Is anyone considering the Cayomo music cruise in the Carribean?
Full Version: Cayamo
This is the list of artists for the Cayamo cruise. The list is the same order as on http://www.cayamo.com/lineup.php .
Each headliner plays three shows. All passengers are guaranteed to see one show per headlining artist, plus front section seats for their choice to see one artist twice. There are three shows per night on the main stage. The website says "The rest of the event is run “festival style,” with multiple shows going on simultaneously. All of those shows are general admission, so you’re welcome to come and go as you wish!".
Cayamo has a message board similar to the OtR Orchard at http://cayamo.com/community/ . Several people have been on last years cruise and can answer questions. It sounds like the non-headliners play at several locations on the ship with informal music beginning in the early afternoon. It might not be possible to hear every artist.
Lyle Lovett
John Hiatt
Patty Griffin
Shawn Colvin
Indigo Girls
Brandi Carlile
Buddy Miller
Aslyn
Marc Broussard
Kathleen Edwards
Joe Ely
Girlyman
Emerson Hart
Jeff Holmes
Hub City All Stars
Tift Merritt
Shawn Mullins
Over the Rhine
Glen Phillips
Ed Roland
Darrell Scott
Mindy Smith
The Greencards
Vienna Teng
Webb Wilder
Beth Wood
Zac Brown Band
Each headliner plays three shows. All passengers are guaranteed to see one show per headlining artist, plus front section seats for their choice to see one artist twice. There are three shows per night on the main stage. The website says "The rest of the event is run “festival style,” with multiple shows going on simultaneously. All of those shows are general admission, so you’re welcome to come and go as you wish!".
Cayamo has a message board similar to the OtR Orchard at http://cayamo.com/community/ . Several people have been on last years cruise and can answer questions. It sounds like the non-headliners play at several locations on the ship with informal music beginning in the early afternoon. It might not be possible to hear every artist.
Lyle Lovett
John Hiatt
Patty Griffin
Shawn Colvin
Indigo Girls
Brandi Carlile
Buddy Miller
Aslyn
Marc Broussard
Kathleen Edwards
Joe Ely
Girlyman
Emerson Hart
Jeff Holmes
Hub City All Stars
Tift Merritt
Shawn Mullins
Over the Rhine
Glen Phillips
Ed Roland
Darrell Scott
Mindy Smith
The Greencards
Vienna Teng
Webb Wilder
Beth Wood
Zac Brown Band
Lyle Lovett description for Cayamo cruise (#1 of 27 artists)
Lyle Lovett
http://www.lylelovett.com
This is quoted from "http://www.cayamo.com/popups/artist.php?id=50"
mp3 playing "If I had a boat".
"Lyle Lovett is one the most revered musicians of his time. Over the course of his career he has won 2 grammy awards, four country music awards, appeared in numerous film and television spots, and has garnered mass critical acclaim and love and adoration from his many lifelong fans. Born and raised in TX, Lyle’s music has spanned over the course of two decades and includes such diverse styles as country, Western, folk, swing, jazz, bebop, blues and gospel. A country legend, Lyle Lovett will continue to bring the singer songwriter sound to the forefront of music while carving out a niche of his own. "
Lyle Lovett
http://www.lylelovett.com
This is quoted from "http://www.cayamo.com/popups/artist.php?id=50"
mp3 playing "If I had a boat".
"Lyle Lovett is one the most revered musicians of his time. Over the course of his career he has won 2 grammy awards, four country music awards, appeared in numerous film and television spots, and has garnered mass critical acclaim and love and adoration from his many lifelong fans. Born and raised in TX, Lyle’s music has spanned over the course of two decades and includes such diverse styles as country, Western, folk, swing, jazz, bebop, blues and gospel. A country legend, Lyle Lovett will continue to bring the singer songwriter sound to the forefront of music while carving out a niche of his own. "
John Hiatte description for Cayamo cruise (#2 of 27)
mp3 plays "Have a Little faith in me"
http://www.johnhiatt.com
This is quoted from http://www.cayamo.com/popups/artist.php?id=69 .
Master of Disaster, John Hiatt’s brilliant new CD, simultaneously celebrates and updates rock ‘n’ roll in a manner that won’t be particularly surprising to any child of the ‘50s. Hiatt journeyed to Memphis for this recording, joining forces with the venerable producer and impresario Jim Dickinson and his sons Cody and Luther, who comprise two thirds of the radical roots-blues/rockers the North Mississippi Allstars. Veteran Muscle Shoals session man extraordinaire David Hood handles the bass. “I see this almost like a Fathers and Sons type of project, similar to what those guys did in Chicago with the Chess legends and the young rockers,” Hiatt said while discussing the album. “Jim’s sons Luther and Cody brought in that youthful assertiveness, that rocking feeling, and Jim and I were the old guys, just grabbing hold to the grooves they were laying down and doing something else with them.” Hiatt is equally thrilled about working with Dickinson, a legendary figure known for the same type of eccentricity that has epitomized other producer/savant types like Phil Spector but minus their self-destructive behavior in the studio. “Jim Dickinson is a musical shaman,” Hiatt gushed. “He not only understands and knows music, he knows and understands the people who make it. It was kind of freaky sometimes, because he would seem to know what we were thinking musically before we played it, then he’d articulate it in a way that made more sense than how we envisioned it.”
