Lenny Kravitz - It Is Time For A Love Revolution CD

It Is Time For A Love Revolution songs Those who find the pairing of '70s rock god Robert Plant with contemporary bluegrass queen Alison Krauss unlikely have probably not been paying attention to Plant's latter-day work, which is full of intimate, acoustic-flavored balladry. While the organic-sounding, low-key Plant/Krauss collaboration, RAISING SAND, is a far cry from Led Zeppelin's stadium rock, it offers up some hauntingly moody textures that should appeal to "Battle of Evermore" admirers. Consisting mostly of sagely chosen cover tunes, the album finds Plant and Krauss bringing their warm-but-eerie harmonies to everything from Townes Van Zandt's nihilistic folk poetry ("Nothin'") to the crumbled beauty of latter-day Tom Waits ("Trampled Rose"). Determined not to rest on their laurels or cater to expectations, the 59-year-old icon and his junior partner craft a subtle and intriguing sound built on their shared love of folk forms and gift for interpretation, bringing to light esoteric gems by late Byrds visionary Gene ...

It Is Time For A Love Revolution CD music Before anyone had heard a track from WAR PAINT, the Black Crowes' seventh studio outing, it had already kicked up a PR firestorm. Either by deciding to forego listening to it or by obtaining a leaked download, Maxim Magazine panned the record before they even had an official promotional copy. These aging neo-hippies found themselves as unlikely defenders of the teetering music industry by publicly defaming Maxim and demanding an apology. They got it. Maxim ate, er, crow. Having taken shots since their debut record for their unabashed derivative revivalism, the Crowes seem to be a band that functions best when beleaguered. Fortunately, WAR PAINT is worth the tussle. After a decade-plus on the jam band circuit, the Robinson brothers return to form, gleefully ripping off the Rolling Stones. The lead-off track, "Goodbye Daughters of the Revolution," with its swinging beat and raunchy slide--courtesy of Mississippi All-Star and new Crowe Luther Dickinson--recalls "Let it Bleed." "Oh, Josephine" echoes the weary, processed guitar tones of "Waiting On a Friend." They even ape the Stones aping Gram Parsons on the beautiful, country-tinged number "Locust Street." WAR PAINT occasionally finds the band stretching out into a looser, more natural vibe, as on "Whoa Mule," the closer, augmented by elements of freak-folk and reportedly recorded outside the band's Catskills studio. All told, this is the band's best album since THE SOUTHERN HARMONY AND MUSICAL COMPANION. Illustrator: Joshua Marc Levy. Photographer: Matthew Mendenhall. The Black Crowes: Chris Robinson, Steve Gorman, Sven Pipien, Adam MacDougall, Luther Dickenson, Rich Robinson. Audio Mixer: Paul Stacey.

It Is Time For A Love Revolution buy CD music Reportedly recorded on a solar-powered 8-track reel-to-reel, the songs--which, as he explains in the liner notes, concern "making babies...and raising them"--intimately reveal Johnson's newfound family bliss. He brings to the studio his touring band of drummer Adam Topol, bassist Merlo Podlewski, and keyboardist Zach Gill, who adds piano trills reminiscent of those in Nick Drake's "Pink Moon." A laidback Cali quality brims throughout cuts such as the title track and "Hope," as producer Robert Carranza keeps the sounds present but never overbearing. If James Taylor was the face of '70s soft rock, then pro-surfer-turned-multi-platinum singer-songwriter Jack Johnson is surely his millennial counterpart: an easy-on-the-ears commercial juggernaut that the critics dismiss with undisguised and somewhat unjustified bile. Johnson's response to his detractors is to dig in, and with SLEEP THROUGH THE STATIC, his fifth--and best--set of soulfully mellow but emphatically hooky jams, he does just that. Personnel: Jack Johnson (vocals, guitar); Zach Gill (vocals, keyboards); Trent Johnson (acoustic guitar); Merlo Podlewski (bass guitar); Adam Topol (drums); J.P. Plunier (hand claps, background vocals); Emmett Malloy, Josh Arroyo (hand claps); Danny Riley (background vocals).

