Acoustic Guitar Label

How To Choose The Best Guitar

If you are reading this article, than you are likely interested in guitars -m specifically buying a new one. There are a lot of things you need to know when buying a guitar. You need to take into consideration the type of music you play – this is very important to perfecting your sound. There is nothing more awful than hearing a guitar that is not fit to its genre.

As I stated, there is a good bit that you should learn about in order to fit yourself with the best guitar. It is all of these subtle differences and unique options that can vastly affect the overall sound and performance of the guitars that you choose to buy for your music. So take your time when you are making this decision, as it is important to your craft.

For the sake of this article, I have opted to describe the variances in acoustic guitars, as trying to label all of the variances in both electric and acoustics could take quite a while. So while there might be a lot to consider when you are buying electric guitars, you will be hearing about all of the points of consideration concerning the purchase of a dreadnought acoustic guitar.

Differences and style variances are very apparent even when you just look at a guitar. Factors such as the depth and shape of a guitar make a huge difference in the sound. Some have even attempted to improve on the resonance of a guitar by making the back rounded. Slimmer models take the cake right now though, and a good one to check out is a Takamine acoustic guitar.

Another important factor to consider is the type of wood that is actually used in the construction of the instrument. Lower end models use wood that doesn’t resonate and provide a tone quite like the higher end models. This is usually indicative of different materials that make up the guitar. The rarer the wood, the more expensive the guitar usually.

You also have to consider the kind of audience that you often play to as well, because another choice that you will be asked to make is whether you want a regular acoustic or an acoustic electric. The difference is a built in amplifier that can allow you to be easily wired to a PA system through a quarter inch guitar cable. A great model is found with an Alvarez acoustic guitar with an amplifier, so you can check those out. Be advised though, acoustic electrics cost more than plain acoustics.

So I can only hope that now you understand the decisions that you have to make in order to get the perfect acoustic guitar for your project. There is a lot to consider, but if you take it all seriously, you will likely end up with a great model that you will love.

Acoustic Guitar Label

Gibson J Forty Five Acoustic Guitar

Identifying Old-fashioned Gibson Electic Guitars is usually just a little complicated at times. Relying within the serial quantity will not be constantly the finest way so utilizing a blend of serial figures, factory buy amounts and pattern characteristics provides the greatest end result. Factory order Quantities (FON’s) had been used by Gibson to observe batches of instruments inside early days once they produced gibson j 45 acoustic guitar commonly in batches of forty. For that reason early Gibson Antique Guitars might have each a FON and a serial quantity. The FON will even produce what quantity inside the batch of forty guitars your instrument was. The FON could be the only identification variety on Gibson’s decrease grade versions like the ES-125, ES-140 and so forth.) which don’t element a paper label. Big grade types (such as the Super 400, L-5 and so on.) have simultaneously a serial number plus a FON. When both volumes are current on a large grade style, please remember that the FON was assigned in the starting in the production operate, while the serial range was recorded later on (just before delivery). The serial variety will be the gibson j 45 acoustic guitar very best indication with the genuine date of your Antique Gibson electric guitar.Factory order Volumes (FON’s) were employed by Gibson to track batches of instruments in the earlier days once they made gibson j 45 acoustic guitar usually in batches of forty. For that reason earlier Gibson Classic Guitars might have equally a FON and a serial quantity. When both equally numbers are current on a big grade design, please keep in mind that the FON was assigned in the beginning on the manufacturing run, although the serial number was recorded later (just before shipping). The FON will even produce what number from the batch of forty guitars your instrument was.

Acoustic Guitar Label

A Brief History of Dean Guitars sound

Dean is a manufacturer of both electric guitars and sound. Compared to some of the company, Dean Guitars are pretty before. But, that does not make their guitars sound any more sensible. This is a company started by a teenager named Dean Zelinsky that the intention it is to create guitars that looked and sounded different than other guitars on the market.

This attitude eventually became their claim to fame. But before their unique shaped guitars can catch, they had to be embraced by musicians. However, thanks to a dedicated group of shop owners and People who believe in the product, musicians began to discover the guitar and when they played it, they're hooked. Many of the original players are still focused customers.

80 s, after he has been in business for ten years, Dean Zelinsky sold the company and the rights to Oscar Medeiros guitars. He then sold the company yet again the 90 s. During his tenure, Medeiros also made many contributions to the Dean line.

Armadillo business, the new owner, eventually contacted Zelinsky to once again be part of the company. He works for Dean Guitars as an executive and a creative assistant. Die hard followers of the brand Dean are happy that Zelinsky is once again part of the company.

Dean Guitars line of guitars sound contains both unique and traditional style guitar sound. They have a v-shaped sound called the V Coustic as well as both traditional and traditional cutaway model. Some of their other guitar sounds include the Artist series, Exoticglass, Exoticwood, tradition, Evocouostic, Gypsy, Spain, and the Schenker model. For more information about their style of guitar sounds and models visit their deanguitars.com website.

You can not mention Dean Guitars without considering the artists who play them. Michael Schenker with both UFO and the Scorpions also has its own line of guitars in the company. Other artists include the late Randy Rhoads, Sammy Hagar, John McAffee, Dimebag Darryl, Daryle Singletary, John Karl, C. Wayne, and ZZ Top. For player profiles and a more extensive list, visit the website.

Here is some information on what a person has to say about Dean Guitars sound:

About Dean Guitars Exotica FM

I wrote earlier a diagnosis three years ago for the guitar. Since then, it has become my main performing guitar. I have played more since I got this guitar, and partly because it sounds good. It has got the kind of sound that made me change and expand on what I was playing before. I have plugged in the system of the house, used my own small or big amp. It still sounds full and in my opinion, unique.

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Ellen, a new record label …. How to impress her?

im sending a video but I wanted to be different I need something to impress him and sound play guitar and sing …. please help im thinking of such a meshing of several songs on the 1 .. but yeah if you have any idea please let me know! easy 10 points for best idea ohh and any songs I should cover? maybe a list? thankyou:)

Record do your best. Ellen is open minded. Choose a couple of his favorites too. Listen to Kara's writing.

Yamaha FG-140 acoustic guitar

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Candy Enamel Acoustic Guitar Belt Buckle $8.99 This awesome acoustic guitar shaped belt buckle makes a great gift for guitar players. It measures 3 9/16 inches wide, 2 3/4 inches tall, with a back loop capable of handling a belt up to 1 1/2 inches wide. It has a cool matte finish, with candy amber and brown enamel accenting the detail.The belt buckle is constructed from high quality metal to give you years of wear. …

00028EC Eric Clapton Model Acoustic Guitar $3299 Perhaps no other musician has so profoundly influenced rock and acoustic blues players than legendary British guitarist Eric Clapton. From his early work in the Yardbirds, Cream, Derek & the Dominos, through to his Grammy award-winning MTV Unplugged project, Eric has continually redefined the art of guitar. In recognition of this major talent, the Martin Guitar Company is proud to announce an exciting collaboration with Eric Clapton. As part of the company’s vintage inspired line of stock models, Martin will be handcrafting a numbered series of special 000-28EC Eric Clapton signature model acoustic guitars. The smaller “000″ body size with a short 24.9″ scale length is particularly popular among fingerstyle and blues guitarists who prefer a delicate and balanced tone. The 000-28EC model draws its inspiration from the extremely popular 1995 Limited Edition 000-42EC Eric Clapton signature model. 461 of those special 000-42ECs were offered and they sold out immediately. Guitarists that missed out on the 000-42EC due to limited numbers or budget considerations should love the 000-28EC. The 000-28EC is similar to the 000-42EC in body size, shape and choice of tonewoods, but the appointments are quite different. Crafted with solid woods throughout, the sides and back are constructed from premium grade solid East Indian rosewood and the top is bookmatched from select quartersawn Sitka spruce. The rosette as well as the perimeter of the soundboard are inlaid with finely patterned herringbone wood marquetry, and the body is bound with grained ivoroid. A genuine ebony fingerboard features the pre-war Style 28 snowflake pattern in abalone pearl. Eric Clapton’s signature is inlaid in mother of pearl between the 19th and 20th frets. Each 000-28EC will bear an interior label individually numbered. The 000-28EC is tastefully appointed with a hand beveled and polished tortoise colored pickguard. Vintage style nickel-plated open-geared tuning machines are equipped with unique vi

