I would like to take my time to wish all my readers a merry Christmas. This is one thing which unites us both sides of the pond, the Christian traditions, that is.
I've actually never been to the states, so I don't know about what goes on there Christmas time, but Churchgoing in Sweden, where I'm at, is in a steady decline.
Myself, I belong to the Evangelical-Lutheran Church which used to be the state Church, meaning you was born into the Church and for centuries, it was obligatory to be a member and no other congregation were legal. Back in those days, Churches were full of worshippers, today, I am, as a confessing Christian, something of an odd guy out. I pray several times a day, morning prayer, evening prayer, meal prayer at every meal and if there's something I'm grateful for or if I want something good to happen to my neighbor, I turn to God. I know this is no silly thing, cos God usually replies, not with words, I don't have the benefit of direct communication in that sense, but in the sense things usually turn out alright. I also try to go to Church on every Sunday and major festivals. Usually, we're about 20 people, most of the others twice my age and that in a town of 30000 inhabitants with only one parish! No wonder people think I'm strange!
I think the reason behind this is, besides from the massive atheist propaganda in popular culture, the fact that people in Europe have a welfare state and as a labour man, I'm proud of that welfare state. The problem isn't the welfare, but the fact that people don't connect the fact that they have plenty and that the plenty has been given to them by a reason. They buy the satanic lie that they are their own benefactor and don't need to thank God for their blessings, nor share with Christ's minor brethren!
But why am I writing this?
Because I want to turn the tide and get rid of this thing called "xmas" or "holiday season" and put Christ back in Christmas!
Atheists in this country usually turn to the argument that Christmas really is a pagan festival of winter solstice and what we really celebrate is that light comes back to the world. So what? Isn't the important thing that Christ, who is the light of the world WAS born into this world? Days are unimportant, what's important is that Christ is alive and loves us.
So, again, I say, let's put Christ back in Christmas. What we have to celebrate is something beautiful and just as we let Christ's light shine through us when we love our neighbor or give thanks to our heavenly Father, let's make everyday Christmas! Let's live in unity with our neighbors and keep that charitable spirit all over the year and be our brother's keepers!
Christmas is a beautiful celebration, let's not forget the "Christ" in it and turn it into an orgy of consumption and commercialism!
So let's pray for a good Christmas for everyone and that we can turn the satanic tide in Sweden, as well as elsewhere and make as many people as possible believers when Christ returns triumphantly!
Merry Christmas to all my readers and your families!
Sunday 23 December 2012
Saturday 22 December 2012
Hacienda Brothers, "What's wrong with right"
/ ARTIST: Hacienda Brothers / TITLE: "What's wrong with right" / GENRÉ: Western Soul / LABEL: Proper Records / FORMAT: CD /
Country music has always adapted to some extent to popular music of the times it's in. I'm no fan of Taylor Swift's latest hit, but just like some old timers tomorrow won't simply hear a watered down country version of Avril Lavigne, but a genius, I am sure country purists at the time thought western swing was sacrilege, cos it didn't sound like the Carter family, whereas Willie Nelson, who is seen as one of the most "true" names in country music of today, did a brilliant western swing album the other year.
This record is a strange being, it has adapted to a sound that is far from modern. What you get is "western soul", a 60's Motown soul version of country.
I, as one who likes both soul and country could deem this record useless, but I won't. These geezers are soulful, fact is that they're the best white soul artists I've heard, far more soulful than Dexy's Midnight Runners.
It might sound strange to record soulful numbers with steel guitars, accordions and a southern brogue, but it's actually a stroke of genius, cos soul music and country music has a lot in common. Both genrés are often about heartaches and blue moods and The Hacienda Brothers manage to combine this into excellence.
There is not much more to say. A good, but in no way a perfect record. If you like country and if you like soul, you'll like this record. It's a good little gem of a CD and I would recommend everyone to get this.
Country music has always adapted to some extent to popular music of the times it's in. I'm no fan of Taylor Swift's latest hit, but just like some old timers tomorrow won't simply hear a watered down country version of Avril Lavigne, but a genius, I am sure country purists at the time thought western swing was sacrilege, cos it didn't sound like the Carter family, whereas Willie Nelson, who is seen as one of the most "true" names in country music of today, did a brilliant western swing album the other year.
This record is a strange being, it has adapted to a sound that is far from modern. What you get is "western soul", a 60's Motown soul version of country.
I, as one who likes both soul and country could deem this record useless, but I won't. These geezers are soulful, fact is that they're the best white soul artists I've heard, far more soulful than Dexy's Midnight Runners.
It might sound strange to record soulful numbers with steel guitars, accordions and a southern brogue, but it's actually a stroke of genius, cos soul music and country music has a lot in common. Both genrés are often about heartaches and blue moods and The Hacienda Brothers manage to combine this into excellence.
There is not much more to say. A good, but in no way a perfect record. If you like country and if you like soul, you'll like this record. It's a good little gem of a CD and I would recommend everyone to get this.
I'll give it 78,8% in rate of satisfaction.
Film: "G.I. Blues"
/ TITLE: "G.I. Blues" / GENRÉ: Drama / FORMAT: DVD /
For starters, this film was made with full cooperation with the US Armed forces and at times it feels like a recruitment film more obvious than the Rihanna flick. Some might have a problem with this and to some extent, I agree with that worrying, cos war is no funny stuff. Still, I respect anyone willing to lay down his life for his friends and family, as the gospel says, no one has bigger love than anyone willing to do so.
The other thing, as this is an Elvis film, is that it's full of music and at times, you feel like watching a Bollywood movie. I don't mind, though, together with Hank Williams sr, Townes van Zandt and to some extent Wille Nelson, Elvis remains one of the best musicians ever and in his genré, he's still the king. No one has ever made better rock & roll than he did. In fact, the reason I bought DVD was not cos of the plot, but cos of the chance to hear him sing.
The plot, then?
Well, Elvis plays a young southern army man stationed in Germany and goes under the name "Tulsa 'Tulse' MacLean" and together with a few mates of his, he plans to start a night club in Oklahoma when he returns back home from European service. Only problem is that they need money to do so and they decide to make a bet.
In Frankfurt am Main, there is a place called Café Europa, where a young and stunning redhead dancer called "Lili" performs. She is sexy as feck, but cold like an iceberg on the inside. No man has ever taken her home. Our heroes raise 300 dollars to bet that Tulse can get lonely with her for a full night. At first, Tulse refuses, but he's talked in to it and after performing a song at Café Europa, he starts to melt Lili's heart and follow her home, but it gets an abrupt end when he discovers she has a room mate.
Anyway, they go on a date the next day and feelings start to arise. I'm sure you can guess what happens later. Tulse gets a bad conscience for seducing a woman he starts to fall in love with and things get complicated.
To be honest, most of the acting isn't that good and to today's audience, I'm sure it stands out as a bit schmalzy. Still, it's a decent flick and it's packed with good music. The funny thing is that according to the film makers, German gals are crazy about US troops, but there is no indecency, no filth and Lili never strips.
For starters, this film was made with full cooperation with the US Armed forces and at times it feels like a recruitment film more obvious than the Rihanna flick. Some might have a problem with this and to some extent, I agree with that worrying, cos war is no funny stuff. Still, I respect anyone willing to lay down his life for his friends and family, as the gospel says, no one has bigger love than anyone willing to do so.
The other thing, as this is an Elvis film, is that it's full of music and at times, you feel like watching a Bollywood movie. I don't mind, though, together with Hank Williams sr, Townes van Zandt and to some extent Wille Nelson, Elvis remains one of the best musicians ever and in his genré, he's still the king. No one has ever made better rock & roll than he did. In fact, the reason I bought DVD was not cos of the plot, but cos of the chance to hear him sing.
The plot, then?
Well, Elvis plays a young southern army man stationed in Germany and goes under the name "Tulsa 'Tulse' MacLean" and together with a few mates of his, he plans to start a night club in Oklahoma when he returns back home from European service. Only problem is that they need money to do so and they decide to make a bet.
In Frankfurt am Main, there is a place called Café Europa, where a young and stunning redhead dancer called "Lili" performs. She is sexy as feck, but cold like an iceberg on the inside. No man has ever taken her home. Our heroes raise 300 dollars to bet that Tulse can get lonely with her for a full night. At first, Tulse refuses, but he's talked in to it and after performing a song at Café Europa, he starts to melt Lili's heart and follow her home, but it gets an abrupt end when he discovers she has a room mate.
Anyway, they go on a date the next day and feelings start to arise. I'm sure you can guess what happens later. Tulse gets a bad conscience for seducing a woman he starts to fall in love with and things get complicated.
To be honest, most of the acting isn't that good and to today's audience, I'm sure it stands out as a bit schmalzy. Still, it's a decent flick and it's packed with good music. The funny thing is that according to the film makers, German gals are crazy about US troops, but there is no indecency, no filth and Lili never strips.
As I said, a good flick, not the best Elvis film I've ever seen, but decent. I'll give it 68,4% in rate of satisfaction.
Saturday 15 December 2012
Various Artists, "Hear my back door slam"
/ ARTIST: Various Artists / TITLE: "Hear my back door slam" / GENRÉ: Blues / LABEL: Bakhåll / FORMAT: CD /
Before I start writing this review I must come clean, I like blues, but it's one of the many genrés of music I like that I know the least of, being a newcomer to the genré. Something which can only be blamed on the Eslöv City blues festival that has sparked an interest in the genré for me.
To me and all newcomers, this is a wonderful compilation put out by a Swedish record label called "Bakhåll" and I couldn't resist buying it, not only cos I want to support the scene in Sweden and the fact that it was ridiculously cheap, it cost me about €5, no, cos what you get here is the perfect introduction to the genré.
On this little darling, you get 20 of the best known American blues singers doing some of their best numbers. BB King, Muddy Waters, John Lee Hooker, Robert Johnson, they're all here. Then add the fact that you get a good little brochure with facts about the performers that is highly welcomed for people like me, people who consider starting a blues record collection. The brochure is in Swedish, though, which might make it less usable for non-Swedes.
Why should one buy a compilation of blues then? You get a load of different styles of blues, some with bands and some just an acoustic guitar on them, "but doesn't all blues tunes sound the same?", my punk and skinhead mates ask me. No, they don't, they all bring the performers soul into the music which make every number stand out. Even if you're not a blues die-hard, you should respect the legacy of the genré. Most tunes on this compilation comes from the 50's and sure, not much groundbreaking has been done since then, but blues has gone on, through r&b, to influence everything from rockabilly over the mod music of the 60's to punk. There's a straight lineage of influence from that time till the present.
