Various - Eric Clapton's Crossroads Guitar Festival 2019 [2CD] (2019)

Track listing DVD/Blue-ray

Disc 1

1.  Native Stepson – Sonny Landreth

2.  Wonderful Tonight – Eric Clapton, Andy Fairweather Low

3.  Lay Down Sally – Eric Clapton, Andy Fairweather Low

4.  Million Miles – Bonnie Raitt, Keb’ Mo’, Alan Darby

5.  Son's Gonna Rise – Citizen Cope, Gary Clark Jr.

6.  Lait / De Ushuaia A La Quiaca – Gustavo Santaolalla

7.  I Wanna Be Your Dog – Doyle Bramhall II, Susan Tedeschi, Derek Trucks

8.  That's How Strong My Love Is – Doyle Bramhall II, Susan Tedeschi, Derek Trucks

9.  Going Going Gone – Doyle Bramhall II, Susan Tedeschi, Derek Trucks

10.  Lift Off – Tom Misch

11.  Cognac – Buddy Guy, Jonny Lang

12.  Everything Is Broken – Sheryl Crow, Bonnie Raitt

13.  Every Day Is a Winding Road – Sheryl Crow, James Bay

14.  Retrato – Daniel Santiago, Pedro Martins

15.  B-Side – Kurt Rosenwinkel, Pedro Martins

16.  Baby, Please Come Home – Jimmie Vaughan, Bonnie Raitt

17.  I Shiver – Robert Cray

18.  How Long – The Marcus King Band

19.  Goodbye Carolina – The Marcus King Band

20.  While My Guitar Gently Weeps – Eric Clapton, Peter Frampton

21.  Space for the Papa – Jeff Beck

22.  Big Block – Jeff Beck

23.  Caroline, No – Jeff Beck

Disc 2

1.  Cut Em Loose – Robert Randolph

2.  Hold Back the River – James Bay

3.  When We Were on Fire – James Bay

4.  Mas y Mas – Los Lobos

5.  Am I Wrong? – Keb' Mo'

6.  Slow Dancing in a Burning Room – John Mayer

7.  How Blue Can You Get? – Susan Tedeschi, Derek Trucks

8.  Shame – Susan Tedeschi, Derek Trucks

9.  Is Your Love Big Enough? – Lianne La Havas

10.  I Say a Little Prayer – Lianne La Havas

11.  Feed the Babies – Gary Clark Jr.

12.  I Got My Eyes on You (Locked & Loaded) – Gary Clark Jr.

13.  Pearl Cadillac – Gary Clark Jr.

14.  Tonight the Bottle Let Me Down – Vince Gill, Albert Lee, Jerry Douglas

15.  Tulsa Time – Vince Gill, Albert Lee, Jerry Douglas, Bradley Walker

16.  Drifting Too Far From the Shore – Vince Gill, Albert Lee, Jerry Douglas, Bradley Walker

17.  Badge – Eric Clapton

18.  Layla – Eric Clapton, John Mayer, Doyle Bramhall II

19.  Purple Rain – Eric Clapton, Ensemble

20.  High Time We Went – Eric Clapton, Ensemble

Companies, etc.

• Phonographic Copyright ℗ – Crossroads Concerts L.L.C.
• Copyright © – Crossroads Concerts L.L.C.
• Manufactured For – Rhino Entertainment Company
• Marketed By – Rhino Entertainment Company
• Mastered At – Gateway Mastering
• Glass Mastered At – Sonopress – 57534288
• Glass Mastered At – Sonopress – 57535559
• Glass Mastered At – Sonopress – 57534291
• Glass Mastered At – Sonopress – 57535561

