Horse Jumper of Love thrive on patient and uncompromising songs. Thanks to frontman Dimitri Giannopoulos’ evocative lyrics and arrangements that suddenly turn from delicate to blistering, their music is full of intensity. While the Boston trio, which also includes bassist John Margaris and drummer James Doran, has stretched the fringes of indie, their latest is their most immediate yet. Released August via Run For Cover Records, “Disaster Trick” tackles self-destructiveness with healing and heart.
Where Horse Jumper of Love’s last release 2023’s “Heartbreak Rules” excelled with quiet, bare-bones songwriting, “Disaster Trick” cranks up the volume while keeping the no-frills intimacy of the band’s catalogue. Recorded at Asheville, North Carolina’s Drop of Sun Studios with producer Alex Farrar (Wednesday, Indigo De Souza), the recordings soar with searing guitars and an unshakeable rhythm section. “I tried the quiet thing on the last album and I realized there’s definitely two parts of me: I like really heavy music, and I like really gentle music,” says Giannopoulos. “The two albums I listened to the most while we were in the studio were Leonard Cohen’s Songs From a Room and Hum’s Downward is Heavenward.” This contrast between quiet and loud exists throughout “Disaster Trick” but it’s animated by stark emotion and straightforward, timeless song writing.
“Disaster Trick” feels like a creative reset. It’s also Horse Jumper of Love distilled to their purest essence, which is partly due to Giannopoulos’ recent sobriety. “This was the first album I’ve ever done where I went into it with a very clear mind,” he says. “In the past, we would just show up at a studio, drink, and record. Here, everything felt purposeful.” With newfound energy, the band revisited old, unfinished material like “Gates of Heaven,” which dates back nearly a decade. Originally written during a period Giannopoulos describes as full of immaturity, he sings, “I am late to work again / I’m always missing something / when I walk out the door.” By focusing on a mundane moment, he highlights how self-defeating behaviors can linger.
For the band, the album marked an opportunity to strip down their song-writing to the essentials: urgent, accessible arrangements full of catharsis. “This album helped me realize that a lot of the time, simplicity is the answer,” says Giannopolous. Lead single “Wink,” captures this perfectly. When Giannopoulos sings over hushed guitars, “And your arms have never looked / More empty than they do from here,” his delivery exudes a remarkable earnestness. As the track hits a boiling point in its thunderous chorus, it’s disarmingly raw.
Other songs like “Today’s Iconoclasts” are imbued with wry humour, referencing both “the Amazon Basics Bible” and playing “fuck, marry, kill” in consecutive verses. Whatever the mood, Giannopoulos’ lyrical directness anchors “Disaster Trick”.
While in Asheville, the band enlisted collaborations from Wednesday’s Karly Hartzman and MJ Lenderman as well as Squirrel Flower’s Ella Williams. Opening track “Snow Angel” kicks off with a growling, shoegaze-tinged guitar riff. It’s a heavy song that’s grounded by wistfulness. “Would you pull me a feather / From your pillow – I want to dream like you,” sings Giannopoulos. Throughout, “Disaster Trick” navigates uncomfortable, dark thoughts with a subtle grace. On the downtempo and compelling “Word,” Giannopoulos finds lightness in relationship malaise: “Last night we had a fight / You blamed it on the moon / But that’s not very fair to the moon.”
“Disaster Trick” is a dark record but there’s a glimmer of hope throughout. As he sings on “Death Spiral,” “I know it sounds dramatic / But I must describe / The way that it felt.” This gets to the core of the album: looking back on mistakes with the grace and clarity that comes from growing up. “A lot of the songs came out of this point where things in my life were going well but I couldn’t accept it,” says Giannopoulos. “I was being a brat. “Disaster Trick” is me cleaning up my act and reflecting on it.”
released August 16th, 2024
Dimitri Giannopoulos – Vocals/ Guitars James Aloyseus-Charles Doran – Drums/ Percussion John Theodore Margaris – Bass/ Backing Vocals/ Piano
Karly Hartzman – Vocals on “Wink”, “Today’s Iconoclast”, “Wait by the Stairs” & “Heavy Metal” Ella Williams – Vocals on “Snow Angel” & “Lip Reader” Jake Lenderman – Guitar on “Snow Angel” & “Curtain” Maria Gelsomini – Synth on “Heavy Metal”
There are one million ways to approach love, one million ways to experience love, one million ways in which love shapes both the course of our lives and how we choose to navigate that course. On her second album, Bnny’s Jessica Viscius looks love square in its many eyes and describes, with self-awareness and humour, not only what she sees, but what it makes her feel. Deep romantic love, breathy lust, generous self-love—and their opposites, self-loathing, resentment, disappointment—all make appearances on “One Million Love Songs”, Bnny’s revelatory second album.