As I said, this record makes one want to start a collection of blues vinyl. Every tune on this album is a killer! The tunes, apart from those of the superstars of the genré that stand out are the tunes of JB Lenoir and Jimmy Reed, both of whom I'll check out more stuff by.
Before I start writing this review I must come clean, I like blues, but it's one of the many genrés of music I like that I know the least of, being a newcomer to the genré. Something which can only be blamed on the Eslöv City blues festival that has sparked an interest in the genré for me.
To me and all newcomers, this is a wonderful compilation put out by a Swedish record label called "Bakhåll" and I couldn't resist buying it, not only cos I want to support the scene in Sweden and the fact that it was ridiculously cheap, it cost me about €5, no, cos what you get here is the perfect introduction to the genré.
On this little darling, you get 20 of the best known American blues singers doing some of their best numbers. BB King, Muddy Waters, John Lee Hooker, Robert Johnson, they're all here. Then add the fact that you get a good little brochure with facts about the performers that is highly welcomed for people like me, people who consider starting a blues record collection. The brochure is in Swedish, though, which might make it less usable for non-Swedes.
Why should one buy a compilation of blues then? You get a load of different styles of blues, some with bands and some just an acoustic guitar on them, "but doesn't all blues tunes sound the same?", my punk and skinhead mates ask me. No, they don't, they all bring the performers soul into the music which make every number stand out. Even if you're not a blues die-hard, you should respect the legacy of the genré. Most tunes on this compilation comes from the 50's and sure, not much groundbreaking has been done since then, but blues has gone on, through r&b, to influence everything from rockabilly over the mod music of the 60's to punk. There's a straight lineage of influence from that time till the present.
As I said, this record makes one want to start a collection of blues vinyl. Every tune on this album is a killer! The tunes, apart from those of the superstars of the genré that stand out are the tunes of JB Lenoir and Jimmy Reed, both of whom I'll check out more stuff by.
I really liked this compilations and it get a bloomin 96,7% in rate of satisfaction
Saturday 27 October 2012
Day two of the festival
I saw three acts today, whereof the middle one was the best and everyone else faded in comparison. Therefore, I start with them.
The second band I saw was Black River Bluesman & Bad Moon Hudson and, as I hinted above, was blown away.
This duo, guitar and drums, like the White Stripes, only better, played a modern version of blues, like Danko Jones, only better. They had a brutal sound to them, very raw and primitive guitarplay, a much needed kick up the arsehole of hippies who play endless guitar solos. To that, add a vocalist who sounds like count Dracula and could easily find employment in a psychobilly band. There's not much to say, they were simply brilliant. I think they come very close to the feel of blues ages ago, the same spirit that you could experience in clubs in Chicago when the migrants from the south had a day off and would go out clubbing. I think. I wasn't there, in Chicago, that is.
I had always thought that us from Skåne, the south of Sweden, that is, had the best voices for singing blues and the right feeling in us, but I must admitt, theese Finns come a long way close to excellence.
The third act I caught was John Primer & CPH Slim Band. Primer has worked with Muddy Waters and received Grammy nominations, which make him a legend. One could argue that what he played was blues by the numbers and a bit boring, but then again, the best gig I've ever been to was with the Warriors in Oslo ten years ago or so and I wasn't disappointed because they played numbers like Working class kids or Violence in our minds. If you've helped to define the genré of music you play, then you're entitled to go down memory lane.
It was a perfect gig in some respects, a real crowd pleaser, still, as an amateur in the blues field, I wasn't really that satisfied. I would have wanted something that stood out from the classical stuff.
The first act I caught today was also the weakest. YO Combinations played a mix of blues with funk and southern rock. I liked it a bit, but not that much. They played a lot of covers and two of their own numbers, their own being their weakest.
Apart from that, there was nothing wrong with their craftsmanship. They know how to handle their instruments, I really liked the guitarplay at times.
The second band I saw was Black River Bluesman & Bad Moon Hudson and, as I hinted above, was blown away.
This duo, guitar and drums, like the White Stripes, only better, played a modern version of blues, like Danko Jones, only better. They had a brutal sound to them, very raw and primitive guitarplay, a much needed kick up the arsehole of hippies who play endless guitar solos. To that, add a vocalist who sounds like count Dracula and could easily find employment in a psychobilly band. There's not much to say, they were simply brilliant. I think they come very close to the feel of blues ages ago, the same spirit that you could experience in clubs in Chicago when the migrants from the south had a day off and would go out clubbing. I think. I wasn't there, in Chicago, that is.
I had always thought that us from Skåne, the south of Sweden, that is, had the best voices for singing blues and the right feeling in us, but I must admitt, theese Finns come a long way close to excellence.
Black River Bluesman & Bad Moon Hudson's gig was one of the best I've experienced, all categories included. 90,2% in rate of satisfaction.
The third act I caught was John Primer & CPH Slim Band. Primer has worked with Muddy Waters and received Grammy nominations, which make him a legend. One could argue that what he played was blues by the numbers and a bit boring, but then again, the best gig I've ever been to was with the Warriors in Oslo ten years ago or so and I wasn't disappointed because they played numbers like Working class kids or Violence in our minds. If you've helped to define the genré of music you play, then you're entitled to go down memory lane.
It was a perfect gig in some respects, a real crowd pleaser, still, as an amateur in the blues field, I wasn't really that satisfied. I would have wanted something that stood out from the classical stuff.
78,3% in rate of satisfaction.
The first act I caught today was also the weakest. YO Combinations played a mix of blues with funk and southern rock. I liked it a bit, but not that much. They played a lot of covers and two of their own numbers, their own being their weakest.
Apart from that, there was nothing wrong with their craftsmanship. They know how to handle their instruments, I really liked the guitarplay at times.
58,3% in rate of satisfaction.
Day one of the festival
So, I went to the Eslöv city blues festival yesterday and I got tickets for tonight's show as well.
I am not really that into blues. I like it, but it's not a passion. It is however, the basic foundation of all African-American music and as this blog is about American culture, I think it's ok to review it here.
Friday's show started with two short plays by a free theatre group. I saw the first one and was not really that convinced it had something to do with blues, so when I discovered there was a geezer sitting in the café room playing electric guitar, harmonica and singing, I decided to give him a listen instead of watching the second play. I think his name was Christian, but I ain't too sure. I really liked his music, though. I think it had a country feeling to it's bluesiness and I got thinking along the terms of Townes van Zandt, even though this bloke first of all wasn't as good as Townes and, secondly, had his own sound. I really liked his guitar playing though.
As the clock approached 9 pm, the headliners of the night entered stage, The Big Bang Group. This group celebrated their 25th anniversary as a band this year an had, for that purpose, invited a lot of mates from throughout their career that they had enjoyed playing with. There was a few oldies, like vocalist and harmonica playing Bill Öhrström, as well as young vocalist Susanne Eriksson. All their guests were hugely talented though and even if I really liked Erikssons singing, it's unfair to say that one was better than the other.
Credit must also go out to guitarist of the day, Mange. The usual guitarist of the band had called in sick yesterday and just a few hours before the gig, they had called Mange and asked if he wanted to play with them as a stand-in and he agreed.
Together, they made one heck of a show! The basics of all the music was blues, but the band and their guests then went on picnics in jazz, as well as r&b/soul. I really liked the r&b-ish stuff. Sure, I can listen to a bit of jazz, as well, but I have a soft spot for r&B and soul, there's no denying that!
One of the highlights of the show was the Fats Domino tune Blueberry hill. Ulf Johansson Werre, who sang it, made a real crowd pleaser of a scat-singing at the end of it, which he evloved into a "Jojk", a Lapplandian singing style, that is.
Some tunes were in English and some in Swedish, but they were all good!
I enjoyed myself thuroughly throughout the show yesterday and am looking forward to tonight's show. Not sure I'll watch all of it, as I must get up early and go to church in the morning, but I'm really pleased that my little town can arrange a good festival like this one.
I am not really that into blues. I like it, but it's not a passion. It is however, the basic foundation of all African-American music and as this blog is about American culture, I think it's ok to review it here.
Friday's show started with two short plays by a free theatre group. I saw the first one and was not really that convinced it had something to do with blues, so when I discovered there was a geezer sitting in the café room playing electric guitar, harmonica and singing, I decided to give him a listen instead of watching the second play. I think his name was Christian, but I ain't too sure. I really liked his music, though. I think it had a country feeling to it's bluesiness and I got thinking along the terms of Townes van Zandt, even though this bloke first of all wasn't as good as Townes and, secondly, had his own sound. I really liked his guitar playing though.
As the clock approached 9 pm, the headliners of the night entered stage, The Big Bang Group. This group celebrated their 25th anniversary as a band this year an had, for that purpose, invited a lot of mates from throughout their career that they had enjoyed playing with. There was a few oldies, like vocalist and harmonica playing Bill Öhrström, as well as young vocalist Susanne Eriksson. All their guests were hugely talented though and even if I really liked Erikssons singing, it's unfair to say that one was better than the other.
Credit must also go out to guitarist of the day, Mange. The usual guitarist of the band had called in sick yesterday and just a few hours before the gig, they had called Mange and asked if he wanted to play with them as a stand-in and he agreed.
Together, they made one heck of a show! The basics of all the music was blues, but the band and their guests then went on picnics in jazz, as well as r&b/soul. I really liked the r&b-ish stuff. Sure, I can listen to a bit of jazz, as well, but I have a soft spot for r&B and soul, there's no denying that!
One of the highlights of the show was the Fats Domino tune Blueberry hill. Ulf Johansson Werre, who sang it, made a real crowd pleaser of a scat-singing at the end of it, which he evloved into a "Jojk", a Lapplandian singing style, that is.
Some tunes were in English and some in Swedish, but they were all good!
I enjoyed myself thuroughly throughout the show yesterday and am looking forward to tonight's show. Not sure I'll watch all of it, as I must get up early and go to church in the morning, but I'm really pleased that my little town can arrange a good festival like this one.
Big Bang Group made one heck of a great show and gets 81,3% in rate of satisfaction!
Tuesday 9 October 2012
The Eslöv city blues festival
Just reminding people of the Eslöv city blues festival.
Programme in English avaiable here!
I went last year and had a blast, watching the band Cajun Peppar, was reason enough to go and I believe this year will great as well. I've naturally got my tickets for it.
So, if you're in the area in late October and would like to catch some good blues acts, come to the festival!