Credits

• A&R [Rhino Supervision] – Steve Woolard
• Art Direction [Supervision] – Lisa Glines
• Art Direction, Design [Package] – Fred Davis
• Artwork – John "Crash" Matos
• Backing Vocals – Katie Kissoon, Sharon White 
• Bass Guitar – Nathan East
• Drums – Sonny Emory, Steve Gadd
• Engineer [Additional] – Alan Douglas, Jacob Dennis, Joel Evendon
• Executive-Producer [Festival)] – Hannah Charlesworth, Jaqui Lang, Peter Jackson
• Executive-Producer [Festival)], Executive-Producer [Film] – Michael Eaton
• Film Director – Martyn Atkins
• Film Producer – James S. Pluta
• Guitar, Vocals – Doyle Bramhall II
• Guitar, Vocals, Producer [Festival Artistic Producer] – Eric Clapton
• Keyboards – Chris Stainton
• Keyboards, Vocals – Paul Carrack
• Legal – Joel H. Weinstein
• Legal, Executive-Producer [Film] – Martin Dacre
• Mastered By – Bob Ludwig
• Producer [Festival Artistic Producer] – Scooter Weintraub
• Producer [Post Audio Blu-ray DVD] – David May
• Producer, Mixed By, Producer [Festival Artistic Producer] – Simon Climie
• Product Manager – Crystal Murphy, Mike Engstrom
• Project Manager [Assistance] – Audrey Simon, John Srebalus, Julie Temkin, Kent Liu, Matthew Taoatao, Nader Tadros, Sheryl Farber, Susanne Savage

Notes

Release:  Nov 20, 2020

2 x Blu-ray, Digipak

Genre:  Blues Rock, Chicago Blues, Country Blues, Electric Blues, Modern Electric Blues, Texas Blues

Length:  3:44:09

Label - Reprise Records

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Cor - Cor (1980)

Cor is a Germany ultra rare Private Kraut Rock, Prog,Symphonic band.

This is their selftitled album and the only album they released.

A1.  You Can Do What You Want - 5:15

A2.  Run Away - 4:07

A3.  Cream Cheese - 10:45

B1.  Listen - 6:04

B2.  Konrad - 6:36

B3.  Come On - 5:20

Label - EGE Sound Studio

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Brigitte Bardot - Brigitte Bardot (2000)

Brigitte Anne-Marie Bardot; born 28 September 1934), often referred to by her initials B.B., is a French animal rights activist and former actress and singer. Famous for portraying sexually emancipated personae with hedonistic lifestyles, she was one of the best known sex symbols of the late 1950s and 1960s. Although she withdrew from the entertainment industry in 1973, she remains a major popular culture icon.Born and raised in Paris, Bardot was an aspiring ballerina in her early life. She started her acting career in 1952. She achieved international recognition in 1957 for her role in And God Created Woman (1956), and also caught the attention of French intellectuals. She was the subject of Simone de Beauvoir's 1959 essay The Lolita Syndrome, which described her as a "locomotive of women's history" and built upon existentialist themes to declare her the first and most liberated woman of post-war France. Bardot later starred in Jean-Luc Godard's film Le Mépris (1963). For her role in Louis Malle's film Viva Maria! (1965) she was nominated for the BAFTA Award for Best Foreign Actress.Bardot retired from the entertainment industry in 1973. She had acted in 47 films, performed in several musicals and recorded more than 60 songs. She was awarded the Legion of Honour in 1985 but refused to accept it. After retiring, she became an animal rights activist. During the 2000s, she generated controversy by criticizing immigration and Islam in France, and she has been fined five times for inciting racial hatred. She is married to Bernard d'Ormale, a former adviser to Marine Le Pen, France's main far-right political leader. 

Bardot released several albums and singles during the 1960s and 1970s

1.  La Madrague

2.  L'appareil À Sous

3.  Invitango

4.  Noir Et Blanc

5.  Moi Je Joue

6.  Maria Ninguem

7.  Ne Me Laisse Pas L'aimer

8.  Je Manque D'adjectifs

9.  Un Jour Comme Un Autre

10.  Bonnie And Clyde  (Featuring – Serge Gainsbourg)

11.  Bubble Gum

12.  Le Soleil

13.  Harley Davidson

14.  Ce N'est Pas Vrai

15.  Je Reviendrai Toujours Vers Toi

16.  Contact

17.  C'est Une Bossa Nova

18.  Oh! Qu'il Est Vilain

19.  Nue Au Soleil

20.  Tu Veux Ou Tu Veux Pas

21.  La Fille De Paille

Label - Mercury

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Lynx - We Are the People (1979)

Formed in Toronto by highschool friends Mike Swartz and Bob Walker in 1973 after folding the tent on their previous group Black Wheat. 

They recruited Swartz's younger brother Rob as the second guitarist, and with Walker handling bass, they added Rick Haberman on drums - and Lynx was born.

They made their way around the local circuit for the next year or so, while writing material on the side. 

Reviews of the shows were positive and the band's legion of fans steadily grew around the region. 

Steve Taylor, head of Starship Music Productions, caught their show one night and signed a deal with them. Armed with a demo tape they'd recorded at Mercy Brothers Studio in Elmira, Ontario, he landed them a contract with Quality Records in early '76.