Bnny’s debut, “Everything“, was written in the face of tragedy, following the death of Viscius’ partner, fellow Chicago musician Trey Gruber. It was a raw, honest album whose songs seemed to emanate from Viscius like a personal climate. Pitchfork called “Everything” a beautiful record from wall to wall, comfort food for heartbroken insomniacs.” And while those songs have not lost an ounce of their power, performing them every night live across the US and Europe made for a new and different kind of exhaustion. It’s hard to access your grief all the time; it’s even harder to share it. “I wanted to make songs that are exciting to play—songs that make me feel happy,” Viscius says. “This album is about love after loss, getting older, and just trying to have fun with a broken heart.”
True to form, “One Million Love Songs” is a brighter, fuller record that shows Viscius’ immense growth as an arranger and artist. “Good Stuff” begins as soft slowcore, with a touch of Echo and the Bunnymen, but as it wakes up, Viscius channels the sunny chords and at-ease ’90s charm.
“I’m hanging on to the sunshine,” she sings, her voice full and rich and carrying both the giddiness that line implies and an awareness of how silly that giddiness can feel. “Something Blue” rises, sighs, and rests in its own tension, Viscius’ voice calm with a self-assured form of acceptance. In “Changes,” she hangs a simple lyric on a straightforward melody like a sheet being draped over a clothesline, channelling Mazzy Star and mimicking the soft, gauzy, fresh feeling of realizing you’re able to begin it all again with a new person. “So happy I could scream,” she sings, and then she does.
Oh, but sadness can have its pleasures, too. “Heartbreak can be fun when you put things into perspective and think about how absurd and fleeting life is,” Viscius says. “One Million Love Songs” was written in the wake of a breakup that prompted a period of deep introspection and a grappling with her own self-destructive tendencies. Many of the songs here take it as a given that love will end. In “Crazy, Baby,”Viscius lays out her approach to love songs: “write one quick ’cause nothing lasts,” she sings, suggesting that any attempt to capture the green shoots of love’s first moments also carries within it the dying and decaying of the tree. “Sweet” is humid with self-loathing, a nearly bluesy lament in the vein of the Velvet Underground’s third record. “I’m so sweet,” she sings, her voice venomous with sarcasm, “don’t you want to get to know me?”
“One Million Love Songs” was recorded in Asheville at Drop of Sun and produced by Viscius alongside Alex Farrar (Wednesday, Indigo De Souza, Snail Mail), As with “Everything”, Bnny is primarily Viscius’ solo project, with assistance from her twin sister Alexa Viscius and a rotating cast of friends. The cover is a photo Alexa took of Jess while they were backpacking in Alaska. It’s an ambiguous image—you can read Viscius as relaxed and at ease, or you can read her as completely wiped out and drained. It’s an image that exists out of time, like the love song itself—songs that will always be relevant because people will always find themselves drawn to and apart from one another, with the millions and millions of complications those movements bring. The idea is to embrace all of it while remembering that everything passes. It seems instructive that the last thing Viscius sings on this album is “No one loves me anymore.” It seems equally instructive that she sounds completely free.
released April 5th, 2024
Bnny is Jessica Viscius, Alexa Viscius, Tim Makowski, Adam Schubert, and Matt Pelkey. Recorded by Alex Farrar at Drop of Sun studios in Asheville, NC.
Loose Cattle are inheritors of the progressive politics and compassionate humanity of folk and country truth-tellers past and present, some of whom have become friends: both Lucinda Williams and Patterson Hood guest on their debut for the mighty Southern indie Single LockRecords. The album ably takes on these weird American times with tenderness, rigor, empathy, and guitars.
