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THE SPELL, the seventh release from San Diego's the Black Heart Procession, combines the band's early minimalist tendencies with the rock richness of 2002's AMORE DEL TROPICO. The Procession still wade in dark, melancholic waters, offering up Gothic Americana soundscapes of bleak introspection, but on the aptly named THE SPELL they add inspired songcraft, rock guitars, and pointed lyrical themes--political and otherwise--to their trademark atmospherics. The blend of elements, along with a sense of underlying tension in the playing and song structures, makes THE SPELL one of the band's most consistent and exciting releases.
Recording information: SDRL (2005).
Unknown Contributor Role: David Babbitt.
The Black Heart Procession: Jimmy LaValle, Pall A. Jenkins, Joe Plummer, Matthew Resovich, Tobias Nathaniel.
Personnel: Paul Jenkins (vocals, guitar, lap steel guitar, organ, synthesizer, musical saw); Tobias Nathaniel (guitar, piano, organ, Wurlitzer organ, timpani); Matthew Resovich (lap steel guitar, violin, Wurlitzer organ, synthesizer); Jimmy LaValle (piano, organ).
Alternative Press (p.192) - "Bewitching from front to back, the album groans under the weight of despondent piano lines, high-tension guitar patterns and Jenkin's hypnotic lyrics/vocals -- all of which conspire to lull the listener into some sort of uneasy stasis." CMJ (p.4) - "Pall Jenkins' voice is at its gloomy, Nick Cave-y best as he croons over ominous orchestrations of languid pianos, tense, horror movie strings and keening organs." Mojo (Publisher) (p.106) - 3 stars out of 5 -- "Formerly cryptic, his ghostly wail is now pleasingly direct, whether he's decrying lost love or the state of US politics." Spell Music | List Price | $15.98 (You save $3.03) | | Category | Rock/Pop Albums, Rock CDs | | Label | Touch & Go | | Orig Year | 2006 | | All Time Sales Rank | 27251  | | CD Universe Part number | 7058209 | | Catalog number | 971 | | Discs | 1 | | Release Date | May 09, 2006 | | Studio/Live | Studio | | Mono/Stereo | Stereo | | Personnel | Pall A. Jenkins Joe Plummer Pall Jenkins - vocals, guitar, lap steel guitar, organ, synthesizer, musical saw Tobias Nathaniel - guitar, piano, organ, Wurlitzer organ, timpani Matthew Resovich - lap steel guitar, violin, Wurlitzer organ, synthesizer Jimmy Lavalle - piano, organ
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Black Heart Procession Spell Songs Spell Review
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Purchase Spell CD To buy, Click on price to add to cart | Black Heart Procession 2 CD (1999)
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| | Rodney Crowell Small Worlds: The Crowell Collection 1978-1995 CD (2002)
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$17.79 The most comprehensive career overview to date of the solo recordings of the former Emmylou Harris Hot Band guitarist and songwriter. "Small Worlds" features his US country top 40 hits, including five consecutive #1's from his breakthrough album "Diamonds & Dirt". Tracks come from his years on Warner Brothers and Columbia and include the duet with ex-wife Rosanne Cash "It's Such A Small World", "She's Crazy For Leavin", "I Couldn't Leave You If I Tried", "After All This Time" and "Above And Beyond". Also includes his classics "Leavin Louisisana In The Broad Daylight", "Til I Gain Control Again" and "I Ain't Livin Long Like This". Over 77 minutes of music with a 16 page color booklet with detailed liner notes.
Small Worlds: The Crowell Collection 1978-1995 epitomizes why Rodney Crowell is a perfect example of the "new" country, a combination of styles creating slick pop music that would have had a tougher time in the '60s garnering the country & western play many of these songs achieved. There are lots of names lending their talents on these 21 tracks: Vince Gill, Dr. John, Emmylou Harris, Nicolette Larson, Booker T. Jones, Hal Blaine, and Russ Kunkel, among many others. "Let the Picture Paint Itself" borrows more from Elton John/Bernie Taupin's "Country Comforts" than it does from Jeannie C. Riley's "Harper Valley P.T.A.," though you can hear nicks of both melodies in this song, which is very different from both those tunes, and Roy Orbison lives again on Crowell's duet with former wife Rosanne Cash on the title track, "It's Such a Small World," as well as on "I Couldn't Leave You if I Tried" and "If Looks Could Kill." "If Looks Could Kill" is certainly not the song by Heart, but when Crowell references the Beatles and quotes their lyrics in "Lovin' All Night," one has to consider if the inspiration is coming from the land of Hank Williams or the realm where the sisters Wilson ruled. These influences seem to be co-writing with Rodney Crowell when he reads a brilliant lyric like, "What kind of love hears you when you pray?" in "What Kind of Love," composed by Crowell with Will Jennings and Roy Orbison, additional voices courtesy of Linda Ronstadt and Don Henley. Emulating Orbison by having his voice go into that texture is a tribute to his hero indeed, and very present on this "first multi-label career overview." Tracks were culled from releases on Warner Bros., Columbia, and MCA, making ...
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$9.29 One could argue that John Entwistle's instrumental prowess on the bass and mordant lyrical humor in tunes like "Boris the Spider" and "Whiskey Man" had nearly as strong an impact on the Who's early work as Pete Townshend's input, but both men's work grew and changed significantly with the passing of time. While Townshend was always determined to remain on the cutting edge of what mattered in rock, Entwistle evolved from the cool guy who never moved on-stage to the cheesy old geezer in the tight polyester pants who never moved on-stage, and in the 1980s his solo work reflected less of the witty hard rock that dominated Mad Dog or Whistle Rymes and more of the hard rock bombast that was filling arenas in America. After the disappointing commercial reception of his 1981 solo effort, Too Late the Hero, and his difficulties scoring a record deal after the Who broke up, Entwistle was determined to make an album that would sell beyond his cult following, and The Rock not only didn't sound like a typical Entwistle album, he didn't even sing on it (believing his voice was part of what put folks off) and wrote only four of its 11 tracks. Elsewhere, former Prism vocalist Henry Small co-wrote the other seven tunes (primarily with guitarist Devin Powers) and took over lead vocals, with Gene Block also handling guitar, Zak Starkey playing drums, and Adrien Cook on keyboards. Ultimately, the results resemble Tesla, Extreme, or other bands on the (relatively) more intelligent side of the 1980s hair metal scene than anything the ostensive leader did with the Who. There's no questioning the technical skill of the performances -- this band sounds tight and expert throughout, and Entwistle and Starkey are a mighty rhythm section -- but most of Small's songs are a mass of clichés and the guitar and keyboard figures firmly date this album as a product of the mid-'80s (it was recorded in 1986, but legal issues with Entwistle's record company kept The Rock on the shelf for ten years). You can't blame Entwistle for wanting his solo work to appeal to an audience as much as the Who's music has, but The Rock trades his more distinctive work for faceless cookie-cutter hard rock, and there's no denying he could do better. ~ Mark Deming
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