While they were at Toronto's Phase One Studios, they augmented their sound by bringing in Tony Caputo on keyboards, a classically trained pianist from the Toronto's Royal Conservatory of Music, and holder of a degree in Music Theory and Performance from Toronto's Humber Music College.

Produced by Bob Morten, the material they were laying down was for the most part a joint writing effort, although Caputo had come on board too late. MISSING LYNX, their debut album was on the store shelves by that summer, and tracks like the lead-off and first single "Dollars," "Best You Ever Had," "Lucifer" and anthemic "Goodbye Educaton, Hello Rock & Roll" captured the band's live essence, and word of the band's raucous and flambouyant show continued to spread. 

They were featured on Global TV Toronto's "Caught In The Act" program that year, but even with constant touring that took them throughout Ontario and beyond, they were finding it tough cracking the program directors' personal playlists.

Caputo noted at that time there were also a lot more choices for the live concert-goers to choose from. "There were so many groups out there back then that we were like a traveling road show from town to town, getting together at obvious spots for gas and food and to warm up," he said.

Following a tour that took them across the country, what had already been years of toiling for the group led to its demise, with everyone going their separate ways. 

The problem though was Quality had a three album contract, and Caputo and Rob Swartz were talked into carrying on under the Lynx banner. They assembled a new lineup that consisted of Norm Paulin as the new singer and bassist, and Ian McCorckle was brought in on drums.

With Morten returning behind the controls, some sessions at Thunder Sound in Toronto culminated in their sophomore release in the spring of '78. In many ways, SNEAK ATTACK picked up where its predecessor left off. 

The first single was "Which Side," and like its follow-up, "I Just Wanna Love You," was rock with a bit of an edge, towering with actual anthemic potential. Other noteable tracks included the slightly eerie aura of "Ain't No Way," "and keys-driven "Better Together." 

But by the time the album was pressed, Paulin moved over to vocals while Daryl Peterson was brought in on bass and Jim Differ was the new drummer. Following a series of dates around Ontario, the band was again on the shelf when neither single made a dent in the charts.

By spring of '79, Caputo put the name under another major overhaul, assembling guitarist Jerry Donnelly, Dan Nowack on drums and bassist Dave McWilliams. They were shipped off to Hollywood with new producers Ed Cobb and James Pike, and WE ARE THE PEOPLE was on the store shelves that fall. 

Unfortunately though, the title track was released as the only single and with a lack of interest from the label, the song went nowhere, and few albums left the stores.

With the band on life support once again, and frustrated with the industry's politics, Caputo pulled the plug on Lynx by the end of the year following a short tour. He tried one last time to resurrect the band a couple of years later, but eventually moved to Chicago, where he played with the likes of Peter Gabriel and Cheap Trick. 

He then began spending much of his time overseas, and was the musical director at Spain's 5-star La Cala Resort for five years. He's also worked with a number of artists in far-off lands, including TNT and 1349, a pair of Norweigan groups that he noted sound eerily familiar.

"I bailed out of the business after the last screwing by Quality Records, I've mostly played in Europe for the last 25 years, where good Canadian rock is appreciated," Caputo laughed. 

He added that although the band caused little ripples at home, it's ironic and still gratifying to have made an impact overseas. "A lot of groups there are crazy about Canadian '70s rock, and knew of Lynx as well as a few others that they modeled a lot of their style after. I was amazed. I think they know more obscure ground-breaking bands than I did."

Track listing

A1.  Don't Look Twice - 4:19 

A2.  Look At Yourself - 4:16 

A3.  Summer School Suzie - 4:20 

A4.  We Are The People - 4:18 

B1.  Mr. Moon - 4:35 

B2.  Carry On - 4:13 

B3.  Better Late Than Never - 3:40 

B4.  Farewell - 3:44 

Companies, etc.