The American band Loose Cattle didn’t attract a lot of attention last year with their album “Someone’s Monster”, but it’s an album that should be counted among the best alt-country albums of the year I came across “Someone’s Monster” by Loose Cattle by chance, but the album made an indelible impression almost immediately. Loose Cattle is a band from New Orleans that consists of experienced musicians which can handle both alternative country and more traditional-sounding country music. The vocals on “Someone’s Monster” the band has the necessary vocal talent. The album by Loose Cattle is also full of excellent songs and is very expertly produced by John Agnello.
In the annual list of readers of the American online music magazine No Depression I came across the album “Someone’s Monster” by Loose Cattle. I follow the magazine that focuses entirely on American roots music closely throughout the year. It may have been the only tip that the annual lists of No Depression gave me, because I have become quite addicted to the album of the band from New Orleans, Louisiana.
“Someone’s Monster” is the third album by Loose Cattle and it is an album that fits into both the boxes of country and alt-country. but the band can also go in other directions and on “Someone’s Monster” also regularly shifts towards more traditional-sounding American roots music.
The band has a great singer in Kimberly Kaye, who takes the lead in a number of songs on the album. The other singer of the band, Michael Cerveris, also has an appealing voice and switching between male and female voices is one of the strengths of Loose Cattle as far as I’m concerned.
The band made musical friends with its previous albums, which has ensured that Lucinda Williams and Patterson Hood (Drive-by Truckers) contributed to the album. Musically, “Someone’s Monster” is a rich album. The sound of Loose Cattle is generally guitar oriented, but contributions from the violin, the lap steel, the pedal steel and the mellotron (!) ensure that the music of Loose Cattle sounds richer and also different from most music in the genres in which the band from New Orleans moves.
It provides a pretty full sound, but that comes out of the speakers really beautifully. It is the merit of the chastened producer John Agnello, who has been known as a top producer since the early 90s and now has a CV that makes you quiet for a while. A number of music websites focused on American roots music have already written nice words about Loose Cattle’s album in the past year,
Merce Lemon makes music on her album that fits into the Americana box, The American musician has found the perfect producer for her music, because “Watch Me Drive Them Dogs Wild” recorded in Alex Farrar’s studio in Asheville, North Carolina. The currently highly sought-after producer already made annual list albums with Wednesday, Indigo De Souza and Squirrel Flower last year and is also on a roll this year with excellent albums by Bnny, Horse Jumper Of Love and MJ Lenderman.
Alex Farrar is also on a roll on Merce Lemon’s new album. “Watch Me Drive Them Dogs Wild” features a spacious and at times nice rough and gritty sound. It is a sound that stands out in the opening track because of a wall of violins and in the second track because of beautiful and wide-ranging pedal steel playing, but also in these tracks there are the guitars that play a leading role on the album, assisted here and there by the bojo, a cross between a guitar and a banjo.
Merce Lemon’s sound can derail beautifully on her third album in great guitar solos, but the songs on “Watch Me Drive Them Dogs Wild” always have their subdued moments as well. That sound is not only determined by the guitar-filled production of Alex Farrar, but also by the beautiful voice of Merce Lemon, who shows on this album that she has a voice that is made for the somewhat rough Americana The American musician has a somewhat soft but also powerful voice and it is a sound that was actually immediately dear to me.
Because of the gritty music, the fantastic production and the excellent vocals, I was immediately hooked on Merce Lemon’s new album, but it is also an album that is full of excellent songs, which not only impose themselves easily, but then also linger pleasantly. It is also a varied album, which takes advantage of the dynamics between the extremely subdued passages and the somewhat rougher guitar parts on these songs of Merce Lemon.
With three albums under her belt, I can’t possibly call Merce Lemon a newcomer, but based on this beautiful release she could rank her among my greatest discoveries of the 2024 music year and among the great talents within Americana scene at the moment.
Culled from half a decade of home four-tracking, “Remote Echoes” is a hissy, crumbly, and ungrounded expression of Clay Parton and Canaan Amber’s ongoing Duster project. A mix of cassette only demos released under the banners Christmas Dust and On The Dodge, this 14 track album also includes a bevy of previously unissued stragglers. Duster’s unique blend of fuzzy guitars, bargain synths, muffled percussion, and hushed vocals anticipated chillwave, mumblecore, and corecore, elegantly illustrating the holy trinity of slacker vices: cigarettes, coffee, and the weed supreme.