Of course, those of us who grew up understanding there was no difference (that mattered) in the music of Elvis, Ray Charles, Slim Harpo and Johnny Cash knew immediately upon hearing John Hiatt’s first numbers 31 years ago that he was a kindred spirit. That’s not to say only the rock and roll generation can appreciate Hiatt’s cleverness, idiomatic versatility, distinctive gruff and endearing voice, or slashing guitar skills. But when everyone from Bob Dylan, Bruce Springsteen, Rodney Crowell and Willie Nelson to Buddy Guy, Flaco Jimenez and Ry Cooder have covered his tunes, it’s quite clear that those who appreciate great songwriting and savor a keen wit, narrative flair and refusal to pen a sloppy or sappy line, eagerly embrace John Hiatt’s tunes.
A garage band veteran while growing up in Indiana, Hiatt also found inspiration in the groundbreaking songs of Bob Dylan, another figure with an encyclopedic knowledge of and love for vintage American music, plus the ability to communicate sentiments and feelings many Americans either feared or pretended didn’t exist. When he arrived in Nashville as an 18-year-old, it was clear to anyone who listened closely that he not only had a lot to say, but was presenting it in a manner that brilliantly blended passion and sophistication. Early covers of his work by the Neville Brothers, Ronnie Milsap, Bonnie Raitt and many others began alerting music lovers to his compositional flair.
Then Hiatt began gaining equal notoriety as a performer, particularly a stint where he served as America’s answer to the angry Brits of the late ‘70s, plus some time working with Ry Cooder. The evidence of his evolution into a formidable artist also became more apparent in his live shows. Soon such seminal releases as Bring The Family in 1987, Slow Turning in 1988, Stolen Moments in 1990, and Walk On in 1995 were the signal that he had become a distinctive and dynamic star. Hiatt’s greatness couldn’t be denied, and he subsequently made three more astonishing releases as the 21st century began: Crossing Muddy Waters in 2000 reaffirmed his songwriting chops (as if that was necessary), The Tiki Bar Is Open showcased the rock ‘n’ roll roots and Beneath This Gruff Exterior revealed an artist still capable of surprising, shocking and delighting his audience.
But with Master Of Disaster John Hiatt shows he still has plenty of compositional and vocal might. Two of the disc’s 11 cuts that really reaffirm the strength of the Hiatt/Dickinson/North Mississippi Allstars musical union are “Love’s Not Where We Thought We Left It” and “Ain’t Ever Goin’ Back.” The former contains some edgy, inventive lyrics revolving around disillusionment and hypocrisy, but only Hiatt would fuel the song by using a dispute between Jesus Christ, the apostles and Mary Magdalene to launch things. The latter has a loping country feel, anchored by a gritty Hiatt lead vocal and acoustic/electric counterpoint in the arrangement that makes the song’s expressions of loss and regret sound even more brooding and intense.
“I was trying to cover the great American musical experience with the songs on this album,” Hiatt continued, his words offering the perfect overview. “We were influenced by the blues, by country music, by ragtime, jazz, everything. But we were also reflecting the sense of the frontier, the whole Southern experience of different cultures and sounds bumping up against the Mississippi River.” From the rumbling horn lines that come flowing in and out on “Master Of Disaster” to the naughty sensibility and careening feel right out of Chuck Berry that underlines “When My Love Crosses Over,” Hiatt simultaneously highlights rock’s past and updates it for 21st century audiences. The laconic sound, biting harmonica and poignant singing on “Wintertime Blues” hearkens back to the folkie period during the early ‘60s, when acoustic troubadours and venerable, forgotten country blues players shared stages, and giants like Mississippi Fred McDowell and Son House were “rediscovered.” Yet Hiatt avoids any retro feel in his treatment, his voice resonant, confident and pushing forward, even as the song’s last chorus reminds you of the pain reflected in its message.
“I wanted a little different flavor, a different vibe with this recording,” Hiatt responds when asked why he chose at this juncture to head down to Memphis. “We got a real funky quality working at Ardent. Cutting in the same room where they made ZZ Top, recording in the R&B room, you could really feel the whole soul, the blues sensibility in the place. The session had a great old school feeling, yet it was also the most incredible, honest sound quality and reproduction that I’ve ever heard doing a recording.” That soul can also be heard in “Find You At Last,” where the backing horn section sometimes gets that swaying backbeat and feel in the choruses and transitions like Hi Rhythm did behind Rev. Al Green and Ann Peebles and everyone else at Willie Mitchell’s great old studio on Lauderdale street during the ‘70s.
But what makes everything work is that Hiatt naturally fits into every setting, smartly embellishing grooves one time and soaring over floating progressions the next. He’s just as compelling and convincing recognizing an old-timer’s heartbreak in “Old School” as he was enticing and suggestive on “When My Love Crosses Over,” with both songs ultimately illuminating the sexual games and maneuvers too often at the heart of most relationships. His poignant, reflective yet confident lead vocal punctuates “Old School,” making it a moving and memorable look at disappointment and disillusionment. “Back On The Corner” also addresses loss and suffering, but this time works in the impact of addiction as well. It’s a fitting conclusion to a magnificent work, one that depicts an American music giant still refining his compositions and forging ahead.
mp3 plays "Have a Little faith in me"
http://www.johnhiatt.com
This is quoted from http://www.cayamo.com/popups/artist.php?id=69 .