Programme in English avaiable here!
I went last year and had a blast, watching the band Cajun Peppar, was reason enough to go and I believe this year will great as well. I've naturally got my tickets for it.
So, if you're in the area in late October and would like to catch some good blues acts, come to the festival!
Film: "Rio Grande"
/ TITLE: Rio Grande / GENRÉ: Western movie / FORMAT: DVD /
Alright, to start off, this film is probably very politically incorrect and won't go down well in some quarters. But then, again, films reflect their time and what politically correct today might be incorrect at another time and this film is full of evil native americans (who are obviously called "in'juns") and a stereotypical irish-american seargeant, who likes his drink and fights and don't think too much.
The other thing which really struck me about this film, which is from 1950, is how much plot and drama there is to it. Western movies were to that generation what action flicks were for me, growing up in the 80's/90's and John Wayne, who does an excellent job at playing the lead character, Kirby York, was to them what Arnold and Sylvester was to my generation. It's all boys movie, this one. The women are beautiful, the US cavalry rides good, shoots lethally and party hard, whereas the native americans are genuinely evil and can't shoot.
But the big difference between this movie and today's action movies is of course the plot. When you watch an action movie today, like the Bourne trilogy, you get loads of shooting and spectacular stunts, but not much of a plot. This film was made at a time when you hadn't the same budget or technique for special effects and so, the plot and amount of drama is important and you get action as well as a very and genuinely good seeing-experience.
The other thing which stands out in this movie is the fact that it's full of good late 40's/early 50's Americana music and even if you don't like the plot, at least you can watch the film for the music in it. And if you don't like that kind of music, why the hell do you read my blog?
The story goes as follow, colonel Kirby York, with the US cavalry has trouble fighting native americans of the apache nation. The apaches keep making deadly attacks against the fort commanded by colonel York and then they retreat into Mexico. York is sickened tired with this and wants to move into Mexico and them apaches down and kill the lot of them. He asks for reinforcements, but is in for a rude awakening when first his son, whom he hasn't seen for fifteen years, arrive as a volunteer and then his estranged wife appears at camp, with the intent of bringing her darling baby boy home.
You get, as I've said, a lot of plot to this movie and there is a romantic undertone in the drama all the way, but there is also action with a few fights and skirmishes before it all ends in the anticipated showdown with the apaches.
Wayne plays the usual character he always plays, a man of duty, but also of morals. He doesn't like what the decisionmakers in DC are up to, but he defends his country's interests.
I loved this movie and if you're into western movies, you'll love it too. There is no room, however, for the revisionist western fan, this is traditional, good vs evil.
Alright, to start off, this film is probably very politically incorrect and won't go down well in some quarters. But then, again, films reflect their time and what politically correct today might be incorrect at another time and this film is full of evil native americans (who are obviously called "in'juns") and a stereotypical irish-american seargeant, who likes his drink and fights and don't think too much.
The other thing which really struck me about this film, which is from 1950, is how much plot and drama there is to it. Western movies were to that generation what action flicks were for me, growing up in the 80's/90's and John Wayne, who does an excellent job at playing the lead character, Kirby York, was to them what Arnold and Sylvester was to my generation. It's all boys movie, this one. The women are beautiful, the US cavalry rides good, shoots lethally and party hard, whereas the native americans are genuinely evil and can't shoot.
But the big difference between this movie and today's action movies is of course the plot. When you watch an action movie today, like the Bourne trilogy, you get loads of shooting and spectacular stunts, but not much of a plot. This film was made at a time when you hadn't the same budget or technique for special effects and so, the plot and amount of drama is important and you get action as well as a very and genuinely good seeing-experience.
The other thing which stands out in this movie is the fact that it's full of good late 40's/early 50's Americana music and even if you don't like the plot, at least you can watch the film for the music in it. And if you don't like that kind of music, why the hell do you read my blog?
The story goes as follow, colonel Kirby York, with the US cavalry has trouble fighting native americans of the apache nation. The apaches keep making deadly attacks against the fort commanded by colonel York and then they retreat into Mexico. York is sickened tired with this and wants to move into Mexico and them apaches down and kill the lot of them. He asks for reinforcements, but is in for a rude awakening when first his son, whom he hasn't seen for fifteen years, arrive as a volunteer and then his estranged wife appears at camp, with the intent of bringing her darling baby boy home.
You get, as I've said, a lot of plot to this movie and there is a romantic undertone in the drama all the way, but there is also action with a few fights and skirmishes before it all ends in the anticipated showdown with the apaches.
Wayne plays the usual character he always plays, a man of duty, but also of morals. He doesn't like what the decisionmakers in DC are up to, but he defends his country's interests.
I loved this movie and if you're into western movies, you'll love it too. There is no room, however, for the revisionist western fan, this is traditional, good vs evil.
I'd recommend it to all my readers. A good flick like this lands a flippin 78,3% in rate of approval!
Tuesday 4 September 2012
Film: "King Creole"
/TITLE: King Creole / GENRE: Drama / FORMAT: DVD /
There is plenty of bs going on concerning films starring Elvis Presley. They're bad. He can't act. He sings all the time. I haven't seen many Elvis films, but I think the criticism is a bit unfair.
Sure, there's a lot of singing going on, but who sists down to watch an Elvis film without expecting him to sing? And as for his acting, hardly any oscar-winning skills, but he ain't THAT bad either and as for the film's qualities, I think there are some. It's a good story, actually, far better than many modern Hollywood flicks.
The story takes place in New Orleans. Elvis plays a guy called Danny Fisher, who lives with his sister and father, a father who can't seem to keep a job, which means Danny has to work as a bus boy in gents clubs owned by a guy called "Maxi", who owns every club in the red light district cept a place called King Creole.
One morning, Danny saves one of the girls from a beating by a drunk customer and comes too late to the last day in school which means he can't get his diploma. Instead of studying yet another semester, he drops out of school and ends up working with petty criminals led by a geezer called "Shark". They start shoplifting in a warehouse where Danny is the decoy, he goes into the shop singing, while the other lot nick jewlery. In this shop he meets a young girl called Nellie, whom he starts to date.
Through out the film, Danny is torn between the two women, the good christian girl Nellie and the girl he saved from a beating in Maxi's club, "Ronnie".
Anyway, words gets out that Danny can sing and he lands a job at King Creole. He is an instant smash and Maxi wants Danny back to one of his clubs, where he wants him to sing. Meanwhile, Shark has started to work for Maxi and when the two of them plan a robbery involving someone dear to Danny, the stage is set for conflict...
I liked this movie and I would recommend it to all Elvis fans. If for no other reason, then for the fact that it's full of classic Elvis tunes. And, as I said, the acting isn't really that bad and the storyline is good.
There is plenty of bs going on concerning films starring Elvis Presley. They're bad. He can't act. He sings all the time. I haven't seen many Elvis films, but I think the criticism is a bit unfair.
Sure, there's a lot of singing going on, but who sists down to watch an Elvis film without expecting him to sing? And as for his acting, hardly any oscar-winning skills, but he ain't THAT bad either and as for the film's qualities, I think there are some. It's a good story, actually, far better than many modern Hollywood flicks.
The story takes place in New Orleans. Elvis plays a guy called Danny Fisher, who lives with his sister and father, a father who can't seem to keep a job, which means Danny has to work as a bus boy in gents clubs owned by a guy called "Maxi", who owns every club in the red light district cept a place called King Creole.
One morning, Danny saves one of the girls from a beating by a drunk customer and comes too late to the last day in school which means he can't get his diploma. Instead of studying yet another semester, he drops out of school and ends up working with petty criminals led by a geezer called "Shark". They start shoplifting in a warehouse where Danny is the decoy, he goes into the shop singing, while the other lot nick jewlery. In this shop he meets a young girl called Nellie, whom he starts to date.
Through out the film, Danny is torn between the two women, the good christian girl Nellie and the girl he saved from a beating in Maxi's club, "Ronnie".
Anyway, words gets out that Danny can sing and he lands a job at King Creole. He is an instant smash and Maxi wants Danny back to one of his clubs, where he wants him to sing. Meanwhile, Shark has started to work for Maxi and when the two of them plan a robbery involving someone dear to Danny, the stage is set for conflict...
I liked this movie and I would recommend it to all Elvis fans. If for no other reason, then for the fact that it's full of classic Elvis tunes. And, as I said, the acting isn't really that bad and the storyline is good.
All in all, a good movie with good music, it gets a definite 82,7% in rate of satisfaction!
Sunday 2 September 2012
Willie Nelson, "Heroes"
/ARTIST: Willie Nelson / TITLE: Heroes / GENRE: Country music / LABEL: Legacy / FORMAT: CD /
This is Willie Nelsons latest CD and the fact that it's full of interesting collaborations, including the fact that the three big names of old school country, that is Willie Nelson, Kris Kristofferson and Merle Haggard, are present on this disc is reason enough to buy it.
However, it's hardly groundbreaking. Willie is like Cock Sparrer, you get what you get on album after album. There are plenty of good tunes on this one, but no On the road again and no You were always on my mind. There are, however, songs with a message and songs about broken hearts, something Willie does good, cos, remember that he was a short haired singer of romantic songs once, before he turned out to be a long haired rebel.
If this record is like most other stuff he's turned out over the last few years, I would still recommend everyone to buy it and support one of the last greats of country music. I compared him to Cock Sparrer before and another trait he shares with oi! is the fact that he combines staunch patriotism with criticism of the system. He shows you can love your country and it's traditions and still be mad as hell about what the leaders of men get up to. The next last tune on the disc, Come back Jesus, shows that clearly.
I really liked Willie's reggae album and his collaboration with Toots Hibbert of the Maytals fame. When I picked this record up, I noticed on the back that he was going to collaborate with rapper Snoop Dogg. For a minute, I feared there would be some dreadful nu country, where Willie would rap. Fortunately, that didn't happen. If he went reggae on his other album, this is Snoop going country. Gangsta rap meets outlaw country. The tune itself is one of the worst tunes on the album and one can clearly hear why Snoop raps and doesn't sing normally.
Well, what could Willie and Snoop have in common? Duh!
Unfortunately, there are a few drug-glorifying tunes on this album that I, as a straight edge guy and as someone with mates that have died from overdoses, simply can't endorse. I see no reason to glorify that shit and those who do so through music should be held accountable for all the drug-related deaths there is.
Fortunately, Willie doesn't only sing about drugs. Best songs on this album are, as usual, his songs about broken hearts, whereof The sound of your memory and Just breathe stand out as the finest.