“Remote Echoes” by Duster presents a hissy, crumbly, and ungrounded manifestation of Clay Parton and Canaan Amber’s (and previously Jason Albertini) continuous Duster project comprising cassette-only demos which were never formally released, this 14-track album also incorporates numerous previously unreleased additions. Duster’s distinctive fusion of fuzzy guitars, budget synths, subdued percussion, and muted vocals encapsulating the trifecta of slacker indulgences.
This is a compilation of obscurities from Slow Core band, Duster. That is to say, alternate takes and demos. There are very few bands that could claim to have inspired a music genre. The picture chosen for this fine collection pretty much sums up the spacey, ethereal undertones of their music. Lights on in an abandoned, wrecked plane.
BonnieRaitt the American singer, guitarist, and songwriter. In 1971, Raitt released her self-titled debut album, Describing her as a “master interpreter of other writers’ songs”. She has released a series of critically acclaimed roots-influenced albums that incorporated elements of blues, rock, folk, and country. She has also been a frequent session player and collaborator with other artists, including Warren Zevon, Little Feat, Jackson Browne, the Pointer Sisters, John Prine, and Leon Russell.
Bonnie Raitt
The debut album released in 1971, at the age of 22, sounding relaxed and confident on an eclectic collection of songs (from sources ranging from Robert Johnson to Buffalo Springfield and The Marvelettes) with tasteful folk and blues arrangements. Here she is sounding wise beyond her years on Sippie Wallace’s“Women Be Wise.”
Raitt’s self-titled debut album was solid, The album was warmly received by the music press, with many writers praising her skills as an interpreter and as a bottleneck guitarist; at the time, few women in popular music had strong reputations as guitarists., One journalist described the album as “an excellent set” and “established the artist as an inventive and sympathetic interpreter”
Give It Up
I think her second one, “Give It Up” (1972), was a big step forward, with better original song writing (though she was still mostly covering others’ songs) and a looser, more lively feel. She sounded just a bit tentative previously — here, she sings and plays with more abandon. Here’s the propulsive album-opener, “Give It Up or Let Me Go.”
Her album “Give It Up” had a dedication “to the people of North Vietnam …” printed on the back. Raitt’s web site urges fans to learn more about preserving the environment.
Raitt covered a 1965 Marvelettes single (“Danger Heartbreak Dead Ahead”) on her 1971 debut album,
Takin’ My Time
Also met with critical acclaimand remade another 1965 Motown single, Martha & the Vandellas’“You’ve Been in Love Too Long,” with scintillating results, on her third album, 1973’s “Takin’ My Time”.
Raitt covered John Prine’s “Angel From Montgomery” (from his 1971 self-titled debut album)
Streetlights
Reviews for her work were becoming increasingly mixed. By this point, Raitt was already experimenting with different producers and different styles, and she began to adopt a more mainstream sound on her 1974 album, “Streetlights”, with sensational results. It became one of her signature songs, and help bring Prine to the attention of many new fans. “I think ‘Angel from Montgomery’ probably has meant more to my fans and my body of work than any other song, and it will historically be considered one of the most important ones I’ve ever recorded,” Raitt said, decades later. “It’s just such a tender way of expressing that sentiment of longing … without being maudlin or obvious. It has all the different shadings of love and regret and longing. It’s a perfect expression from (a) wonderful genius.”
Home Plate
Raitt sang on Little Feat’s 1973 “Dixie Chicken” album and memorably covered that album’s “Fool Yourself” (written by Fred Tackett) on her 1975 album “Home Plate“. To my ears, at least, her weary but warm vocals make the song top the original. She was influenced by the playing style of Lowell George, of particularly his use of a pre-amp compressor with a slide guitar. B.B. King once called Raitt the “best damn slide player working today”
Raitt, who covered Jackson Browne’s “Under the Falling Sky” on her “Give It Up” album, and Browne’s “I Thought I Was a Child” on “Takin’ My Time“, completed the hat trick with a luminous version of his “My Opening Farewell” (from his 1972 self-titled debut album)
Sweet Forgiveness
The “Sweet Forgiveness” album gave Raitt her first commercial breakthrough, when it yielded a hit single in her remake of “Runaway”. Recast as a heavy rhythm and blues recording based on a rhythmic groove inspired by Al Green, Raitt’s version of “Runaway” was disparaged by many critics. However, the song’s commercial success prompted a bidding war for Raitt between Warner Bros. and Columbia Records. “There was this big Columbia–Warner war going on at the time”, recalled Raitt in a 1990 on her 1977 release,“Sweet Forgiveness”.