01011001 $19.98 With Ayreon, Dutch multi-instrumentalist Arjen Anthony Lucassen has built a career around massive prog metal opuses with hordes of guest vocalists. Basically, anybody in metal who can hold a tune has sung for Ayreon at some point. 01011001 features Anneke Van Giersbergen (ex-the Gathering), Jonas Renkse (Katatonia), Floor Jansen (After Forever), Tom Englund (Evergrey), Hansi K? rsch (Blind Guardian), Simone Simons (Epica), Ty Tabor (King’s X), and Daniel Gildenlow (Pain of Salvation), among many others. These singers are the focal points of their bands, but in Ayreon, they’re merely characters in Lucassen’s rock operas. 01011001 is a sprawling two-disc set that one critic called “the longest CD ever made.” Indeed, the album spans 100 minutes, and feels like 100 years. It’s a perfect fit for the Inside/Out label — pristine production, byzantine songs that feel like full albums, hi-tech synths that wish they were guitars. Lucassen really, really likes his synths; in “Waking Dreams,” he entirely forgoes bass in favor of a percolating ostinato that suggests a beefier Kraftwerk. Electronics also pervade the percussion; “Beneath the Waves” is as if Alan Parsons covered the Beastie Boys’ “So What’cha Want.” Ray gun synths, operatic vocals, fake and real strings, and even Celtic melodies adorn this sonic mansion. Its ambition would be laughable if the record didn’t actually fulfill it often. Admittedly, such fulfillment was purchased at Guitar Center (or its Dutch equivalent); the record is most touching when it strips down to acoustic guitar on the gorgeously compact “Web of Lies.” These two discs, subtitled Planet Y and Earth, are about humanity’s disconnect with itself and destruction of the planet. But that’s really not important. Music this over the top almost defies criticism. Reviewing it is like reviewing the world’s tallest building. It doesn’t care; it just goes on and on. ~ Cosmo Lee, Rovi

01011001 [CD/DVD] $29.98 With Ayreon, Dutch multi-instrumentalist Arjen Anthony Lucassen has built a career around massive prog metal opuses with hordes of guest vocalists. Basically, anybody in metal who can hold a tune has sung for Ayreon at some point. 01011001 features Anneke Van Giersbergen (ex-the Gathering), Jonas Renkse (Katatonia), Floor Jansen (After Forever), Tom Englund (Evergrey), Hansi K? rsch (Blind Guardian), Simone Simons (Epica), Ty Tabor (King’s X), and Daniel Gildenlow (Pain of Salvation), among many others. These singers are the focal points of their bands, but in Ayreon, they’re merely characters in Lucassen’s rock operas. 01011001 is a sprawling two-disc set that one critic called “the longest CD ever made.” Indeed, the album spans 100 minutes, and feels like 100 years. It’s a perfect fit for the Inside/Out label — pristine production, byzantine songs that feel like full albums, hi-tech synths that wish they were guitars. Lucassen really, really likes his synths; in “Waking Dreams,” he entirely forgoes bass in favor of a percolating ostinato that suggests a beefier Kraftwerk. Electronics also pervade the percussion; “Beneath the Waves” is as if Alan Parsons covered the Beastie Boys’ “So What’cha Want.” Ray gun synths, operatic vocals, fake and real strings, and even Celtic melodies adorn this sonic mansion. Its ambition would be laughable if the record didn’t actually fulfill it often. Admittedly, such fulfillment was purchased at Guitar Center (or its Dutch equivalent); the record is most touching when it strips down to acoustic guitar on the gorgeously compact “Web of Lies.” These two discs, subtitled Planet Y and Earth, are about humanity’s disconnect with itself and destruction of the planet. But that’s really not important. Music this over the top almost defies criticism. Reviewing it is like reviewing the world’s tallest building. It doesn’t care; it just goes on and on. [This edition of 01011001 includes a bonus DVD.] ~ Cosmo Lee, Rovi

1,000 Kisses $9.99 Patty Griffin’s third album, her first material to be released since 1998 (the absorption of her former label, A&M, in the Polygram-Universal merger left an album Griffin cut in 2000 in the vault, where it’s sadly likely to stay), strikes a stylistic middle ground between the stark voice-and-guitar approach of her debut, Living with Ghosts, and the eclectic textures of Flaming Red. 1,000 Kisses was mostly recorded live in the studio with a small acoustic band, including Doug Lancio on guitar and mandolin, Brian Standefer on cello, Giles Reeves on vibraphone and percussion, and Michael Ramos on accordion; the feel of the performances is close and intimate, with the occasional cough or footfall audible in the background, and these sessions capture more than a bit of the cin? ma v? rit? mood of Living with Ghosts. But if the album’s production style is subtle, it’s also a superb match for the material, and without forcing their hand, Griffin and the musicians can sway from the life-on-the-street swagger of “Chief” to the Latin romanticism of “Mil Besos” to the torchy late-night blues of “Tomorrow Night” without missing a step, finding a broad emotional spectrum in these low-key sessions. And while 1,000 Kisses finds Griffin blending covers in with her own compositions for the first time, she proves to be a first-rate interpretive singer (her version of Bruce Springsteen’s “Stolen Car” actually improves on “the Boss”‘ original), and her own songs are splendid, especially the moving widow’s lament “Making Pies” and the moody lead-off track “Rain.” And regardless of who wrote the material, Griffin’s voice — a tower of strength capable of expressing remarkable emotional vulnerability — remains a wonder to behold. 1,000 Kisses finds Patty Griffin at the top of her game, and one can only hope we don’t have to wait four years for the follow-up. ~ Mark Deming, Rovi

1964 Texan Acoustic Electric Guitar $399 The Legendary Acoustic is Back and Better than Ever! Since it's introduction in 1958, the Epiphone Texan has been the choice of countless musicians including Paul McCartney, Peter Frampton and Noel Gallagher. In fact, McCartney wrote and performed one of the most recorded and popular songs ever, "Yesterday" on his 1964 Texan. Now, Epiphone brings back the Texan combining all the great features of the original with modern updates for today's musician. It all starts with the classic sloped-shoulder or Advanced Jumbo (AJ) shape. Unlike ordinary dreadnoughts, the Texan features a more rounded upper bout and a larger lower bout with a subtle waist. Resembling a bell shape, this leads to a more balanced tone with shimmering highs, deeper lows and clearer mid-range that's perfect for singer/songwriters and other solo performers. Like the original, the new Texan features a premium solid Spruce top with a solid Mahogany back and Mahogany rims. Solid woods resonate beautifully and only improve with age. The neck is solid Mahogany topped with a Rosewood fingerboard adorned with the original parallelogram inlays. Hand-fitted and glued into the body, the neck features Epiphone's SlimTaper(tm) neck profile that's comfortable and easy to play. Keeping the guitar in tune are original-style but updated 14:1 ratio vintage tuners with classic small oval buttons. Epiphone has even reproduced the original blue rectangular sound hole label from the 1960's for yet another touch of authenticity. But from there, Epiphone adds some new features that sets this Texan apart. First, the saddle has been updated to feature a fixed, compensated saddle. Unlike the original adjustable style, this saddle provides improved tuning accuracy and better string vibration transfer to the top resulting in improved tone and sustain. And for today's player, Epiphone adds Shadow's state-of-the-art Sonic(tm) preamp system with the revolutionary unde

4 Women No Cry, Vol. 1 $15.99 Released by the excellent Monika label, this compilation — planned to be the first in a series — has a concept summed up in the title: four women from different countries, all known for working in electronic/dance styles, each contributing a slew of songs. Everyone’s tracks are grouped together, so the end result is more like a collection of four EPs, but the transitions between the artists are smoothly managed and the end result is a fine showcase for all four. Argentina’s Rosario Blefari begins the album, her “Partir y Renunciar” starting as a murky drone before adding a clattering, hollow beat and dub bass as the setting for her gentle singing and a touch of acoustic guitar. It’s a sharp blend that emphasizes the electronics first and foremost, as her other songs like “Nunca,” a slow, moody piece, and the concluding collage of beats and loops, “Vidriera Chilena,” make clear. Georgia’s Tusia Beridze follows with a series of six short, understated compositions, building on her earlier work well in its range from gentle chorales with whispered counterpoints (“Gorod”) to minimal torch songs (“Cuet”) and IDM cut-ups (“Late”). The sequence has the feeling of a late-night soundtrack to a cityscape, and works very well as a whole as well as song for song. Frenchwoman Eglantine Gouzy parallels Beridze in presenting six short pieces for her contribution, with the initial “Eglantine Longe” almost sounding like an extension of Beridze’s work. “Nurse Song” changes the tone with Gouzy’s semi-whispered/gasped singing and meditative blend of keyboards and what sounds a bit like harp, with the remainder of her work suggesting a vocal-added version of Boards of Canada’s playful explorations. Catarina Pratter brings the comp home to Germany at the end, alternating between shorter and longer tracks. The standout is “Dreamin of Love,” which sets a grumbling industrial buzz and steady beats underneath subtle, wistful vocals to create what could almost be a moder…

