| | Scott McClatchy Redemption CD Scott McClatchy Discography of CDs
As the onetime singer/songwriter/guitarist for Philadelphia's The Stand, McClatchy guided The Stand through a successful run that included being named Best Unsigned Band by both East Coast Rocker & WMMR Radio. McClatchy’s music blurs the lines between all styles of American music. Rock, folk and country are all touchstones of his song writing. McClatchy and his band have worked nationally with acts as varied as Steve Earle, John Hiatt, Confederate Railroad, The BoDeans and Little Steven. McClatchy also performed acoustically with folks like T-Bone Burnette and Corey Glover (Living Colour). McClatchy left his native Philadelphia for New York City to join forces with Scott Kempner and Manny Caiati of The Del Lords. In 2000, McClatchy and Kempner paired up as artist and producer on McClatchy's debut CD: “Blue Moon Revisited”. With follow up CDs; “Redemption” & “Burn This.” And soon to be released, "A Dark Rage"McClatchy has also toured extensively since the last CD. He has traveled as guitar player for Dion ["Runaround Sue"] and with Dave [The Brandos] Kincaid’s “The Irish Volunteer” show. Scott has also played guitar and bass with the Nashville genius, Tommy Womack. Three of Scott's songs can be heard on the soundtrack of the independent film, God, Sex & Apple Pie, which won the Award For Best Picture at the 30th Parallel Film Festival. And he also has produced CD’s for these other NYC artists: Meghan Cary, Hillary Epstein & Simone Reyes.Country Standard Time (USA) reviews “Blue Moon Revisited”McClatchy takes the classic roots rock forefather like CCR, The Rolling Stone and early Rod Stewart and couples them with the energy of a runaway steam engine. But it’s mainly McClatchy’s own style that makes the deepest impression. There is a definite rock and roll heart inside Scott McClatchy, but he tempers it with enough honky tonk to please both the country and the rock audiences. Miles of Music reviews McClatchy's "Redemption":Scott McClatchy melds a rustic twanginess with a blue-collar sensibility. McClatchy displays a gift for dealing with weighty issues without being heavy-handed. He weaves a Byrdsian guitar line through the title track, a song in which he questions sin and redemption. "My Family's Land" and "Goodnight Bobby", meanwhile, are two moving story-songs chronicling hardscrabble, rural American life. Rootstown (Belgium) reviews “Burn This”Scott McClatchy was the largest surprise of the last few years. The expectations were thus very high when we heard that he a new cd on the way. The previous albums "Blue Moon Revisited" and "Redemption" were excellent and with his newest "Burn This" it is no different. This new lively cd goes further where "Redemption" stopped (2002), like the best work of Peter Case, John Hiatt, John Mellencamp and the later Springsteen. "Burn This" is sharp, after ten listens, I find that the music becomes better, and that the cd is in fact considerably addictive. Scott McClatchy Redemption Songs | 1. | Radio |
| 2. | I'll Follow You |
| 3. | Come Sunrise |
| 4. | The Weight |
| 5. | The Reason |
| 6. | The Legend |
| 7. | Redemption |
| 8. | Late Night Rodeo |
| 9. | Goodnight Bobby |
| 10. | My Family's Land |
| 11. | Original Sin |
| Redemption Review
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Purchase Redemption CD To buy, Click on price to add to cart | Trans-Siberian Orchestra Night Castle CDs (2009)
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| | Michael Buble Crazy Love CD (2009)
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$14.49 Photographer: Ben Watts. Buoyed by the popularity of the hit contemporary pop ballad "Home," singer Michael Bublé's 2005 album, IT'S TIME, clearly positioned the vocalist as the preeminent neo-crooner of his generation. Easily the singer's most stylistically wide-ranging album so far, 2009's CRAZY LOVE is also one of his brightest, poppiest, and most fun. Bublé kicks things off with the theatrical, epic ballad "Cry Me a River" and proceeds to milk the tune with burnished breath, eking out the drama line by line. It's over the top for sure, but Bublé takes you to the edge of the cliff, prepares to jump, and then gives you a knowing wink that says, not quite yet -- there's more fun to be had. And what fun it is with Bublé swinging through "All of ...
| | Bob Dylan Christmas In The Heart CD (2009)
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| | Lou Reed Blue Mask CD (1982)
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$6.79 Personnel: Lou Reed (vocals, guitar); Robert Quine (guitar); Fernando Saunders (bass, background vocals); Doane Perry (drums). Producers: Lou Reed, Sean Fullan. Reissue producers: Paul Williams. Recorded at RCA Studios, New York, New York in October 1981. Includes liner notes by Michael Hill. In 1982, 12 years after he left the Velvet Underground, Lou Reed released The Blue Mask, the first album where he lived up to the potential he displayed in the most groundbreaking of all American rock bands. The Blue Mask was Reed's first album after he overcame a long-standing addiction to alcohol and drugs, and it reveals a renewed focus and dedication to craft -- for the first time in years, Reed had written an entire album's worth of moving, compelling songs, and was performing them with keen skill and genuine emotional commitment. Reed was also playing electric guitar again, and with the edgy genius he summoned up on White Light/White Heat. Just as importantly, he brought Robert Quine on board as his second guitarist, giving Reed a worthy foil who at once brought great musical ideas to the table, and encouraged the bandleader to make the most of his own guitar work. (Reed also got superb support from his rhythm section, bassist extraordinaire Fernando Saunders and ace drummer Doane Perry). As Reed stripped his band back to a muscular two-guitars/bass/drums format, he also shed the faux-decadent "Rock N Roll Animal" persona that had dominated his solo work and wrote clearly and fearlessly of his life, his thoughts, and his fears, performing the songs with supreme authority whether he was playing with quiet subtlety (such as the lovely "My House" or the unnerving "The Gun") or cranked-to-ten fury (the paranoid "Waves of Fear" ...
| | Atlas Sound Logos CD (2009)
Redemption
$11.89 Photographer: Bradford Cox. Bradford Cox was a virtual song machine during the time between Deerhunter's CRYPTOGRAMS and the Atlas Sound's LOGOS, churning out officially released material as well as plenty of songs only available on his blog. Over that span of time, he became a finer and more fluid songwriter, and his music emerged from the experimental fog of his earlier work just enough to give listeners tantalizing glimpses of almost ridiculously catchy songs. LOGOS keeps this push-pull between challenging and charming, yet Cox's second solo album still feels more experimental than Deerhunter, if only because he seems completely unfettered by any kind of rules or concerns about consistency. These songs barely sound like each other, yet they ...
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