The Glow
The standout track on Raitt’s 1979 album “The Glow” was its title track, a moody ballad about drowning your sorrows in alcohol that she delivers with great power and sensitivity. In the liner notes, she called the song “a real stretch for me” and said that she knew its writer, Veyler Hildebrand, as a bassist who had played with her friend Danny O’Keefe and had briefly played with her as well. “He played me this song one day and I was so blown away I had no choice but to record it,” she wrote. “One of the most starkly honest songs about feeling this particular way.”
Raitt had one commercial success in 1979 when she helped organize the five concerts of Musicians United for Safe Energy (MUSE) at Madison Square Garden in New York City. Raitt performed at the “No Nukes” concerts in New York in September 1979, and later that year, her “Angel From Montgomery” and “Runaway” were included on the three-LP live album set. Here’s “Runaway,” featuring John Hall (on guitar) and Little Feat’s Bill Payne (on keyboards), among others. She had recorded the Del Shannon classic on her “Sweet Forgiveness” album and had her first Billboard Top 100 hit with it.
Raitt dedicated a performance of “Your Good Thing (Is About to End)”, from her 1979 album “The Glow”, to sitting (and later re-elected) U.S. President George W. Bush. She was quoted as saying “We’re gonna sing this for George Bush because he’s out of here, people!”
Green Light
Raitt made a conscious attempt to revisit the sound of her earlier records. However, to her surprise, many of her peers and the media compared her new sound to the burgeoning new wave movement. The album received her strongest reviews in years, Raitt, who memorably sang “Love Has No Pride” (co-written by Eric Kaz and Libby Titus) on her “Give It Up” album, finds another great Kaz song to perform with “River of Tears,” on 1982’s “Green Light”. Richard Manuel of The Band adds his distinctive vocals as a backing vocalist.
Nine Lives
Raitt was finishing work on her what was to be follow-up album, “Tongue and Groove”. The day after mastering was completed on “Tongue and Groove”, but the record company dropped Raitt from its roster, The album was shelved and not released, and Raitt was left without a record contract. A period when Raitt was also struggling with alcohol and drug abuse problems. Despite her personal and professional problems, Raitt continued to tour and participate in political activism. In 1985, she sang and appeared in the video of “Sun City”, the anti-apartheid song written and produced by guitarist SteveVanZandt. Along with her participation in Farm Aid and Amnesty International concerts.
Two years after Warner Brothers Records dropped Raitt from their label, they notified her of their plans to release the “Tongue and Groove” album. “I said it wasn’t really fair,” recalled Raitt. “I think at this point they felt kind of bad. I mean, I was out there touring on my savings to keep my name up, So they agreed to let me go in and recut half of it, and that’s when it came out as “Nine Lives.” That album, was Raitt’s last new recording for Warner Brothers.
Raitt’s 1986 album “Nine Lives” came during a time when she was having problems with her record company, and misguided production on some tracks made her sound like an MTV wannabe. But she still sounds good at times, such as on her simmering cover of Toots & the Maytals’ “True Love Is Hard to Find.”
Raitt was one of many featured artists on the Hal Willner-produced 1988 album, “Stay Awake” (Various Interpretations of Music From Vintage Disney Films). Backed by Was (Not Was), she sings a gorgeous, understated version of the lullaby “Baby Mine” (from “Dumbo”).
Nick of Time
After sounding lost on “Nine Lives”, Raitt turned things around in stunning fashion on her next studio album, 1989’s “Nick of Time” after several years of limited commercial success, she had a major hit with her tenth studio album, Abetted by producer Don Was, she returned to the rootsy sounds of her past in a simple, tasteful, unpretentious way that resonated with her now older and more mature fans. The album peaked at No. 1 on Billboard magazine’s album charts and won three Grammys, including Album of the Year. Here’s its title track, one of two songs from the album that Raitt wrote herself.