Against the Grain $13.98 After releasing two albums in 1973 and a live, contract-fulfilling disc in 1974, Gallagher returned rested and recharged in 1975 with a new record label, Chrysalis, and a band with almost three years of hard touring under their belts. With its attention to detai, Against the Grain sounds more practiced and intricate than most of Gallagher’s previous studio discs, but still includes some of his most powerful rockers. The supercharged “Souped-Up Ford,” where Rory howls and wails, with his voice and smoking slide, and “All Around Man,” an urgent blues rocker that begins with Gallagher screaming and crying together with just his electric guitar until the band kicks in with a stop-start blues rhythm, are two of the definitive moments. “Bought and Sold” adds congas to the mix to bring a more rootsy and even jazzy feel to Rory’s table. But it’s on the acoustic tracks where the guitarist and his band really lay into the groove. Gallagher’s version of Leadbelly’s “Out On the Western Plain,” with its combination of Indian chords, American Delta folk and cowboy “yippee-ki-yay” chorus is one of the Irishman’s unheralded highlights, and “Cross Me Off Your List” is affecting in its yearning melody, subtle keyboard and minor key. A playful and forceful romp through Sam and Dave’s “I Take What I Want” shows Gallagher’s soul roots. Two bonus tracks from the 2000 reissue and recorded at these sessions are country based jams, but neither is particularly impressive. Not his best album, Against the Grain is still prime period Rory Gallagher. Its well-rounded menu of country, Delta blues, and blues-rock is indicative of his approach; though few of these songs became classics in the guitarist’s extensive catalog, they’re far more mature and eclectic than most blues-rock bands’ best work. ~ Hal Horowitz, Rovi

Aineen Musta Puhelin (Black Telephone of Matter) $15.99 Best known as one-half of acclaimed techno minimalists Pan Sonic, Mika Vainio also has an impressive r? sum? as a solo artist that stretches back to the early ’90s and his association with influential Finnish imprint S? hk? . Recording primarily under the aliases ? and Philus, and sometimes his birth name (depending on the project), Vainio’s aesthetic mission has been consistently and rigorously defined by an investigation into the materiality of sound. Indeed, just about everything in his catalog evinces a fascination for the physical extremes of frequency range and dynamics, from raw, wrenching bass tones and piercing sine waves to attacking transients and desultory blasts of white noise. Aineen Musta Puhelin (Black Telephone of Matter), Vainio’s fourth album for the Touch label under his name, is similar to past efforts in its ability to wrest dramatic atmospheres from the most errant of sonic gestures. What’s different here, however, is Vainio’s almost complete abandonment of a rhythmic framework to tie those stray elements together. Even as the brittle arctic-industrial grooves of Pan Sonic and ? — reflected in mid-’90s albums like Vakio (1995), Metri (1994), and Olento (1996) — represented the next evolutionary step in techno’s “man-machine” aesthetics, Aineen Musta Puhelin’s ominous electro-acoustic vistas take that idea even further into the realms of the post-human. Largely sticking to a familiar palette of broadband grays and pitch-black silences, along with occasional glints of white-light frequency play, Vainio’s austere approach is loosened a bit on “Swedenborgia” — likely the only track on the album that references an actual instrumental sound. Resembling a musique concr? te-style edit of a doom metal band, Vainio manages to create a remarkably organic, almost improv-like interplay with a few elements (amplified tape saturation, metallic percussion, and a decaying guitar drone) staged through a clever use of basic dynamics processing (volu…

Appeal to Reason $15.98 If ever there was a year to release a political punk album it was 2008, when the U.S. was consumed by the wildest presidential campaign in modern history. It seems like the perfect backdrop for Rise Against to release Appeal to Reason, their third major-label record, and in a way it is — certainly, the group rages against the moral decay rotting the core of the U.S. on the opening “Collapse (Post-Amerika),” just as they strike out against the slow dumbing down of America on “Re-Education (Of Labor)” and tell Iraqi soldier stories on “Hero of War.” The latter showcases the acoustic guitars that helped goose 2006′s The Sufferer & the Witness into the Billboard Top Ten but the rest boast the manic rapid-fire hardcore delivery that hearkens back to Rise Against’s politically minded forefathers Bad Religion. This balance of plaintive modern folk and carefully traditional protest punk is offset by Rise Against’s increasingly strong fondness for heavy, slick production, the kind where the rhythms are too tight and the guitars overdriven and clean, the kind where it sounds more like ’80s metal than ’80s punk. Rise Against is hardly the only modern punk band to be weighed down by this contradiction — it’s entirely too devoted on chops and gear, Guitar Center punk — but it stings a little more with them as their ambitions, smarts, and skills are higher than their peers. They seem like they shouldn’t have such a beefy, big sound, particularly as it obscures their message, giving the group a weird dichotomy: they are clean, accomplished musicians and sincere, socially conscious rockers but those two halves don’t complement each other well, at least not on the well-intentioned Appeal to Reason. ~ Stephen Thomas Erlewine, Rovi

Back in the Circus $16.98 Jonatha Brooke’s perseverance has paid off. Like Aimee Mann, she’s maneuvered a broken staircase of fluctuating acceptance, band breakups, and record label shakeups with nimble feet and a consistent songwriting vision. Now, she’s arrived on the top floor landing with Back in the Circus, a typically audacious effort that showcases her singing and writing even as it flirts with new musical directions. Good timing — Circus is the third release for her Bad Dog imprint, but the first to benefit from Verve’s distribution, suggesting that its nods to accessibility will find plenty of willing ears. Another first — Brooke served as her own producer. Who better to know just when — or when not to — accentuate Back in the Circus’ expressive vocals, pointed lyrics, and intriguing story arc with subtle programming or bits of modernist instrumental sampling? Sure, Brooke and principal collaborators Eric Bazilian and Ryan Freeland get a bit carried away sometimes. “Less Than Love Is Nothing”‘s push-button percussion stippling and synth washes sidle too closely to being simply satisfactory in the electronic-organic world of 21st century adult alternative music. Likewise, the breezy keys and treated, three-prong glitches of her run through “Fire and Rain” make it pleasant but tentative — too preoccupied with converting the casual fan searching for a gimmick. Covers of “God Only Knows” and Alan Parsons’ “Eye in the Sky” fare much better. The scratchy electronics and acoustic tatters of the former are a cool exercise in deconstruction, while the latter is remade as a classic Jonatha Brooke folk song, full of gorgeously wavering vocal phrasing and tasteful twinges of mandolin over its melancholy piano rhythms. Brooke’s originals overwhelmingly benefit from Circus’ digital organics. The title track is an unbalanced and dizzying cocktail, with accordion, keys, guitar, and laptops all joining in the fray. “Back in the circus/But at least I know the routine,” she sings. “…

Billy Jack $14.99 Fine-tuning the blend of country and coffeehouse Americana that filled their 2008 debut, honeyhoney present themselves as a leaner, twangier band on this pitch-perfect follow-up. Trading licks on the banjo, acoustic guitar, and violin, bandmates Suzanne Santo and Benjamin Jaffe set themselves up as a more commercial Gillian Welch and David Rawlings, keeping the tempos slightly quicker and replacing Welch’s backwoods drawl with Santo’s husky, slow-smoked croon. She’s clearly the focal point here, but Jaffe is the first mate who keeps the ship afloat, whether he’s backing up his partner with vocal harmonies — even taking the lead for a few moments on “Old School Friends” — or claiming the songwriting credits for tunes like “Angel of Death,” a vintage-sounding country ballad that recalls Hank Williams. If 2008′s First Rodeo pointed the band in multiple directions — acoustic folk one moment, ? 60s revivalist pop the next — then Billy Jack narrows the focus and keeps its sights set on the south, resulting in a rootsy track list that’s far more cohesive than honeyhoney’s debut. The highlights are scattered throughout: “Ohio” builds up to a tent revival chorus; “Don’t Know How” tugs on the heartstrings with an archetypal AM Radio melody, and “I Don’t Mind” finds the two bandmates harmonizing like a co-ed Everly Brothers. Released by Lost Highway — a label with far more country clout than Ironworks, the duo’s previous home — Billy Jack doesn’t feel like a reboot as much as a clarification, as it brings to light the nostalgic, rootsy charm that First Rodeo only hinted at. ~ Andrew Leahey, Rovi