This is Willie Nelsons latest CD and the fact that it's full of interesting collaborations, including the fact that the three big names of old school country, that is Willie Nelson, Kris Kristofferson and Merle Haggard, are present on this disc is reason enough to buy it.
However, it's hardly groundbreaking. Willie is like Cock Sparrer, you get what you get on album after album. There are plenty of good tunes on this one, but no On the road again and no You were always on my mind. There are, however, songs with a message and songs about broken hearts, something Willie does good, cos, remember that he was a short haired singer of romantic songs once, before he turned out to be a long haired rebel.
If this record is like most other stuff he's turned out over the last few years, I would still recommend everyone to buy it and support one of the last greats of country music. I compared him to Cock Sparrer before and another trait he shares with oi! is the fact that he combines staunch patriotism with criticism of the system. He shows you can love your country and it's traditions and still be mad as hell about what the leaders of men get up to. The next last tune on the disc, Come back Jesus, shows that clearly.
I really liked Willie's reggae album and his collaboration with Toots Hibbert of the Maytals fame. When I picked this record up, I noticed on the back that he was going to collaborate with rapper Snoop Dogg. For a minute, I feared there would be some dreadful nu country, where Willie would rap. Fortunately, that didn't happen. If he went reggae on his other album, this is Snoop going country. Gangsta rap meets outlaw country. The tune itself is one of the worst tunes on the album and one can clearly hear why Snoop raps and doesn't sing normally.
Well, what could Willie and Snoop have in common? Duh!
Unfortunately, there are a few drug-glorifying tunes on this album that I, as a straight edge guy and as someone with mates that have died from overdoses, simply can't endorse. I see no reason to glorify that shit and those who do so through music should be held accountable for all the drug-related deaths there is.
Fortunately, Willie doesn't only sing about drugs. Best songs on this album are, as usual, his songs about broken hearts, whereof The sound of your memory and Just breathe stand out as the finest.
I think this is an okayish album that delivers the goods, but hardly anything groundbreaking. It gets 58,3% in rate of satisfaction!
Hank Snow, "The essential Hank Snow"
/ ARTIST: Hank Snow / TITLE: The Essential Hank Snow / GENRE: Country / LABEL: RCA / FORMAT: CD /
The title of this record says it all, it's the essential Hank Snow. Essential to one extent cos what you get is the best stuff he's done, but also cos a Hank Snow record is essential to any country music lover's collection.
Most of the stuff on this one is from the time rockabilly and rock & roll saw the light of day. I'm sure this what the squares could have a ball to in Muskogee, Oklahoma. It's not that it's bad music, it's just that it came out in a time when country music needed a kick up the arse and start to notice what was happening, something Johnny Cash did very well, by the way.
But simply saying that it's bad music, cos it was traditional, it just won't do. Hank Snow was a great singer. He had a great voice and seemed to have been able to pick the right tunes to record. What more can one ask for?
What you get on this album is a few ballads, some waltzy stuff, as well as some more uptempo numbers like the brilliant I've been everywhere, which sound at times a bit like the latest hit of young R&B star Rihanna's.
This a very good record and I would recommend it to any fan of traditional country.
The title of this record says it all, it's the essential Hank Snow. Essential to one extent cos what you get is the best stuff he's done, but also cos a Hank Snow record is essential to any country music lover's collection.
Most of the stuff on this one is from the time rockabilly and rock & roll saw the light of day. I'm sure this what the squares could have a ball to in Muskogee, Oklahoma. It's not that it's bad music, it's just that it came out in a time when country music needed a kick up the arse and start to notice what was happening, something Johnny Cash did very well, by the way.
But simply saying that it's bad music, cos it was traditional, it just won't do. Hank Snow was a great singer. He had a great voice and seemed to have been able to pick the right tunes to record. What more can one ask for?
What you get on this album is a few ballads, some waltzy stuff, as well as some more uptempo numbers like the brilliant I've been everywhere, which sound at times a bit like the latest hit of young R&B star Rihanna's.
This a very good record and I would recommend it to any fan of traditional country.
I'll give it 82,5% in rate of satisfaction!
Saturday 1 September 2012
Film: "True grit"
TITLE: "True grit" / GENRE: Western movie / FORMAT: DVD /
The title to this blog is "A Swede on American Culture" and few things are as American when it comes to culture as movies are. I for one loathe modern Hollywood productions, but I think old movies like this one, the original with John Wayne in the lead, embodies Americana like Merle Haggard does.
Therefore, I have decided to branch out from just writing on music to write a bit on films as well.
The story is simple, classical western stuff, someone gets murdered and his family, in this case a young and angry daughter, seeks out revenge. The daughter, Mattie, is angry, but sympathetic all way through the movie. It's girl power decades before The Spice Girls. A bit of Loretta Lynn's Fist city embodied, though she remains a Christian young girl who refuse to accept her accomplices drinking habit.
The other lead part is played by the legend himself, mr John Wayne. Wayne plays "Rooster", a hard federal marshal and gun fighter, who drinks too much and shoots before he talks.
Rooster, Mattie and Labeef ( a Texas ranger) goes out on a manhunt to catch or kill a geezer called "Chaney", who was employed by Mattie's old man, whom he killed under the influence of alcohol. Labeef plays a slick, but deadly Texas ranger, who starts out courting Mattie, but she will have none of his antics and after a few conflicts, the three decide to hunt Chaney down together. Throughout the film, there a refreshing feeling of underlying conflict between the three.
I think this is one of John Wayne's better movies, cos it dives into controversial issues and "Rooster" is portrayed unsentimentally, when it comes to his drinking, as well as his habit of shooting first and asking questions later. Central to the film is the question of justice. You may point finger at me and criticise me, cos I am a pro-lifer and pro-death penalty kind of man. However, I think there should be justice done when someone has killed someone. True, the film is stereotyped and the bad guys are classical bad guys, but that doesn't matter. What matters is that this a film with a message of justice and that message never goes out of date.
This is not just one of the better John Wayne flicks I've seen, but also one of the best Western movies I've seen. Bleedin love it.
The title to this blog is "A Swede on American Culture" and few things are as American when it comes to culture as movies are. I for one loathe modern Hollywood productions, but I think old movies like this one, the original with John Wayne in the lead, embodies Americana like Merle Haggard does.
Therefore, I have decided to branch out from just writing on music to write a bit on films as well.
The story is simple, classical western stuff, someone gets murdered and his family, in this case a young and angry daughter, seeks out revenge. The daughter, Mattie, is angry, but sympathetic all way through the movie. It's girl power decades before The Spice Girls. A bit of Loretta Lynn's Fist city embodied, though she remains a Christian young girl who refuse to accept her accomplices drinking habit.
The other lead part is played by the legend himself, mr John Wayne. Wayne plays "Rooster", a hard federal marshal and gun fighter, who drinks too much and shoots before he talks.
Rooster, Mattie and Labeef ( a Texas ranger) goes out on a manhunt to catch or kill a geezer called "Chaney", who was employed by Mattie's old man, whom he killed under the influence of alcohol. Labeef plays a slick, but deadly Texas ranger, who starts out courting Mattie, but she will have none of his antics and after a few conflicts, the three decide to hunt Chaney down together. Throughout the film, there a refreshing feeling of underlying conflict between the three.
I think this is one of John Wayne's better movies, cos it dives into controversial issues and "Rooster" is portrayed unsentimentally, when it comes to his drinking, as well as his habit of shooting first and asking questions later. Central to the film is the question of justice. You may point finger at me and criticise me, cos I am a pro-lifer and pro-death penalty kind of man. However, I think there should be justice done when someone has killed someone. True, the film is stereotyped and the bad guys are classical bad guys, but that doesn't matter. What matters is that this a film with a message of justice and that message never goes out of date.
This is not just one of the better John Wayne flicks I've seen, but also one of the best Western movies I've seen. Bleedin love it.
Therefore, a good, almost perfect flick gets 91,3% in rate of satisfaction!
Wednesday 4 April 2012
Carolina Chocolate Drops: "Leaving Eden"
I have wanted to check this band out for a long while. I read a piece on them in the excellent magazine Country Music People and it basically said that banjo is originally an African instrument and this band wanted to reclaim an often forgotten part of American folk music, the African American part that is.
Not that this band has to be "the black band". They're a real powerhouse of a band on any merit, black or white, but it's still a recommendable thing they're doing. I had the pleausre to aquaint myself with this tradition on the compilation The stuff that dreams or made of and I liked it. Normally when you speak of African American folk music, it begins with Robert Johnson and ends with Muddy Waters. Sure, I like blues, but it would be a shame if the black string tradition would die out and this trio does it's best to prevent it from doing so.
To be honest, I am perhaps the wrong man to review this record, as I don't know too much about the genre, but I sure like it.
So it would be a shame if I just kept it to myself and didn't share my views on it.
American folk musics are to some extent intermingled with each other. There's a real blues feel to good bluegrass and there is sure some European influences in the music of Carolina Chocolate Drops, but still most of it is African-inspired.
When I read on them in the CMP piece, it said they sometimes cover modern R&B songs and I have already listened to their famous interpretation of Blu Cantrells Hit 'em up style. On this record, they take this step one step further by not only interpretating modern music through folk styles, but the other way around too. They bring R&B to folk by beatboxing and scratching, they give their music a real urban flavour.
But they never downplay the strings on any tune, 'cept for the a capella tunes Read 'em John and the beautiful Pretty Bird.
So, what you get musically is a folkish album with roots everywhere (even in Scotland!), but most of all, as the lyrics to the best tune on the album, Country girl, explains, in the deep south.
There are no bad tunes on this album, even if all tunes aren't great. Still, it's agood album and by buying it, you support a hardworking young band that is really doing an effort to make brilliant music and saving a tradition in doing so.
All in all, as I said, a good album. I give it 78,9% in level of satisfaction!
Not that this band has to be "the black band". They're a real powerhouse of a band on any merit, black or white, but it's still a recommendable thing they're doing. I had the pleausre to aquaint myself with this tradition on the compilation The stuff that dreams or made of and I liked it. Normally when you speak of African American folk music, it begins with Robert Johnson and ends with Muddy Waters. Sure, I like blues, but it would be a shame if the black string tradition would die out and this trio does it's best to prevent it from doing so.
To be honest, I am perhaps the wrong man to review this record, as I don't know too much about the genre, but I sure like it.
So it would be a shame if I just kept it to myself and didn't share my views on it.