• Manufactured By – Quality Records Limited
• Distributed By – Quality Records Limited
• Mastered At – Sheffield Lab Matrix – △122
• Pressed By – Quality Records Limited
• Recorded At – Producers Workshop
• Mixed At – Producers Workshop
• Mastered At – Producers Workshop

Credits

• Bass [Kramer Bass] – Dave McWilliams
• Design – John Zugec
• Engineer – Richard S. Hart
• Executive-Producer – Ed Cobb, Ray Harris, Steve Taylor
• Keyboards, Vocals – Tony Caputo
• Lead Guitar, Vocals – Jerry Donnelly
• Mastered By – David Baer
• Percussion, Synthesizer [Syndrums] – Dan Nowak 
• Photography By – Sam Scrivano
• Producer – Ed Cobb, James Pike
• Written-By – Darryl Peterson (tracks: B4), Ed Cobb (tracks: A1, A3, B3), Norm Paulin (tracks: A2, B4), Tony Caputo (tracks: A1, A3-B4)

Notes

Released: 1979

Country: Canada

Genre: Rock

Length: 32:56

Label - Quality Records

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Nick Kamen - Move Until We Fly (1990)

Ivor Neville "Nick" Kamen (15 April 1962 – 4 May 2021) was an English male model, songwriter and musician. 

He was best known for the singles "Each Time You Break My Heart" from 1986 and "I Promised Myself" from 1990, as well as for appearing in a 1985 Levi advert.

1990 saw the release of one of his biggest hits. The single "I Promised Myself", from the album Move Until We Fly, reached Number 1 in eight European countries and was the fourth most played record in Europe in 1990. 

The song was later covered by Dead or Alive (1999), A-Teens (2004), Basshunter (2009), and most recently by German punk rockers Maggers United (2013). 

Na het verschijnen van de reclame, waarin het nummer I Heard It Through The Grapevine van Marvin Gaye te horen was, steeg de verkoop van de jeans enorm.

De beelden werden ook gezien door Madonna, die onder de indruk was van Kamens charisma. Ze besloot het door haar geschreven nummer Each Time You Break My Heart, dat haar album True Blue net niet heeft gehaald, door de zanger op te laten nemen. Het lied belandde in de top 10 van de Nederlandse Top 40.

In 1990 scoorde hij wederom een grote hit met I Promised Myself, geproduceerd door Pet Shop Boys-producer Andy Richards.

1.  I Promised Myself - 4:00   

2.  Oh How Happy - 3:43   

3.  Looking Good Driving - 3:52   

4.  Somebody's Arms to Hold Me - 3:52   

5.  Um Um Um Um Um Um - 3:53   

6.  Take Back My Hand Child - 4:50   

7.  We Can Make It - 4:22   

8.  Agony and Ecstacy - 3:58   

9.  You Are - 4:00   

10.  I Want More - 4:33   

11.  Move Until We Fly - 6:40  

12.  Each Time You Break My Heart (Bonus Track) - 4:32

https://ulozto.net/tam/693bf06b-7d42-454c-9c8e-a0ad9be7e40e

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Cuby + The Blizzards - Hotel Grolloo (2000)

Songs van Cuby in een nieuw jasje met bevriende artiesten als gast. Dit alles ter ere van een 35 jarig jubileum van Harry Muskee. Een live opgenomen album zonder publiek.

Een prachtig eerbetoon aan Cuby + the Blizzards door een aantal Nederlandse artiesten, samen met... Cuby + the Blizzards zelf. Ze zetten allemaal hun beste voetje voor en dat is te horen. Het onderste wordt uit de kan gehaald, pure muzikale klasse dit Hotel Grolloo. Een speciale vermelding voor pianist Helmig van der Vegt, die weer prachtig speelt.

Barry Hay brengt samen met C+B een sterke rock versie van Another Day, Another Road. Tineke Schoemaker doet het helemaal niet onverdienstelijk op een prima Appleknockers Flophouse. Eén van de hoogtepunten vind ik Las Minute Flight met Daniël Lohues. Fraaie lange bluessong is dat. C+B die samen met Huub van der Lubbe Er Is Niemand In de Stad, maar dan in het Engels doen, is erg leuk.

Een boogie die echt goed gezongen wordt door Bennie Jolink is Just For Fun. Verderop is Going Home met hem iets minder. Een prachtige versie van Somebody Will Know Someday wordt ook gezongen door Tineke Schoemaker. En zo gaat het maar door. Met ook een fraaie Window of My Eyes gezongen door Huub van der Lubbe & een hele sterke So Many Roads met Daniël Lohues. Een leuk en goed album, met net weer een andere insteek voor al deze geweldige songs.