Master of Disaster, John Hiatt’s brilliant new CD, simultaneously celebrates and updates rock ‘n’ roll in a manner that won’t be particularly surprising to any child of the ‘50s. Hiatt journeyed to Memphis for this recording, joining forces with the venerable producer and impresario Jim Dickinson and his sons Cody and Luther, who comprise two thirds of the radical roots-blues/rockers the North Mississippi Allstars. Veteran Muscle Shoals session man extraordinaire David Hood handles the bass. “I see this almost like a Fathers and Sons type of project, similar to what those guys did in Chicago with the Chess legends and the young rockers,” Hiatt said while discussing the album. “Jim’s sons Luther and Cody brought in that youthful assertiveness, that rocking feeling, and Jim and I were the old guys, just grabbing hold to the grooves they were laying down and doing something else with them.” Hiatt is equally thrilled about working with Dickinson, a legendary figure known for the same type of eccentricity that has epitomized other producer/savant types like Phil Spector but minus their self-destructive behavior in the studio. “Jim Dickinson is a musical shaman,” Hiatt gushed. “He not only understands and knows music, he knows and understands the people who make it. It was kind of freaky sometimes, because he would seem to know what we were thinking musically before we played it, then he’d articulate it in a way that made more sense than how we envisioned it.”
Of course, those of us who grew up understanding there was no difference (that mattered) in the music of Elvis, Ray Charles, Slim Harpo and Johnny Cash knew immediately upon hearing John Hiatt’s first numbers 31 years ago that he was a kindred spirit. That’s not to say only the rock and roll generation can appreciate Hiatt’s cleverness, idiomatic versatility, distinctive gruff and endearing voice, or slashing guitar skills. But when everyone from Bob Dylan, Bruce Springsteen, Rodney Crowell and Willie Nelson to Buddy Guy, Flaco Jimenez and Ry Cooder have covered his tunes, it’s quite clear that those who appreciate great songwriting and savor a keen wit, narrative flair and refusal to pen a sloppy or sappy line, eagerly embrace John Hiatt’s tunes.
A garage band veteran while growing up in Indiana, Hiatt also found inspiration in the groundbreaking songs of Bob Dylan, another figure with an encyclopedic knowledge of and love for vintage American music, plus the ability to communicate sentiments and feelings many Americans either feared or pretended didn’t exist. When he arrived in Nashville as an 18-year-old, it was clear to anyone who listened closely that he not only had a lot to say, but was presenting it in a manner that brilliantly blended passion and sophistication. Early covers of his work by the Neville Brothers, Ronnie Milsap, Bonnie Raitt and many others began alerting music lovers to his compositional flair.
Then Hiatt began gaining equal notoriety as a performer, particularly a stint where he served as America’s answer to the angry Brits of the late ‘70s, plus some time working with Ry Cooder. The evidence of his evolution into a formidable artist also became more apparent in his live shows. Soon such seminal releases as Bring The Family in 1987, Slow Turning in 1988, Stolen Moments in 1990, and Walk On in 1995 were the signal that he had become a distinctive and dynamic star. Hiatt’s greatness couldn’t be denied, and he subsequently made three more astonishing releases as the 21st century began: Crossing Muddy Waters in 2000 reaffirmed his songwriting chops (as if that was necessary), The Tiki Bar Is Open showcased the rock ‘n’ roll roots and Beneath This Gruff Exterior revealed an artist still capable of surprising, shocking and delighting his audience.
But with Master Of Disaster John Hiatt shows he still has plenty of compositional and vocal might. Two of the disc’s 11 cuts that really reaffirm the strength of the Hiatt/Dickinson/North Mississippi Allstars musical union are “Love’s Not Where We Thought We Left It” and “Ain’t Ever Goin’ Back.” The former contains some edgy, inventive lyrics revolving around disillusionment and hypocrisy, but only Hiatt would fuel the song by using a dispute between Jesus Christ, the apostles and Mary Magdalene to launch things. The latter has a loping country feel, anchored by a gritty Hiatt lead vocal and acoustic/electric counterpoint in the arrangement that makes the song’s expressions of loss and regret sound even more brooding and intense.
“I was trying to cover the great American musical experience with the songs on this album,” Hiatt continued, his words offering the perfect overview. “We were influenced by the blues, by country music, by ragtime, jazz, everything. But we were also reflecting the sense of the frontier, the whole Southern experience of different cultures and sounds bumping up against the Mississippi River.” From the rumbling horn lines that come flowing in and out on “Master Of Disaster” to the naughty sensibility and careening feel right out of Chuck Berry that underlines “When My Love Crosses Over,” Hiatt simultaneously highlights rock’s past and updates it for 21st century audiences. The laconic sound, biting harmonica and poignant singing on “Wintertime Blues” hearkens back to the folkie period during the early ‘60s, when acoustic troubadours and venerable, forgotten country blues players shared stages, and giants like Mississippi Fred McDowell and Son House were “rediscovered.” Yet Hiatt avoids any retro feel in his treatment, his voice resonant, confident and pushing forward, even as the song’s last chorus reminds you of the pain reflected in its message.
