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.
Thursday, 2 February 2012
Tuesday, 13 December 2011
Elvis Presley, "Christmas with Elvis"
The content of this record might fall out of the usual scope of this blog, as Elvis, most of the times, was a rock & roll singer and not a country singer.
But, on the other hand, I think Elvis will be remembered in the future as a classical artist of the 20th century. He will, in his genre, which he helped popularise, be remembered as one of the American greats. I think he might even be remembered as a great American folk singer, if the French regard Edith Piaf as French folk, why not Elvis as American folk?
Well, enough about that. What you get here is a triffic Christmas album featuring the king. How can you go wrong with that? This is a cheap CD reissue of Elvis Christmas Album, it includes the same tracks, but also a few bonus tracks, which I could do without, as they've got nothing to do with christmas or God, but I can understand how the regular guy who might like Elvis, but who won't collect records as manically as I do, sees this as a good thing. A pair of beautiful christmas anthems coupled with some of his greatest hits.
Most songs (if you exclude the bonus tracks) are slow numbers packed with christmassy emotions and spirit. Cept for the opening track, Santa Claus is back in town, but even if some of the number ooze more 50's pop than the Presley brand of rock & roll we're used to, Elvis will be Elvis and keeps his rebel attitude in it.
He also got those background singers singing in almost country style harmonies he used on Teddy bear.
Best tunes are Silent night, Santa Claus is back town and, one of my all time fave Elvis songs, Blue Christmas.
Everyone likes Elvis, so I'll try to play this record on my family's Christmas party this year. My sis always get away with playing that heathen hippie John Lennon's socialist anthem which has nothing to do with Christmas. This year will be the year of Elvis. Move over, limey!
Last but not least. I'm a christian man, despite my flaws, and I try to go to Church on Sundays. On the one hand, this might shock some that i love God and still like Elvis, but on the second it shouldn't. Elvis was a rebel, but so was Christ and in fact, Elvis has some nice faithbased tunes on this record, which you gotta love. I can't see any contemporary singer record tunes like some of the ones on this record and if he or she would, the atheist lobby would make radio and television boycot his or hers record.
This is the perfect christmas album. Naturally, it gets 100% in rate of satisfaction. You can just ignore the bonus tracks, I did. Not that they're bad, they just got nothing to do with christmas.
But, on the other hand, I think Elvis will be remembered in the future as a classical artist of the 20th century. He will, in his genre, which he helped popularise, be remembered as one of the American greats. I think he might even be remembered as a great American folk singer, if the French regard Edith Piaf as French folk, why not Elvis as American folk?
Well, enough about that. What you get here is a triffic Christmas album featuring the king. How can you go wrong with that? This is a cheap CD reissue of Elvis Christmas Album, it includes the same tracks, but also a few bonus tracks, which I could do without, as they've got nothing to do with christmas or God, but I can understand how the regular guy who might like Elvis, but who won't collect records as manically as I do, sees this as a good thing. A pair of beautiful christmas anthems coupled with some of his greatest hits.
Most songs (if you exclude the bonus tracks) are slow numbers packed with christmassy emotions and spirit. Cept for the opening track, Santa Claus is back in town, but even if some of the number ooze more 50's pop than the Presley brand of rock & roll we're used to, Elvis will be Elvis and keeps his rebel attitude in it.
He also got those background singers singing in almost country style harmonies he used on Teddy bear.
Best tunes are Silent night, Santa Claus is back town and, one of my all time fave Elvis songs, Blue Christmas.
Everyone likes Elvis, so I'll try to play this record on my family's Christmas party this year. My sis always get away with playing that heathen hippie John Lennon's socialist anthem which has nothing to do with Christmas. This year will be the year of Elvis. Move over, limey!
Last but not least. I'm a christian man, despite my flaws, and I try to go to Church on Sundays. On the one hand, this might shock some that i love God and still like Elvis, but on the second it shouldn't. Elvis was a rebel, but so was Christ and in fact, Elvis has some nice faithbased tunes on this record, which you gotta love. I can't see any contemporary singer record tunes like some of the ones on this record and if he or she would, the atheist lobby would make radio and television boycot his or hers record.
