Posted by Gabe on December 16, 2008
I’ve looked at quite a few wines from Valentin Bianchi over the last year. This Argentine Winery makes offerings in many price categories. Today I’ll look at their Syrah.
The 2007 Valentin Bianchi Elsa Syrah is 100% varietal. There was some minimal oak aging, however the goal was to keep fresh fruit at the forefront. 3,000 cases of this wine were imported and the suggested retain price is $8.99.
Cherry pie notes underscored by vanilla and light nutmeg burst from the nose of this Syrah. Throughout the palate cherry continues to dominate along with some darker fruit notes in the form of plum. The finish adds a subtle layer of earth and a good amount of black pepper. This wine has good acidity and a light tannic structure. Hearty meats, mushroom based dishes and strong cheeses will be fine matches for this wine.
For less than $9 this wine offers good varietal character, nice balance and enough elements to keep things interesting. An offering to open on one of the nights you don’t want to break the bank, but you do want a decent glass of wine. Another solid and affordable offering from Valentin Bianchi.
Imported by Quintessential Wines
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Posted by Gabe on March 2, 2008
ASHTON SHEPHERD TO RELEASE SOUNDS SO GOOD MARCH 4
DEBUT SINGLE “TAKIN’ OFF THIS PAIN” TOPPING CHARTS
NASHVILLE, TN – MCA Nashville will release Ashton Shepherd’s debut record Sounds So Good, produced by Buddy Cannon (Kenny Chesney, Reba McEntire), March 4. Shepherd co-wrote 10 songs for the 11-track album, 7 of which she single-handedly penned, including the debut single “Takin’ Off This Pain”.
Wise beyond her years, the Alabama native began performing at an early age. She taught herself guitar and won a contest that awarded her an opening spot for Lorrie Morgan, which drew attention from Nashville.
“Right after I got the record deal, I was asked how many original songs I had,” Shepherd recalls. “I said, ‘About 150.’”
“I started singing as soon as I could talk,” commented Shepherd. “I entered my first country showdown when I was eight years old. As soon as I was big enough to write on paper, I was coming up with stuff. I’ve got notebooks where I was writing down songs when I couldn’t even spell correctly, from the time I was five, six, seven years old. A pinch before I turned 15, I started playing. When I picked up the guitar, the songs just started pouring out, just one after the other.”
For more information on Ashton Shepherd, log on to www.ashtonshepherd.com .
Check out some of her music here.
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Posted by Gabe on February 6, 2008
That at almost 75 years of age, and close to 50 years after the release of his debut album, Willie Nelson still manages to release music is impressive. The fact that he can release an album as fresh and timeless sounding as Moment Of Forever in 2008 is astounding.
Willie’s career has taken on many phases, sounds and shapes. He’s been a legend so long now it’s hard to think of him as much else. Before he reached those heights though he had many other stops along the way. Outlaw is one of the titles he seemed to wear most proudly. It’s fitting then that he had Kenny Chesney produce this album. Chesney is one of the most successful acts in country today, yet at least by perception and reputation he seems to stand outside the Nashville mainstream and go his own way.
Moment Of Forever does a fine job of combining Willie Nelson originals with well chosen covers. Dave Matthews’ “Gravedigger” retains enough of the original versions funky vibe while simultaneously being unmistakably Willie. “Takin’ On Water” has some organ parts that bring to mind mid 70’s Stevie Wonder in their soulfulness. “You Don’t Think I’m Funny Anymore” with it’s old juke joint stomping feel to it is the best of the Nelson originals on the album. The closer though, a cover of Dylan’s “Gotta Serve Somebody,” delivered with stirring conviction is the definitive highlight of the album.
Chesney’s production is clean and streamlined. He doesn’t bog the album done with any unnecessary layers. He acts as a conduit to bring Willie and the songs directly through the speakers to the listener.
Detractors might point out that “Moment of Forever” isn’t quite “Shotgun Willie” or “Phases and Stages.” And while that is true, “Moment of Forever” goes beyond what one can rightly expect from someone 50 years into a recording career.