“Nick of Time” came out in early ’89, and later in the year, Raitt was featured on “The Healer“, an album by legendary bluesman John Lee Hooker that also featured collaborations with Carlos Santana, Los Lobos, Robert Cray and others. Raitt and Hooker displayed a lot of chemistry on their duet, “I’m in the Mood,” and they won a Grammy for it in the Traditional Blues Recording category in 1990 (in addition to Raitt’s three for “Nick of Time“). This album “Nick of Time” has also been voted number 230 in the Rolling Stone list of 500 Greatest Albums of All Time. It was also the first of many of her recordings to feature her long time rhythm section of Ricky Fataar and James “Hutch” Hutchinson (although previously Fataar had played on her “Green Light” album and Hutchinson had worked on “Nine Lives“), both of whom continue to record and tour with her.
Luck of the Draw
Raitt followed up “Nick of Time” with the very solid, and very much in the same vein, “Luck of theDraw” (1991). With it, she entered the U.S. Top 20 singles chart for the first time — twice, with the fun “Something to Talk About” and the not-fun-at-all but extremely powerful “I Can’t Make You Love Me,” a ballad (written by Mike Reid and Allen Shamblin) about accepting the fact that someone you love is never going to love you.
Three years later, in 1994, she added two more Grammys with her album “Longing in Their Hearts” part of a trilogy with the albums “Nick of Time” and “Luck of the Draw” all represent Raitt’s commercial peak, and though they aren’t necessarily Raitt’s “best” albums Raitt’s collaboration with Don Was amicably came to an end with 1995’s live release “Road Tested”. All Released to solid reviews different people have different preferences — I think most Raitt fans would put them at or near the top. Like “Luck of the Draw”, “Longing in Their Hearts” featured one of Raitt’s greatest ballad performances, on Richard Thompson’s“Dimming of the Day.”
Road Tested
After releasing three multiplatinum studio albums in a row, it’s not surprising that Raitt caught her breath, in a way, by following them up with the first live album of her career, the “Road Tested” (also available as a DVD). Guests included Jackson Browne, Bruce Hornsby, Bryan Adams and, on “Never Make Your Move Too Soon,” blues/R&B legends Ruth Brown and Charles Brown, plus Kim Wilson of The Fabulous Thunderbirds on harmonica.
Fundamental
Raitt worked with a new (for her) production team on 1998’s “Fundamental”:Mitchell Froom and TchadBlake, known for their ability to create dark, unconventional, richly textured musical atmospheres. The approach works best on “Cure for Love,” co-written by Los Lobos members David Hidalgo and Louie Pérez and featuring Hidalgo on guitar, bass and backing vocals.
One of the standout tracks of 2002’s “Silver Lining” was an Afropop experiment that really worked: A uplifting cover of Oliver Mtukudzi’s “Hear Me Lord,” with some glorious guitar playing by Andy Abad.
The soundtrack of the 2004 animated movie “Home on the Range” featured songs written by Alan Menken (“The Little Mermaid,” “Beauty and the Beast,” “Aladdin”) and lyricist Glenn Slater, sung by artists such as Tim McGraw, k.d. lang and Raitt, who is featured on the wistful ballad, “Will the Sun Ever Shine Again.”
Souls Alike
“Souls Alike” was released in September 2005. It contains the singles “I Will Not Be Broken” and “I Don’tWant Anything to Change”, she released the live DVD/CD Bonnie Raitt and Friends, which was filmed as part of the critically acclaimed VH1 Classic concert series, featuring special guests Keb’ Mo’, AlisonKrauss, Ben Harper, Jon Cleary, and Norah Jones.
Written by Emory Joseph, “Trinkets,” from Raitt’s 2005 album “Souls Alike“, is an unusual song for her to choose to record: A quirky little spoken word song. But she sounds like a natural telling its story, and her low-key, swampy, funky music is hypnotic in its own right.
In 2005, Raitt performed at a concert at the Trump Taj Mahal in Atlantic City that was filmed as part of VH1’s “Decades Rock Live” series. The idea of the series was to have veteran artists perform on their own and with a series of younger guests; Raitt’s guests were Norah Jones, Ben Harper, Alison Krauss and Keb’Mo. The music was released in CD and DVD form in 2006. Here are Raitt and Krauss performing “You,” a bittersweet love song that had been one of several hits from Raitt’s 1994 “Longing in Their Hearts” album.