“I wanted a little different flavor, a different vibe with this recording,” Hiatt responds when asked why he chose at this juncture to head down to Memphis. “We got a real funky quality working at Ardent. Cutting in the same room where they made ZZ Top, recording in the R&B room, you could really feel the whole soul, the blues sensibility in the place. The session had a great old school feeling, yet it was also the most incredible, honest sound quality and reproduction that I’ve ever heard doing a recording.” That soul can also be heard in “Find You At Last,” where the backing horn section sometimes gets that swaying backbeat and feel in the choruses and transitions like Hi Rhythm did behind Rev. Al Green and Ann Peebles and everyone else at Willie Mitchell’s great old studio on Lauderdale street during the ‘70s.
But what makes everything work is that Hiatt naturally fits into every setting, smartly embellishing grooves one time and soaring over floating progressions the next. He’s just as compelling and convincing recognizing an old-timer’s heartbreak in “Old School” as he was enticing and suggestive on “When My Love Crosses Over,” with both songs ultimately illuminating the sexual games and maneuvers too often at the heart of most relationships. His poignant, reflective yet confident lead vocal punctuates “Old School,” making it a moving and memorable look at disappointment and disillusionment. “Back On The Corner” also addresses loss and suffering, but this time works in the impact of addiction as well. It’s a fitting conclusion to a magnificent work, one that depicts an American music giant still refining his compositions and forging ahead.
Patty Griffin (#3 of 27 on Cayamo cruise)
mp3 playing "Time will do the talking".
http://www.pattygriffin.com
This is quoted from "http://www.cayamo.com/popups/artist.php?id=68"
Patty Griffin's new album Children Running Through (ATO) continues the remarkable creative evolution that's quietly established Griffin as a vital and singular musical force. It also belies her persistent sensitive-singer-songwriter image - a limiting perception that fails to fully convey the emotional depth and breadth of her songwriting or the emotive power of her fluid, soulful singing. Indeed, the new disc's 12 Griffin originals maintain a timelessly truthful resonance that echoes a variety of styles, most notably the classic R&B and gospel music that have long been a source of inspiration for the artist.
On Children Running Through, Griffin's seamless songcraft is supported by spare, spacious arrangements and production by Griffin along with Mike McCarthy (Spoon) that emphasize her effortlessly eloquent lyrics, her subtly indelible melodies and her sublimely expressive voice, while making judicious use of such sonic frills as horns and strings. The artful instrumental settings are perfectly suited to the soul glory of "Heavenly Day," the wistful melancholy of "You'll Remember," the haunting intimacy of "Railroad Wings," the vivid storytelling of "Trapeze," the rocking "No Bad News," the steely determination of "I Don't Ever Give Up" and the healing gospel of "Up to the Mountain (MLK Song)."
"I just wanted to write from the heart and let it be," Griffin says of the project. "Some of the most beautiful music I've ever heard is when you catch somebody singing to themselves. I wanted to make music that had that feeling."
That sort of heartfelt forthrightness has won Griffin a fiercely loyal fan base that's continued to expand, even as she's retreated from the cookie-cutter machinery of the mainstream music industry. Among her higher-profile admirers are the Dixie Chicks, who recorded much-loved versions of the Griffin compositions "Top of the World," "Truth No. 2" and "Let Him Fly"; Emmylou Harris, a longtime supporter who's covered several Griffin songs, and who lends her iconic harmony vocals to the Children Running Through number "Trapeze"; and Solomon Burke, who covers "Up to the Mountain (MLK Song)" on his latest record.
The Maine native first became aware of music's capacity to communicate while growing up as the youngest of seven siblings, listening to her mother sing hymns, country songs and made-up ditties. She began singing during childhood, and wrote poems and songs as a teenager, but was too shy to make much of an effort to perform in public. After a stint living in Florida, she moved to the Boston area, where she waited tables and worked as a telephone switchboard operator at Harvard University. It wasn't until her guitar teacher coaxed her into joining him on stage in a tiny Cambridge club that Griffin mustered up the courage to begin performing her songs in public.
On the strength of a set of unadorned acoustic demo recordings, Griffin won a recording deal with A&M Records. When an attempt at cutting more elaborate studio versions of the same material proved unsatisfactory, the label agreed to release the artist's stripped-down original demos instead. The result was her 1996 debut release Living with Ghosts, which won widespread critical acclaim and won Griffin the beginnings of a passionate and devoted fan following. The following year, Griffin defied expectations by taking a radically different approach on her noisy sophomore effort,Flaming Red.
After an album she recorded in 2000 went unreleased due to corporate shuffles, Griffin found a more hospitable home when fan Dave Matthews signed her to his new, artist-friendly ATO Records. The change in labels coincided with Griffin's determination to scale her music back down to its essence, a direction that was reflected on 2002's sparse, mostly acoustic 1000 Kisses, which earned a Grammy nomination in the Best Contemporary Folk Album category. It was followed in 2003 by the live CD/DVD set A Kiss In Time.
2004's Impossible Dream was Griffin's most ambitious and accomplished effort yet, encompassing a broad range of musical influences while boasting some of her most ambitious, emotionally complex songwriting to date. It also netted a second Grammy nomination for Griffin.
As her own releases have continued to win consistent critical attention and a steadily expanding audience, Griffin has simultaneously become a popular source of material for other artists. In addition to the ones mentioned above, Griffin's songwriting has been embraced by a diverse assortment of performers, including Martina McBride, Bette Midler, Mary Chapin Carpenter, Reba McEntire and Maura O'Connell, all of whom have recorded her songs. Also inspired by her work, filmmaker Cameron Crowe personally selected her to appear in his 2005 feature film "Elizabethtown."
