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Staff Picks Format: Music CD

A Portland selection []

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This CD is a companion to the very excellent tune book The Portland collection. On it you will find recordings of 36 of the tunes from that collection. The tunes are played simply with a small ensemble, but are full of energy; these recordings will be appreciated by all lovers of contra dance music, but especially by those who wish to learn and play the tunes themselves. George Penk is on fiddle, Clyde Curley on mandolin, octave mandolin, and tenor banjo, and Susan Songer on piano.

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ATLiens by Outkast []

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ATLiens is Outkast’s follow up album (1996) to their debut Southernplayalisticadillacmuzik (1994). The title is a portmanteau which combines the ATL abbreviation for their beloved Atlanta with the term “aliens”. Outkast have always considered themselves outsiders in the world of hip-hop, geographically, stylistically and lyrically and on ATLiens these lyrical differences, with the emerging sound of production teams Organized Noize and Earthtone III set the album apart. ATLiens has the head-nodding beats, funky synth bass, rhymes about cadillacs and other trappings of typical mid-90’s hip hop but remains a cut above and hints at sonic revolutions to come. Recommended for fans of lyrical hip-hop.

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Nilsson Schmilsson by Harry Nilsson []

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Though RCA records proudly proclaimed, “Harry’s Got a Rock Album” upon the release of 1971’s Nilsson Schmilsson, it’s safe to say Mr. Nilsson had dabbled in rock n’ roll previously. However, his output mostly belonged in the vaudeville and light psychedelic, Sgt. Pepper stratosphere. After his first album, the mysterious solo artist was cited as the Beatles favorite “group”. He followed with two strong lps; one includes his version of Fred Neil’s “Everybody’s Talkin’” (which wound up as the Oscar winning vocal performance for the film Midnight Cowboy). Next Nilsson jumped into an album completely of Randy Newman material (then a mostly unknown songwriter) just before releasing a story and song record that later became the animated classic The Point.

Producer Richard Perry, who had received critical acclaim for his work with Tiny Tim, assembled Klaus Voormann, Jim Price, Jim Gordon, Herbie Flowers, Jim Keltner and other notable session musicians for the London Nilsson Schmilsson sessions. The tracks proved to be heavier than what was expected from the Harry of old (see the seven minute “Jump Into the Fire”), but we still have the necessary ingredients for a classic Nilsson recording: his amazing three octave range, sense of humor and delightful arrangements. A cover of Badfinger’s “Without You”, the ridiculous one chord, beatnik jam that is “Coconut” and the dreamy “Moonbeam Song” help rank Nilsson Schmilsson as one of Harry’s most memorable.
Incidentally, the progression into rock n’ roll wasn’t Nilsson’s last metamorphosis. As the 1970’s trucked on, our hero dabbled in lush standards from the 1930’s and 40’s, steel drum music, comedy tracks and songs about… well, writing songs among other things. It was a career spent confounding critics and delighting fans. Well played.

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Hippies []

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I have a friend who lives in Austin, TX who is constantly making me jealous. She likes to mention, with a trace of blasé, that she’s just seen some amazing rock, soul, blues, country or hip-hop artist perform just down the street from her house. Earlier this year, she recommended the Austin group Harlem (she had seen them perform live down the street!) and after listening to some songs online, I was hooked. I ordered the lp right away and suggested ordering a copy for Forbes.
Harlem plays straight, unabashed garage rock without any pretension whatsoever. Catchy melodies and the spirit of rock n’ roll dominate their debut full-length recording. I’ve deduced that this ramshackle trio loves the following: reverb, switching instruments, collaborating on songs and getting down.
Living in the Valley, we may not have the luxury to walk to Harlem’s next show, but we can certainly enjoy this recording from our living room.

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Songs of our fathers by Andy Statman and David Grisman []

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This is a wonderfully joyful, sorrowful, simple, virtuosic, and just plain fun recording. Statman and Grisman, together with their very talented band (which includes Edgar Meyer on bass!) play traditional and original acoustic Jewish music with strong klezmer roots. Statman is a fine clarinetist, and both Statman and Grisman are masters of the mandolin; it’s a treat to hear them play!