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Posted by Gabe on January 16, 2008
Saint Louis based rock band Ludo are set to release their major label debut on February 26th. They recorded the album in L.A. over a stretch of approximately two months. Matt Wallace who has worked with artists such as Faith No More, Maroon 5 and Blues Traveler produced.
One thing many of the artists Matt Wallace has worked with have in common is they feature well crafted songs. Ludo is no exception to this. You’re Awful I Love Youis full of terrific harmonies and hooks. Imagine songs as catchy as the jangly guitar pop Fountains of Wayne creates, and lyrics as cynical as Warren Zevon’s. That would give you an entry point to understand Ludo’s sound. They are however, much more than that.
Their stated motto is to “entertain people without making them dumber.” They achieve that goal on their major label debut. “You’re Awful, I Love You” is an incredibly entertaining, catchy, easily accessible album to listen to. But it has a ton of substance and not only bears but rewards repeated listening. Beneath the amusing lyrics there are layers of musical complexity. On some tunes, guitar is out-front. In other cases the guitar takes a back seat to the Moog Synth that Tim Convy plays to great effect. On every song they manage to create wildly catchy melodic rock with great harmonies and darkly amusing lyrics. If that sounds like your cup of tea I recommend marking the February 26th release date on your calendar and grabbing “You’re Awful, I Love You” before everyone else on your block has it. Ludo sounds like they’re poised for great things. Don’t be the last one to catch on.
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Posted by Gabe on January 4, 2008
Alone: The Home Recordings of Rivers Cuomo does a good job answering the question, “What kind of songs does Rivers Cuomo write?” The eighteen tracks that make up this release run the gamut of piano ballads, punk infused numbers and jangly guitar pop to name a few of the styles he tackles. There are also a couple of covers on the album. Most notably “Little Diane,” the Dion & The Belmont’s chestnut. It’s recorded with Sloan as his backing band.
One of the great features of this CD is the extensive liner notes that Rivers Cuomo provides. They give the sort of insight into the songs, performances and inspirations that’s usually reserved for box sets.
There are many fascinating tracks on “Alone….” One of them is “Dude We’re finally Landing.” It’s less than a minute long and performed Acapella. It works perfectly.
The last track, “I was Made For You” was intended for the next Weezer album. However the band voted on a different composition instead. It’s filled with melancholy and yearning, a tremendous closer.
“Alone…” works on several levels. On one hand it’s a fascinating look into the creative process of the mind composing Weezer’s music. Additionally it works well as a stand alone piece, even if you’re unfamiliar with Weezer. The Tunes are fleshed out enough that this doesn’t sound nearly like nearly the demo reel it seems like it might be at first blush.
This album is a great choice for fans of melodic, well constructed pop music. Rivers Cuomo displays what can be achieved when the primary goal is writing a good song.
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Posted by Gabe on December 20, 2007
Mescalitois Ryan Bingham’s major label debut. The first thing that sticks out is his voice. He sings with a whiskey soaked, world weariness that fits in well with the southwestern themed music he’s making. There are a couple of spots where his vocals bring Tom Waits to mind. Musically there are a hodgepodge of influences that come through. Certainly Joe Ely and Robert Earl Keen are amongst the hints I pick up. I was also reminded of Chris Whitley’s brilliant debut when I listened to Mescalito for the first time. Ryan Bingham takes all those influences and adds his talent to the mix. In doing so he has come up with a sound that is simultaneously pleasingly familiar, yet somehow new and fresh.
On again, off again guitarist for the Black Crowes, Marc Ford produced the album. He did a fine job as the music shines through and isn’t bogged down with any unnecessary elements. The clean production helps Bingham’s voice and music mesh together. “Bread and Water” seems to skip along to a hand-clap beat, while guitar and banjo sizzle just below the surface. One of the other highlights “Don’t Wait For Me” features a gentle and elegant slide guitar that never overpowers his impassioned vocal.