Biscuits for Breakfast $12.98 One has to give the NinjaTune label credit for taking a chance on Biscuits for Breakfast. When we last listened in on Finian Greenhall (aka Fink), he was making ambient trip-hop beats (2000s Fresh Produce), and a long six years later he’s become a full-blown, guitar picking singer/songwriter. No, we’re not speaking of the whiskey-rotted, cowboy-hatted, delusional Americana of a Townes Van Zandt wannabe, nor the wasted Cocaine California decadence of the Jackson Browne-Eagles brood, nor the weepy, terminally depressed Nick Drake-wish-upon-a-Pink Moon-songstrelsy either. Instead, Fink’s gone his own way. That’s not to say the sounds of his heroes aren’t in here: one can hear John Martyn in his noirish approach to jazzy acoustic blues, the bottleneck influence of Peter Green (post-Fleetwood Mac y’all) and even the fingerpicking toughness of Davy Graham. There is a wonderfully intimate smokiness in Fink’s approach to his songs. It’s intimate, but utterly lacking in sentimentalism,. Check the opener “Pretty Little Thing,” on which he plays the whole menagerie: bass, guitar (nylon strings, no less), and B-3. The lyrics in this cut are not much to be sure, but as a first track Fink’s looking to usher in the set’s atmosphere, and as such it works beautifully. Dave Matthews would kill to have written a tune like this one for his “solo” album Some Devil. The real surprise is when his co-writers — bassist Guy Whittaker and drummer Tim Thornton — and bandmates jump in on “Pills in My Pocket.” The steel-string acoustic comes out, as does the bottleneck slide, a shuffling rhythm ushers in his streetlife tale matter-of-factly. Vocalist Tina Grace (Nitin Sawhney, Cirque du Soleil) sings lead on the swampy, spooky love song “Hush Now,” as Fink plays slide, and sings backup and creates a series of shuffling little loops that enter the picture. The title track has a few sparse FX on it, but the tone is a moaning little streetwise blues and the main instrument is his voice…

Bukka White concert at Ash Grove on 17 Aug 67 $9.98 Hearing this historic recording of Mississippi Delta blues icon, Bukka White, is akin to witnessing the birth of the blues in New Orleans at the turn of the century. Though he was already 57 when this recording was captured, White gives an emotional performance evidenced by the despair and hopefulness in his voice. Born in 1906 near the small town of Houston, Mississippi, his stage name came about when his Christian name, Booker T. Washington White, was misspelled as “Bukka White” on the label of recordings released by his second label, Vocalion. He began as a fiddle player doing country blues in juke joints and at outdoor fairs, but after meeting blues pioneer Charlie Patton he switched to the guitar, using a National Steel Dobro as his instrument of choice. While developing his musical style, White befriended his nine-year-old first cousin by giving him one of his older guitars, a red Stella model acoustic six-string. The cousin would later become world famous as B.B. King, and he continually paid tribute to White as the blues artist that was probably his greatest influence. White was signed to Victor Records in 1930 and recorded a number of songs. His career was sidelined, however, when the Great Depression hit. He re-emerged in 1937 on Vocalion, where the art director misheard his name as “Bukka” instead of Booker. When his early records became popular, Washington was stuck with the nickname. Not long after signing to Vocalion in 1937, White was involved in an altercation with another man, whom White killed. “I hated to do it, but I had to,” he later told a biographer, “it was self defense.” White was convicted of manslaughter and sent to the notorious Parchman Farm State Prison in Mississippi. A model prisoner, he was permitted to have his guitar, and he often performed for his fellow inmates and the guards. In 1939, while still in prison, he was visited by famed music archivists John Lomax and son, Alan Lomax. The Lomax’s recorded “Shake ‘Em On Down,” amo

Candles in the Rain/Leftover Wine $20.98 Considering how popular she was in the late ’60s and early ’70s, Melanie Safka’s back catalog has been remarkably poorly served on CD, but this double-disc set from the British Edsel label brings two of her best known albums together in splendid form. 1970s Candles in the Rain featured the hit single “Lay Down (Candles in the Rain)” and was Melanie’s first fully satisfying album; between her nakedly confessional original songs, her idiosyncratic covers (in particular “Ruby Tuesday”) and Peter Schekeryk’s lovely production and arrangements, it’s where her eccentric charm really found its feet in the recording studio. Leftover Wine, released later the same year, is a very different kettle of fish. It’s a live album recorded during a gig at Carnegie Hall, with just Melanie, her acoustic guitar, and a clearly devoted audience. While Melanie sounds passionate and fully engaged here, her habit of performing at a high emotional pitch is very much on display, and the stark force of this show is doubtless a bit much for listeners who aren’t hardcore fans, though those who are will certainly delight in it (and vegetarians will find solace in “I Don’t Eat Animals,” as well as her tale of how a cow thanked her for writing it). The remastering of both albums is fine (though the remote recording on Leftover Wine leaves a bit to be desired), and each has been enriched with bonus tracks; Candles in the Rain features six tunes from rare film soundtracks, while Leftover Wine includes another hard-to-find track, “Stop! I Don’t Want to Hear It Anymore.” Alan Robinson’s liner notes for the set are informative, and the lyrics for Candles in the Rain make the cut. ~ Mark Deming, Rovi

D35 Johnny Cash Acoustic Guitar $4499 The Martin D-35 Johnny Cash Acoustic Guitar is a fitting tribute to this prolific artist. Martin designers chose solid East Indian Rosewood for the back and sides and capped it with a solid Engelmann Spruce top. The neck is presented in Martin's Modified Low Oval shape and topped with a solid Black Ebony fingerboard that features grained ivoroid binding and Abalone star inlays bordered in Mother-Of-Pearl. Bone is used for the nut and compensated saddle while solid Black Ebony is used for the bridge. Additional features include Grover 102C tuners, black pickguard and Martin's HD Zig Zag back purfling. The interior label is signed by CF Martin IV and John Carter Cash. Comes with deluxe hardshell case.

Dave Matthews Signature Model Acoustic Electric Guitar with Hardshell Case $3999 The frontman for one of musics most popular acts, Dave Matthews and his distinctive guitar-centric songs helped fuel a resurgence in acoustic roots rock. Starting in the mid-1990s. Matthews has played Taylor guitars for many years, and his 914ce has long been a staple of his live performances. Inspired by the 914ce, the DMSM is a rosewood/spruce Grand Auditorium. A custom fretboard inlay blends elements of the popular Cindy inlay, which graces Matthews 914ce, with a design that pays tribute to the bands longtime horn player, LeRoi Moore, who passed away in 2008. Based on a sketch that Matthews provided, a crown inlay between the 11th and 12th frets honors Moore, incorporating ball-tipped points with one ball partially missing in memory of Moore. A nickname of Moores within the band, Grux, is inlaid vertically between the 13th and 18th frets. The headstock inlay also was developed from a sketch by Matthews. The guitars top was shaded with an aged toner to approximate the patina Matthews likes on his older 914ce. Each DMSM comes with a custom guitar label and a certificate of authenticity, both personally signed by Matthews. Includes a hardshell Taylor case.Features:Abalone-trimmed Sitka spruce top shaded with aged tonerDave Matthews signature fretboard/headstock inlaysAbalone rosette900 Series bridge inlay and abalone-dotted bridge pins

Gera? ? o Bendita $16.98 Spectrum’s Gera? ? o Bendita (Blessed Generation) came out in Brazil in 1971, sold poorly, and went forgotten until the 1990s brought a revival of the genre and record collectors began to dig up old recordings, at which point it became a sought-after rarity. The German label Shadoks reissued it in 2002. More than a curiosity, this album chronicles the difficult emancipation of a generation. Made up of ex-members of the group 2000 Volts, Spectrum formed in the studio for this specific project, the soundtrack of a movie directed by Carlos Bini, written and performed by the members of a hippie community in Nova Friburgo (near Rio de Janeiro). Known as the first Brazilian hippie movie, it was completed in 1971, censured, and finally released in 1973 under the title E Isso Ai Bicho. The music draws inspiration from the Woodstock generation, especially the folk songs of Crosby, Stills & Nash, the West Coast psychedelia of Jefferson Airplane, and the vocal harmonies of the Mamas & the Papas. Except for an occasional acid guitar solo (“Trilha Antiga”), the songs remain in pastoral settings, full of acoustic guitars and rich vocal harmonies. Love, sun, and the simple pleasures of life are sung in Portuguese and English, by both male and female singers (uncredited in the liner notes). The sound quality on the reissue is often shaky (some tracks have obviously been lifted from a copy of the LP in place of master tapes; “15 Years Old” sounds downright awful), but the quality of the writing and the historical significance of this album make it an interesting item for aficionados of the genre. However, be warned that it is short: 30 minutes. ~ Fran? ois Couture, Rovi