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Chaos and Creation in the Backyard by Paul McCartney []

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Upon George Martin’s suggestion, Sir Paul teamed up with producer Nigel Godrich (see his work with Beck & Radiohead) for this incredible 2005 studio album. Chaos and Creation… served as a return to form for McCartney. The album begins with “Fine Line”, a straight ahead piano driven, maraca laden rock number. He later weaves into “Jenny Wren” which recalls certain arrangement elements from the White Album’s “Black Bird”. Then, the word “peradventure” is plucked from his Charles Dickens readings on the airy “English Tea”. Essentially, what we are presented with is classic McCartney accompanied by interesting loops courtesy of the brain of Nigel Godrich: a recording both modern and vintage.

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Under the Munka Moon by Alice Russell []

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The 2004 debut album from the criminally overlooked UK singer with a lavishly soulful voice and sass to match. While British singers such as Duffy, Amy Winehouse, Estelle, Joss Stone and Lily Allen have sold millions, Alice has remained relatively unknown in the United States. With production fusing Latin, Girl Group, Hip-Hop, house, drum & bass, funk, gospel, jazz, rock and classic R&B sounds , Alice’s voice remains the core of her first release, which was largely a compilation of singles, remixes and collaborations. Known for her numerous side projects including Bah Samba, the Here Lies Love project with David Byrne and Fatboy Slim, the Bamboos, Quantic Soul Orchestra, her tours with diverse artists like De La Soul, Roy Ayers, the Roots and Lonnie Liston Smith and her collaborations with producer and co-writer TM Juke, the blue eyed, blonde haired lass from Brighton makes every song she performs unique and joyful.

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Ram by Paul & Linda McCartney []

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“Ram on give your heart to somebody…soon right away, right away,” McCartney laments on the ukulele driven “Ram On”. Ram, the sole album credited to Paul & Linda McCartney, is truly a family affair with half of the songs credited to the couple. Despite several tunes with surreal, nonsensical lyrics, Ram seems to give us a window into a simpler life. There’s numbers about dogs, the desire to live in the country and young love.

While retaining an element of the homemade sound McCartney crafted on his debut record, the pair also delve into Beach Boys arrangements and harmony as well as exploring something I’d like to call easy-listening/avante garde (see “Uncle Albert/Admiral Halsey” or “Long Haired Lady”). Other highlights include the rocker “Eat at Home” and the false ending with futuristic tag on “The Back Seat of My Car”.

Ram gives us the impression that these are people who are doing it their own way… just have a look at the back cover to see the cryptic message Paul has left about his feelings toward his old group.

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Appalachian Journey by Yo-Yo Ma, Edgar Meyer, and Mark O’Connor []

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Yo-Yo Ma, Edgar Meyer, and Mark O’Connor play with ideas drawn from traditional American fiddle tunes on this album; the results are great fun. The traditional tunes on this album are often played at a slower tempo than that which you may be accustomed to hearing, but this fantastically talented trio fills the resulting space well, using harmonies and polyphonic lines that give the music an almost classical feel.

Yo-Yo Ma, cello; Edgar Meyer, bass; Mark O’Connor, violin. James Taylor and Alison Krauss join the trio for a song and a tune each.

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Red Rose Speedway by Paul McCartney & Wings []

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Sandwiched between the hastily recorded and yet magically off kilter Wild Life and the triumphant, triple platinum Band on the Run album lives a recording called Red Rose Speedway. This second Wings effort bridges the gap between freak outs and radio friendly hits. We find the number one smash “My Love” sitting side by side with the nonsensical jam “Big Barn Red” and the minor key piano ditty “Single Pigeon”. Mac and the gang also attempt a nod to the second side of the Beatles’ Abbey Road with a four song medley. As Alan Partridge once retorted to a person ignorant of McCartney’s second group, “Wings are the band the Beatles could have been.” So very true.

Next week we take a closer look at Ram.

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McCartney by Paul McCartney []

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Paul McCartney’s first solo album, which was certainly unpopular with many critics and his colleagues at the time of its 1970 release, has proven to be an immensely influential and enjoyable, homemade recording. This album was produced mostly at McCartney’s house in London using a simple technique of sending tracks directly into a tape machine. He also performed each instrument himself and the majority of the vocals (some background vocals were sung by Linda McCartney).

Home recording software and portable four-track machines are now sources where many artists, both professional and amateur, record their music. In retrospect, the innovative “McCartney” album was a bold statement that made music making more accessible to those with or without a record contract.

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Big Old Life by Rani Arbo & Daisy Mayhem []

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Local (western MA and CT) musicians Daisy Mayhem create something truly unique which they jokingly call “Agnostic Gospel.” With folk roots, rich vocal harmonies, sophisticated arrangements and passionate attitude, they make music that is original, moving and fun.

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