This is the perfect christmas album. Naturally, it gets 100% in rate of satisfaction. You can just ignore the bonus tracks, I did. Not that they're bad, they just got nothing to do with christmas.
Friday, 9 December 2011
Various Artists, "The stuff that dreams are made of"
This two disc compilation features rare collectibles in cajun, country, blues and pre-bluegrass, vinyl now made available on cd.
Lately, I've grown to appreciate old American folk tremendously. Sure, I like a lot of modern stuff too, but theese old records from the 20's and 30's have a quality to them like movies from that age shares as well. Just as laurel and Hardy still make you chuckle in a sense Adam Sandler won't in just ten years, theese skilled musicians (among them my fave, Dock Boggs) knock out quality tunes that makes you want to put on your dancing shoes.
There's a lot of blues on this compilation and I for one ain't all that keen on blues, sure, I can listen to it and enjoy it, it's just that I don't enjoy it as much as other genres of American folk.
There's a few instrumental tunes on the discs, as well as quite a few with singing to them and they all have that old record feel to them, none of the tunes have been processed with equaliser, the background, old vinyl, dust sound is all there.
Musically, the tunes are well more diverse than today's format. You get piano and trumpets on some tunes, instruments that are not too common on today's folk recordings.
Lyrically, you get a lot of innocense too. Country had, back in those days, often a humorous side to it that more modern country tunes (with perhaps the exception of Johnny Cash's Boy named Sue) lack. Wilmer Watts and the lonely eagles has a very funny tune on this one, that is Fightin' in the war with Spain.
The only things that I hold against this record is that there's not enough Cajun tunes, there's too much blues and that one of the tunes, Chicken don't roost too high, by The Georgia Pot Lickers, could be interpreted as a racist tune, which might have been acceptable in the 20's, but not now and even if it is a collectible, it shouldn't have been included on a record with musicians what own that much to African American traditions.
This means that this compilation is, in other words, not perfect, but pretty close. I give it 95,8% in level of satisfaction.
Lately, I've grown to appreciate old American folk tremendously. Sure, I like a lot of modern stuff too, but theese old records from the 20's and 30's have a quality to them like movies from that age shares as well. Just as laurel and Hardy still make you chuckle in a sense Adam Sandler won't in just ten years, theese skilled musicians (among them my fave, Dock Boggs) knock out quality tunes that makes you want to put on your dancing shoes.
There's a lot of blues on this compilation and I for one ain't all that keen on blues, sure, I can listen to it and enjoy it, it's just that I don't enjoy it as much as other genres of American folk.
There's a few instrumental tunes on the discs, as well as quite a few with singing to them and they all have that old record feel to them, none of the tunes have been processed with equaliser, the background, old vinyl, dust sound is all there.
Musically, the tunes are well more diverse than today's format. You get piano and trumpets on some tunes, instruments that are not too common on today's folk recordings.
Lyrically, you get a lot of innocense too. Country had, back in those days, often a humorous side to it that more modern country tunes (with perhaps the exception of Johnny Cash's Boy named Sue) lack. Wilmer Watts and the lonely eagles has a very funny tune on this one, that is Fightin' in the war with Spain.
The only things that I hold against this record is that there's not enough Cajun tunes, there's too much blues and that one of the tunes, Chicken don't roost too high, by The Georgia Pot Lickers, could be interpreted as a racist tune, which might have been acceptable in the 20's, but not now and even if it is a collectible, it shouldn't have been included on a record with musicians what own that much to African American traditions.
This means that this compilation is, in other words, not perfect, but pretty close. I give it 95,8% in level of satisfaction.
Saturday, 19 November 2011
Faron Young, "The best of"
Faron Young is a new acquaintance of mine. I had never heard of him before a fellow Swedish country music fan of mine recommended me to check out his music, so, trusting as I am of my pals, I immediately picked his Best of up the last time I visited Folk Å Rock (still the best record store in southern Sweden when it comes to country music).
