| | Edie Brickell Ghost Of A Dog CD Edie Brickell Discography of CDs
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Folk-rockers Edie Brickell & New Bohemians returned in 1990 with Ghost of a Dog, the follow-up to their extremely successful debut, Shooting Rubberbands at the Stars. Once again, the musicianship and instrumentation are supremely appropriate, right down to the guest accordion licks that set the playful mood for "Carmelito." Top that with thoughtful, thought-provoking lyrics and memorable melodies and you have a great second record on the New Bos resume. Brickell has a way with phrases unlike most other songwriters. She finds the similarity in differences and uses it to her advantage, spinning webs with words entangled in unique rhymes and patterns. The opening lines are a perfect example: "If a child lives with money, he learns to spend his time/If a child lives with crazy, he goes out of his mind." This record is full of such cleverness. And as bouncy and whimsical as some of the songs are, such as "Woyaho," "Oak Cliff Bra," and "Carmelito," things get downright poignant, if not serious, on "He Said," "10,000 Angels," and "This Eye." However exquisite Brickell is as a songwriter and vocalist, enough can't be said of the guys who support her musically. Kenny Withrow, Wes Burt-Martin, Brad Houser, John Bush, and Matt Chamberlain are wonderfully creative musicians, and the cohesiveness of their sound is exciting to hear. These guys know what it means to play together, each giving his all without stepping on anyone's toes. Ghost of a Dog is definitely a record to own if you love the music that came out of the early '90s folk-rock scene. Along with the efforts of bands like 10,000 Maniacs, it stands the test of time and can be enjoyed over the years. But, sadly, it marks the second and last release from this band. ~ Kelly McCartneyRolling Stone (11/29/90) - 3.5 Stars - Very Good - "...have tossed aside the carefully produced sounds of the past for a rawer, looser rock & roll sound."
Stereo Review (3/91) - "...solid music: no fake emotions, no filler, nothing but real lives channeled into song--as it should be."
New York Times (Publisher) (12/2/90) - "...the prototypical dormitory rocker" Edie Brickell Ghost Of A Dog Songs | 1. | Mama Help Me | $0.99 | |
| 2. | Black and Blue | $0.99 | |
| 3. | Carmelito | $0.99 | |
| 4. | He Said | $0.99 | |
| 5. | Times Like This | $0.99 | |
| 6. | 10,000 Angels | $0.99 | |
| 7. | Ghost of a Dog | $0.99 | |
| 8. | Strings of Love | $0.99 | |
| 9. | Woyaho | $0.99 | |
| 10. | Oak Cliff Bra | $0.99 | |
| 11. | Stwisted | $0.99 | |
| 12. | This Eye | $0.99 | |
| 13. | Forgiven | $0.99 | |
| 14. | Me by the Sea | $0.99 | |
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Ghost Of A Dog Review
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Live Recording
ZZ Top: Billy Gibbons (vocals, guitar); Dusty Hill (vocals, bass); Frank Beard (drums).
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Alphaville: Marian Gold, Bernhard Lloyd, Ricky Echolette.
Additional personnel: Janey Klimek (vocals); Phil Palmer, Jimmy Ripp, Gustl Luetjens (guitar); Phil Todd (saxophone); Guy Barker, Stuart Brooks (trumpet); Neil Sidwell (trombone); Dave Lebold, Wolfgang Loos, Robin Smith, Peter Walsh (keyboards); Andy Brown, Carmine Rojas (bass); Alan Childs, Bob Jenkins, Roger Linn (drums); Turhan Geza, Jimmy Maelen, Frank Ricotti (percussion).
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Vinyl LP version also available directly from the label at www.whatmusic.comDespite the prevalence of scores of great improvising musicians in Brazil in the 1960s, few chose to play jazz. Most were caught up in the national fervour that was bossa nova and with so many great new tunes being written by the new young composers, there was little room for more than a nod towards straight ahead american jazz. Every rule has its exception, of course, and instrumentalists such as Paulo Moura and Edison Machado recorded brazilian jazz - jazz that just happened to come from Brazil. Another such artist was the trumpeter Julio 'Julinho' Barbosa who was part of a group of young players who would break from the norm of playing for dancing and jam their own forms of jazz at late night bars in Rio, São Paulo and other cities across Brazil. The fact that the public wasn't really there for this jazz left some of the musicians bitter (witness the liner notes to Paulo Moura Hepteto's 'Fibra' - also out on whatmusic.com), chastising their own countrymen without recognising that by the late 60s jazz had retreated to small niches all over the world and that pop and rock music had truly taken over. More evidence, if it were needed, is that at the end of the single day that Julio Barbosa had to record this album, he left for Europe, never to return to live in Brazil.Whatmusic.com tracked the man down and put a few questions to him.Where we you born, Julio?Nova Friburgo, which is a city in the state of Rio de Janeiro What were your first steps towards becoming a musician?I started when I was 14 years old in the school band in the city where I lived, Teresópolis. After that I left to join the army so that I could be part of the military band, and quite soon after I went down to Rio to play with some of the dance orchestras that existed at that time. From your playing you seem to be very influenced by improvised music and by jazz in particular. Who were your main influences?My earliest influences were Miles Davis and Dizzy Gillespie. I also listened to a lot of Duke Ellington, Stan Kenton and Bill Evans. In terms of Brazil, I drew inspiration from my own music and playing.When did you start leading your own group?That would have been at the end of the 50s into the early 60s. What were you seeking with your own band in terms of musical style and also in the musicians you chose to work with?The first group was called Grupo Sete de Ouros, the '7 of diamonds', and I had ...
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