American folk musics are to some extent intermingled with each other. There's a real blues feel to good bluegrass and there is sure some European influences in the music of Carolina Chocolate Drops, but still most of it is African-inspired.
When I read on them in the CMP piece, it said they sometimes cover modern R&B songs and I have already listened to their famous interpretation of Blu Cantrells Hit 'em up style. On this record, they take this step one step further by not only interpretating modern music through folk styles, but the other way around too. They bring R&B to folk by beatboxing and scratching, they give their music a real urban flavour.
But they never downplay the strings on any tune, 'cept for the a capella tunes Read 'em John and the beautiful Pretty Bird.
So, what you get musically is a folkish album with roots everywhere (even in Scotland!), but most of all, as the lyrics to the best tune on the album, Country girl, explains, in the deep south.
There are no bad tunes on this album, even if all tunes aren't great. Still, it's agood album and by buying it, you support a hardworking young band that is really doing an effort to make brilliant music and saving a tradition in doing so.
All in all, as I said, a good album. I give it 78,9% in level of satisfaction!
Tuesday 3 April 2012
An interview with Will Kimbrough
ASOAC: How did you first get into music, did you play for a church band? School? Self-thaught?
WK: I just loved music. I played violin,, piano, and sax before guitar. Once i got a guitar, i started a band and never looked back.
ASOAC: When did you decide that you wanted to play American folk music and what motivated you to do this?
WK: I grew up in Bob Dylan, Johnny Cash, Hank Williams and Willie Nelson
ASOAC: You’ve toured extensively through Europe, is there any difference between the audiences in Europe and the states?
WK: In the US, i am just another American singer. In Europe, there is the feeling that the audience sees the performer as a little more...exotic.
ASOAC: What’s your first thoughts when I mention the following names:
a) Earl Scruggs
WK: happy genius
b) Townes van Zandt
WK: tortured genius
c) Emmylou Harris
WK: kind and soulful genius
d) Carolina Chocolate Drops
WK: young energetic huge talent---might be genius someday soon!
ASOAC: Are you a fan of Swedish music? Any particular performers you like?
WK: Daniel Norgren, Anna Ternheim, The Nomads, Johan Orjansson, Six Pack Holiday, Willy Clay Band, Annika Fehling, Ellen Sundberg, Johann Johannson (is he swedish---he's a great composer).
ASOAC: What does the future hold for your kind of music and where do you see yourself in ten years time?
WK: My kind of music seems to weather trends pretty well; I think you could almost say it's timeless, especially when we play acoustic and just use the voices. It's very human, and humans need human music. So in ten years time, I'll be playing a show somewhere in support of my new songs. Trying to touch some human hearts with some human sounds.
ASOAC: If your music wasn’t music, but a sport, which sport would it be? Precise like snooker or hard and physical like American football?
WK: Cross Country...long and lonely but very satisfying.
ASOAC: Any words to your Swedish fans?
WK: Thank you, Swedish music lovers, for your soulful ears. I will be back soon. Skol.
WK: I just loved music. I played violin,, piano, and sax before guitar. Once i got a guitar, i started a band and never looked back.
ASOAC: When did you decide that you wanted to play American folk music and what motivated you to do this?
WK: I grew up in Bob Dylan, Johnny Cash, Hank Williams and Willie Nelson
ASOAC: You’ve toured extensively through Europe, is there any difference between the audiences in Europe and the states?
WK: In the US, i am just another American singer. In Europe, there is the feeling that the audience sees the performer as a little more...exotic.
ASOAC: What’s your first thoughts when I mention the following names:
a) Earl Scruggs
WK: happy genius
b) Townes van Zandt
WK: tortured genius
c) Emmylou Harris
WK: kind and soulful genius
d) Carolina Chocolate Drops
WK: young energetic huge talent---might be genius someday soon!
ASOAC: Are you a fan of Swedish music? Any particular performers you like?
WK: Daniel Norgren, Anna Ternheim, The Nomads, Johan Orjansson, Six Pack Holiday, Willy Clay Band, Annika Fehling, Ellen Sundberg, Johann Johannson (is he swedish---he's a great composer).
ASOAC: What does the future hold for your kind of music and where do you see yourself in ten years time?
WK: My kind of music seems to weather trends pretty well; I think you could almost say it's timeless, especially when we play acoustic and just use the voices. It's very human, and humans need human music. So in ten years time, I'll be playing a show somewhere in support of my new songs. Trying to touch some human hearts with some human sounds.
ASOAC: If your music wasn’t music, but a sport, which sport would it be? Precise like snooker or hard and physical like American football?
WK: Cross Country...long and lonely but very satisfying.
ASOAC: Any words to your Swedish fans?
WK: Thank you, Swedish music lovers, for your soulful ears. I will be back soon. Skol.
Will has a website that can be accessed here!
Saturday 31 March 2012
Will Kimbrough & Brigitte DeMeyer @ Folk Å Rock, Malmö
I have continuously sung the praise of the Folk Å Rock record store in Malmö and yesterday gave me more reason to do so, cos they arranged a brilliant concert in the store in the evening.
When I lived in London, the big Oxford Street record stores would arrange in-store concerts with big artists like Usher and hundreds of young people would crowd the record store to see their favourite artist.
Folk Å Rock is nothing like that. The store itself is quite small, actually, so i don't think more than 50-60 people attended the gig yesterday. This meant that Kimbrough could communicate with the audience quite easily and he did so splendidly too. I would say the setting was intimate.
The record store is located at "Lilla Torg", one of the most fashionable and trendy places in Malmö when it comes to night-life, with loads of bars and coffee houses. This meant that a load of trendies passed by the store on their way to the bar. Most of them looked into the windows and I couldn't help feeling sorry for them. They would go on to get ridiculously drunk and listen to ridiculous pop music, while they had real music just a few doors down.
The one thing which bothered me about the gig, though, was the fact that it was too small for people to dance. I wasn't going to dance even if there was space to do so, cos, frankly speaking, the problem with me is that I've got no rythm. But the music played by DeMeyer and Kimbrough is folk music and if you play folk music, people should be able to dance. Folk music wasn't made for music nerds to sit and snap their fingers to, but for celebration, dancing and fun. In old times, when the local minstrel took out his fiddle or guitar, it was a time for joy and I think that the fact that this is lost on today's folk music fan base is tragic.
The gig itself was, despite DeMeyer's lost voice, nothing but brilliant. In a few years, they'll be superstars within the genré, of that I'm sure, cos the guitar handling was brilliant and the songs were ace too.
Kimbrough seems to be standing with one foot in traditional Americana and one foot in more modern singer-songwriting and does a good job at both, as well as combining them.
I really like the lyricism too. Kimbrough combined a sense of humour with more serious stuff. In some songs you get both, in one he described, in a brilliant play on words, a teenage prostitute as "the rottening apple of her daddy's eyes".
And the cover of Hank Williams Sr's I'm so lonesome I could cry was one of the best numbers they did, do their own material was far from bad too.
Kimbrough and DeMeyer completed each other brilliantly too. DeMeyer has a very good singing voice, despite her throat problem and was good at the guitarplaying too.
I had big expectations for this concert and though it wasn't as good as I thought it would be, it was still a good concert.
I'll be checking out the music of DeMeyer and Kimbrough and I think you should too. If you like this kind of music, you won't be able to avoid them in a couple of years time and they sure won't play for theese small crowds then neither.
As I'm fairly satisfied, I'll give this concert 82,3% in rate of satisfaction!
When I lived in London, the big Oxford Street record stores would arrange in-store concerts with big artists like Usher and hundreds of young people would crowd the record store to see their favourite artist.
Folk Å Rock is nothing like that. The store itself is quite small, actually, so i don't think more than 50-60 people attended the gig yesterday. This meant that Kimbrough could communicate with the audience quite easily and he did so splendidly too. I would say the setting was intimate.
The record store is located at "Lilla Torg", one of the most fashionable and trendy places in Malmö when it comes to night-life, with loads of bars and coffee houses. This meant that a load of trendies passed by the store on their way to the bar. Most of them looked into the windows and I couldn't help feeling sorry for them. They would go on to get ridiculously drunk and listen to ridiculous pop music, while they had real music just a few doors down.
The one thing which bothered me about the gig, though, was the fact that it was too small for people to dance. I wasn't going to dance even if there was space to do so, cos, frankly speaking, the problem with me is that I've got no rythm. But the music played by DeMeyer and Kimbrough is folk music and if you play folk music, people should be able to dance. Folk music wasn't made for music nerds to sit and snap their fingers to, but for celebration, dancing and fun. In old times, when the local minstrel took out his fiddle or guitar, it was a time for joy and I think that the fact that this is lost on today's folk music fan base is tragic.
The gig itself was, despite DeMeyer's lost voice, nothing but brilliant. In a few years, they'll be superstars within the genré, of that I'm sure, cos the guitar handling was brilliant and the songs were ace too.
Kimbrough seems to be standing with one foot in traditional Americana and one foot in more modern singer-songwriting and does a good job at both, as well as combining them.
I really like the lyricism too. Kimbrough combined a sense of humour with more serious stuff. In some songs you get both, in one he described, in a brilliant play on words, a teenage prostitute as "the rottening apple of her daddy's eyes".
And the cover of Hank Williams Sr's I'm so lonesome I could cry was one of the best numbers they did, do their own material was far from bad too.
Kimbrough and DeMeyer completed each other brilliantly too. DeMeyer has a very good singing voice, despite her throat problem and was good at the guitarplaying too.
I had big expectations for this concert and though it wasn't as good as I thought it would be, it was still a good concert.
I'll be checking out the music of DeMeyer and Kimbrough and I think you should too. If you like this kind of music, you won't be able to avoid them in a couple of years time and they sure won't play for theese small crowds then neither.
As I'm fairly satisfied, I'll give this concert 82,3% in rate of satisfaction!
Thursday 29 March 2012
Earl Scruggs: 1924-2012
I originally started listening to country music, cos I was a fan of Johnny Cash's lyrical writing and I wanted to be able to write as good lyrics for the punk rock band I was singing with. For a few years, Cash and some com pilations I had gotten from a pal, as well as the great Swedish country band Jimbob Convoy, was all the country music I was listening to.
Then I started to, as I grew increasingly tired of punk (punk is still my first love, I just don't listen as much to it theese days), I started buying more country music records and I had always been a fan of Cajun music, so I decided to check out the other genrés within American folk and I discovered bluegrass.
