Blueboy - A Secret History

Genre: Twee, Indie Pop

A collection of Blueboy songs and interviews. *Poor Quality*

Disc 1:

1. Blueboy - Hallowed Ground (3:17)
2. Blueboy - You Asked Me To (3:47)
3. Blueboy - The Green And The Gold (3:52)
4. Blueboy - The Red Tie (4:02)
5. Blueboy - The Task Of Darkness Weep (3:16)
6. Blueboy - Get A Grip (3:40)
7. Blueboy - Fallen (3:46)
8. Blueboy - All The Things I Gave You (4:45)
9. Blueboy - I Won't Touch A Girl Again (2:57)
10. Blueboy - Silent Life (3:52)
11. Blueboy - Summer '82 (3:32)
12. Blueboy - Politics (2:55)
13. Blueboy - Give It Up (3:47)
14. Blueboy - Crimson Gloom (3:13)
15. Blueboy - Answered Prayer (2:24)
16. Blueboy - Casey Jones (3:42)
17. Blueboy - Pretending To Be Someone Stronger (3:11)
18. Blueboy - Perfume (2:48)
19. Blueboy - Icicle (3:07)
20. Blueboy - Happiness And Smiles (3:09)
21. Blueboy - Clearer (4:00)

Disc 2:

1. Blueboy - Anarchy In The U.K. (3:57)
2. Blueboy - Boys Don't Matter (3:30)
3. Blueboy - Cloud Babies (2:45)
4. Blueboy - Finistere (2:44)
5. Blueboy - Good News Week (4:58)
6. Blueboy - I Haven't Made Up My Mind (2:25)
7. Blueboy - Interview Part 1 (1:57)
8. Blueboy - Interview Part 2 (5:12)
9. Blueboy - Interview Part 3 (2:32)
10. Blueboy - Lazy Thunderstorm (3:37)
11. Blueboy - Marble Arch (2:58)
12. Blueboy - Reds And Yellows (3:36)
13. Blueboy - Tolouse (2:22)
14. Blueboy - Too Good To Be True (2:24)
15. Blueboy - Try Happiness (3:59)

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The Trash Can Sinatras - In the Music (2009)

Genre: Pop, Guitar Pop

In The Music is the fifth studio album from Trashcan Sinatras. The album is true to the Scottish flavor of guitar pop. Although 'In the Music' may not be their best effort, it is a wonderful experience to hear a band that continues to write melodic songs.

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Shweta Jhaveri - Anahita (2000)

Genre : Indian Classical, Fusion

Attempting to blend the ancient wisdom and contemplativeness of Hindustani music with jazz is a natural instinct. It has produced numerous experiments of varying artistic merit, but sometimes things get lost or blurred in the cultural translation. The blend achieved on Anahita, featuring Indian classical vocalist Shweta Jhaveri, is a mostly successful East-West handshake that grows on you the more you listen.

It's a case of putting a masterful vocalist in atypical, ambient-musical garb: Producer Lee Townsend brought together guitarist Will Bernard (in surprisingly cool, textural form, with some graceful slide guitar turns), drummer Jim Kassis, bassist Bill Douglass and violinist Jenny Scheinman to lay down the fabric over which Jhaveri exercises her supple, masterful art.

Jhaveri's songs are based on traditional North Indian rags, but they depart westward. Scheinman's violin, a sound that is heard in the Hindustani context, offers a sympathetic foil. The feel can be percolating ("To a Beloved") to devotional ("A Nosey Dawn").

Purist skepticism is effectively worn down by the emotionally deep weave of Anahita's end result. (Josef Woodward @ JazzTimes)

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Black Sabbath - Paranoid (1971)

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Queen - A Night at the Opera (1975)

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Joni Mitchell - Ladies of the Canyon (1970)

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Joni Mitchell - Hejira (1976)

Genre: Folk Rock/Jazz Rock

Joni Mitchell's Hejira is the last in an astonishingly long run of top-notch studio albums dating back to her debut. Some vestiges of her old style remain here; "Song for Sharon" utilizes the static, pithy vocal harmonies from Ladies of the Canyon's "Woodstock," "Refuge of the Roads" features woodwind touches reminiscent of those in "Barangrill" from For the Roses, and "Coyote" is a fast guitar-strummed number that has precedents as far back as Clouds' "Chelsea Morning." But by and large, this release is the most overtly jazz-oriented of her career up to this point -- hip and cool, but never smug or icy. "Blue Motel Room" in particular is a prototypic slow jazz-club combo number, appropriately smooth, smoky, and languorous. "Coyote," "Black Crow," and the title track are by contrast energetically restless fast-tempo selections. The rest of the songs here cleverly explore variants on mid- to slow-tempo approaches. None of these cuts are traditionally tuneful in the manner of Mitchell's older folk efforts; the effect here is one of subtle rolls and ridges on a green meadow rather than the outgoing beauty of a flower garden. Mitchell's verses, many concerned with character portraits, are among the most polished of her career; the most striking of these studies are that of the decrepit Delta crooner of "Furry Sings the Blues" and the ambivalent speaker of "Song to Sharon," who has difficulty choosing between commitment and freedom. Arrangements are sparse, yet surprisingly varied, the most striking of which is the kaleidoscopically pointillistic one used on "Amelia." Performances are excellent, with special kudos reserved for Jaco Pastorius' melodic bass playing on "Refuge of the Roads" and the title cut. This excellent album is a rewarding listen.

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