his signature folky blues-funk rock & roll. He's soulful and approachable on "Excuse Me Mr." and "Burn One Down," but he reaches for something tangible on Marvin Gaye's "Sexual Healing." The vibe is calm and cool while Harper's vocals scale between a sweet falsetto and a rugged twang. "Faded" exudes Harper's electric twitching, and its perfection swaggers into a riveting cover of Led Zeppelin's "Whole Lotta Love" for a near ten-minute car crash of pure rollicking.</p><p>He switches from his electric to an acoustic for disc two, making his informality even more enticing. "Waiting on an Angel" is delicate, similar to the likes of Jeff Buckley, but it's the beauty of the Verve's "The Drugs Don't Work" that truly captures the standard of excellence that Harper depicts as a performer. Acoustically, he's honored and such praise is deserved. He's practically flawless. He's a modest artist, and such humility is found among his songs. He's achieved respectability with his fans that only so many artists are able to attain. <i>Live From Mars</i> is a proper release and certainly an inviting look into Harper and the showmanship he projects while spending time on the road.</p>— <b>MacKenzie Wilson </b> |
| Ben Harper | Diamonds On The Inside | <p>Ben Harper is a musical preacher of sorts, never one to be shy in speaking his mind about social conformity. If his first two albums —<i>Welcome to the Cruel World</i> and <i>Fight for Your Mind</i> —didn't clue you in, <i>Diamonds on the Inside</i> will definitely do so. Diamonds on the Inside marks Harper's fifth studio effort and this time he's emotionally in touch with what makes his heart burst. This is a passionate album, no doubt. His signature Weissenborn guitar joins him once more and Harper's classic groovy funk is heavy; however, Harper adds worldbeat to his musical plank. From the Marley-esque vibe of "With My Own Two Hands" to the African soundscapes of Ladysmith Black Mambazo on "Picture of Jesus," Harper's purist presentation is smooth. "When It's Good" gives a little country blues twang, while "Touch From You Lust" is a sexy haze of writhing riffs. "Temporary Remedy" follows the funk Lenny Kravitz-style, and Harper's a bit campy. It's a noticeable change from his typically serious stature and a nice shift in personality, too. <i>Diamonds on the Inside</i> is another stunning effort from one of rock's underground heroes. Harper has consistently worked with what appeals to him musically for nearly a decade, ignoring what fits the mainstream. <i>Diamonds on the Inside</i> is Harper's sixth chapter of truth and just one listen to the electric blaze of "Everything" will convince you.</p><p>— <strong>MacKenzie Wilson</strong></p><hr/><p>In Pleasure and Pain, Danny Clinch's documentary of Ben Harper's 2001 Burn to Shine tour, Harper is caught throwing a cute-if-cantankerous fit on camera, whining and snapping at a European journalist like a pot-smoking Thom Yorke. It's funny, but not especially surprising that when faced with a middling reporter, Harper found his knickers in a bit of a twist: he's been misunderstood by the mainstream music press for nearly a decade now, and bumbling critics are at least partially to blame for the sloppily cobbled together batch of tracks on his latest studio release, the scattered Diamonds on the Inside.</p><p>Since his 1993 debut, Ben Harper has been getting all tangled up in his influences—he's inadvertently hog-tied himself with big, fat superstar ropes, each woven from stringy bits of Hendrix, Redding, Marley, Plant, Page, and a few stray Dylan hairs. This is as much a product of a lazy press (who relentlessly—aw, shit!—point out and examine his many muses) as it is his own musical mishmash, but either way it's got Harper stuck and wiggling for release. Disparate inspiration isn't a problem on its own, but Harper's inability to stabilize and carve himself a personality sure is. Neo-blues-soul-metal-punk-reggae-gospel-rock-funk is far too cumbersome to be a proper qualifier, and Diamonds on the Inside's breathless Rolling Stone Encyclopedia of Rock whirlwind is tiring, at best. Harper's now-trademark lack of focus—which is especially disappointing because dude's got skills with that slide!—is destined to forever supercede his considerable songwriting talent.</p><p>Diamonds on the Inside opens with its first single, "With My Own Two Hands", an optimistic and aggressively reggae-inspired bit of dancehall wah-wah, complete with Hammond B3, clavinet, and high, lazy backing vocals. Harper swings effortlessly from a low, throaty growl to his excellent soul falsetto, and the rich, dynamic percussion (Oliver Francis Charles on drums) works remarkably well here. It's what happens next that gives pause: the sparse, southern gospel romp "When It's Good" stars a completely different breed of Harper, blues-driven and virtually unaccompanied (save a box of rocks, some background singers, and his acoustic slide).