It was thanks to a salesman at the brilliant Folk Å Rock record store in Malmö that I s´discovered Dock Boggs, Earl Scruggs and the other banjo legends. Persistent readers of this blog must have noticed that I have written more on banjo pickers than on any other genré the last months. I simply cannot get enough of banjo music.
Though I really like Boggs as well, mostly cos of his brilliant lyricism, I think Scruggs was the greatest banjo picker of the last century. He changed the sound of bluegrass and American folk forever with his inventive style of picking his banjo. It's like ska music, you simply cannot avoid feeling happy from listening to it.
Therefore, it is with great sorrow that I learn that mr Scruggs passed away yesterday.
I learned of his death from Dwight Yoakam on Facebook, who paid a nice tribute to him and I do believe the whole country and bluegrass communities will pay a massive tribute, a fitting tribute to a genious with the banjo that will never be outdone.
Scruggs was the greatest. Rest in peace, Earl, you'll be missed.
Then I started to, as I grew increasingly tired of punk (punk is still my first love, I just don't listen as much to it theese days), I started buying more country music records and I had always been a fan of Cajun music, so I decided to check out the other genrés within American folk and I discovered bluegrass.
It was thanks to a salesman at the brilliant Folk Å Rock record store in Malmö that I s´discovered Dock Boggs, Earl Scruggs and the other banjo legends. Persistent readers of this blog must have noticed that I have written more on banjo pickers than on any other genré the last months. I simply cannot get enough of banjo music.
Though I really like Boggs as well, mostly cos of his brilliant lyricism, I think Scruggs was the greatest banjo picker of the last century. He changed the sound of bluegrass and American folk forever with his inventive style of picking his banjo. It's like ska music, you simply cannot avoid feeling happy from listening to it.
Therefore, it is with great sorrow that I learn that mr Scruggs passed away yesterday.
I learned of his death from Dwight Yoakam on Facebook, who paid a nice tribute to him and I do believe the whole country and bluegrass communities will pay a massive tribute, a fitting tribute to a genious with the banjo that will never be outdone.
Scruggs was the greatest. Rest in peace, Earl, you'll be missed.
Wednesday 14 March 2012
Hobart Smith, "Traditional Appalachian Songs and Tunes"
I like this record and I will tell you why. Theese days, musicians are experts at what they're doing in a narrow field, real musicians, that is, not the crap that doinates the pop charts.
Take a real, good, modern band like Zac Brown Band, they are a perfect combo and they are all experts at what they're doing. The fiddler is a mean fiddler, the guitarist is an expert guitarist, etc.
Things were different in the old days, you didn't make much money as a musician and most of the times, you couldn't make a living out of it. If you were a musician, you had to play a number of instruments, be able to sing decently and have a repetoire full of dance numbers, as well as entertainment numbers, blues numbers, social commentary and sacred songs.
Hobart Smith was active as a musician back in those days and he sings, as well fiddles decently and is okayish at the guitars, but his real strength lies in his banjo-picking. His banjo dance numbers are played with an intensity and energy you normally find only with very skilled punk rock guitarists. You simply get lost in the banjo-only tunes, the rythms and melodies are simply amazing!
As I said, you get dance tunes, as well as social comments like The Great Titanic and entertainment numbers like The Devil and the Farmer's Wife. A few numbers are a bit bluesy and I don't like those. I have nothing against blues in general, though it's certainly not one of my favourite styles, it's just that mr Smith's blues numbers are a bit dull.
On a few numbers, you get some inspiration from the southern gospel tradition too. They're all related to each other, the different branches of American music, black and white, sacred and secular, cos America is such a great melting pot.
I'd recommend this record to fans of American Folk with a particular interest. If you are new to the genré and want to discover the greats of the genré, I'd rather go for Earl Scruggs or Dock Boggs, as they're, simply, better. It's not that mr Smith is bad, it's just that the greats are even greater. His banjo skills are excellent though and a record consisting of his banjo tunes alone would give him a friendlier ear in me.
A good, though far from perfect, record like this gets 82,3% in rate of satisfaction!
Take a real, good, modern band like Zac Brown Band, they are a perfect combo and they are all experts at what they're doing. The fiddler is a mean fiddler, the guitarist is an expert guitarist, etc.
Things were different in the old days, you didn't make much money as a musician and most of the times, you couldn't make a living out of it. If you were a musician, you had to play a number of instruments, be able to sing decently and have a repetoire full of dance numbers, as well as entertainment numbers, blues numbers, social commentary and sacred songs.
Hobart Smith was active as a musician back in those days and he sings, as well fiddles decently and is okayish at the guitars, but his real strength lies in his banjo-picking. His banjo dance numbers are played with an intensity and energy you normally find only with very skilled punk rock guitarists. You simply get lost in the banjo-only tunes, the rythms and melodies are simply amazing!
As I said, you get dance tunes, as well as social comments like The Great Titanic and entertainment numbers like The Devil and the Farmer's Wife. A few numbers are a bit bluesy and I don't like those. I have nothing against blues in general, though it's certainly not one of my favourite styles, it's just that mr Smith's blues numbers are a bit dull.
On a few numbers, you get some inspiration from the southern gospel tradition too. They're all related to each other, the different branches of American music, black and white, sacred and secular, cos America is such a great melting pot.
I'd recommend this record to fans of American Folk with a particular interest. If you are new to the genré and want to discover the greats of the genré, I'd rather go for Earl Scruggs or Dock Boggs, as they're, simply, better. It's not that mr Smith is bad, it's just that the greats are even greater. His banjo skills are excellent though and a record consisting of his banjo tunes alone would give him a friendlier ear in me.
A good, though far from perfect, record like this gets 82,3% in rate of satisfaction!
Wednesday 7 March 2012
First Aid Kit, "The lion's roar"
Let me start the review of this wonderful band consisting of two young sisters from Sweden by saying that I haven't as utterly enjoyed a Swedish country act as this for, basically, ever. They're darn good at what they're doing.
Even if you don't like this act, you'd be mad not to appreciate the fact that they're putting country music firmly where it belongs, in the charts, here in Sweden.
Anyway, what you get is a band with a tune that goes "I'll be your Emmylou and I'll be your June..." and this sums the band up pretty well to some extent, cos they got that 70's country feeling to it that Emmylou Harris brought us way back when before I was even born.
Theese girls aren't satisfied with sounding as Emmylou, though, they bring their own flavour to the stew. You get some of the hippie music we all are ambigious to, including some hippie flutes that actually do the job and don't dominate it. You also get some 60's country, as well as some pure Scandinavian ingredients. For some reason, I get to think of Norwegian singer Ane Brun. I could well see First Aid Kit breaking into the charts in Norway, perhaps easier than in Sweden, as Norwegians appreciate this music higher than us Swedes. (For that matter, I can see First Aid Kit breaking into the charts everywhere, they're that good!)
At the start, I thought their lyrics were a bit too naive and bland, but the more I listen to it, the more I think they reveal a splendid youtful playfulness that is way too often abscent from contemporary music. This is a band of two young sisters singing harmonies and with lyrics that actually reflect their age. In the tune Blue, they have a verse where they rhyme two times on "you" and then "blue" and "twenty two", but it doesn't matter. As I said, it's a playfulness fitting to their age and the lyrics work well with the tunes.
Now, some may complain that the title of my blog is A Swede on American culture and this band is not American. That's just ridiculous. This band sounds a lot like the American music we all love and had they been an American band, they would have been all over the bleedin place. They're that good. It's about time us Swedes show you Americans that not all Swedish music is premanufactured disco garbage, but we can produce some fine stuff too!
Buy this record and support a young band knocking out some of the finest retro country music I've ever heard.
And oh, there's actually a bit pop thrown in for good measure too!
The best Swedish country band ever naturally gets 100% in rate of satisfaction!
Even if you don't like this act, you'd be mad not to appreciate the fact that they're putting country music firmly where it belongs, in the charts, here in Sweden.
Anyway, what you get is a band with a tune that goes "I'll be your Emmylou and I'll be your June..." and this sums the band up pretty well to some extent, cos they got that 70's country feeling to it that Emmylou Harris brought us way back when before I was even born.
Theese girls aren't satisfied with sounding as Emmylou, though, they bring their own flavour to the stew. You get some of the hippie music we all are ambigious to, including some hippie flutes that actually do the job and don't dominate it. You also get some 60's country, as well as some pure Scandinavian ingredients. For some reason, I get to think of Norwegian singer Ane Brun. I could well see First Aid Kit breaking into the charts in Norway, perhaps easier than in Sweden, as Norwegians appreciate this music higher than us Swedes. (For that matter, I can see First Aid Kit breaking into the charts everywhere, they're that good!)
At the start, I thought their lyrics were a bit too naive and bland, but the more I listen to it, the more I think they reveal a splendid youtful playfulness that is way too often abscent from contemporary music. This is a band of two young sisters singing harmonies and with lyrics that actually reflect their age. In the tune Blue, they have a verse where they rhyme two times on "you" and then "blue" and "twenty two", but it doesn't matter. As I said, it's a playfulness fitting to their age and the lyrics work well with the tunes.
Now, some may complain that the title of my blog is A Swede on American culture and this band is not American. That's just ridiculous. This band sounds a lot like the American music we all love and had they been an American band, they would have been all over the bleedin place. They're that good. It's about time us Swedes show you Americans that not all Swedish music is premanufactured disco garbage, but we can produce some fine stuff too!
Buy this record and support a young band knocking out some of the finest retro country music I've ever heard.
And oh, there's actually a bit pop thrown in for good measure too!
The best Swedish country band ever naturally gets 100% in rate of satisfaction!
Saturday 3 March 2012
New England Revolution
I used to have the sports package to my telly which enabled me to watch MLS games, but when a competitor bought the rights to England's Premier League, I simply had to switch subscription.
Anyway, I think the Major League Soccer has potential. In a few years, it could easily become a big sport in the US, not just cos the US is a country full of ethnicities that worship soccer, but also cos it's so cheap. It's like basket ball, anyone can play it if you only got a ball.
As I am a former skinhead (with tattoos and everything) and still someone who claims the straight edge (which means I don't drink, don't do drugs and don't hump around), I am a fan of all thing Bostonian, thanks to bands like Slapshot, DYS, Negative FX, Last Rights, The FUs, Stars & Stripes, The Bruisers and The Freeze. Therefor, as I already am a fan of the Boston Red Sox, it came natural to me to become a New England Revolution fan. (Though I am a fan of New York Islanders in the NHL and the Pittsburgh Steelers in the NFL - don't ask!)
Now, I lack tv coverage of the MLS, so what to do?