In addition to raising her public profile, having her songs covered by other artists has allowed Griffin the luxury of making music on her own terms, and her iconoclastic approach is reflected throughout Children Running Through.
"I invested a lot more time in this than anything I've ever done," she says of the new album. "After Impossible Dream, I had used up all the songs I'd been carrying around for years, so it was a challenge to find out if I had anything left in me. It took some time, but it was a positive thing to be tested that way."
While her new songs maintain the levels of clarity and insight that Griffin's fans have come to expect, the new album's organic, deeply felt performances embody an openhearted sense of directness and simplicity. "The aim," Griffin states, "was to strip everything down and just give it a few brushstrokes here and there, to come up with something that's quiet but powerful. I wanted to be a little less wordy, but I also wanted to make a record where I didn't hold back and let myself sing as loud as I wanted to.
"A great part of getting older," she adds, "is not caring so much what other people think. I feel like I'm allowed to be goofy or whatever, and I'm allowed not to worry about whether something is cool enough or smart enough. That's pretty liberating."
Children Running Through, was recorded in the artist's adopted hometown of Austin, Texas, in a makeshift studio set up in a rented house across the street from her home. In addition to Griffin on vocals and guitar, the sessions featured a sterling assortment of Austin, Nashville and New York players, including longtime Griffin collaborator Doug Lancio on guitar, legendary Faces keyboardist Ian McLagan, and a nine-person string section conducted and arranged by multi-instrumentalist John Mark Painter.
"This record was tough, but it was really rewarding," Griffin reports. "I was more relaxed than I've ever been making a record, and I had a lot of confidence in the material. But there was also a lot of tension, and there were definitely moments where we didn't think we were gonna get it together. But we did.
"One of the most important things to me is avoiding cynicism, and that's what this record represents to me," she concludes. "For me, the best songs and the best ideas have always emerged from just thinking, 'Well, what do I feel like singing right now?' That's always a good, honest place to start from. For me, this whole record is a little like that."
mp3 playing "Time will do the talking".
http://www.pattygriffin.com
This is quoted from "http://www.cayamo.com/popups/artist.php?id=68"
Patty Griffin's new album Children Running Through (ATO) continues the remarkable creative evolution that's quietly established Griffin as a vital and singular musical force. It also belies her persistent sensitive-singer-songwriter image - a limiting perception that fails to fully convey the emotional depth and breadth of her songwriting or the emotive power of her fluid, soulful singing. Indeed, the new disc's 12 Griffin originals maintain a timelessly truthful resonance that echoes a variety of styles, most notably the classic R&B and gospel music that have long been a source of inspiration for the artist.
On Children Running Through, Griffin's seamless songcraft is supported by spare, spacious arrangements and production by Griffin along with Mike McCarthy (Spoon) that emphasize her effortlessly eloquent lyrics, her subtly indelible melodies and her sublimely expressive voice, while making judicious use of such sonic frills as horns and strings. The artful instrumental settings are perfectly suited to the soul glory of "Heavenly Day," the wistful melancholy of "You'll Remember," the haunting intimacy of "Railroad Wings," the vivid storytelling of "Trapeze," the rocking "No Bad News," the steely determination of "I Don't Ever Give Up" and the healing gospel of "Up to the Mountain (MLK Song)."
"I just wanted to write from the heart and let it be," Griffin says of the project. "Some of the most beautiful music I've ever heard is when you catch somebody singing to themselves. I wanted to make music that had that feeling."
That sort of heartfelt forthrightness has won Griffin a fiercely loyal fan base that's continued to expand, even as she's retreated from the cookie-cutter machinery of the mainstream music industry. Among her higher-profile admirers are the Dixie Chicks, who recorded much-loved versions of the Griffin compositions "Top of the World," "Truth No. 2" and "Let Him Fly"; Emmylou Harris, a longtime supporter who's covered several Griffin songs, and who lends her iconic harmony vocals to the Children Running Through number "Trapeze"; and Solomon Burke, who covers "Up to the Mountain (MLK Song)" on his latest record.
The Maine native first became aware of music's capacity to communicate while growing up as the youngest of seven siblings, listening to her mother sing hymns, country songs and made-up ditties. She began singing during childhood, and wrote poems and songs as a teenager, but was too shy to make much of an effort to perform in public. After a stint living in Florida, she moved to the Boston area, where she waited tables and worked as a telephone switchboard operator at Harvard University. It wasn't until her guitar teacher coaxed her into joining him on stage in a tiny Cambridge club that Griffin mustered up the courage to begin performing her songs in public.
On the strength of a set of unadorned acoustic demo recordings, Griffin won a recording deal with A&M Records. When an attempt at cutting more elaborate studio versions of the same material proved unsatisfactory, the label agreed to release the artist's stripped-down original demos instead. The result was her 1996 debut release Living with Ghosts, which won widespread critical acclaim and won Griffin the beginnings of a passionate and devoted fan following. The following year, Griffin defied expectations by taking a radically different approach on her noisy sophomore effort,Flaming Red.
After an album she recorded in 2000 went unreleased due to corporate shuffles, Griffin found a more hospitable home when fan Dave Matthews signed her to his new, artist-friendly ATO Records. The change in labels coincided with Griffin's determination to scale her music back down to its essence, a direction that was reflected on 2002's sparse, mostly acoustic 1000 Kisses, which earned a Grammy nomination in the Best Contemporary Folk Album category. It was followed in 2003 by the live CD/DVD set A Kiss In Time.