Part of me is very grateful to my pal for recommended me this artist, but part of me like what ever. It's good stuff, sure, but it's not supergood.
To me, it sounds like Faron Young is the result of a mix between Jim Reeves (whom I've been meaning to review for some time now) and the Bakersfield sound. Young's got that smooth voice the gentleman also had and the guitar sound, at least so at times, what Buck Owens had. I think Young has a better voice than Reeves, though.
Young's voice and his sound is not the only thing I like about him, though. His lyrics might not win the Nobel Prize for litterature, but they're clever and I for one like typical country music lyrics and Young knows how not to dissapoint. He's got it all, heartaches, love, honky-tonks, drinks, depression, what you'd expect from Dwight Yoakam, only Young did it 10-20 years before Dwight.
Best tune on this album is the beautiful ballad Four in the morning.
Fans of generic outlaw country will not like this album and though Young is somewhat classic "cheesy" country music, I suspect the fans of Dolly Parton and Kenny Rogers will find his lyrics a bit too outlaw to suit their tastes.
I would still recommend all country fans to listen to Faron Young. He's an important part of country music history and sort of builds a bridge between Jim Reeves and Dwight Yoakam.
As I said, a good record, though not supergood.
Faron Young's Best of gets 63,7% in rate of satisfaction.
Part of me is very grateful to my pal for recommended me this artist, but part of me like what ever. It's good stuff, sure, but it's not supergood.
To me, it sounds like Faron Young is the result of a mix between Jim Reeves (whom I've been meaning to review for some time now) and the Bakersfield sound. Young's got that smooth voice the gentleman also had and the guitar sound, at least so at times, what Buck Owens had. I think Young has a better voice than Reeves, though.
Young's voice and his sound is not the only thing I like about him, though. His lyrics might not win the Nobel Prize for litterature, but they're clever and I for one like typical country music lyrics and Young knows how not to dissapoint. He's got it all, heartaches, love, honky-tonks, drinks, depression, what you'd expect from Dwight Yoakam, only Young did it 10-20 years before Dwight.
Best tune on this album is the beautiful ballad Four in the morning.
Fans of generic outlaw country will not like this album and though Young is somewhat classic "cheesy" country music, I suspect the fans of Dolly Parton and Kenny Rogers will find his lyrics a bit too outlaw to suit their tastes.
I would still recommend all country fans to listen to Faron Young. He's an important part of country music history and sort of builds a bridge between Jim Reeves and Dwight Yoakam.
As I said, a good record, though not supergood.
Faron Young's Best of gets 63,7% in rate of satisfaction.
Friday, 18 November 2011
Merle Haggard, "Working in Tennessee"
This is Merle's latest album and those of you who've read my blog before knows I'm a fan of his.
What you get on this is a journey back in time till the late 60's and early 70's, the original, pre-Heartworn Highways-era, outlaw country scene. Musically, as well as lyrically, Merle Haggard delivers a record which is totally in style with what you'd expect from him.
This means that, for some, the record will probably be a disapointment. Haggard doesn't deliver any modern stuff. Neither the pop-country faithfuls nor the country purists will like this, it's simply not new enough, not groundbreaking enough.
To me, the music is ok, but nothing more. It's classic Bakersfield stuff merged with Johnny Cash, the sound which made Merle famous in the start. I miss a bit of his guitar handling, though. I miss that raw Bakersfield guitar.
The big thing is the lyrics, though. Merle is still one of the best lyricists in country ever and writes on matter what matter to the little guy. Work, drugs, drinks, love, crime, politics. It's all there. Sure, he's sung about it before, but he still finds new ways to express himself.
If you find no other reason for buying this record, then buy it for the duet with Willie Nelson. Merle and Willie made a fine job at Townes van Zandt's Pancho & Lefty. This time, they take on Merle's classic Working man's blues, together with Ben Haggard and they sure make a fine work at it.
It's impossible to pick the faves, cos this record is all about quality, cept for the last tune, Jackson, which I think Merle and Theresa Haggard butcher. If I must pick one fave though, it'd be Too much boogie woogie, a timely and totally valid attack on today's country scene.
