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One of the most unique and enduring bands in alternative rock, Cowboy Junkies embodied a sound that had its roots in traditional folk, blues, and country music but was performed with a placid, languid pace that belied the slow-burning passion of their performances. The honey-infused, ethereal whisper of lead singer Margo Timmins was matched by the spare but thoughtful accompaniment of guitarist Michael Timmins, bassist Alan Anton, and drummer Peter Timmins, and their most successful recordings played heavily on that dynamic, documented in a naturalistic and unobtrusive manner...
Although Adrian Belew has played with some of rock's biggest names over the years (Frank Zappa, David Bowie, the Talking Heads, King Crimson, etc.), he remains one of the most underrated and woefully overlooked guitarists of recent times. Like all great guitarists, Belew has his own recognizable style/sound (one that admittedly tends to be quirky and off-the-wall at times), and is an incredibly versatile player, as he's always found a way to make his signature style fit into a wide variety of musical genres: hard rock, funk, new wave, experimental, Beatlesque pop, and more...
Midwest guitar-and-drum duo the Black Keys are known for their raw blues- and garage rock-infused sound. Influenced by performers like Junior Kimbrough, Howlin' Wolf, and Robert Johnson, the band emerged in Akron, Ohio, and gained early buzz with 2002's The Big Come Up before signing with cult blues label Fat Possum Records for 2003's Thickfreakness and 2004's Rubber Factory...
favtraxmix label The player always plays the latest playlist tracks. / A lejátszó mindig a legújabb playlist számait játssza.
2005-2011
One of the most unique and enduring bands in alternative rock, Cowboy Junkies embodied a sound that had its roots in traditional folk, blues, and country music but was performed with a placid, languid pace that belied the slow-burning passion of their performances. The honey-infused, ethereal whisper of lead singer Margo Timmins was matched by the spare but thoughtful accompaniment of guitarist Michael Timmins, bassist Alan Anton, and drummer Peter Timmins, and their most successful recordings played heavily on that dynamic, documented in a naturalistic and unobtrusive manner...
License to Kill (Bob Dylan) 4:47
Two Soldiers (Traditional) 4:02
December Skies (Michael Timmins) 5:18
It's been over 15 years since the Cowboy Junkies dropped their sparse masterpiece The Trinity Session. Recorded with very little gear in the span of one evening, it introduced the group's signature "sepia-drone" delivery to the world, a style that's never really undergone any surgery. Early 21st Century Blues attempts to build a bridge between 1988 and 2005 with a new collection of standards, covers, and originals that employ that same minimalist approach and scant recording time -- five days this time around. Built around the themes of "war, violence, fear, greed, ignorance, and loss," the familial quartet, along with a handful of friends, presents the works of Bob Dylan, John Lennon, Bruce Springsteen, Richie Havens, and U2 as filtered through the half-time heartbeat that is the Cowboy Junkies' trademark... All of the intimacy, heavy guitar reverb, smoky vocals, and snares kissed by brushes that fans have come to expect are here, rolling in like a harmless summer rain dressed in the dark clouds of a storm...
Although Adrian Belew has played with some of rock's biggest names over the years (Frank Zappa, David Bowie, the Talking Heads, King Crimson, etc.), he remains one of the most underrated and woefully overlooked guitarists of recent times. Like all great guitarists, Belew has his own recognizable style/sound (one that admittedly tends to be quirky and off-the-wall at times), and is an incredibly versatile player, as he's always found a way to make his signature style fit into a wide variety of musical genres: hard rock, funk, new wave, experimental, Beatlesque pop, and more...
Dead Dog on Asphalt (Adrian Belew) 4:05
Face to Face (Adrian Belew / Erick Cole) 3:03
Sex Nerve (Adrian Belew) 3:06
from Side Two 2005
Then came Side One, Belew's triumphant return to the type of experimental rock that first turned heads in his direction more than 20 years ago. Maybe it was the time away from his solo career proper; maybe it was hooking up with relative youngsters like Danny Carey and Les Claypool, but Belew seemed positively reinvigorated. That feeling continues with Side Two. No big guest stars on this one; Belew handles just about everything entirely solo. Longtime fans may be a bit surprised by the prevalence of electronic sounds, loops, and synthesized percussion, but Belew has really done a great job of incorporating them into his sound. The lyrics are deliberately sparse (inspired by Haiku), which allows for much more focus on the music and atmosphere. In fact, Belew has pretty much forsaken any "pop" aspirations here and fully pursued his more experimental muse, which will absolutely delight many of his longtime fans (and perhaps alienate the more pop-oriented ones a bit, though nothing here really qualifies as harsh or difficult listening). The album is filled with great sounds and textures, and there is plenty of ferocious guitar playing, as expected...
Midwest guitar-and-drum duo the Black Keys are known for their raw blues- and garage rock-infused sound. Influenced by performers like Junior Kimbrough, Howlin' Wolf, and Robert Johnson, the band emerged in Akron, Ohio, and gained early buzz with 2002's The Big Come Up before signing with cult blues label Fat Possum Records for 2003's Thickfreakness and 2004's Rubber Factory...
Keep Your Hands off Her (Junior Kimbrough) 3:06
Nobody But You (Junior Kimbrough) 5:21
from Chulahoma: The Songs of Junior Kimbrough 2006
Chulahoma is a stopgap EP from the Black Keys, a collection of six covers of songs by cult bluesman Junior Kimbrough, whose "Do the Rump" they covered on their 2002 debut, Big Come Up. Considering that this is the first time the blues-rock guitar-n-drums duo has devoted an album to nothing but straight-ahead blues songs, it wound seem logical that Chulahoma would be the bluesiest recording in their catalog, but the Black Keys aren't that simple. The six songs on this 28-minute EP are hardly replications of Kimbrough's gritty originals, nor do they have the dirty, punch-to-the-gut feel of any of the duo's three proper albums. Instead, this is the weirdest set of music the band has done to date, a trippy, murky excursion into territory that floats somewhere between the primal urgency of the duo's best work and the dark, moody psychedelia of late-'60s blues-rock... And while that might mean that Chulahoma doesn't necessarily sound like a kissing cousin to Kimbrough's originals, it does make it a greater, richer tribute than most cover albums, and it certainly proves that Auerbach's testimonial in the liner notes about how Junior Kimbrough changed his life is no lie.