2004's Impossible Dream was Griffin's most ambitious and accomplished effort yet, encompassing a broad range of musical influences while boasting some of her most ambitious, emotionally complex songwriting to date. It also netted a second Grammy nomination for Griffin.
As her own releases have continued to win consistent critical attention and a steadily expanding audience, Griffin has simultaneously become a popular source of material for other artists. In addition to the ones mentioned above, Griffin's songwriting has been embraced by a diverse assortment of performers, including Martina McBride, Bette Midler, Mary Chapin Carpenter, Reba McEntire and Maura O'Connell, all of whom have recorded her songs. Also inspired by her work, filmmaker Cameron Crowe personally selected her to appear in his 2005 feature film "Elizabethtown."
In addition to raising her public profile, having her songs covered by other artists has allowed Griffin the luxury of making music on her own terms, and her iconoclastic approach is reflected throughout Children Running Through.
"I invested a lot more time in this than anything I've ever done," she says of the new album. "After Impossible Dream, I had used up all the songs I'd been carrying around for years, so it was a challenge to find out if I had anything left in me. It took some time, but it was a positive thing to be tested that way."
While her new songs maintain the levels of clarity and insight that Griffin's fans have come to expect, the new album's organic, deeply felt performances embody an openhearted sense of directness and simplicity. "The aim," Griffin states, "was to strip everything down and just give it a few brushstrokes here and there, to come up with something that's quiet but powerful. I wanted to be a little less wordy, but I also wanted to make a record where I didn't hold back and let myself sing as loud as I wanted to.
"A great part of getting older," she adds, "is not caring so much what other people think. I feel like I'm allowed to be goofy or whatever, and I'm allowed not to worry about whether something is cool enough or smart enough. That's pretty liberating."
Children Running Through, was recorded in the artist's adopted hometown of Austin, Texas, in a makeshift studio set up in a rented house across the street from her home. In addition to Griffin on vocals and guitar, the sessions featured a sterling assortment of Austin, Nashville and New York players, including longtime Griffin collaborator Doug Lancio on guitar, legendary Faces keyboardist Ian McLagan, and a nine-person string section conducted and arranged by multi-instrumentalist John Mark Painter.
"This record was tough, but it was really rewarding," Griffin reports. "I was more relaxed than I've ever been making a record, and I had a lot of confidence in the material. But there was also a lot of tension, and there were definitely moments where we didn't think we were gonna get it together. But we did.
"One of the most important things to me is avoiding cynicism, and that's what this record represents to me," she concludes. "For me, the best songs and the best ideas have always emerged from just thinking, 'Well, what do I feel like singing right now?' That's always a good, honest place to start from. For me, this whole record is a little like that."
Patty Griffin (#3 of 27 on Cayamo cruise)
mp3 playing "Time will do the talking".
http://www.pattygriffin.com
This is quoted from "http://www.cayamo.com/popups/artist.php?id=68"
Patty Griffin's new album Children Running Through (ATO) continues the remarkable creative evolution that's quietly established Griffin as a vital and singular musical force. It also belies her persistent sensitive-singer-songwriter image - a limiting perception that fails to fully convey the emotional depth and breadth of her songwriting or the emotive power of her fluid, soulful singing. Indeed, the new disc's 12 Griffin originals maintain a timelessly truthful resonance that echoes a variety of styles, most notably the classic R&B and gospel music that have long been a source of inspiration for the artist.
On Children Running Through, Griffin's seamless songcraft is supported by spare, spacious arrangements and production by Griffin along with Mike McCarthy (Spoon) that emphasize her effortlessly eloquent lyrics, her subtly indelible melodies and her sublimely expressive voice, while making judicious use of such sonic frills as horns and strings. The artful instrumental settings are perfectly suited to the soul glory of "Heavenly Day," the wistful melancholy of "You'll Remember," the haunting intimacy of "Railroad Wings," the vivid storytelling of "Trapeze," the rocking "No Bad News," the steely determination of "I Don't Ever Give Up" and the healing gospel of "Up to the Mountain (MLK Song)."
"I just wanted to write from the heart and let it be," Griffin says of the project. "Some of the most beautiful music I've ever heard is when you catch somebody singing to themselves. I wanted to make music that had that feeling."
That sort of heartfelt forthrightness has won Griffin a fiercely loyal fan base that's continued to expand, even as she's retreated from the cookie-cutter machinery of the mainstream music industry. Among her higher-profile admirers are the Dixie Chicks, who recorded much-loved versions of the Griffin compositions "Top of the World," "Truth No. 2" and "Let Him Fly"; Emmylou Harris, a longtime supporter who's covered several Griffin songs, and who lends her iconic harmony vocals to the Children Running Through number "Trapeze"; and Solomon Burke, who covers "Up to the Mountain (MLK Song)" on his latest record.
The Maine native first became aware of music's capacity to communicate while growing up as the youngest of seven siblings, listening to her mother sing hymns, country songs and made-up ditties. She began singing during childhood, and wrote poems and songs as a teenager, but was too shy to make much of an effort to perform in public. After a stint living in Florida, she moved to the Boston area, where she waited tables and worked as a telephone switchboard operator at Harvard University. It wasn't until her guitar teacher coaxed her into joining him on stage in a tiny Cambridge club that Griffin mustered up the courage to begin performing her songs in public.