Easy, get on the internet! As someone who takes the commandment "Thou shalt not steal" literally and buys all the records I review, I simply cannot tell people to get onto bootleg streaming. But guess what, you don't have to!
It's easy to follow The Revs on their own youtube channel, as well as the MLS. Here's coverage of the Revs game versus LA Galay, a pre-season thingy.
Let's all hope and pray that the Revs go all the way this season and win the great bloody thing!
Anyway, I think the Major League Soccer has potential. In a few years, it could easily become a big sport in the US, not just cos the US is a country full of ethnicities that worship soccer, but also cos it's so cheap. It's like basket ball, anyone can play it if you only got a ball.
As I am a former skinhead (with tattoos and everything) and still someone who claims the straight edge (which means I don't drink, don't do drugs and don't hump around), I am a fan of all thing Bostonian, thanks to bands like Slapshot, DYS, Negative FX, Last Rights, The FUs, Stars & Stripes, The Bruisers and The Freeze. Therefor, as I already am a fan of the Boston Red Sox, it came natural to me to become a New England Revolution fan. (Though I am a fan of New York Islanders in the NHL and the Pittsburgh Steelers in the NFL - don't ask!)
Now, I lack tv coverage of the MLS, so what to do?
Easy, get on the internet! As someone who takes the commandment "Thou shalt not steal" literally and buys all the records I review, I simply cannot tell people to get onto bootleg streaming. But guess what, you don't have to!
It's easy to follow The Revs on their own youtube channel, as well as the MLS. Here's coverage of the Revs game versus LA Galay, a pre-season thingy.
Let's all hope and pray that the Revs go all the way this season and win the great bloody thing!
The legacy of Roscoe Holcomb
This DVD is exactly what it says, a documentation of the legacy of Roscoe Holcomb. Included on it are the documentaries Roscoe Holcomb from Daisy, Kentucky, as well as the classic The high lonesome sound and then a few extra tracks of music from Holcomb and his pals.
Roscoe died just about some thirty years ago and never got that big recognition he so fully deserved. Still, it feels like another time.
The times and music of mr Holcomb was made in a time when folk really meant something. People's music, that is. Compare Holcomb, who worked in heavy labour, as well as being unemployed from time to time, to the big stars of today with their bling and SUVs.
To me, as a practising Christian, one of the things I like the most is that the documentaries clearly show the joint roots of secular, as well as religious mountain music.
Anyway, Holcomb plays banjo, as well as guitar on this DVD. I like the banjo parts the best. You can be a pretentious s-o-b if you want and take a high brow approach to this kind of music and treat it like material for record collecting. I, on the other hand, treat this kind of music for what it is, dancing music. When you watch people dance to the music Holcomb and his pals play, only then do you get the full sense of what this music is about.
Also included are some good bluesy tunes. The only thing I really miss a little bit is a few fiddles more. True, the banjo stuff is some of the best I've heard and Holcomb had a good singing voice, which sometimes remind me of Dock Boggs. It's that high pitch, you know.
In case you haven't noticed, I really like this vid. It get 98,3% in rate of satisfaction.
Roscoe died just about some thirty years ago and never got that big recognition he so fully deserved. Still, it feels like another time.
The times and music of mr Holcomb was made in a time when folk really meant something. People's music, that is. Compare Holcomb, who worked in heavy labour, as well as being unemployed from time to time, to the big stars of today with their bling and SUVs.
To me, as a practising Christian, one of the things I like the most is that the documentaries clearly show the joint roots of secular, as well as religious mountain music.
Anyway, Holcomb plays banjo, as well as guitar on this DVD. I like the banjo parts the best. You can be a pretentious s-o-b if you want and take a high brow approach to this kind of music and treat it like material for record collecting. I, on the other hand, treat this kind of music for what it is, dancing music. When you watch people dance to the music Holcomb and his pals play, only then do you get the full sense of what this music is about.
Also included are some good bluesy tunes. The only thing I really miss a little bit is a few fiddles more. True, the banjo stuff is some of the best I've heard and Holcomb had a good singing voice, which sometimes remind me of Dock Boggs. It's that high pitch, you know.
In case you haven't noticed, I really like this vid. It get 98,3% in rate of satisfaction.
Friday 2 March 2012
Bascom Lamar Lunsford, "Ballads, banjo tunes and sacred songs"
I have often written on how good the Folk Å Rock record store in Malmö is. I went there yesterday with a pal of mine to buy tickets for the Will Kimbraugh concert at the end of March, which I am super stoked for.
Any way, I don't get to go to Malmö that often, so I browsed through the country/folk/bluegrass section and found this Lunsford record, which I bought. To be honest, I hadn't heard Lunsford before, but the fact that this record is released on the Smithsonian/Folkways label is enough to know that it's good.
Fans of more contemporary country music must forgive me for writing so much on banjo pickers of the 30's, but I really enjoy that kind of music and would like to see it gaining in popularity, so I do my bit for spreading the word.
Well, well, what you get here is perhaps not the best singing voice in the world, but Bascom makes up for that with his superb banjo skills. The totality of the music is just pure dead brilliant.
The full title, Ballads, banjo tunes and sacred songs of western north Carolina, says it all. On this record, you get 18 top tunes of that description. As a practicing Christian (Evangelical Lutheran), I could have settled for some more spiritual tunes, but I'm quite content. The secular songs are top notch. It would be a shame to complain when you get such a brill record for your money's worth.
People have often spoken loads of the Irish roots of American folk and I agree to some extent, though I would rather like to call the influence "Gaelic", as some of the tunes, most notably Bonny George Campbell, with it's fiddle and it's unaccompanied singing, sound really Scottish to me. I'm not an expert on Scottish (nor American, really) folk, but I think there are clear similarities.
If you like old American folk, you'll definitely like this. It's not the holy Grail of American folk, but it's still pretty good.
A record as good as this gets 77,3% in rate of satisfaction.
Any way, I don't get to go to Malmö that often, so I browsed through the country/folk/bluegrass section and found this Lunsford record, which I bought. To be honest, I hadn't heard Lunsford before, but the fact that this record is released on the Smithsonian/Folkways label is enough to know that it's good.
Fans of more contemporary country music must forgive me for writing so much on banjo pickers of the 30's, but I really enjoy that kind of music and would like to see it gaining in popularity, so I do my bit for spreading the word.
Well, well, what you get here is perhaps not the best singing voice in the world, but Bascom makes up for that with his superb banjo skills. The totality of the music is just pure dead brilliant.
The full title, Ballads, banjo tunes and sacred songs of western north Carolina, says it all. On this record, you get 18 top tunes of that description. As a practicing Christian (Evangelical Lutheran), I could have settled for some more spiritual tunes, but I'm quite content. The secular songs are top notch. It would be a shame to complain when you get such a brill record for your money's worth.
People have often spoken loads of the Irish roots of American folk and I agree to some extent, though I would rather like to call the influence "Gaelic", as some of the tunes, most notably Bonny George Campbell, with it's fiddle and it's unaccompanied singing, sound really Scottish to me. I'm not an expert on Scottish (nor American, really) folk, but I think there are clear similarities.
If you like old American folk, you'll definitely like this. It's not the holy Grail of American folk, but it's still pretty good.
A record as good as this gets 77,3% in rate of satisfaction.
Friday 10 February 2012
Grayson & Whitter, "Complete recorded works in chronological order, vol 1: 1927-1928"
First of all, I must say that it's to the credit of the record company to release this treasure. Country music and related genrés aren't that fashionable, but to us who love the music, some of the best records are only available on old original vinyl that cost a zillion bucks. To release this album is therefor an act of charity to all of us who love the music but can't afford the vinyl.
Musically, this is pre-bluegrass American folk music. If bluegrass is rooted in black, as well as white, musical traditions, this leaves out the banjo, which is an African instrument originally, as well as the more bluesy escapades in favor of acoustic guitars and a mad fiddle.With these instruments, Grayson & Whitter plays American folk deeply rooted in Celtic tradition with some other European influences to it too. Sometimes, I can almost feel a Scandinavian touch.
What I like about this band is that hey took lyrical writing seriously. You got songs dealing with a load of deep subjects country artists of today dare not touch. On the other hand, music was the CNN of times past, you got news as well as entertainment from the musicians.
Most of all, however, this is music made to dance to. It's almost a pity that music with that energy as this and as danceable to as this, has for so long been the treasure of vinyl nerds.
You can sense from the recording that Grayson & Whitter had fun recording it, as they talk to each other backwards and forwards over the tracks, a couple of "yee-haws" and "pass the bottle".
In case you haven't noticed, I really like this album and if you like old American folk too, you're probably going to like this as well.
An old treasure being returned to the audience gets 83,7% in rate of satisfaction!
Musically, this is pre-bluegrass American folk music. If bluegrass is rooted in black, as well as white, musical traditions, this leaves out the banjo, which is an African instrument originally, as well as the more bluesy escapades in favor of acoustic guitars and a mad fiddle.With these instruments, Grayson & Whitter plays American folk deeply rooted in Celtic tradition with some other European influences to it too. Sometimes, I can almost feel a Scandinavian touch.
What I like about this band is that hey took lyrical writing seriously. You got songs dealing with a load of deep subjects country artists of today dare not touch. On the other hand, music was the CNN of times past, you got news as well as entertainment from the musicians.
Most of all, however, this is music made to dance to. It's almost a pity that music with that energy as this and as danceable to as this, has for so long been the treasure of vinyl nerds.
You can sense from the recording that Grayson & Whitter had fun recording it, as they talk to each other backwards and forwards over the tracks, a couple of "yee-haws" and "pass the bottle".
In case you haven't noticed, I really like this album and if you like old American folk too, you're probably going to like this as well.
An old treasure being returned to the audience gets 83,7% in rate of satisfaction!
Thursday 9 February 2012
Gillian Welch, "The harrow & the harvest"
Two things I want to have said before I begin reviewing this record proper.
I went to my favourite local record store, Folk Å Rock in Malmö, yesterday. I picked up some Louvin brothers stuff, as well as some banjo pickers from the 1920's. The geezer in the record store has started to recognise me and shares my taste in music and sometimes comes with small advices when it comes to music. "Do you like the Carter family?", he asked. "I do, I replied." "Have you heard Gillian Welch?". I hadn't, so he put the record The harrow & the harvest on. I liked it enough to buy it. Before I bought it, he said he reckoned they continue the legacy of the Carter family and I can, after having listened to it a zillion times yesterday and today, see where he was coming from.