Next year, mr Haggard will be 75 years old and he's still making quality music. You gotta love him!
I did write that Eilen Jewell's release earlier this year was the best album of the year. Merle's is neither better nor worse, so this album also gets 72% in rate of satisfaction.
What you get on this is a journey back in time till the late 60's and early 70's, the original, pre-Heartworn Highways-era, outlaw country scene. Musically, as well as lyrically, Merle Haggard delivers a record which is totally in style with what you'd expect from him.
This means that, for some, the record will probably be a disapointment. Haggard doesn't deliver any modern stuff. Neither the pop-country faithfuls nor the country purists will like this, it's simply not new enough, not groundbreaking enough.
To me, the music is ok, but nothing more. It's classic Bakersfield stuff merged with Johnny Cash, the sound which made Merle famous in the start. I miss a bit of his guitar handling, though. I miss that raw Bakersfield guitar.
The big thing is the lyrics, though. Merle is still one of the best lyricists in country ever and writes on matter what matter to the little guy. Work, drugs, drinks, love, crime, politics. It's all there. Sure, he's sung about it before, but he still finds new ways to express himself.
If you find no other reason for buying this record, then buy it for the duet with Willie Nelson. Merle and Willie made a fine job at Townes van Zandt's Pancho & Lefty. This time, they take on Merle's classic Working man's blues, together with Ben Haggard and they sure make a fine work at it.
It's impossible to pick the faves, cos this record is all about quality, cept for the last tune, Jackson, which I think Merle and Theresa Haggard butcher. If I must pick one fave though, it'd be Too much boogie woogie, a timely and totally valid attack on today's country scene.
Next year, mr Haggard will be 75 years old and he's still making quality music. You gotta love him!
I did write that Eilen Jewell's release earlier this year was the best album of the year. Merle's is neither better nor worse, so this album also gets 72% in rate of satisfaction.
Saturday, 5 November 2011
Jill Johnson, "Flirting with disaster"
It has become cool to like country, but you're only cool if you like Johnny Cash and Mike Ness. You must under no circumstances like pop country acts like Jill Johnson.
Guess what? I'm uncool!
I bought this record cos I wanted to review a Swedish country act in a blog called "A Swede on American culture". I thought it was the natural thing to do, though I suspected this record would be shite, but it isn't, I'm very plesantly surprised.
What does it sound like, then? Well, it sounds like Jill Johnson is the amazing three-legged woman, one leg being Dolly Parton, the second leg Lucinda Williams and the third Kings of Leon.
Jill Johnson stands as steadily on all three legs and is as good when it comes to ballads about heartaches, as when it comes to rockier tunes about, er, well, heartache. If there is one big thing to criticise her for, it might be the lyrics. She comes across sounding like country music heartaches 101. It's what you expect from a poppy country album like this and it means I have to give her a somewhat lower grade, cos she can't blame it on being Swedish, she has a splendid command of the English language, sounding really American, and should be able to write with a wee bit more fantasy.
As I said, it's a poppy country album and somewhat stereotypical, so I wouldn't recommend it to die hard outlaw country fans, but people who like poppy country music will definitely like this. If you like Lucinda Williams or Dolly Parton, you'll like this. Even if you don't get it anyway, it's good music!
A surprisingly good record like this gets 69,3% in level of satisfaction.
Guess what? I'm uncool!
I bought this record cos I wanted to review a Swedish country act in a blog called "A Swede on American culture". I thought it was the natural thing to do, though I suspected this record would be shite, but it isn't, I'm very plesantly surprised.
What does it sound like, then? Well, it sounds like Jill Johnson is the amazing three-legged woman, one leg being Dolly Parton, the second leg Lucinda Williams and the third Kings of Leon.