Vier nieuwe nummers zijn van de hand van Muskee.Opnieuw een nummer over de Indianen in Noord-Amerika, "I’m wandering where the Indians gone". Blues is minderheidsmuziek, ontstaan uit onderdrukking en verzet en daardoor zeer geschikt om de problematiek van de Indianen weer te geven. De bluesmuziek van Harry Muskee kenmerkt zich ook door het aan de kaak stellen van misstanden. In zijn teksten komt hij op voor de kleine man en de verdrukten.

In de jaren zestig koos Harry voor de blues. Ook al heeft de muzikale vorm zich ontwikkeld, in de kern is hij de blues trouw gebleven.

In "Last minute flight" zingt hij dat als je eenmaal een keuze hebt gemaakt, er geen weg terug is. Zo rechtlijnig is Muskee zelf ook. Een ander nummer van de cd is "Once in a lifetime", een liefdesliedje uit 1959, waarin Harry zijn gevoelige kant toont.

Een bluescarrière zonder drank bestaat niet. Ook Harry kent de verleidingen en gevaren van de 'booze'. De strijd, wie de sterkste is. Een terugkerend thema in zijn werk. Zoals in "Liquor blues" op "Hotel Grolloo". 

1.  Another Day, Another Road  (3:57)  met Barry Hay

2.  Appleknockers Flophouse  (3:13)  met Tineke Schoemaker

3.  Last Minute Flight  (8:49)  met Daniël Lohues

4.  Nobody in Town  (4:56)  met Huub van der Lubbe

5.  Just for Fun  (3:44)   met Bennie Jolink

6.  Somebody Will Know Someday  (5:59)  met Tineke Schoemaker

7.  Wondering Where the Indians Have Gone   met Sander Schuurman

8.  Window of My Eyes  (3:41)  met Huub van der Lubbe

9.  Liquor Blues  (4:30)  met Daniël Lohues

10.  Going Home  (4:08)  met Bennie Jolink

11.  So Many Roads  (4:27)  met Daniël Lohues

12.  Once in a Lifetime  (3:53)  met George Kooijmans

CB00c.zip | Uloz.to (ulozto.net)  password: muro

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Tullio De Piscopo - Acqua E Viento (1983)

 Tullio De Piscopo (born 24 February 1946 in Naples, Italy) is an Italian drummer, percussionist and singer. 

De Piscopo was born in Naples. His father was an orchestra percussionist. In 1969 he moved to Turin and two years later he moved to Milan, where he joined the Franco Cerri quintet. 

He later began a successful career as session drummer, playing with many international artists, including Gerry Mulligan, Chet Baker, Stéphane Grappelli, Massimo Urbani, Gil Evans, Slide Hampton, Don Costa, Tony Scott, Ástor Piazzolla, Aldemaro Romero, Gato Barbieri, Eumir Deodato, Mina, Lucio Dalla, Fabrizio De André, Pino Daniele, Manu Chao and others.

Between the 1970s and 1980s, De Piscopo played on several occasions with bassist-arranger Pino Presti, with whom he established one of the top rhythm sessions in the Italian music scene. In 1974 and 1975, he was a member of New Trolls Atomic System.

De Piscopo released his first solo album, Suonando La Batteria Moderna, in 1974. One of his most successful songs is "Andamento lento", which won Festivalbar in 1988. His 1983 single, "Stop Bajon (Primavera)" reached No. 58 in the UK Singles Chart in March 1987. 

His 1985 song "Radio Africa"(written by Lino Nicolosi & Dora Carofiglio was a collaboration with Guinean singer Mory Kanté. 

1.  Stop Bajon [4:26]

2.  I´ Sono ´E Notte [3:50]

3.  Namina [3:04]

4.  Gente Mia [3:59]

5.  Nave ´E Guerra [3:55]

6.  Stadera [5:05]

7.  Chiano, Chiano (Voglia ´E Se ´Ntusseca´) [4:10]

8.  San Domino [2:07]

9.  Silva Mala [4:00]

10.  Cartago [3:35]

11.  Stop Bajon (Club Mix) [7:14]

Label - Bagaria, EMI

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Luther - Luther (1976)

Before his breakthrough, Vandross was part of a singing quintet in the late 70s, consisting former Shades of Jade members Anthony Hinton and Diane Sumler, Theresa V. Reed, and Christine Wiltshire, also called Luther, signed to Cotillion Records. 

Vandross bought back the rights to these albums after the record label dropped the group, preventing their later re-release.

Luther is the debut album by American recording artist group Luther, released in May 1976. The album features Luther Vandross and along with members Anthony Hinton, Diane Sumler, Theresa V. Reed, and Christine Wiltshire.