</p><p>Meanwhile, the title track is a thick, sentimental Lynyrd Skynyrd guitar throwdown, featuring a singalong chorus and sweet, lilting pedal steel, electric piano, bass, and guitars; the aptly titled "Bring the Funk" is pure gimmick, all synthesizers and poorly channeled Parliament. "So High So Low" is heavy, Zeppelin-inspired metal thrashing, kick-started by some kind of otherworldly primal scream. And on and on: slices of this and chunks of that. Slow down, Harps, I'm getting freakin' confused! What kind of goulash you serving here, anyway?</p><p>Despite Diamonds on the Inside's pointed identity crisis, there are still some standout songs. Ladysmith Black Mambazo pop up on the vocals-only "Picture of Jesus", which, despite its heavy-handed religious meditations, is a textured, vigorous, and engaging contemporary hymn. The brisk and solo-friendly "Touch from Your Lust" (seriously, what does that mean?) would have fit nicely on Burn to Shine, with its Lenny Kravitz bellbottom howls and heavy electric guitar noodling.</p><p>Harper has never been a particularly keen lyricist, but the introductory line of "When She Believes" ("The good Lord is such a good Lord/ With such a good Mother, too") is especially ridiculous, and the "Behind all of your tears/ There's a smile/ Behind all of the rain/ There's a sunshine for miles and miles" of "Everything" seems equally uninspired. To the contrary, new-favorite-word "shuck" is employed superbly in "Bring the Funk" ("Some are jiving/ Some are shuck/ Some are just down on their luck").</p><p>To his immense credit, Ben Harper pulls off rock star posturing even though he sits in a chair while playing live (an achievement Jagger has not yet approached—maybe this explains the incessant arena-touring?), and his performances are always charismatic affairs, especially if you're okay with little kids dancing shirtless outside. It's onstage that Harper excels, his humble grace and organic porch singing somehow capable of tugging sunburned college students away from the falafel tent and back to the main stage; live, his scattered influences are far less distracting and his playing takes on a more even and consistent edge.</p><p>Other artists have played the don't-pigeonhole-me card with slightly more success—Beck unapologetically flits between genres and styles, but has enough sense (or enough handlers) to centralize his records in a way that makes them thematically comprehensible. Even when artists self-consciously draw from a long, complicated lineage of diverse sounds and tactics, there still needs to be an organizing principle; ideally, individual tracks should contribute something substantial to the greater whole, like a chapter in a novel or a stanza in a poem, each cohesive, directed, and pushing towards a narrative payoff. All fourteen tracks here are autonomous, but as a record, Diamonds on the Inside feels pretty empty.</p><p>— <strong>Amanda Petrusich, Pitchfork</strong></p> |
| Ben Harper | There Will Be A Light | <p>Ben Harper's history with the Blind Boys of Alabama has been an evolving one that has moved from being a guest on their landmark <i>Higher Ground</i> offering and touring with them in Europe, to the Blind Boys joining Ben and the Innocent Criminals on-stage at the front and back of the show. This album began as a series of rehearsals for collaboration on a Blind Boys of Alabama record. Recorded in two sessions, the vibe in the room was loose and creative enough that the two acts ended up with an album of collaborative material for joint release. And this is a collaboration in the truest sense of the word. It's not just Ben playing gospel, or the Blind Boys of Alabama singing on a Ben Harper record. These ten tunes -- with seven Harper originals written specifically for the sessions, the rest traditional gospel tunes and covers -- showcase Harper and the Innocent Criminals alongside the Blind Boys of Alabama.</p><p>The album kicks off with Harper's "Take My Hand," a funky gospel tune that showcases a Fender Rhodes and Harper's wah-wah pedal underscored by the call and response of the Blind Boys repeating the title after each sung line of the verse, before Clarence Fountain takes it out. "Wicked Man" is a Southern soul tune that has a Muscle Shoals groove and a beautiful vocal weave on the refrain. "Church House Steps" is pure gospel groove with a Hammond B3 and a smoking duet between the Blind Boys' layered harmonies and Harper on the verses with full-on blues feel in his singing and playing. There's a killer cover of the Bob Dylan/Danny O'Keefe tune, "Well, Well, Well," with Delta blues bottleneck shimmering through the intertwined vocal lines. The deep, nocturnal sparseness of "Satisfied Mind" is a complete re-reading of the nugget with a swampy backbeat. And this album works beautifully. Nothing sounds forced, all of it loose and comfortable and the vocal performances on both sides are simply stellar. Highly recommended.</p>— <b>Thom Jurek</b> |