Grateful Dead concert at Fillmore East on 15 May 70 $9.98 During this brief time period, Grateful Dead concerts featured rare acoustic sets to open the show, with a set by New Riders of the Purple Sage (with Garcia playing pedal steel) in the middle, followed by a full-blown electric Dead set. This early acoustic Dead set is full of memorable performances and Bill Graham’s introduction is no exception. Garcia and Weir are in humorous form, interjecting commentary as they are being announced. They kick it off with an acoustic rendition of “Don’t Ease Me In,” a song they had released as a single in San Francisco on a tiny local label, Scorpio Records, before they were ever signed. Garcia’s voice is in great form. The Dead were never known for their live vocal ability, but on these acoustic sets they sing remarkably well. They were hanging out with Crosby, Stills and Nash quite a bit during 1970 and they obviously picked up a few things. The slow tempo “I Know You Rider” is another pleasure, with Garcia crooning the lyrics in this unusual arrangement. Next up, Pigpen takes over for “The Rub,” another rarity, performed here for the third time ever. It’s a bouncy blues tune with great harp blowing from Pigpen. “Friend of the Devil” follows, and it’s delightful to hear the song when it was still so fresh and new. It hadn’t yet been recorded, but all the elements are there for it to become one of the classics. Bob Weir gets a chance to step up on “Long Black Limousine,” where he is also in fine voice. This was only performed five times ever, so it’s another great rarity. “Candyman” follows, another fantastic tune destined for “American Beauty.” At this point, Dawson and Nelson from NRPS are invited out and things start cooking a little more. With Nelson taking over acoustic guitar, Garcia straps on his electric and they tear into “Cumberland Blues,” followed by a great version of “New Speedway Boogie,” Hunter’s musing on Altamont, with Garcia belting out the lyrics. Dawson adds harmony vocals to both these numbers, addi

In Tennessee $15.98 Although technically he never left, Alvin Lee is back. Recorded in 2003 at original Elvis guitarist Scotty Moore’s Nashville home studio, with Moore as the mastermind behind the sessions (although due to ear problems he only plays on two tracks), along with Presley’s drummer D.J. Fontana on the skins, this would be a listenable effort regardless of who was singing. With ex-Ten Years After’s Alvin Lee playing guitar and taking the lead vocals it’s a powerfully compelling disc that approximates many of the Sun label greats. Recorded predominantly live in the studio and sounding it, these songs — mostly originals written expressly for the sessions and an unexpectedly rip-snorting run through of the TYA chestnut “I’m Going Home” — find Lee at his most enthusiastic. He’s clearly having a blast returning to his roots with some of the original architects of the sound backing him up, and that energy jumps out of the grooves. The songs aren’t particularly memorable (“I’m Gonna Make It” is little more than a rewrite of “Great Balls of Fire,” “How Do You Do It” sounds like any number of Chuck Berry tunes) but Lee is singing harder and riffing with more fire than he has in years. With blistering support from a band that can play this stuff in their sleep, Lee is in full flight. Of particular note is Pete Pritchard’s rollicking double bass and Willie Rainsford’s jaunty piano, both of whom are veterans who add extra fuel to the proceedings. Things slow down for the bluesy country of “Getting Nowhere Fast,” an acoustic based piece that gives the group a chance to show their chops in a less frenzied setting. The audio and production is clean and crisp, with each instrument sounding warm and defined. It meets contemporary standards but retains the retro feel of Sun studios, a tricky balancing act pulled off with class and style. The album is highly recommended for all rockabilly fans and even those who felt the guitarist’s work with Ten Years After or solo was too fla…

James Taylor concert at Fillmore East on 25 Jan 71 $12.98 Other than its being incomplete, one couldn’t find much wrong with this vintage live recording of James Taylor. Not only are the recordings themselves of excellent quality, but these two benefit concerts capture Taylor smack dab in the middle of the Mud Slide Slim and the Blue Horizon LP recording sessions. Taylor mentions that the proceeds from these benefits would be directed toward American Indian related charities. This is 1970, awhile before “Native American” became politically correct. The set begins solo acoustic. The late show gets kicked off with “Country Road,” from his then chart-topping second album, and is followed by “Knocking ‘Round the Zoo,” recorded on The Beatles’ Apple label a few years earlier with his band, the Flying Machine. Some of the notable rarities from the acoustic portion of the set include a lovely cover of his brother Livingston’s tune “In My Reply,” along with a slow groove rendition of “Up On The Roof,” the big Drifters hit penned by Jerry Goffin and Carole King. Merle Haggard’s “Okie From Muskogee” is also given Taylor’s laid back treatment to humorous effect. Following “Carolina In My Mind,” Taylor introduces his rhythm section, who join him onstage. “Riding On The Railroad” and particularly “Fire And Rain” and “Highway Song,” a tune soon to turn up on his brother Alex’s album, benefit tremendously from the impeccable backing by Sklar and Kunkel. On the latter song, Taylor switches to piano. At this point, Danny Kortchmar joins in on acoustic lead guitar and completes the quartet for the rest of the set. They perform Kortchmar’s “Machine Gun Kelly” and Taylor’s “Hey Mister, That’s Me Up On The Jukebox,” both destined for his next album, before the tape ran out. The set closer “Steamroller Blues” is missing, as well as any encores. Regardless, this is an enjoyable set capturing one of America’s great singer/songwriters in his prime.

Keb’ Mo’ Signature Bluesmaster Limited Edition Acoustic Electric Guitar with Hardshell Case $3099 The blues was born as an acoustic music, and its roots still run deep in that direction today. No artist embraces this ethos more than Keb Mo, whose post-modern blues stylings stretch to fully electric blues, jazz, and R&B, while constantly referencing the Delta-fried, acoustic-fueled music that forms the beating heart of his inspiration. Now Gibson Acoustic honors this three-time Grammy Award Winner with the Keb Mo Bluesmaster, a flat-top acoustic guitar made in the tradition of the great small-bodied Gibson blues boxes, with the added versatility of a built-in L.R. Baggs Element pickup with soundhole-mounted volume control, and available in a strictly Limited Edition of 300 guitars.Gibsons L series acoustic guitars were there at the very birth of bluesplayed by the great blues originator Robert Johnson, among othersand this is the inspiration behind the Keb Mo Bluesmaster, which adds a host of upgraded appointments to the format to create an acoustic of optimum tone and performance for the contemporary player. Thanks to its scalloped-X-braced top of solid Adirondack red spruce, solid mahogany back and sides, quarter-sawn solid mahogany neck, bone nut and saddle, and East Indian rosewood fingerboard and bridge, the Keb Mo Bluesmaster packs all the tonal nuance and sweetness you could hope for in a high-end, hand-crafted acoustic guitar, while vintage-spec touches such as its 12th-fret neck/body jointwhich positions the bridge right in the bodys sweet spot for optimum resonanceput it on par with the best of Gibsons acoustics from the late 20s and early 30s. Add to all this a choice of Antique Natural or Vintage Sunburst nitrocellulose finish (with double antiquing), cream top, back, and fingerboard binding, herringbone trim, mother of pearl inlays, and double-ring soundhole rosette, and the Keb Mo Bluesmaster looks as sweet as it sounds. All examples come with Gibson hardshell case, an interior label signed by Keb Mo, an owners manual, and Gibsons Gold Warranty.