It Is Time For A Love Revolution album for sale More than 14 years after her lauded debut, Tuesday NIGHT MUSIC CLUB, Sheryl Crow reunited with that breakthrough album's producer, Bill Bottrell, for her 2008 outing, DETOURS. While both records are accomplished and willfully dynamic, DETOURS is the sound of someone who's been through a real emotional wringer, and, indeed, Crow had, having battled breast cancer, split from beau Lance Armstrong, and adopted a baby all shortly before these studio sessions. The resulting tracks play to Crow's strengths as both a singer and a songwriter--while the spare, lo-fi opener, "God Bless This Mess," and the achingly tender closer, "Lullaby for Wyatt," highlight her emotive, slightly sandpaper-y vocals, the jangly "Love Is Free" and the sweeping "Love Is All There Is" are catchy, top-notch pop tunes. Making some stylistic DETOURS (witness the Middle-Eastern-tinged, Madonna-like "Peace Be Upon Us"), Crow also uses this collection to get topical, not only on some of the above-mentioned songs, but on the funky, petrol-addled narrative "Gasoline" and the beat-driven missive "Out of Our Heads." Both fiery and thoughtful, DETOURS nods back to the eclecticism of MUSIC CLUB, but it also points promisingly to Crow's continued relevance as a pop fixture. Recording information: 2 Seas Records, Bahrain; Glenwood Place Studios, Burbank, CA; Odditorium Recorders, CA; Sage And Sound Studios, Hollywood, CA; The Hit Farm, Nashville, TN; The Pass Studios, Los Angeles, CA. Photographer: Norman Jean Roy. Personnel: Sheryl Crow (vocals, acoustic guitar, accordion, piano, organ, hand claps); Sheryl Crow (bass instrument); Bill Bottrell (vocals, acoustic guitar, electric guitar, pipe, organ, Wurlitzer organ, Mellotron, synthesizer, bass synthesizer, marimba, acoustic bass, drums, percussion, drum programming); Jeremy Stacey (vocals, piano, drums, kalimba, timbales); Rosanna Arquette, Marva Soogrim, Ben Harper (vocals); Mike Elizondo (acoustic guitar, synthesizer, drums, drum programming, sampler); Doyle Bramhall II (electric guitar); Ahmed AlHirmi (oud); Matt Butler (cello); Greg d'Augenlli (brass); Brian Macleod (drums, percussion, drum programming, sampler); Jeff Trott (vocals, guitar, acoustic guitar, electric guitar, slide guitar). Audio Mixer: Bill Bottrell.

It Is Time For A Love Revolution CD music Given the dismal track record of supergroups in general and the well-known personal difficulties of Velvet Revolver's frontman in particular, many listeners assumed that 2004's CONTRABAND would be a one-off experiment. However, the album was commercially and artistically successful enough that the core trio of Scott Weiland, Slash, and Duff McKagan stuck together to create the even better follow-up, LIBERTAD. Where CONTRABAND sounded, logically enough, like a mash-up of Stone Temple Pilots' alterna-rock angst and Guns N Roses' Rolling Stones-derived hard-rock swagger, LIBERTAD sounds much more like the work of a cohesive band with a singular vision. There are many elements of 1970s arena rock on LIBERTAD, not least in the respectful cover of the Electric Light Orchestra's "Can't Get It Out Of My Head," whose power-ballad charms are echoed in the originals "The Last Fight" and "Gravedancer." Elsewhere, speedy, punky tracks like "She Builds Quick Machines" and "Let It Roll" underscore McKagan and Weiland's roots in the Seattle underground of the 1980s prior to their later mainstream success. "Get Out the Door" showcase's Slash's still considerable chops. "The feel and energy of Libertad informs the eternal struggle for freedom -- individual, political and social freedom." So says Velvet Revolver's frontman Scott Weiland in describing the band's forthcoming album. Produced by Brendan O'Brien, Libertad is the follow-up to Contraband, VR's debut album, released in June 2004, which earned three million in sales worldwide, debuted on the Billboard Top 200 Album Chart at #1 and was awarded a Grammy for the lead track, "Slither." 1st single: She Builds Quick Machines. Recording information: Henson Recording Studios, Hollywood, CA. Illustrator: Geoff Hansen. Photographers: Michael Muller; Jack Delano . Personnel: Dave Kushner, Slash (guitar); Matt Sorum (drums). Audio Mixer: Brendan O'Brien .

It Is Time For A Love Revolution buy CD music In the lyrics of "California," Lenny Kravitz tells the tale of a girl he met as a youth, who played him recordings of "Who, Zeppelin, Beatles, Kiss, and the Rolling Stones." If Prince, Hendrix, and a few 1970s one-hit wonders had been added to the list, this might have been a tidy description of the sounds emanating from BAPTISM. Of course, Kravitz has always been much more than the sum of his influences. By taking the sound, energy, and attitude of classic rock and combining it with just the right dose of 21st-century urban music, the one-man band pays homage to pop history while creating something of his own. Here, he's unusually reflective and self-referential, repeatedly returning to themes of loneliness, dissatisfaction, and uncertainty about his life choices. Of course, this is no somber folk album, so fans can be assured that each track on BAPTISM rocks in Kravitz's trademark spare, blazing, guitar-driven style. Audio Mixers: Lenny Kravitz; Henry Hirsch. Recording information: Circle House Studios; Edison Studios; Roxie Studios. Photographer: Mark Seliger. Arranger: Lenny Kravitz. Personnel includes: Lenny Kravitz (vocals, guitar, bass, drums). Personnel: Lenny Kravitz (vocals, acoustic guitar, electric guitar, piano, Mellotron, synthesizer, Moog synthesizer, drums, timpani, wood block, hand claps); Lenny Kravitz (bass instrument); Henry Hirsch (piano, bass instrument, drums); David Whyko, Norma Rodgers, Uncle Bruce, Uncle Craig, Tyra Alston, Uncle Hans, Denine LaBat (hand claps); Tawatha Agee (background vocals); Jay-Z (rap vocals); Craig Ross (guitar, electric guitar, piano, drums, tambourine); David Sanborn (saxophone); David Baron (baritone saxophone).