I’ve loved and played this album for…2o years now! Time flies…
This is an album that is mentioned far too seldom in the press and is too unknown by way too many. Laura Cantrell reclaims the essence of americana songwriting, she does story-songs about drinking, relationships gone south and long days and nights being on the road. She is the real deal.
Not the Tremblin’ Kind is the debut studio album by American singer-songwriter Laura Cantrell. It was originally released in 2000 on Diesel Only Records. The album bears a dedication to “the original Beverly Hillbilly”, Zeke Manners.
Laura Cantrell (born 1967) is a country singer-songwriter and DJ from Nashville, Tennessee. She used to present a weekly country and old-time music radio show on WFMU called The Radio Thrift Shop. Since October 2005 she has only made occasional appearances on the station (but is hosting a show on SiriusXM about George Harrison and his music no less!) . She is one of the relatively few contemporary artists mentioned and played on Bob Dylan’s radio show Theme Time Radio Hour.
The Traveling Wilburys (sometimes shortened to the Wilburys) were a British-American supergroup consisting of Bob Dylan, George Harrison, Jeff Lynne, Roy Orbison, and Tom Petty. The band recorded two albums in 1988 and 1990, though Orbison died before the second was recorded.
Personell on Volume 1:
“Nelson Wilbury” – George Harrison
“Otis Wilbury” – Jeff Lynne
“Lefty Wilbury” – Roy Orbison
“Charlie T. Wilbury, Jr” – Tom Petty
“Lucky Wilbury” – Bob Dylan
Oceanside ends the ride
With San Clemente commin up
And Sunday desperados slip by
And cruise with a dry buck
And the Orange drive-in, neon billing
And the theaters filling to the brim
With Slave Girls, Hot Spur, Bucket Full of Sin
– Tom Waits, Diamonds on my windshield
The Heart of Saturday Night is the second studio album by singer and songwriter Tom Waits, released on October 15, 1974 on Asylum Records.
It is a fantastic album!
(Looking for) The Heart of Saturday Night and San Diego Serenade, PBS soundstage in 1975:
“On his right hand Billy tattooed the word love and on his left hand was the word fear. And in which hand he held his fate was never clear”
I think Darkness on the edge of town is Springsteen’s best album, but I think Tunnel of Love is his most overlooked record. This is a quiet, often acoustic country-tinged album that has become more important to me the older I get.
It might sound less than Springsteen than his earlier albums, and he really goes a long way towards country music, but that’s ok, I really like it. He released it while still touring with the E Street Band, but its sound signified a marked departure from the driving rock of his earlier albums.
“God have mercy on the man who doubts what he’s sure of.”
It’s a mix of Nebraska and Darkness with strong melodies and more melancholy. The Songs are about lost opportunities, misplaced love and regrets. It is a very sad album, maybe that is why Springsteen rarely play these songs in concert. He should play them, they are among his best.
The sleeve notes to the record Springsteen writes “Thanks Julie”.
Bruce Springsteen comes off as a tired man, is it his break-up record, his divorce album? It certainly sound like it. Great art sometimes comes from pain, and this album contains great art.
“If ever an indie-rock album felt like freedom, like an adventure, or like the heartache, joy, ridiculousness, angst and celebration of life itself, it was Let It Be.” – Jim McGuinn (The Current)
Let It Be is the third studio album by American rock band The Replacements. It was released on October 2, 1984 by Twin/Tone Records. A post-punk album with coming-of-age themes, Let It Be was recorded by the band after they had grown tired of playing loud and fast exclusively as on their 1983 Hootenanny album; the group decided to write songs that were, according to vocalist Paul Westerberg, “a little more sincere.”
“Playing that kind of noisy, fake hardcore rock was getting us nowhere, and it wasn’t a lot of fun. This was the first time I had songs that we arranged, rather than just banging out riffs and giving them titles.”
– Paul Westerberg
I don’t know… It’s certainly not an album of felicity… I try to live within that line between despondency and hope. I’m suited to walk that line, right between the fire … I see [the album] right straight down the middle of the line, really.
~Bob Dylan to Robert Hilburn in 1997
“My recollection of that record is that it was a struggle. A struggle every inch of the way. Ask Daniel Lanois, who was trying to produce the songs. Ask anyone involved in it. They all would say the same. I didn’t trust the touring band I had at the time to do a good job in the studio, and so I hired these outside guys. But with me not knowing them, and them not knowing the music, things kept on taking unexpected turns. Repeatedly, I’d find myself compromising on this to get to mat. As a result, though it held together as a collection of songs, that album sounds to me a little off.
~Bob Dylan (Press conference 2001)