Anyway, I brought the record to work today and almost everyone at work liked it. A colleague of mine looked at the sleeve, she's a bit older than me, and asked when it was from. "From 2011", I replied. She was gobsmacked, she thought the sleeve art, as well as the tunes oozed of the flower generation and I can see where she was coming from too.
In fact, this album has one foot in both worlds. A bit of it is rooted in old American folk from the 20's and 30's, another bit of it is, but in a good way, something my old hippie mate Charli would like.
In case you haven't noticed yet, I think this is pretty much the best record I've bought for ages. I rank it just beneath Townes Van Zandt, who is impossible to outdo, although miss/mrs Welch comes pretty close.
What I like in it is that it has that melancholic, laidback southern folk feel to it that you get from Swedish folk as well. You won't jump with joy from hearing it, that's true. But on the other hand, I think melancholic music has that quality to it that you start to think how good your life really is and makes you thankful to God for all the blessings He has given you.
This record is recorded in the old way, no drums, no electrics, no sampling, no fancy stuff, just acoustic guitars, banjo, harmonica and hand clappings. And loads of songs sung in harmony. In fact, miss/mrs Welch only has one back up musician, but they do their stuff like a whole orchestra when it comes to quality. The only thing I think this record could be missing is perhaps a fiddle and some mandolins. But, though the inclusion of those two instruments could've highten the feeling to the album, I don't miss them really that much.
As I said, this is the best record I've picked up for years. There is no bad track on it, they all stand out in quality and I'm convinced that it will be remembered in the American folk scene for ages and I wish the artists success and that they play Sweden. Only criticism I have of it is that some tunes, most notably The way the whole thing ends, goes on for too long.
A great, almost perfect, album like this gets 96,1% in rate of satisfaction!
I went to my favourite local record store, Folk Å Rock in Malmö, yesterday. I picked up some Louvin brothers stuff, as well as some banjo pickers from the 1920's. The geezer in the record store has started to recognise me and shares my taste in music and sometimes comes with small advices when it comes to music. "Do you like the Carter family?", he asked. "I do, I replied." "Have you heard Gillian Welch?". I hadn't, so he put the record The harrow & the harvest on. I liked it enough to buy it. Before I bought it, he said he reckoned they continue the legacy of the Carter family and I can, after having listened to it a zillion times yesterday and today, see where he was coming from.
Anyway, I brought the record to work today and almost everyone at work liked it. A colleague of mine looked at the sleeve, she's a bit older than me, and asked when it was from. "From 2011", I replied. She was gobsmacked, she thought the sleeve art, as well as the tunes oozed of the flower generation and I can see where she was coming from too.
In fact, this album has one foot in both worlds. A bit of it is rooted in old American folk from the 20's and 30's, another bit of it is, but in a good way, something my old hippie mate Charli would like.
In case you haven't noticed yet, I think this is pretty much the best record I've bought for ages. I rank it just beneath Townes Van Zandt, who is impossible to outdo, although miss/mrs Welch comes pretty close.
What I like in it is that it has that melancholic, laidback southern folk feel to it that you get from Swedish folk as well. You won't jump with joy from hearing it, that's true. But on the other hand, I think melancholic music has that quality to it that you start to think how good your life really is and makes you thankful to God for all the blessings He has given you.
This record is recorded in the old way, no drums, no electrics, no sampling, no fancy stuff, just acoustic guitars, banjo, harmonica and hand clappings. And loads of songs sung in harmony. In fact, miss/mrs Welch only has one back up musician, but they do their stuff like a whole orchestra when it comes to quality. The only thing I think this record could be missing is perhaps a fiddle and some mandolins. But, though the inclusion of those two instruments could've highten the feeling to the album, I don't miss them really that much.
As I said, this is the best record I've picked up for years. There is no bad track on it, they all stand out in quality and I'm convinced that it will be remembered in the American folk scene for ages and I wish the artists success and that they play Sweden. Only criticism I have of it is that some tunes, most notably The way the whole thing ends, goes on for too long.
A great, almost perfect, album like this gets 96,1% in rate of satisfaction!
Friday 3 February 2012
Super Bowl and Taylor Swift
Lately, I've been listening manically to Taylor Swift's tune Ours. Last time I utterly enjoyed pop culture that much was when Amy Winehouse exploded onto the public space in 2006 or whenever that was.
Now, don't you call me a dirty old man. I ain't that old for starters and I am not that attracted to her anyway. It's her music I like. I think her performance of the song Ours at the 2011 CMAs stood out enormously and it reminded me of a young version of another favourite female vocalist of mine, namely Emmylou Harris.
I am definitely going to check out more stuff by miss Swift and you should too if you haven't already.
Are you going to watch the Super Bowl this year, dear reader? I think I am going to make a try at it with loads of coffee. As I live in Sweden, television coverage here doesn't start untill midnight. Luckily, I work afternoons/evenings and can start working at 2.30 pm, so I should be able to watch and still catch some sleep.
My favourite team in the NFL is the Steelers and, as you probably know already, they ain't playing. I'm left with the choices of the New York Giants and the New England Patriots. As a former skinhead and as someone who still got the straight edge, I have always liked Boston cos of the great straight edge hardcore bands that have come from that city. I freakin love the band Slapshot. And the FUs. So, it's the Pats for me this Sunday night (or, technically, Monday morning).
Whoever wins and whoever you're a fan of, let's hope for a good, clean, game and a sportsman's spirit from both teams. Here in Sweden, you wouldn't be able to have a game of that magnitude with two archrivals like the Giants and the Pats without hooliganism and policemen everywhere.
I might have a few non alcoholic beers too and some snacks.
And oh, on Tuesday, I'm off to get a tattoo.
Now, don't you call me a dirty old man. I ain't that old for starters and I am not that attracted to her anyway. It's her music I like. I think her performance of the song Ours at the 2011 CMAs stood out enormously and it reminded me of a young version of another favourite female vocalist of mine, namely Emmylou Harris.
I am definitely going to check out more stuff by miss Swift and you should too if you haven't already.
Are you going to watch the Super Bowl this year, dear reader? I think I am going to make a try at it with loads of coffee. As I live in Sweden, television coverage here doesn't start untill midnight. Luckily, I work afternoons/evenings and can start working at 2.30 pm, so I should be able to watch and still catch some sleep.
My favourite team in the NFL is the Steelers and, as you probably know already, they ain't playing. I'm left with the choices of the New York Giants and the New England Patriots. As a former skinhead and as someone who still got the straight edge, I have always liked Boston cos of the great straight edge hardcore bands that have come from that city. I freakin love the band Slapshot. And the FUs. So, it's the Pats for me this Sunday night (or, technically, Monday morning).
Whoever wins and whoever you're a fan of, let's hope for a good, clean, game and a sportsman's spirit from both teams. Here in Sweden, you wouldn't be able to have a game of that magnitude with two archrivals like the Giants and the Pats without hooliganism and policemen everywhere.
I might have a few non alcoholic beers too and some snacks.
And oh, on Tuesday, I'm off to get a tattoo.
Thursday 2 February 2012
Dwight Yoakam, "Live from Austin TX"
This is actually a boxed set of one cd and one dvd of live material from what was once, back in the 1980's, a popular American tv show.
At the moment, I haven't listened to the live cd, only watched and utterly enjoyed the dvd. I'm sure I'll put the cd in my record player one time or another in the future, but at the moment I don't see the point, as it's the same material on the cd as it is on the dvd.
This vid is from a performance given in October 1988. Dwight was still new to the game, though he had released some records and consequently, this vid is full of his 80's hits we all love, groundbreaking as they was when he first came into popularity.
Dwight has a voice quite similar, I think, to Pd Heaton of British 80's pop act The Housemartins, a bit soft, one could say. This means I have trouble hearing his stage talk in between the numbers, but I'm sure he's much more confident belting out his hits than he is talking to people. He's also got those wild dance moves one has come to associate with him.
It is with difficulty one must pick the best tunes on this, cos it's full of lovely ones. I, however, think he made a wise decision in saving two of my faves for the encore, they really are some of the best he's ever sung.
One song that must be mentioned though is the classic Streets of Bakersfield, on which Dwight calls in some support from another country vocalist. I won't tell you whom, but I'm sure you can guess! ;-)
This is a good dvd and I'd recommend it, not just to Dwight's die hard fans, but also to country fans in general and to people into 80's country music in particular, cos he was one of the most important newcomers back in the days and he's still a master musician.
A good, although not perfect vid like this gets 73,7% in rate of satisfaction.
At the moment, I haven't listened to the live cd, only watched and utterly enjoyed the dvd. I'm sure I'll put the cd in my record player one time or another in the future, but at the moment I don't see the point, as it's the same material on the cd as it is on the dvd.
This vid is from a performance given in October 1988. Dwight was still new to the game, though he had released some records and consequently, this vid is full of his 80's hits we all love, groundbreaking as they was when he first came into popularity.
Dwight has a voice quite similar, I think, to Pd Heaton of British 80's pop act The Housemartins, a bit soft, one could say. This means I have trouble hearing his stage talk in between the numbers, but I'm sure he's much more confident belting out his hits than he is talking to people. He's also got those wild dance moves one has come to associate with him.
It is with difficulty one must pick the best tunes on this, cos it's full of lovely ones. I, however, think he made a wise decision in saving two of my faves for the encore, they really are some of the best he's ever sung.
One song that must be mentioned though is the classic Streets of Bakersfield, on which Dwight calls in some support from another country vocalist. I won't tell you whom, but I'm sure you can guess! ;-)
This is a good dvd and I'd recommend it, not just to Dwight's die hard fans, but also to country fans in general and to people into 80's country music in particular, cos he was one of the most important newcomers back in the days and he's still a master musician.
A good, although not perfect vid like this gets 73,7% in rate of satisfaction.
Watch this space!
I appologize for the fact that I haven't updated my blog for a while, but be rest assured, updates are coming. I've got plenty of stuff to review, it's just that Christmas time means a lot to people in general and even more to people like me, who's got the Church for an employer. I simply haven't had time so far, but in a couple of days, there'll be some stuff up here.
Another reason for not having updated my blog for a while is the fact that someone in my family has fallen seriously ill and I believe in miracles, hence, if you believe in Christ, please pray for Jon's (that's me) sick relative. I'd appreciate it.
Another reason for not having updated my blog for a while is the fact that someone in my family has fallen seriously ill and I believe in miracles, hence, if you believe in Christ, please pray for Jon's (that's me) sick relative. I'd appreciate it.
Subscribe to:
Posts (Atom)