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Music : Styles : Miscellaneous : Compilations : Decades
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When was the last time you heard collard greens being sung about in a Christmas song? Probably never, unless you're a Run DMC fan, or were wise enough to hop on the Very Special Christmas tip. The rappers' contribution to this benefit collection is probably the highlight, although traditional songs covered by now-traditional artists like the Pretenders ("Have Yourself a Merry Little Christmas") provide the majority of the material here. Eurythmics turn in a suitably chilly "Winter Wonderland," Stevie Nicks sings a beautifully haunting "Silent Night," and Whitney Houston proves again that she's every woman with "Do You Hear What I Hear"--that is, every woman with a voice strong enough to do the song justice. "Santa Baby," Madonna's contribution, isn't as sultry as it could be, but there's more fun thanks to hell-on-heels, the Pointer Sisters and Bon Jovi. --Steve Gdula
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They may have rationed meat, milk, canned goods, and gasoline, but there was no limit to the musical talent during World War II. Morale-boosting sounds on the home front and "over there" were one of the Allies' most potent weapons. WWII gave birth to many of the 1940s' most popular artists and songs, as well as many of the most important independent record labels. Songs That Got Us Through WWII is the first of a two-volume series collecting the hits that kept the home fires burning and brought a little bit of America to the G.I.s overseas. Compiled and developed by singer/songwriter/music historian Billy Vera, Vol. 1 features many of the era's biggest artists, including The Andrews Sisters, Frank Sinatra, Duke Ellington, The Mills Brothers, The Ink Spots, Harry James, and many more.
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The Winter Solstice series from Windham Hill is an appealing souvenir from the label's early days, when guitarist Will Ackerman still served as its chief guiding light and fount of original thought. For years Ackerman shunned the overt commercial trappings of traditional Christmas recordings and instead offered odes to a broader season that, like his artists' music, is compatible with periods of sustained, hushed contemplation. Winter Solstice II, released in 1988, mixes original and traditional compositions (none that specifically brings Christmas to mind) and is adorned with classical overtones from front to back, conveying the high-minded earthiness associated with the label's then all-acoustic format. A few pieces on the 50-minute disc clock in at under than two minutes, and a couple others are duds, yet several selections make this quiet disc a worthy listen: a handsome interpretation of Bach ("Prelude to Cello Suite No. 1") on harp-guitar by Michael Hedges, plus gorgeous, yearning piano solos by Philip Aaberg ("The Gift") and Michael Manring. Better known as a bassist, Manring's reworking of one of his own works, "Sung to Sleep," may be the disc's highlight. Ackerman's contribution, "Abide the Winter," and "Medieval Memory II" by the sadly disbanded duo of pianist Ira Stein and oboist Russell Walder, float through the air as beautifully as winter's first snowfall. --Terry Wood
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Another satisfying collection of Celtic music, traditional and contemporary, that includes such modern-day folkies as Luka Bloom and, for the lack of a better term, New Age composer Loreena McKennitt. Fans who remember Planxty, the Bothy Band, Silly Wizard, and Capercaillie will embrace the performances here by individual members of those critically acclaimed and popular groups. Nightnoise singer Triona Ní Dhomhnaill, who was once described as one of the greatest voices of the century, sings a haunting piece called "Solus," while her brother and former Bothy Band fiddler Kevin Burke create an enchanting place on "On a Cold Winter's Day/Christmas Eve." In the end, Celtic Christmas really is all of a piece. Each work stands on its own, but taken together they form real feelings for the holiday that run from reverence to revelry and from joy to solitude. Moody and transcendent stuff. --Martin Keller
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The aim was to do for country what Saturday Night Fever did for disco. The result was that bars from Kona to Kalamazoo suddenly had mechanical bulls, and slickers walking around in cowboy hats. You might also pinpoint this as the moment in time when "country" music suddenly went cosmopolitan, paving the way for Garth Brooks. Johnny Lee's "Lookin' for Love" was one of the decade's biggest singles, and this album briefly made a star of Mickey Gilley (whose Texas club provided a home for that alpha bull). Fans of Bob Seger, Jimmy Buffet, the Eagles, Dan Fogelberg, and Bonnie Raitt may want this collection for the tunes they lack elsewhere. And it sure recalls an era. But please don't call it "country." --Bill Holdship
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Motown did so many things well in the '60s and early '70s that this overview of the label's smashes (and some lesser-known classics) practically demands four CDs. It gets them, too, filling them with single mixes of more than 100 tracks. That the running order begins with Barrett Strong's statement of purpose "Money (That's What I Want)" and ends with Marvin Gaye's statement of concern "Mercy Mercy Me (The Ecology)" says a lot about how far the company moved in its golden decade--but no more so than what the same two cuts' differences in sound get across. The company was able to blend the smooth and the harsh in ways that few other pop entities have ever mastered, thereby getting over not only to the feet and the wallet, but to the heart. --Rickey Wright