However, my absolute favorite track on the album is “Ghost of Travellin’ Jones.” It’s a song I could see Widespread Panic playing. In fact Bingham’s delivery (more than his voice) on this one puts me in a mind of John Bell, Panic’s leader. It chugs along with an passionate intensity that stuck in my head after the first listen. Repeated listens underscore it’s impact.
I haven’t seen Ryan Bingham live, but the songs on Mescalito sound like they were made to be played to an audience. All fourteen tracks sound real and have a terrific rawness to them. Mescalito really breathes. It’s one of the best new albums it was my pleasure to hear this year. I look forward to seeing live him when he hits my area.
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Posted by Gabe on December 19, 2007
The Rock and Roll Hall of Fame announced their inductees for the 2008 ceremony a few days ago. Leading the list are Madonna and John Mellencamp. Is that really the best they can do?
Jethro Tull, Chicago, Rush, The Moody Blues and Kiss to name a few all passed the 25 year eligibility requirement years ago. Yet all of these acts have never even been on the ballot. Every one of them, had a huge hand in shaping some piece of the rock landscape over the last (roughly) 40 years.
Jethro Tull and Chicago were incredible musical innovators bringing horns or flutes to rock music while creating complex canvases with their albums. The Moody Blues also created intricate soundscapes and employed orchestras when they needed to for their vision. Rush are perhaps the best 3 musicians in any one band. No one has done more to push the envelope in progressive rock than they have, all the while making the music approachable as well. They have been doing it well for over 35 years. Kiss spearheaded an entire style of music. They revolutionized the way music is marketed and sold. You can hate that idea or you can like it. But what you can’t do is ignore them and simultaneously embrace Madonna. Anything negative that can be thrown at Kiss from the perspective of image or marketing applies to Madonna as well. Hell it was Kiss in the 70’s who constantly reinvented themselves musically and eventually image wise. It’s not only plausible but likely that she took the idea to reinvent herself for every album and tour directly from Kiss.
All of the acts I mention have also been commercially viable for long periods of time if not their entire careers. Rush for example, has been playing arenas for 30 years. Commercial success isn’t everything by any means. But when it’s coupled with the impact these acts have had on rock ‘n’ roll it’s apparent that they should have been elected to the Rock and Roll Hall of fame years ago. These 5 artists are by no means an exhaustive list. There are many great artists the Rock Hall has ignored. In my opinion these are the most shocking and egregious omissions.
Most Hall of Fame’s mean something. But if the Rock Hall keeps inducting the likes of Madonna while ignoring so many true innovative rockers they will continue to be a sham. I don’t even think Madonna is in the category of rock. But if they want to elect her so be it. But by all means make sure the eligible, great acts are in first.
Posted in Music | Tagged: alt-country | 1 Comment »
Posted by Gabe on December 10, 2007
Tis the season to be jolly or perhaps grumpy. That depends on each of our moods and dispositions as much as anything. But regardless of if we’re walking around spreading Cheer or dying to scream Bah Humbug the thing none of us can avoid at this time of year is Christmas Music. It’s everywhere. That said here are my picks for the five best Christmas Albums of all time.
5) James Brown – Funky Christmas. I love that fact that James put funky right in the title. Is there a chance that anything JB put out wasn’t going to be funky? One important thing to note is that this isn’t your average Christmas album. It’s not James singing a dozen or so standards, not that I wouldn’t enjoy that too. This was James at the top of his game in terms of social awareness and message songs. So he sprinkles some of that in with the Christmas cheer. But with songs like “Santa Claus Go Straight to the Ghetto,” James is clearly trying to do more than just entertain. He does mix in some standards like “Merry Christmas Baby.” Taken as a whole it’s an interesting package and the Godfather makes it work.
4) Dean Martin – Making Spirits Bright. Dino’s Christmas album is the polar opposite of James Brown’s. On this collection he rips through 15 classics with those legendary pipes. Whether it’s “Silent Night” or “Rudolph the Red Nosed Reindeer” Dean sings his butt off. If you’re looking for a collection of Christmas standards sung by a legendary crooner you’re going to have a hard time doing better than this Dean Martin collection. The is one Christmas album that should make the whole family happy. It was remastered a few years back, so the sound is up to par as well.
