| | Hot Club CD - Import
Hot Club Review
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Purchase Hot Club CD To buy, Click on price to add to cart | Pink Martini Splendor In The Grass CD (2009) Digipak
Hot Club album
$13.39 Pink Martini follow the around-the-world-in-a-dozen-songs thrills of HEY EUGENE! with SPLENDOR IN THE GRASS, a mellower, simpler set of small pleasures. These are relative terms, however; the group's music is still well-traveled, with China Forbes singing in five languages (English, Spanish, Neapolitan, French, and Italian) instead of the six or so on EUGENE!. However, Pink Martini opt for a more unified sound here, one that draws on the more straightforward lounge-pop of their debut, SYMPATHIQUE, and the mellowness of '60s and '70s pop. SPLENDOR IN THE GRASS' first half is especially smooth, opening with the beautifully soft Neapolitan ballad "Ninna Nanna" and the title track, on which Forbes sings "I think we should ...
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| | Buju Banton Til Shiloh... CD (1995) Bonus Tracks; Remastered
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$10.45 It was not pure ego that led Buju Banton to title his 1993 album VOICE OF JAMAICA; his unique voice is a gruff, melodic instrument, and his lyrics are precise. He built his career on controversial hits and slacker anthems, but has since helped spearhead a movement to swing reggae's pendulum away from sex and violence, back towards conscious lyrics and Rastafarian themes. On `TIL SHILOH, the voice of Jamaica has visibly evolved.
Still, don't let all this consciousness talk scare you; Buju's strength is his ability to create hooks that buoy the weight of his words. The choruses of singles like "Murderer," "I Wanna Be Loved" and "Champion" drill themselves into your head and nest there for days. 'TIL SHILOH is also one of the most experimental dancehall releases ever, utilizing an a capella intro, a track built out of African chanting and percussion ("'Til I'm Laid To Rest"), and a song featuring an acoustic guitar ("Untold Stories"). ...
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| | Ry Cooder Chavez Ravine CD (2005)
Hot Club CD music
$17.89 With help from musicians associated with the era and location (including Don Tosti, Lalo Guerrero, and Thee Midnighters' Little Willie G.) and studio musicians Jim Keltner, Jon Hassell, and legendary Tex-Mex accordionist Flaco Jimenez, Cooder has created a musical novel that richly celebrates the music, life, and lingering mythos of Chavez Ravine, an L.A. neighborhood razed by the city in the interest of big business (namely to build a stadium for the soon-to-be L.A. Dodgers). Stylistically, the album, performed in both Spanish and English, encompasses Latin ...
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| | Melvin Van Peebles What The... You Mean I Can't Sing? CD (1974)
Hot Club album
$13.79 Almost 30 years after the fact, the Water Records reissue of Melvin Van Peebles' What The....You Mean I Can't Sing?, originally issued by Atlantic, is a breath of fresh air. Forget all that blaxploitation jive (the way this record gets labeled in the revisionist 21st century), a categorization white people use to make themselves feel better about something they can't understand or explain. There isn't anything kitschy about What The....You Mean I Can't Sing?. It's hilarious in places, but those parts are intentional. Van Peebles' record, his first on which he sang rather than spoke, is as essential to listen to as Sly Stone's There's a Riot Goin' On. It was meant to be popular art that never got popular. Recorded at the height of Watergate madness, it is a deeply musical, funky masterpiece of rage, righteous indignation, and soulful killer grooves. Van Peebles has no less a voice than Bob Dylan or Leonard Cohen, and it can be argued that on tracks such as "A Birth Certificate Ain't Nothin' but a Death Warrant Anyway," "Save the Watergate 500" ("If the Lord's eye is on the sparrow/What's wrong with Big Brother watchin' you?"), and "Come On Write Me" ("I've been cool all that I can stand/I don't wanna be, hee hee/Who gives a damn? No more...."), he gets into the gut and gets what's in the lyric across. That's what a singer is supposed to do, right? Interpret the material. And Van Peebles, with a requisite sense of prophecy, humor, and an uncanny historical accuracy, gets down and does it. There are two sets of liner notes in the Water reissue set, one by Chicago critic Mitch Myers and one by Van Peebles himself where he tells it as he sees it on this album itself. There is only one problem with this amazing, wooly, greasy, funky record: there are no musician credits. Normally this might not be a problem on a little-known reissue, but the grooves and riffs here are so gritty, in the pocket, and sweaty that it would be nice to know who made them. This is urban music about race and class that pulls no punches and gives nothing away for free. Highly recommended. ~ Thom Jurek
Film producer/director Melvin Van Peebles invented the blaxploitation film genre with his 1970 film "Sweet Sweetback's Baad Asssss Song." He's also known for writing several novels and screenplays throughout the '70s and acting in many films. As a major
Recorded at Soundtrek Studios, New York, New York. Originally ...
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