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In an age when the old-timey soundtrack to O Brother, Where Art Thou? sells 5 million copies, it's hard to imagine how revolutionary Will the Circle Be Unbroken seemed upon its release 30 years ago. The triple album (now rereleased as a two-CD set) paired many of Nashville's venerable country and bluegrass performers (Roy Acuff, Mother Maybelle Carter, Earl Scruggs, Doc Watson, Merle Travis, Jimmy Martin, Vassar Clements) with the Nitty Gritty Dirt Band, or as Acuff called them, "a bunch of long-haired West Coast boys." The idea seemed nearly as foreign as Martians setting down in Tennessee, but the Dirt Band were Colorado hippies steeped in the genre, so there was no disputing the authenticity of the music, or its earthy appeal. Aside from the sheer joy of the performances (listen to Jimmy Martin's "whoop" on "Sunny Side of the Mountain"), there's great fun in hearing Roy Acuff give the boys a lesson in doing a song right the first time (and using the word hell before launching into a religious number). And Mother Maybelle wafts through like a benevolent ghost, or at least a patron saint. One caveat: The boast of four previously unreleased tracks is balderdash, since three are really between-track conversations and rehearsals, and only "Foggy Mountain Breakdown" qualifies as a real song. But that's nitpicking. Buy it. Love it. Wallow in it. O brother, that's country music! --Alanna Nash
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Appalachian Stomp is an ideal starter disc for those just beginning to explore bluegrass. Mostly this is because its 18 selections are so immediately accessible. The "classics" here, in other words, are usually those infrequent bluegrass cuts to have gained radio recognition beyond a core bluegrass audience. That explains why along with timeless standards such as Flatt & Scruggs' "Foggy Mountain Breakdown" and the Osborne Brothers' "Rocky Top" we also get "Dueling Banjos" from the film Deliverance, a cut that is to classic bluegrass what Walter Murphy is to Beethoven. There are less immediately obvious choices too, though. If your previous exposure to bluegrass doesn't go beyond the Holy Trinity of Bill Monroe, Flatt & Scruggs, and the Stanley Brothers--for example, if you've never heard J.D. Crowe & the New South's stellar example of progressive bluegrass, "Old Home Place," or experienced Jimmy Martin lay down the law on his rousing "You Don't Know My Mind"--then you're in for a high-lonesome surprise. --David Cantwell
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Less successful when it's sentimental (Waylon Jennings' "My Heroes Have Always Been Cowboys") than when it's wry (Willie Nelson's myth-puncturing "Me and Paul"), this cash-in compilation of previously released cuts was just in time to grab the first platinum record ever awarded a country album. It's not bad, but both Jennings' contemporaneous Dreaming My Dreams and Nelson's Red Headed Stranger are more nuanced tastes of the good-bad-but-not-evil-ol'-boy lifestyle. (Not to mention much of Tompall Glaser's own Outlaw compilation.) This 1996 CD reissue adds nine more tracks from the era as well as a new Jennings-and-Nelson version of Steve Earle's "Nowhere Road." --Rickey Wright
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In 1993, Windham Hill Records released its fourth album of seasonal music recorded by the label's artists and unavailable in any other collection. Only a few of the tracks on A Winter's Solstice IV lend credence to the label's unfair stereotype as the home for new age background music. Many of the musicians come from such respected jazz bands as Oregon and the Freddie Hubbard Quartet, and from such respected folk bands as the David Grisman Quartet. Several tackle such classical pieces as Bach's "Sheep May Safely Graze" (the Modern Mandolin Quartet), Purcell's "Trumpet Tune" (solo guitarist Alex de Grassi) and Vivaldi's "Four Seasons" (the Turtle Island String Quartet). From Liz Story's "Carol of the Bells" to Nightnoise's "Wexford Carol," this is rigorous instrumental music for the most part, no matter how quiet and pretty it may seem at first listen. --Geoffrey Himes
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The party line on most Windham Hill products seems to be that it's either the greatest stuff since wave machines, or that it all sounds alike. On a Starry Night, with its collection of world songs and reputable artists such as Flora Purim, Airto Moreira, the Turtle Island String Quartet, and others, does lean toward a seamlessly understated, homogeneous quality that is broken only occasionally by Bobby McFerrin's piece and a couple of others. That said, there can hardly be a more mellow or sonorous album of kid's music anywhere. Starry Night could calm a nursery with no nurses; why, it could even soothe the pained yelps at the dog pound--and turn a freeway full of bumper-to-bumper sour pusses into pussycats. Effective? You've heard of mind control, haven't you? --Martin Keller
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