Mark Templeton (Electronic Artist) $54 Used – Please note that the content of this book primarily consists of articles available from Wikipedia or other free sources online. Mark Templeton (born 1976) is a Canadian experimental electronic artist. Templeton’s works are released by New York City record label Anticipate Recordings. Templeton utilizes a background in bluegrass music and acoustic instruments such as the guitar, banjo and accordion to compose ambient electronic music. His style has been called ‘glitchy’, but also ‘painterl

Mark Templeton (Electronic Artist) $38.63 New – Please note that the content of this book primarily consists of articles available from Wikipedia or other free sources online. Mark Templeton (born 1976) is a Canadian experimental electronic artist. Templeton’s works are released by New York City record label Anticipate Recordings. Templeton utilizes a background in bluegrass music and acoustic instruments such as the guitar, banjo and accordion to compose ambient electronic music. His style has been called ‘glitchy’, but also ‘painterly

Mark Templeton (Electronic Artist) $54 New – Please note that the content of this book primarily consists of articles available from Wikipedia or other free sources online. Mark Templeton (born 1976) is a Canadian experimental electronic artist. Templeton’s works are released by New York City record label Anticipate Recordings. Templeton utilizes a background in bluegrass music and acoustic instruments such as the guitar, banjo and accordion to compose ambient electronic music. His style has been called ‘glitchy’, but also ‘painterly

Mark Templeton (Electronic Artist) $38.63 Used – Please note that the content of this book primarily consists of articles available from Wikipedia or other free sources online. Mark Templeton (born 1976) is a Canadian experimental electronic artist. Templeton’s works are released by New York City record label Anticipate Recordings. Templeton utilizes a background in bluegrass music and acoustic instruments such as the guitar, banjo and accordion to compose ambient electronic music. His style has been called ‘glitchy’, but also ‘painterl

Paradise Found (Band) $52.8 Used – High Quality Content by WIKIPEDIA articles! Paradise Found is an acoustic/electronic band from Reading, UK. They record under the label Dancing Turtle Records. Their first self-titled album was a combination of warm repetitive guitar loops with occasional vocals. Their music is a blend that borrows from the likes of Boards of Canada and Steve Reich to create a minimalist hypnotic sound.Paradise Found are currently recording their second album with Tears for Fears producer and Adam and the

Paradise Found (Band) $31.33 Used – High Quality Content by WIKIPEDIA articles! Paradise Found is an acoustic/electronic band from Reading, UK. They record under the label Dancing Turtle Records. Their first self-titled album was a combination of warm repetitive guitar loops with occasional vocals. Their music is a blend that borrows from the likes of Boards of Canada and Steve Reich to create a minimalist hypnotic sound.Paradise Found are currently recording their second album with Tears for Fears producer and Adam and the

Peddlin’ Dreams $16.98 Peddlin’ Dreams is Maria McKee’s fifth studio outing since 1989. Since leaving Lone Justice in 1988, she has consistently frustrated her fans’ expectations, not only for her infrequent recordings, but also for her restless muse that has taken her from pop (Maria McKee) to roots Americana and R&B (You Gotta Sin to Get Saved), squalling art rock (Life Is Sweet) and textured neo- psychedelia (High Dive). There was a live album issued in 2004 as well, but for the most part, McKee has stubbornly followed her own path for the past 16 years. While her label touts Peddlin’ Dreams as a return to rootsy American rock and folk styles, and as the album that logistically follows You Gotta Sin. Simply put; this isn’t true. This is not a look back but a further look in. It’s true that acoustic guitars permeate this mix by producer, engineer and multi-instrumentalist Jim Akin, and the songs walk the folk-rock border, but they are the frame for the rich, labyrinthine, multidimensional songs here. McKee wrote or co-wrote nine of the album’s 12 tracks. Using folk, country and rock backdrops, McKee’s songs offer stories of the broken, the lost, the wider-eyed and the hopeless. There’s the confessional longing of the protagonist in “Season of the Fair” where memory, evoked by emptiness and rejection, wraps itself in the warm embrace of strummed, unplugged six-strings and lets itself fall framed by an organ, a lone electric guitar punching through the refrain, and the singer’s voice, trying hard to hold what is not only fleeting but weighted in unrelenting pain. The loose, slippery country-rock of “Sullen Sou,” alternates between the balance of guitars and just behind the beat drums as the singer lets the depth of her emotion flow in images from her mouth like raw honey. The cover of Neil Young’s “Barstool Blues,” is faithful, shambolic, and drunken. But McKee’s delivery carries an emotional weight that Young’s never did. This isn’t reverie; it’s misery. “The Horse Life” is a …

Roger McGuinn concert at Mahopac on 17 Mar 84 $9.98 Roger McGuinn will forever be recognized for his pioneering musical efforts in The Byrds and for being one of the first to recognize the potential of Bob Dylan’s songs within a rock music context. However, his greatest and longest-lasting influence may be his development of two innovative styles of playing electric guitar. McGuinn was not only responsible for introducing the jangly highly compressed ringing Rickenbacker sound, based on banjo finger picking, but he was also one of the first musicians to merge the free-jazz atonalities of John Coltrane into popular music by applying it to the electric guitar, a sound clearly heard on the Byrd’s classic 1966 single, “Eight Miles High.” A gifted interpreter, as well as a talented songwriter, McGuinn has been at the center of several significant stylistic movements, including the initial electrification of folk music and the merging of country and rock ‘n’ roll music, both long before they were accepted or popular. McGuinn has also been ahead of the curve when it comes to technology, being one of the first musicians to embrace the internet and utilizing it to preserve the traditions of folk music, with his Folk Den Project on his own website. During the 1980′s, McGuinn devoted much of his time to touring solo acoustic, performing at intimate venues and college campuses. Without a record label, and traveling without a crew other than his wife Camilla, McGuinn continues to pursue his musical career on his own terms. In 1984, McGuinn again hit the road as the opener for fellow former Byrd David Crosby, performing a delightfully engaging set primarily comprised of familiar Byrds-era songs. This recording captures one of those 1984 sets in its entirety, when McGuinn opened for Crosby at The Mohopac Auditorium in March of 1984, a venue he had also played 13 years prior with The Byrds. McGuinn’s set is structured like a virtual travelogue, featuring engaging monologues between each song. His talent as a storyteller ties all o

Tananas $36.73 Used – Please note that the content of this book primarily consists of articles available from Wikipedia or other free sources online. Tananas, (pronounced tuh-naa-nuhs) is a South African band formed in 1987. Originally it consisted of Mozambican Gito Baloi (bass and vocals), Ian Herman (drums and percussion) and Steve Newman (acoustic guitar). First recorded by the independent label Shifty Records. Tananas combines jazz, Mozambican salsa and township jive (or mbaqanga). They have released eigh

Tananas $68.4 Used – Please note that the content of this book primarily consists of articles available from Wikipedia or other free sources online. Tananas, (pronounced tuh-naa-nuhs) is a South African band formed in 1987. Originally it consisted of Mozambican Gito Baloi (bass and vocals), Ian Herman (drums and percussion) and Steve Newman (acoustic guitar). First recorded by the independent label Shifty Records. Tananas combines jazz, Mozambican salsa and township jive (or mbaqanga). They have released eigh

Texas in the Twilight $17.98 Minnesota folksinger Paul Metsa made this archival recording on October 20, 1990, in a studio in Austin, TX. (Although it is described as a “live” recording, that does not connote a concert performance; the tracks simply were recorded “live in the studio,” i.e., without overdubs.) He then seems to have taken the sole cassette made from the session home and forgotten about it until 14–years-later, when he was looking for something to release to mark his 25th anniversary as a performer. Loud House Records was sufficiently impressed by it to give him one of his few releases not issued solely by his own Raven Records label. And, in fact, it makes an excellent introduction to him, containing previously unheard, stripped-down versions of songs he has recorded before. This is just Metsa and his acoustic guitar (plus bongos and castanets here and there), and these are first takes; when he coughs at one point, he just keeps on going. Metsa has one of those singer/songwriter voices that manage to hit a narrow range of notes but possess nothing in the way of polish. When he pushes, his singing gets gravelly. And his playing is mostly simple strummed chords. What matters is his lyrics, which range from strident expressions of liberal politics (“Slow Justice”) to laments about lost love (“Kisses in the Wind”), and that’s just in the first two tracks. Elsewhere, he displays a good feel for the down-and-out lifestyle of life’s more unfortunate people, returning over and over to characters who are just barely holding on with dead-end jobs and petty crime. His songs are heard most clearly in this bare-bones format, but this should be no more than an introduction to him. He comes off better with fuller arrangements that realize the country and blues suggestions in his material. ~ William Ruhlmann, Rovi