3) B.B. King – A Christmas Celebration of Hope. B.B. King has accomplished so much in his legendary career it’s hard to believe it took him 50 years to release a Christmas album. In 2001 The King of the Blues finally clocked in with a full length Christmas release and it was worth the wait. As with much of his music there’s an inherent joy in every note he wrings out of his guitar. He runs through some standards such as “Please Come Home for Christmas” and “I’ll Be Home for Christmas.” But he also includes some lesser known tunes and an original, “Christmas Love.” One of the highlights is the closing track, an instrumental take on “Auld Lang Syne.” B.B. King is truly a treasure of American Music. His Christmas Album befits a king.
2) Ray Charles – The Spirit of Christmas. Brother Ray’s Christmas album is perfectly titled. The passion and spirit he brings to the recordings on this album reverberate through the speakers. He runs through eleven well known Christmas songs and pretty much makes most of them his own. Whether he’s singing lighter fare like “Rudolph The Red Nosed Reindeer” or the more serious “What Child Is This” he injects each track with his soulful vocals and inventive musical styling. For my money though the closing track, “Baby It’s Cold Outside” is the highlight of the set and one of the benchmark vocals of his career. Crank up some Brother Ray this Christmas, he’ll keep you warm!
1) Elvis Presley – Elvis’ Christmas Album. All these years later the one Christmas album I play the most every year is this one. It’s also one of the first I owned. 2007 marks 50 years that this one has been out. Like most of Elvis’ output from the late 50’s it still sounds fresh and integral. Does anyone want to hear anyone else sing “Blue Christmas” after hearing Elvis own it? “Santa Bring My Baby Back (To Me)” is probably worth the cost of the CD all on it’s own. Elvis runs through several more sacred numbers on the album and he sings them with reverence. If you’re only going to own one Christmas album, Elvis’ is the one to go with. He’s the King for a reason.
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Posted by Gabe on December 6, 2007
Pop-Punk-Rockers Mink have given their fans an early Christmas present in the form of a holiday single. “Little Drummer
Boy (Girl)”has soaring guitar riffs and a driving beat that certainly rocks in a more furious way than other version of the song I’ve heard. An urgent vocal and some well placed drum fills complete the package. Assuming Kiss in the “Animalize” era had recorded “Little Drummer Boy” it might have a similar sound. If you’re tired of hearing Holiday songs by the likes of Bing Crosby and Johnny Mathis, Mink’s new Holiday Chestnut might be just the sonic nugget your ears have been hoping would be in your stocking.
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Posted by Gabe on December 3, 2007
Stacey Kent’s newest release Breakfast on the Morning Tram marks the first time she has recorded songs written particularly with her in mind. Previous releases have focused more specifically on standards.
In total there are four tunes written expressly for her and this album. The lead track “The Ice House” and the title track are two of them. They also happen to be amongst the strongest tracks on this release.
Stacey Kent’s voice is unique and enjoyable to listen to for it’s impressive range of styles. Her collaborators on this album form a strong jazz ensemble that swings. Every note shows them to be accomplished players well suited to Kent’s strong vocals. One of the most interesting song choices is Fleetwood Mac’s “Landslide.” Stacey Kent’s version will have you hearing the song in an entirely new way. Her voice is smooth as silk where Stevie Nicks voice is rough around the edges. The important thing is that it works wonderfully.
Less surprising, but no less successful is her version of “What a Wonderful World.” Are there any songs in the jazz world more associated with a performer than that one is with Louis Armstrong? What sets this version apart is that she makes it her own and forces the listener to look at a well known tune in a brand new light.
Stacey Kent has a strong following in France and thus there are 2 songs with vocals in French on this album.
If you’re a fan of Billie Holiday, Sarah Vaughn or Norah Jones, Stacey Kent is an artist to seek out. “Breakfast on the Morning Tram” is a good place to start.
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