"It's Good for the Soul", "Funky Music (Is a Part of Me)" and "The 2nd Time Around" were released as singles, but the album failed to chart. Vandross bought back the rights to the album after the record label dropped the group, preventing its later re-release.

The song "The 2nd Time Around" was later re-recorded also titled "The Second Time Around" in the closing track on his 1988 studio album Any Love.

"Funky Music (Is a Part of Me)" was later reworked as "Fascination" by David Bowie on his album Young Americans. 

Tracklist

1.  Funky Music (Is A Part Of Me) - 5:29

2.  The 2nd Time Around - 6:25

3.  I'll Get Along Fine - 4:07

4.  Everybody Rejoice - 3:21

5.  Emotion Eyes - 5:58

6.  This Strange Feeling - 4:44

7.  It's Good For The Soul (Parts I And II) - 8:42

Label - Cotillion

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Birth Of Joy - Get Well (2016)

De heren van Birth Of Joy speelden in 2014 alleen al een verbluffende 172 shows, maar dat record kan in 2016 best wel eens verbroken worden. 

In slechts twaalf dagen namen ze hun nieuwe plaat Get Well op en dat is een heerlijk rockalbum geworden, dat de vraag naar optredens alleen maar kan doen toenemen.

De muziek van Birth Of Joy wordt wel eens omschreven als ‘sixties on steroids’, maar op album Prisoner uit 2014 bewees het powertrio al dat ze veel meer zijn dan dat. 

Aan de vertrouwde bluesrock werden meer stoner- en psychedelische elementen toegevoegd en op de nieuwe plaat zetten zij deze ontwikkeling voort. Op eerste single You Got Me Howling is dat al meteen goed te horen. 

De track begint met een stuwende uptempo riff a la Deep Purples Highway Star, maar gaat dan over in een psychotisch refrein waarin zanger Kevin Stunnenberg jankt als een trippende wolf. Dat sfeertje is overigens fraai uitgebeeld in de video bij het nummer, die wegkijkt als een grote lsd-trip.

Gelukkig hebben ze de jaren zestig invloeden niet helemaal losgelaten en is de nalatenschap van The Doors ook nog steeds aanwezig. Het bluesy Midnight Cruise had zomaar op Morrison Hotel kunnen staan en het sfeervolle achtminuten-durende titelnummer Get Well heeft wel iets weg van The End.

Het gemak waarmee ze op Get Well verschillende stijlen, emoties en tempo’s afwisselen kenmerkt de ontwikkeling van het trio. Het ene moment klinkt het alsof je ronddobbert op een rustgevend riviertje, maar voor je het weet, wordt je meegenomen in een stroomversnelling en stort je van een waterval af – en dat allemaal binnen één nummer. 

Nee, Get Well verveelt geen moment en zwakke nummers zijn er niet op te bekennen. En ondanks de verschillende stijlen en geluiden klinkt het allemaal als een gestroomlijnd geheel. Dat is voor een groot gedeelte te danken aan producer Joris Wolff, die ook op de vorige plaat achter de knoppen zat. 

Hij zorgt voor een vet aangezet geluid met hier en daar goed geplaatste effecten, waardoor je nooit het gevoel hebt dat je maar naar drie instrumenten zit te luisteren.

Inmiddels is ook tweede single Hands Down uit, mét bijbehorende videoclip. Een clip waarin een balletdanseres de hoofdrol speelt. Nu is het opzwepende Hands Down bij uitstek een nummer om op te bewegen, maar pirouettes draaien op een orkaan van gitaar-, drum en orgelnoten zie je niet zo vaak. Birth Of Joy bewijst dat het kan.

Eigenlijk is het sowieso bijna onmogelijk om stil te blijven staan tijdens het beluisteren van het tien nummers tellende album. 

In de meeste gevallen zal een volle zaal of festivalweide echter eerder uitmonden in een enorme moshpit, waar lichamen alle kanten op slingeren, dan in een gecoördineerde choreografie, want Get Well is bovenal gewoon een verdomd goede rock ’n roll-plaat. 

Het soort plaat dat hoop geeft aan een verstokte classic rock-liefhebber als ondergetekende. Misschien was vroeger toch niet alles beter.