The Alarm concert at Metro on 29 Jun 83 $9.98 Mike Peters can still recall the moment, in 1980, when he came to realize precisely “what direction I wanted to move in life.” At the time, Peters was an ex-member of Seventeen, a Mod revival band from the Welsh town of Rhyl, who’d managed one single and a tour with the Jam before their ambitions all went pear-shaped. Since then, he’d been running a club and a clothing stall in town, but the band members didn’t fall out of touch, and a few months after Peters’ Marquee epiphany, in April, 1981, Dave Sharp, Nigel Twist and Eddie MacDonald were all back rehearsing together. Just two years after that, they were preparing to take their first steps into American soil supporting their close friends, U2. Within six months of forming, the group was recording their first single; within a year, they had a major label deal. And in between, they came to the attention of U2 manager Paul McGuiness, who promptly arranged for The Alarm to tour Britain with his group. The partnership gelled from the outset. Though The Alarm made no secret of their love for U2, they had taken that initial inspiration into a whole new realm of musical insurgency. The sound of The Alarm was rousing, marching, disaffected, an impassioned roar which turned every chord into an anthem, every word into a battle cry. Their amplifiers ate electricity for breakfast, but they spat it back with an almost unplugged air, not too surprising as Peters often wrote and composed with an acoustic guitar. It was fierce music, it was fighting music, and U2 – who weren’t beyond a bit of the old rabblerousing themselves – knew instinctively that they’d found their musical soulmates. Still, the American tour, which lasted through the month of June, 1983, was a challenge for The Alarm. “We had to prove ourselves every night in front of thousands of U2 fans,” Dave Sharp recollected. “But we liked the fact that the audience could decide for themselves what to think of us.” Every night, the roars for The Alarm were still echo

USED: GOLDEN AGE OF RADIO (DELU $9.98 This Idaho-born singer/songwriter made a modest splash when his debut album was released in 2000, and after three years of watching his profile gradually rise on the national and international scene (he has an enthusiastic cult following in Ireland, including a cover band devoted to his songs, and Joan Baez has covered “Wings”), the Signature Sounds label reissued Golden Age of Radio, Ritter’s sophomore effort, with a bonus disc that includes drastic remixes of two album tracks, one previously unreleased song, and two videos. Ritter’s voice is charmingly unremarkable — not ironic or casual or self-effacing, just pleasantly plain with an occasional hint of Dylan-style Okie affectation. You’ll also hear hints of Freedy Johnston and fainter hints of Tom Waits in songs like “Roll On” and “Drive Away.” Producer Darius Zelkha wisely avoided gussying these songs up, keeping Ritter’s acoustic guitar and unadorned voice central to most of the arrangements and embroidering them tastefully with the occasional drum kit or electric guitar. The remixes, not surprisingly, take a very different tack, turning “Come and Find Me” into something much richer and more atmospheric and “Other Side” into a kind of twisted Americana trip-hop. (“Chelsea Hotel #2″ is a delicately lovely voice-and-guitar number.) If you own the original release, this reissue may not have enough new material to justify a new purchase, but it’s definitely worth picking up as an introduction to this impressive young artist. ~ Rick Anderson, All Music Guide

USED: I Am Sam $4.99 The soundtrack for Sean Penn’s 2002 film I Am Sam was not compiled without difficulties, but the finished product ended up being very enjoyable. The filmmaker’s’ original plan was to use the Beatles’ original versions of songs in the film, but it was stonewalled by the band’s strict self-imposed policy of not licensing their music for films. Instead, the producers decided to use new recordings of the songs by contemporary artists. Further complicating the issue, the film had originally been sequenced to match the pacing of the original songs, so many of the new versions needed to match the exact tempo and length of the classic versions. Luckily, the artists involved jumped at the chance and came up with some really engaging interpretations. Aimee Mann and Michael Penn’s sweet duet “Two of Us” sticks faithfully to the original, as does Sarah McLachlan’s solo acoustic “Blackbird,” while Ben Harper takes some psychedelic guitar liberties on his fantastic version of “Strawberry Fields Forever.” Ben Folds’ perfect “Golden Slumbers” becomes anthemic in its choruses (even if it is a little too short), while an intimate (if marble-mouthed) Eddie Vedder turns in a campfire rendition of “You’ve Got to Hide Your Love Away.” A handful of the songs are less successful, like the Black Crowes’ dull “Lucy in the Sky with Diamonds” and Heather Nova’s “We Can Work It Out,” which almost sounds like she’d never heard the song before recording it. These are outshined by gems like Stereophonics’ laddish “Don’t Let Me Down” (which ends up sounding more like a Faces cover) and Rufus Wainwright’s soaring “Across the Universe.” While cynical listeners may protest the preponderance of up-and-coming V2 (Richard Branson’s record label) artists, there are far more winners than losers on this collection. ~ Zac Johnson, Rovi

USED: Identified $2.99 Ever savvy, Disney started launching the post-High School Musical careers of the franchise’s stars while it was still in full swing by having Ashley Tisdale and Vanessa Hudgens make albums with a more mature sound than most Radio Disney fare. Hudgens’ debut album, V, was her first step toward a less overtly Disney-affiliated career: released by the studio’s Hollywood label, it used Christina Aguilera’s soulful pop as a template; even if its songs were a bit faceless, they had surprisingly sophisticated production values. Almost two years passed between V and its follow-up, Identified. That’s a long time in Disney terms, especially considering how quickly they release anything related to star attractions like High School Musical. Identified isn’t drastically different from V — Hudgens still sings about love, dancing, and hanging with her girls, and once again, the production outclasses the songs and the singing. With work by Kasz Money’s Doctor Luke, Benny Blanco, and J.R. Rotem, the album sounds more playful, more elaborate, and trendier than it has to: “Last Night” builds from a bouncing beat into whispered backing vocals, acoustic slide guitar licks, and warm electric pianos, while “First Bad Habit” segues from chugging electric guitars to breathy electro-pop and back again. Borrowing from Gwen Stefani, Nelly Furtado, Fergie, and Rihanna, Identified plays like a simulation of a state-of-the-art pop album. However, strangely for an album named Identified, these songs skip from sound to sound, hoping that some of them will stick. Hudgens just doesn’t have the presence or pipes to pull off a hip-hop-tinged dancefloor anthem like “Hook It Up” or an intimate ballad like “Paper Cut,” which feels like a Disneyfied version of Leona Lewis’ “Bleeding Love.” The best moments here turn Hudgens’ weaknesses into strengths: her vocals aren’t powerful, but they are malleable, perfect for tweaking into fembot pop like “Amazed” and the title track. Though there are …

USED: Keep on Loving You $7.99 Keep on Loving You is contemporary country legend Reba McEntire’s debut recording on the semi-independent Valory Music Company label’s Starstruck imprint. It’s her first new studio outing since her comeback effort, Duets, and her mammoth triple-disc hits package that fulfilled her contract to MCA Nashville, her label home for nearly 20 years. Despite its release on an indie, the production and approach are anything but, with the album being produced by Tony Brown and Mark Bright. The cream of country music’s current chart crop wrote its 13 songs; it is certainly a radio-friendly collection that is supposed to showcase McEntire’s adaptability and that she’s still “got it,” and can still score in the contemporary marketplace. There’s no doubt that will happen, from the title track, a midtempo ballad that is saturated in compressed guitars and Hammond B-3, big repetitive choruses, and a chorus of fiddles and backing vocals. McEntire’s voice hasn’t lost even a touch of its range and power; she’s a belter who can hang with the best of them. The set opener (and its first single), “Strange,” with its acoustic guitars, mandolin, and fiddle intros, is like something from the backyard until about 20 seconds in, when a wall of guitars ? la John Rich arrives and her vocal spits out lyrics that tell of a woman who feels strange that she should be wrecked after a love affair, but she’s fine. It feels more like Gretchen Wilson than Reba McEntire. “I Want a Cowboy” and “Pink Guitar” sound more like McEntire is being backed by the Charlie Daniels Band circa 1979 than her own touring unit. “She’s Turning 50 Today” is a trademark McEntire-delivered ballad about a woman who has been abandoned by her husband and decides to leave the wreckage of her life behind. It’s the kind of bittersweet power ballad that the singer is famous for, and is delivered with characteristic aplomb even as the production behind her tries its hardest to get in the way. The bottom line here is tha…