For the all-star 2007 compilation album “Goin’ Home: A Tribute to Fats Domino”, Raitt contributed a rollicking medley of Domino’s“I’m in Love Again” and “All by Myself,” performed as a duet with keyboardist Jon Cleary, a mainstay of her backing bands as well as an accomplished singer-songwriter in his own right.
At the 25th Anniversary Rock and Roll Hall of Fame Concerts at Madison Square Garden in 2009, various inductees presented sets filled with guest appearances by other inductees; in 2010, the music came out in CD and DVD form. Crosby, Stills & Nash invited Raitt (who was inducted into the hall in 2000), James Taylor and Jackson Browne to perform with them, and one of the highlights was Raitt’s aching rendition of “Love Has No Pride” (co-written by Eric Kaz and Libby Titus and originally recorded by Raitt on her 1972 album “Give It Up“). David Crosby and Graham Nash sang backing vocals. Introducing her to the crowd, Crosby called her “my favourite singer in the world — and I’m totally serious.”
Slipstream
Raitt’s 2012 “Slipstream” album included covers of two songs from Bob Dylan’s 1997 masterpiece “Time Out of Mind”, including a version of “Million Miles” that really opened my eyes to the brilliance of this often overlooked song. The album was described as “one of the best of her 40-year career” by American Songwriter magazine
Dig in Deep
Raitt released her seventeenth studio album and last studio album to date, 2016’s “Dig in Deep“, has some deeply moving ballads, but I’ll go in the other direction here, sharing her scorching cover of Los Lobos’“Shakin’ Shakin’ Shakes.
“When I was 17, the first woman I’d ever seen come out and rock an electric guitar was Bonnie Raitt,” said Sheryl Crow when introducing Raitt to the crowd at Eric Clapton’s Crossroads Guitar Festival at the American Airlines Center in Dallas in 2019. “Bonnie’s changed my life. I was gonna be, like, I don’t know, Elton John before that. And then I was like, ‘No, I’m gonna be Bonnie Raitt.’ ” Here are Raitt and Crow performing Bob Dylan’s “Everything Is Broken.” Highlights from the festival, including this song, were released in CD and DVD form in 2020.
Raitt announced the title of her 21st studio album would be “Just Like That.”… The record was released on April 22, 2022, and coincided with the beginning of a nationwide tour that ran through November 2022. Preceding the album, Raitt released “Made Up Mind”, a song originally written by Canadian roots duo The Bros. Landreth, as the lead single.
“Just Like That” …, just named Song of the Year and Best American Roots Song by the Grammys!
She has credited blues guitarist Stevie Ray Vaughan for breaking her substance abuse, saying that what gave her the courage to admit her alcohol problem and stop drinking was seeing that Vaughan was an even better musician when sober. She has also said that she stopped because she realized that the “late night life” was not working for her.In 1989, she said, “I really feel like some angels have been carrying me around. I just have more focus and more discipline, and consequently more self-respect. Raitt’s principal touring guitar is a customized Fender Stratocaster that she nicknamed Brownie. This became the basis for a signature model in 1996. Raitt was the first female musician to receive a signature Fender line.
In early 2025 the Skids complete BBC Sessions are to be compiled onto CD and LP by Scottish label Last Night From Glasgow. The double album features the five sessions the Skids recorded for John Peel with the BBC between 1978 and 1980. The release includes the BBC session recordings of fan favourites “The Saints Are Coming”, “Masquerade” and “Circus Games“. The legendary Scottish punk band remain as influential as ever, even 45 years. Dunfermline’s sons Skids originally formed in 1977. Within six months of their inception, the band had dropped the “Charles” EP which would lead them to the attention of legendary BBC radio DJ John Peel, with whom they would record five separate sessions over the next two years while working on their first three LPs released during that period – “Scared To Dance” (1979), “Days In Europa” (1979) and “The Absolute Game” (1980).
This new set of 2xLP collection collates all of these sessions and boasts choice from some of the aforementioned albums such as ‘Six Times’, ‘Masquerade’, and the highly popularised once covered by U2 and Green Day ‘The Saints Are Coming’, while also offering never officially released cuts like ‘Hang On To The Shadows’ as well as their frenetic cover of Lou Reed’s ‘Walk On The Wild Side’.