| Ben Harper | Live At The Apollo | <p>Ben Harper and The Blind Boys of Alabama played a sold out show at the legendary Apollo Theater in Harlem, October 2004. Backed by Harper's band, the Innocent Criminals, the show found the Blind Boys and Harper performing all 11 tracks from <i>'There Will Be a Light'</i>, which debuted at # 1 on Billboard's Top Gospel Albums chart and # 81 on The Billboard 200. EMI. 2005.</p> |
| Ben Harper | Ben Harper & The Blind Boys Of Alabamba Live At The Apollo | |
| Ben Harper | Both Sides Of The Gun | <p>After seven albums and 12 years in the game, it can stop being said that Ben Harper is hard to categorize, because at this point, the fact that he always incorporates diverse elements — from folk to hard rock to funk — into his music and makes something very much his own is a given. He's practically created a genre. So maybe that's why it's so surprising that Both Sides of the Gun, a two-disc album, has little of that very thing that makes him so unique. Instead, he chooses to show off the range of his musical interests, and ends up with something closer to a compilation than a Ben Harper album.<p><p>The softer, acoustically based disc is full of pretty love songs and sweetly strummed guitars, and though Harper has done this before and kept his own style intact (in "Two Hands of a Prayer" and "When She Believes," for example), here he comes off sounding a bit boring. He hasn't forgotten himself completely: both "Never Leave Lonely Alone" and "Crying Won't Help You Now" are good songs, sounding strongly of him while also experimenting with other styles (Latin/French and gospel, respectively), but almost all the other tracks could have been pulled off any run-of-the-mill singer/songwriter album from the past ten years. Things improve slightly on the other, louder, disc ("Please Don't Talk About Murder While I'm Eating" is all electric blues, complete with a distorted slide guitar solo, and "Serve Your Soul" is the most Harper-ish of everything, blending folk guitar, pure rock, raw blues, and socially conscious lyrics into one eight-minute masterpiece), but there's still that sampler-record feeling there. "Engraved Invitation" and "Get It Like You Like It" are heavily influenced by the Rolling Stones, "Both Sides of the Gun" alludes to Curtis Mayfield and James Brown, and "Better Way" is practically a tribute (at least musically) to Prince's "7." Harper has always borrowed from other artists, but he's also always added enough of himself to make it not quite so...blatant. It's not that he isn't able to perform such a diverse selection: there are plenty of excellent cuts and most of the album is quite good.</p><p>Harper is a fantastically talented musician, and he has really developed his voice since Diamonds on the Inside and is unafraid to do things with it, going from a croon to a scream and always sounding great. But why he's copying other people's styles instead of building on his own is both odd and disappointing, because he's always been able to experiment before while also preserving his individuality. If in Both Sides of the Gun Harper is trying to show his audience what a wide variety of music he can cover, he certainly accomplishes that. But if he's trying to create an album that is really about him, he doesn't quite deliver. Ben Harper is in there, don't worry, but he can be a little hard to find.</p> |
| Ben Harper | Lifeline | <p>As it's played out on his recordings, the very gift that has been such a boon to Ben Harper has also been his bane: his musical restlessness and the wide range of styles he seems to employ. It's obvious, and has been since his sophomore offering, Fight for Your Mind, that Harper is not only a master guitarist but a fine songwriter and a great showman. He's been under the sway of legends like Marley, Hendrix, Dylan, Redding, and to a lesser extent, Havens. On his recordings he's wrapped them all up together continually, creating an identity forged on that diversity. That said, as a result, the albums have often suffered. In a live context that shape-shifting mélange can be — and more often than not is — seamless and utterly exciting. In the studio it doesn't gel so easily. His last studio record, Both Sides of the Gun in 2006, attempted a narrower, albeit mellower focus; but he spread it over two discs! The desire to concentrate on a single identity — as a singer/songwriter — resulted in a less than optimal, sometimes even boring, result; a single disc would have been more easily swallowed. Perhaps this is why his most satisfying and consistent offering is arguably his collaboration with the Blind Boys of Alabama on There Will Be a Light from 2004 — until now. Ben Harper & the Innocent Criminals entered Gang Studio in Paris in November of 2006, immediately after finishing a nine-month world tour that ended with eight weeks in Europe. They loaded in their gear, rehearsed, and recorded directly to analog tape — i.e., without the aid of computers or Pro Tools — and mixed in seven days. The result is a deeply focused, loose, and laid-back record that is musically compelling and deeply soulful, and contains some of