On the strength of a set of unadorned acoustic demo recordings, Griffin won a recording deal with A&M Records. When an attempt at cutting more elaborate studio versions of the same material proved unsatisfactory, the label agreed to release the artist's stripped-down original demos instead. The result was her 1996 debut release Living with Ghosts, which won widespread critical acclaim and won Griffin the beginnings of a passionate and devoted fan following. The following year, Griffin defied expectations by taking a radically different approach on her noisy sophomore effort,Flaming Red.
After an album she recorded in 2000 went unreleased due to corporate shuffles, Griffin found a more hospitable home when fan Dave Matthews signed her to his new, artist-friendly ATO Records. The change in labels coincided with Griffin's determination to scale her music back down to its essence, a direction that was reflected on 2002's sparse, mostly acoustic 1000 Kisses, which earned a Grammy nomination in the Best Contemporary Folk Album category. It was followed in 2003 by the live CD/DVD set A Kiss In Time.
2004's Impossible Dream was Griffin's most ambitious and accomplished effort yet, encompassing a broad range of musical influences while boasting some of her most ambitious, emotionally complex songwriting to date. It also netted a second Grammy nomination for Griffin.
As her own releases have continued to win consistent critical attention and a steadily expanding audience, Griffin has simultaneously become a popular source of material for other artists. In addition to the ones mentioned above, Griffin's songwriting has been embraced by a diverse assortment of performers, including Martina McBride, Bette Midler, Mary Chapin Carpenter, Reba McEntire and Maura O'Connell, all of whom have recorded her songs. Also inspired by her work, filmmaker Cameron Crowe personally selected her to appear in his 2005 feature film "Elizabethtown."
In addition to raising her public profile, having her songs covered by other artists has allowed Griffin the luxury of making music on her own terms, and her iconoclastic approach is reflected throughout Children Running Through.
"I invested a lot more time in this than anything I've ever done," she says of the new album. "After Impossible Dream, I had used up all the songs I'd been carrying around for years, so it was a challenge to find out if I had anything left in me. It took some time, but it was a positive thing to be tested that way."
While her new songs maintain the levels of clarity and insight that Griffin's fans have come to expect, the new album's organic, deeply felt performances embody an openhearted sense of directness and simplicity. "The aim," Griffin states, "was to strip everything down and just give it a few brushstrokes here and there, to come up with something that's quiet but powerful. I wanted to be a little less wordy, but I also wanted to make a record where I didn't hold back and let myself sing as loud as I wanted to.
"A great part of getting older," she adds, "is not caring so much what other people think. I feel like I'm allowed to be goofy or whatever, and I'm allowed not to worry about whether something is cool enough or smart enough. That's pretty liberating."
Children Running Through, was recorded in the artist's adopted hometown of Austin, Texas, in a makeshift studio set up in a rented house across the street from her home. In addition to Griffin on vocals and guitar, the sessions featured a sterling assortment of Austin, Nashville and New York players, including longtime Griffin collaborator Doug Lancio on guitar, legendary Faces keyboardist Ian McLagan, and a nine-person string section conducted and arranged by multi-instrumentalist John Mark Painter.
"This record was tough, but it was really rewarding," Griffin reports. "I was more relaxed than I've ever been making a record, and I had a lot of confidence in the material. But there was also a lot of tension, and there were definitely moments where we didn't think we were gonna get it together. But we did.
"One of the most important things to me is avoiding cynicism, and that's what this record represents to me," she concludes. "For me, the best songs and the best ideas have always emerged from just thinking, 'Well, what do I feel like singing right now?' That's always a good, honest place to start from. For me, this whole record is a little like that."
mp3 playing "Time will do the talking".
http://www.pattygriffin.com
This is quoted from "http://www.cayamo.com/popups/artist.php?id=68"
Patty Griffin's new album Children Running Through (ATO) continues the remarkable creative evolution that's quietly established Griffin as a vital and singular musical force. It also belies her persistent sensitive-singer-songwriter image - a limiting perception that fails to fully convey the emotional depth and breadth of her songwriting or the emotive power of her fluid, soulful singing. Indeed, the new disc's 12 Griffin originals maintain a timelessly truthful resonance that echoes a variety of styles, most notably the classic R&B and gospel music that have long been a source of inspiration for the artist.
On Children Running Through, Griffin's seamless songcraft is supported by spare, spacious arrangements and production by Griffin along with Mike McCarthy (Spoon) that emphasize her effortlessly eloquent lyrics, her subtly indelible melodies and her sublimely expressive voice, while making judicious use of such sonic frills as horns and strings. The artful instrumental settings are perfectly suited to the soul glory of "Heavenly Day," the wistful melancholy of "You'll Remember," the haunting intimacy of "Railroad Wings," the vivid storytelling of "Trapeze," the rocking "No Bad News," the steely determination of "I Don't Ever Give Up" and the healing gospel of "Up to the Mountain (MLK Song)."
"I just wanted to write from the heart and let it be," Griffin says of the project. "Some of the most beautiful music I've ever heard is when you catch somebody singing to themselves. I wanted to make music that had that feeling."