The Skids rose to fame with 1979 single “Into The Valley” and their 1980 album “The Absolute Game“. With almost 50 years under their belt the group, led by Richard Jobson, remain as thrilling as ever, as evident with their last album “Destination Dusseldorf” in 2023.
You cannot downplay the importance and sheer brilliance of Pink Floyd’s masterpiece “The Wall”. “Back Against The Wall” is a phenomenal tribute that I think the creators of the original recording will find most pleasing.
When you assemble some of the most recognizable names in classic and progressive rock, Featuring some of the more important artists in the history of recorded music, how could it possibly not be a great recording and make an impact? Just look at the credits, . Ian Anderson, Tony Levin, Steve Howe, Tommy Shaw, Ronnie Montrose, Rick Wakeman, Every contributor to this project has earned a multitude of respect over the years.
This is the closest thing to the real deal as you can get. The vocals are similar to how Roger Waters and David Gilmour sounded in their prime, and the musicianship is most notable. Every song kicks some ass, . It is difficult to put it any other way actually. In a sense, “The Wall” paralleled the “Dark Side Of The Moon” in it’s success (years on the charts) and originality. I know Roger Waters was given most of the credit for this album, but let us not forget that collectively Pink Floyd was a band and they are the ones that went to the studio every day to record this, even if it was one person’s brainchild, it took a group of people to make an album such as this.
After a few songs, it makes you feel like you are listening to the original recording all over again. I would think that is whole idea behind this, it is a tribute to Pink Floyd. Each musician has their time to show their appreciation in each song to a band that helped shape their own music. It is obvious that a lot of heart and soul went into this and the sound is clear, full, and powerful-everything that Pink Floyd was when they produced an album.
Features performances by members of King Crimson (Adrian Belew, Tony Levin), ELP (Keith Emerson), The Doors (Robby Krieger), Jethro Tull (Ian Anderson), Yes (Rick Wakeman, Steve Howe, Alan White, Tony Kaye) Deep Purple (Glenn Hughes, Steve Morse), Styx (Tommy Shaw) & Toto (Steve Lukather, Steve Porcaro), PLUS award-winning actor Malcolm McDowell and many more! Limited edition RED vinyl pressing in a deluxe gatefold jacket!
A very special limited edition reissue of the monumental tribute to Roger Waters’ art-rock opera, Pink Floyd’s “The Wall“, performed by the biggest stars of progressive rock music!
The original riders on the psychedelic storm get their own minds blown by the leaders of the new psych rock movement on this stellar tribute to The Doors! Features performances by The Black Angels, The Raveonettes, Clinic, Psychic Ills, Sons Of Hippies, Elephant Stone, Dead Skeletons and more! Incredibly innovative and unique versions of The Doors’ classic tracks including “L.A. Woman,” “Riders On The Storm,” “Light My Fire,” “Love Me Two Times” and others
While it may not quite be even better than the real thing, “V-U2 An Immersive Concert Film at Sphere Las Vegas” is a dazzling presentation of the Irish bands recent run at the state-of-the-art facility. V-U2 is the first film ever to be shot entirely with Big Sky, the ground breaking ultra-high-resolution camera system developed by Sphere Entertainment. V-U2 does not just capture U2’s epic run at Sphere, it allows audiences to feel like they are at the live shows.
Currently part of Sphere’s programming, this “immersive concert film” is precisely that: A roughly 70-minute pre-recorded performance by Bono, The Edge, Adam Clayton and drummer Bram van den Berg (who filled in at the Sphere shows for Larry Mullen Jr. as he battled his health issues). The concert footage itself was presented masterfully, a rendered visualization of the band’s turntable stage setup for the V-U2 residency more or less making it look like the musicians were actually in the building. The recorded footage incorporated crowd noise, the frame of the projected stage also capturing the fans up close, which added to the realism of what was essentially a live concert video.
Given the technical capabilities of Sphere venue though, this felt like so much more than a mere concert film. While not every song on the set list — which touched on key U2 classics including “Where the Streets Have No Name,” “One,” “With Or Without You,” “Vertigo” and some of the “Achtung Baby” songs that were the basis of the residency gigs utilized the awe-inspiring visual capabilities that Sphere has become known for, those that did elicited gasps from the crowd.
The Fat Angel Sings 