1.  Blisters - 3:28 

2.  Meet Me At The Bottom - 4:10 

3.  Choose Sides - 3:34 

4.  Numb - 6:07 

5.  Midnight Cruise - 4:43 

6.  Carabiner - 3:02 

7.  Those Who Are Awake - 4:17 

8.  You Got Me Howling - 3:32 

9.  Get Well - 8:05 

10.  Hands Down - 4:26 

Label - Suburban Records

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Courtney Barnett - Sometimes I Sit And Think, And Sometimes I Just Sit (2015)

A young man adrift ditches work mid-commute... a swimmer passes out trying to impress the person in the next lane... a couple goes house-hunting and ends up peering into the life of a widow: 

These are just a few of the ordinary-extraordinary moments captured on Courtney Barnett's Sometimes I Sit and Think, and Sometimes I Just Sit. And like all moments, they pass, sometimes with event but usually without. Not that event seems to matter either way to Barnett, who shows up in her own songs like a bemused local taking questions from a camera crew that rushed to the scene in hopes of finding someone more interesting. 

"I had goggles on," she notes in the swimmer song ("Aqua Profunda!"). "They were getting foggy/ I much prefer swimming to jogging."

Sit is Barnett's first album, the follow-up to two EPs collected on a Barnettily-titled product called The Double EP: A Sea of Split Peas. Its music is descended from 1990s grunge, descended in turn from '60s garage and psychedelia—the rocks to the balloons of Barnett's thoughts, which blow back and forth above the distorted guitars buoyed by gas we can't actually see. Without her words, the music would sit there; without the music, Barnett would drift away. Half the time, she doesn't even sing, but talks, slipping into melody mid-line as though she just remembered she was playing music.

A young writer with a working sense of humor and no apparent agenda, Barnett seems like a throwback to a simpler time—Simpler Times being less a period in history than a fictional place visited through fairytales, Buddhist anecdotes, and characters like Winnie the Pooh, whose creator, A. A. Milne, is sometimes credited with the line from which Barnett takes her record's name. 

An ease surrounds her music, a looseness: Even at their most clever, her songs glide from line to line and thought to thought, a stray observation about cracks in the walls leading to something about the wrinkles in Barnett's own palm, propelled by rock'n'roll that seems to find itself plenty serviceable but nothing to stop and fuss over. 

"I just know what I know," she recently told The New York Times; "I think I'm shit some days, and some days I think I'm pretty good," she told Grantland. To paraphrase the composer and philosopher John Cage, Barnett has nothing to prove and she's proving it.

Doting too seriously on Sometimes I Sit misses what I take to be Barnett's point: Life is but a dream, tra la la, whatever. 

Even the album's biggest moments grow from small places, like the washed-up seal corpse in "Kim's Caravan" that spins out into a meditation on mortality, pollution, what it means to be stewards to our environments and to ourselves—a mental crescendo matched by a band that keeps ebbing deeper into feedback. 

In the end, Barnett returns invariably to herself, a subject she finds hard enough to understand.

If all this seems a little heady in discussion, it's to the credit of Barnett and her band—Dave Mudie, Dan Luscombe, and Bones Sloane—that it doesn't sound that way on record. I don't know how things are in Barnett's Australia, but here in the U.S., A.D. 2015, she seems like an anomaly: A young songwriter who is smart but not intellectual, humble but not wimpy, into the past but not theatrical about it, aware of her feelings and aware of how too many feelings makes everyone bored.

Sometimes I Sit's most sentimental song is that house-hunting one. "Depreston", it's called—a quiet, countryish ballad that breaks up the noise around it. Barnett takes us into the neighborhood, into the house, into the sad little details that make her seem like a writery-writer: the picture of a young soldier, the safety rail in the shower. 

She mentions them once and doesn't linger because she knows there's no point—nothing she could add to the image would make it sadder than it is. Instead she slips into a refrain of how much it might cost to tear the house down and build a new one, which she repeats over and over again, until the memory of the shower is gone. A little life is plenty.

1.  Elevator Operator - 3:14 

2.  Pedestrian At Best - 3:50 

3.  An Illustration Of Loneliness (Sleepless In New York) - 3:10 

4.  Small Poppies - 6:59 

5.  Depreston - 4:52 

6.  Aqua Profunda! - 1:59 

7.  Dead Fox - 3:33 

8.  Nobody Really Cares If You Don't Go To The Party - 2:46 

9.  Debbie Downer - 3:17 

10.  Kim's Caravan - 6:47 

11.  Boxing Day Blues - 3:02 

Label - Marathon Artists

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