Harper's finest songs to date. At this time, the Innocent Criminals are drummer Oliver Charles, percussionist Leon Mobley, Juan Nelson on bass, guitarist Michael Ward, and Jason Yates plays keyboards, with a pair of backing vocalists, Michelle Haynes and Rovleta Fraser. Clocking in at just over 40 minutes, this is a brief record for Harper, but it serves him well. The music is a seamless meld of soulful folk, gospel, countryish rock, and blues. The operative genre here, however, is the rootsy soul that Harper could always sing, and Ward's fills along with the electric Wurlitzer, acoustic pianos, and Hammond B-3 employed by Yates make it all swing, while the steady yet slippery percussion roots the music deeply in the groove, which is mellow but tough.</p><p>The proof begins on "Fight Outta You," the album's opening track. Harper's acoustic plays the first couple of bars before the rest of the band kicks in, establishing a country-soul feel. His lyrics are uplifting, full of determination and hope. This is underscored by the next number, "In the Colors," which bleeds Southern soul and a killer reggae bassline bubbling underneath. The theme of hope is right there, propping the first track by underscoring in poetic terms the true, just, and beautiful. "Fool for a Lonesome Train," a backwoods country-rock tune, is maybe the strongest cut on the set; its high lonesome sound is borne out not just in the grain of Harper's vocal but by the band's unobtrusive yet utterly engaging support. The lyrics are there; they have the wild and restless in them but it takes a group effort to make restraint an art, underscoring the blood and sinew in Harper's words. That's not to say there are no "rockers" on the set. "Needed You Tonight" comes right out of the shouting gospel and electric blues with electric guitars blazing; it alternates its dynamic between that vibe and sweet soul. "Having Wings" is a gorgeous follow-up, with acoustic piano and electric guitars flowing under Harper's voice.</p><p>"Say You Will" is a seriously uptempo gospel shouter, but far more carnal. It's an ass-shaker with smoking piano and percussion work and lots of breakbeats tossed in by Charles; that backing chorus takes it out of Sunday morning and places it in the heart of Saturday night. "Put It on Me" is more of a guitar take on the same kind of music. With the chorus and those six-strings all edgy and loose, it's funky, dirty, and gets very close to nasty. "Heart of Matters" gets back to back-porch soul before giving way to a Weissenborn guitar solo on "Paris Sunrise #7," before closing with the lone acoustic guitar and vocal ballad on the title cut. The set could have gone out on one of the more uptempo tunes after the instrumental, but it's a small complaint in this mix. Whether or not you prefer the rowdier version of Harper and his band, it is inarguable that this recording is a concentrated effort coming down on the side of a couple of musical notions that weave together artfully and meaningfully. This is a very informal-sounding record, and one that feels comfortable in showing its unvarnished side, its seams. And given that it was recorded completely in analog, fans would be well advised to pick up vinyl copies as well and compare the two; the prediction is most likely the vinyl sounds fuller and warmer.</p><p>— <strong>Thom Jurek</strong></p> |
| Ben Harper | White Lies For Dark Times | <p>While it's always been true that Ben Harper has been a musically restless soul with a penchant for changing up his groove from album to album, most of them have been recorded with his longtime unit the Innocent Criminals. As a result, both live and in the studio, a particular vibe existed. Familiarity breeds that, and it also sets up a dynamic. For White Lies for Dark Times, Harper put the Innocent Criminals on hiatus and hooked up with a new group: three Austin, TX transplants to Los Angeles called Relentless7, comprised of guitarist Jason Mozersky, bassist Jesse Ingalls, and drummer Jordan Richardson. The end result is, to say the least, explosive. While it's true that this 11-track collection does have some beautiful acoustic balladry on it, and a touch of Harper's brand of soul in its grooves, most of what we find here is balls out Rock with a potent dose of ragged, modern Texas blues thrown in. Indeed this may be the most electric sounding recording Harper has ever issued. He co-wrote six of the tracks with his bandmates, and those he wrote himself have been arranged and/or written to be played with this band. It's in the mix from the opener, "Number with No Name," the slow slide guitar playing an electric blues stomp that's pure Harper, but the drums are pure thud and whomp rather than snap and crackle. The bassline is enormous and the second guitar matches both volume and nastiness with that slide. In other words, this sounds like a band playing this jam, not Harper and his band. One can hear traces of Jimi Hendrix, early ZZ Top, and Johnny Winter in the attack, but it's pure rocking blues thunder and lightning spit out via Texas and the Delta.