Jill Johnson stands as steadily on all three legs and is as good when it comes to ballads about heartaches, as when it comes to rockier tunes about, er, well, heartache. If there is one big thing to criticise her for, it might be the lyrics. She comes across sounding like country music heartaches 101. It's what you expect from a poppy country album like this and it means I have to give her a somewhat lower grade, cos she can't blame it on being Swedish, she has a splendid command of the English language, sounding really American, and should be able to write with a wee bit more fantasy.
As I said, it's a poppy country album and somewhat stereotypical, so I wouldn't recommend it to die hard outlaw country fans, but people who like poppy country music will definitely like this. If you like Lucinda Williams or Dolly Parton, you'll like this. Even if you don't get it anyway, it's good music!
A surprisingly good record like this gets 69,3% in level of satisfaction.
Friday, 4 November 2011
Cajun Peppar, "S/T"
I don't know where to start. This demo-cdr is an act of musical brilliance, it puts together all things I love, American music and Skåne (the region of Sweden where I live) pride.
I bought this record at the band's concert at the Eslöv Blues Festival last weekend and for those of you who missed them, Cajun Peppar plays Cajun-influenced music spiced up with blues, country, a bit of Steve Riley-ish pop-Cajun and Skånsk "dansband", dansband being what some people call Scandinavian country, but which is a genre with it's roots in domestic dancing music, as well as in 50's rock and roll and country.
The band is, in other words, rooted in Cajun, but being influenced by many genres. There is, however, accordion in each tune, but no fiddle.
They are also influenced by many languages, you get a wee bit of Creol French, loads of English and, of course, some Skånska. They mix languages in some songs and only one is in all Skånska, Kvinna eller Man?, a perhaps politically incorrect tune about transgendered people. It's funny, though.
What I like with this band is the mix of Skånsk and Cajun culture. I've said it before, us from Skåne, the deep south of Sweden, suffer the same prejuidices as people from the south of the USA and to translate "Cajun land" to "Skåneland" and "Cajun guy" to "Skånepåg" in the beautiful song Colinda!, that's just brilliant!
I would recommend this record to all fans of Cajun and Skånsk music, I think it appeals as much to both audiences. Wouldn't it be cool if more bands started mixing Skånsk and Cajun music? We already have Skånsk blues, hip hop and reggae, which the northerners listen to as well. They might not understand much, but us Skåningar have rythm in our blood.
I will see this band live again and again if I can, cos they're not just good on record, I know for a fact that they're brilliant live as well. Let's pray they get a record deal as well!
A brilliant and innovative demo with loads of potential like this naturally gets 100% in rate of satisfaction!
I bought this record at the band's concert at the Eslöv Blues Festival last weekend and for those of you who missed them, Cajun Peppar plays Cajun-influenced music spiced up with blues, country, a bit of Steve Riley-ish pop-Cajun and Skånsk "dansband", dansband being what some people call Scandinavian country, but which is a genre with it's roots in domestic dancing music, as well as in 50's rock and roll and country.
The band is, in other words, rooted in Cajun, but being influenced by many genres. There is, however, accordion in each tune, but no fiddle.
They are also influenced by many languages, you get a wee bit of Creol French, loads of English and, of course, some Skånska. They mix languages in some songs and only one is in all Skånska, Kvinna eller Man?, a perhaps politically incorrect tune about transgendered people. It's funny, though.
What I like with this band is the mix of Skånsk and Cajun culture. I've said it before, us from Skåne, the deep south of Sweden, suffer the same prejuidices as people from the south of the USA and to translate "Cajun land" to "Skåneland" and "Cajun guy" to "Skånepåg" in the beautiful song Colinda!, that's just brilliant!
I would recommend this record to all fans of Cajun and Skånsk music, I think it appeals as much to both audiences. Wouldn't it be cool if more bands started mixing Skånsk and Cajun music? We already have Skånsk blues, hip hop and reggae, which the northerners listen to as well. They might not understand much, but us Skåningar have rythm in our blood.
I will see this band live again and again if I can, cos they're not just good on record, I know for a fact that they're brilliant live as well. Let's pray they get a record deal as well!
A brilliant and innovative demo with loads of potential like this naturally gets 100% in rate of satisfaction!
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