USED: Of Soul and Shadow $5.99 On his fourth CD and second for his own indie label Pelin Music, the versatile and innovative pianist, percussionist and composer Luis Munoz again spreads the melodic, densely rhythmic joy across Latin America (he’s a native of Costa Rica), Brazil, the tropics and — during those cool, more traditional jazz moments — the innovative streets of New York. While ensembling seamlessly and energetically with longtime cohorts like Nico Carmine Abondolo (acoustic bass), Randy Tico (bass), Tom Buckner (saxes) and Adolfo Acosta (trumpet), Munoz also invited some exciting new guests to the sessions near his home in Santa Barbara, CA: R? mses Araya (Rub? n Blades), trombonist Ira Nepus (Diana Krall) and hot NYC saxman David Binney. With those talents surrounding his own melodic invention and use of fanciful percussion instruments, Munoz could easily overpower the listener, but he gets off to a more subtle start, with Gilberto Gonzalez’s graceful acoustic guitar melody over an hypnotic keyboard harmony — and then John Nathan’s jumpy island marimba kicks in, followed by Binney’s intense sax solo. Munoz opens “Verde ‘Mundo Infinito” with a taste of home, sampling the Costa Rican rainforest for a moment and then duetting with himself on percussion and marimba as a prelude to a snazzy brass-driven Latin jam. “La Semilla” keeps the percussion and horns maneuvering behind Jonathan Dane’s lyrical trumpet melody; then, just as the party gets going, Munoz offers a moody surprise on “Al Silencio,” a trio piece enhanced by Ron Kalina’s chromatic harmonica; he goes the same route on the lush and dreamy “Mas Alla,” a dedication to his wife. On the quickie interlude “Luz del Sur,” Munoz fashions a new hybrid one might call “surf rock/country/tropical music” with the help of Bill Flores on pedal steel. “La Verdad” is multicultural in a different way, with South African flavored rolling guitars and horn accents behind Andy Zu? iga’s Spanish vocals. The fun part of indie jazz …

USED: Relish $0.99 Relish” can be a sharp, bittersweet condiment; it can also suggest a determined gusto to live to the fullest. Combined, these two images provide a good taste of Joan Osborne’s major-label debut (the live Soul Show was self-released in 1992). Grounded in blues, soul and gospel, the Kentucky native wields her gritty voice with personality and forceful presence, kind of Melissa Etheridge meets Sophie B. Hawkins with a splash of Jann Arden. Osborne’s passion for life oozes from the grooves. There’s an uplifting fervor to her material and delivery, as if every second, every note was being individually savored. Key track “One of Us” sets the disc’s optimistic tone. It’s a simple, direct statement of faith, honest and unadorned, one framed in a near-perfect chorus and delectable Neil Young-ish guitar riff. This isn’t one of those sugary, superficial, goody-two-shoes Amy Grant kind of deals. “Right Hand Man” and “Let’s Just Get Naked” confirm that Osborne’s earthy, enlightened spirituality shares the same bed with sensuality and sexuality. Well-rounded both lyrically and musically, there’s also no contradiction in this universe between “Lumina”‘s thoughtful balladry and the wailing harp and acoustic slide bursting the seams of “Help Me.” ~ Roch Parisien, Rovi

USED: Rockabilly Riot, Vol. 1: A Tribute to Sun Records $7.99 The concept is stated in the title and the execution is about what you’d expect from one of the most popular rockabilly revivalists in contemporary music. It’s not much of a stretch for Stray Cat Brian Setzer to take a break from writing his own rockabilly tunes that often sound like classic Sun material anyway, but by narrowing his focus roughly from 1954 to early 1957 and sticking with music produced by the king of country music record labels, he scores credibility points. The 23-track set is peppered with obvious choices like Carl Perkins’ “Blue Suede Shoes” and “Boppin’ the Blues” and Johnny Cash’s “Get Rhythm,” but dominated by more obscure fare from lesser-known acts such as Kenny Parchman, Ernie Barton, and Tommy Blake. Setzer even tracked down Jumpin’ Gene Simmons to finish off “Peroxide Blonde in a Hopped Up Model Ford” when part of the original master copy was found to have been erased. Elvis is represented only by “Just Because,” a brief nod to the King that also illustrates how many other acts had produced music nearly as vital from the same little room in Memphis. Setzer even calls in the Jordanaires to provide background vocals, bringing even more authenticity to this project. These versions are refreshingly stripped down, with standup bass, skeletal drums, acoustic piano, and occasional sax providing all the instrumental excitement. Even Setzer’s fiery guitar solos are lean, mean, and never dominate the songs. He’s in terrific form throughout; clearly his heart is in it and it sounds like he’s having a blast. Whether listeners need covers that stick so closely to the originals, if with slightly fuller sound, when the real McCoys are easily available is something listeners will have to decide for themselves. Regardless, this is a rollicking, ballad-free, nonstop hour of classic rockabilly that shows how much great music emerged from such a short period, and from only one record label. Setzer fans will be thrilled and those first hearing th…

USED: Texas in the Twilight $3.99 Minnesota folksinger Paul Metsa made this archival recording on October 20, 1990, in a studio in Austin, TX. (Although it is described as a “live” recording, that does not connote a concert performance; the tracks simply were recorded “live in the studio,” i.e., without overdubs.) He then seems to have taken the sole cassette made from the session home and forgotten about it until 14–years-later, when he was looking for something to release to mark his 25th anniversary as a performer. Loud House Records was sufficiently impressed by it to give him one of his few releases not issued solely by his own Raven Records label. And, in fact, it makes an excellent introduction to him, containing previously unheard, stripped-down versions of songs he has recorded before. This is just Metsa and his acoustic guitar (plus bongos and castanets here and there), and these are first takes; when he coughs at one point, he just keeps on going. Metsa has one of those singer/songwriter voices that manage to hit a narrow range of notes but possess nothing in the way of polish. When he pushes, his singing gets gravelly. And his playing is mostly simple strummed chords. What matters is his lyrics, which range from strident expressions of liberal politics (“Slow Justice”) to laments about lost love (“Kisses in the Wind”), and that’s just in the first two tracks. Elsewhere, he displays a good feel for the down-and-out lifestyle of life’s more unfortunate people, returning over and over to characters who are just barely holding on with dead-end jobs and petty crime. His songs are heard most clearly in this bare-bones format, but this should be no more than an introduction to him. He comes off better with fuller arrangements that realize the country and blues suggestions in his material. ~ William Ruhlmann, Rovi

Universal Language $14.98 Marc Antoine must have worried when he told his label, GRP, that he wanted to call his new recording Universal Language. (It seems he used the same name for one of the cuts on his debut album Classical Soul.) But one listen to the vast cultural landscape he covers musically and his varied approaches to the acoustic guitar, and it’s clearly the perfect title, regardless. While Antoine has been self-produced up till now, this time he has help tackling all the complex global rhythms. On his own recordings, Phillippe Saisse has a tendency to let too many textures get in the way of great communication, but here, he fortunately has not taken away Antoine’s penchant for floating lyrical melodies over thick hip-hop grooves; rather he enhances that attractive combination with unusual percussion combinations, clever synth sounds, and occasional horn flavorings and spacey sounds. “Palm Strings” begins with Antoine playing a dreamy flamenco melody over a bouncy, echoing synth line and a mix of a shuffling scratchy groove and more exotic percussion sounds. Flutist Dave Valentin blends beautifully with Antoine on the hook, which is given a richer Latin vibe with darting horn accents. “Celta” artfully blends dense grooves and happy-go-lucky guitar melody with a synth-created Irish pennywhistle, enhanced by the subtle mandolin harmonies of Jeff Golub. Golub gets a chance to go Eastern on “El Camino,” with his gently gonging sitar accents echoing behind a galloping bass groove and Antoine’s double-fisted flamenco attack: rhythm guitar textured beneath a plucky lead melody. The tune’s seven very busy minutes allow breaks for segments of thick percussion and Arabic vocal chant; the effect is like a wild ride across Eurasia. Antoine heads to Africa on “Elikya (Hope),” strumming folksily over a sparse percussion line as Lokua Kanza haunts the melody with a soaring chant in the language of Zaire, first as a solo voice, then textured as a joyful choir. While Saisse keeps most t…

William Ackerman $62.4 Used – High Quality Content by WIKIPEDIA articles! William Ackerman is a Grammy winning guitarist and composer of acoustic-based instrumental music. He founded and ran for many years the influential New Age record label Windham Hill Records.William Ackerman was born in West Germany but was adopted by a couple who lived in Palo Alto, California. A self-professed poet and musician who briefly studied guitar with Robbie Basho, Ackerman grew up in the San Francisco Bay Area. He attended the Northfie

William Ackerman $44.65 Used – High Quality Content by WIKIPEDIA articles! William Ackerman is a Grammy winning guitarist and composer of acoustic-based instrumental music. He founded and ran for many years the influential New Age record label Windham Hill Records.William Ackerman was born in West Germany but was adopted by a couple who lived in Palo Alto, California. A self-professed poet and musician who briefly studied guitar with Robbie Basho, Ackerman grew up in the San Francisco Bay Area. He attended the Northfie

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