</p><p>The more spacy rock of "Up to You Now" is more directly a "Harper" tune with its stretched rhythmic sense and soulful vocal, but the utterly popping bass and wooly distorted guitar mix move it beyond his sensitive singer/songwriter frame. "Shimmer & Shine," the set's first single, begins as a double-timed rocker with Richarsdon's drum break, but kicks in with a staggered set of power chords that blend angsty punk and anthemic rock. "Why Must You Always Dress in Black" is pure blues-rock venom, the overdriven distortion (engineer and co-producer Danny Kalb did a brilliant job on this set, and on this track in particular) makes the guitars sound like they're breathing fire. The scattershot breaks from Richardson are impressive, especially as underscored with a syncopated bass pattern that marries blues, rock, and funk by Ingalls. Harper's slide chops -- especially when matched against that screaming blues riff of Mozersky's -- marks the toughest cut on the set. And that's saying something, because there isn't a throwaway here. Whether it's the shimmering, gospel-tinged balladry of "Skin Thin," the crunchy wah-wah electric funk-rock of "Keep It Together (So I Can Fall Apart)," the tripped out voodoo-psych, percussion-driven skronk that is "Boots Like These," or the straight up gorgeous, midtempo soul-rock ballad "Faithfully Remain," that closes the set on an uplifting (if reserved) note; it's all inspired and executed flawlessly. And while it's true that many of the tunes have lyrics that reflect anger, disillusionment, and sometimes bitterness, the snarling yet joyous attack in the music balances them. This is the record that finally matches the excitement Harper generates in a live setting and is not to be missed.</p><strong>— Thom Jurek</strong> |
| Ben Harper | Live From The Montreal International Jazz Festival | |
| Ben Harper | Give Till It's Gone | <p>After the sidestep trio with Dhani Harrison and Joseph Arthur in A Fistful of Mercy, a trio that netted the all-too-sleepy As I Call You Down, guitar hero Ben Harper reconvenes his Relentless7 bandmates -- Jason Mozersky, guitar; Jesse Ingalls, bass and keys; and Jordan Richardson, drums -- for Give Till It's Gone. The 11-song set runs the gamut of Harper's many styles. There are midtempo rockers such as the intimate first-person confessional "Don't Give Up on Me Now," which examines the distance between what a man aspires to be and what he actually is. The title of "I Will Not Be Broken" may be anthemic, but the song is a moody -- bordering on angry -- minor-key waltz that melds acoustic and electric guitars, keyboards, and muffled percussion in an atmospheric blanket. Harper gets his volume on in the lyrically mindless but harder psych rock of "Rock n' Roll Is Free." While he claims the song was inspired by Neil Young, it doesn't live up to his muse's reckless knife-edged example. Ringo Starr makes two appearances here, as co-writer and drummer on the over-produced Beatlesque "Spilling Faith," which gives way to a much more interesting instrumental addendum called "Get There from Here," allowing the Relentless7, Harper, and Starr to really cut loose and play. It's dissonant, ragged and woolly, and drenched in noisy, blown-out production. Harper's moving "Pray That Our Love Sees the Dawn" is a midtempo ballad that features Jackson Browne's inimitable harmony vocals, adding the necessary depth to a lyric that reveals the aforementioned distance between the man in the mirror and the one looking at him. Harper allows his soul groove voice in "Waiting on a Sign," which in turn gives way to the screaming '90s-centric funk-rock of "Dirty Little Lover," with slide guitars ablaze. He's best in the louder numbers mentioned above, the stomping dissonant syncopation in "Clearly Severely," and "Do It for You, Do It for Us." The latter is the album's closing track; it walks a stiletto's edge between melodic psychedelia and stomping heavy rock. While nowhere near as focused as 2009's White Lies for Dark Times, Give Till It's Gone does possess moments when all of Harper's gifts as a writer and guitarist are evidently clear.</p><p>—<strong>Thom Jurek</strong></p> |
| Emmylou Harris | Gliding Bird | |
| Emmylou Harris | Elite Hotel | <p>While much of Harris' career has been spent carrying on the legacy of Gram Parsons, <i>Elite Hotel</i> ranks among her most overt tributes to his genius, thanks to its covers of the Flying Burrito Brothers' "Sin City" and "Wheels," along with "Ooh Las Vegas" from the <i>Grievous Angel</i> album. In addition to the usual eclectic mix of covers — which includes the Beatles' "Here, There and Everywhere" and Hank Williams' "Jambalaya" this time out — <i>Elite Hotel </i>offers renditions of the country perennials "Together Again" and "Sweet Dreams," which were, respectively, Harris' first two number one chart hits.</p> — <b>Jason Ankeny</b> |
| Emmylou Harris | Pieces Of The Sky |
Showing 721–740 of 2096 reviews
· Page 37 of 105