That sort of heartfelt forthrightness has won Griffin a fiercely loyal fan base that's continued to expand, even as she's retreated from the cookie-cutter machinery of the mainstream music industry. Among her higher-profile admirers are the Dixie Chicks, who recorded much-loved versions of the Griffin compositions "Top of the World," "Truth No. 2" and "Let Him Fly"; Emmylou Harris, a longtime supporter who's covered several Griffin songs, and who lends her iconic harmony vocals to the Children Running Through number "Trapeze"; and Solomon Burke, who covers "Up to the Mountain (MLK Song)" on his latest record.
The Maine native first became aware of music's capacity to communicate while growing up as the youngest of seven siblings, listening to her mother sing hymns, country songs and made-up ditties. She began singing during childhood, and wrote poems and songs as a teenager, but was too shy to make much of an effort to perform in public. After a stint living in Florida, she moved to the Boston area, where she waited tables and worked as a telephone switchboard operator at Harvard University. It wasn't until her guitar teacher coaxed her into joining him on stage in a tiny Cambridge club that Griffin mustered up the courage to begin performing her songs in public.
On the strength of a set of unadorned acoustic demo recordings, Griffin won a recording deal with A&M Records. When an attempt at cutting more elaborate studio versions of the same material proved unsatisfactory, the label agreed to release the artist's stripped-down original demos instead. The result was her 1996 debut release Living with Ghosts, which won widespread critical acclaim and won Griffin the beginnings of a passionate and devoted fan following. The following year, Griffin defied expectations by taking a radically different approach on her noisy sophomore effort,Flaming Red.
After an album she recorded in 2000 went unreleased due to corporate shuffles, Griffin found a more hospitable home when fan Dave Matthews signed her to his new, artist-friendly ATO Records. The change in labels coincided with Griffin's determination to scale her music back down to its essence, a direction that was reflected on 2002's sparse, mostly acoustic 1000 Kisses, which earned a Grammy nomination in the Best Contemporary Folk Album category. It was followed in 2003 by the live CD/DVD set A Kiss In Time.
2004's Impossible Dream was Griffin's most ambitious and accomplished effort yet, encompassing a broad range of musical influences while boasting some of her most ambitious, emotionally complex songwriting to date. It also netted a second Grammy nomination for Griffin.
As her own releases have continued to win consistent critical attention and a steadily expanding audience, Griffin has simultaneously become a popular source of material for other artists. In addition to the ones mentioned above, Griffin's songwriting has been embraced by a diverse assortment of performers, including Martina McBride, Bette Midler, Mary Chapin Carpenter, Reba McEntire and Maura O'Connell, all of whom have recorded her songs. Also inspired by her work, filmmaker Cameron Crowe personally selected her to appear in his 2005 feature film "Elizabethtown."
In addition to raising her public profile, having her songs covered by other artists has allowed Griffin the luxury of making music on her own terms, and her iconoclastic approach is reflected throughout Children Running Through.
"I invested a lot more time in this than anything I've ever done," she says of the new album. "After Impossible Dream, I had used up all the songs I'd been carrying around for years, so it was a challenge to find out if I had anything left in me. It took some time, but it was a positive thing to be tested that way."
While her new songs maintain the levels of clarity and insight that Griffin's fans have come to expect, the new album's organic, deeply felt performances embody an openhearted sense of directness and simplicity. "The aim," Griffin states, "was to strip everything down and just give it a few brushstrokes here and there, to come up with something that's quiet but powerful. I wanted to be a little less wordy, but I also wanted to make a record where I didn't hold back and let myself sing as loud as I wanted to.
"A great part of getting older," she adds, "is not caring so much what other people think. I feel like I'm allowed to be goofy or whatever, and I'm allowed not to worry about whether something is cool enough or smart enough. That's pretty liberating."
Children Running Through, was recorded in the artist's adopted hometown of Austin, Texas, in a makeshift studio set up in a rented house across the street from her home. In addition to Griffin on vocals and guitar, the sessions featured a sterling assortment of Austin, Nashville and New York players, including longtime Griffin collaborator Doug Lancio on guitar, legendary Faces keyboardist Ian McLagan, and a nine-person string section conducted and arranged by multi-instrumentalist John Mark Painter.
"This record was tough, but it was really rewarding," Griffin reports. "I was more relaxed than I've ever been making a record, and I had a lot of confidence in the material. But there was also a lot of tension, and there were definitely moments where we didn't think we were gonna get it together. But we did.
"One of the most important things to me is avoiding cynicism, and that's what this record represents to me," she concludes. "For me, the best songs and the best ideas have always emerged from just thinking, 'Well, what do I feel like singing right now?' That's always a good, honest place to start from. For me, this whole record is a little like that."
Shawn Colvin (artist #4 of 27 on Cayamo cruise)
http://www.shawncolvin.com
This is quoted from "http://www.cayamo.com/popups/artist.php?id=52" .
mp3 playing "Sunny Came Home"
In an era when female singer-songwriters have been ever-more ubiquitous, Shawn Colvin stands out as a singular and enduring talent. The three-time Grammy winner has released eight albums to date, including the platinum A Few Small Repairs which featured the hit song “Sunny Came Home.” Colvin's songs have been included on many soundtracks ("Armageddon," "Serendipity," “Because of Winn Dixie” and more), and she has also made appearances in films (“Grace Of My Heart,” "Heartbreakers," and the forthcoming “Crazy”), on television ("Suddenly Susan," "The Simpsons," "The Larry Sanders Show") and on the stage (“The Vagina Monologues”). Her most recent album, These Four Walls, (2006), was lauded by People Magazine as “the most self-assured album of her career” and “one for the ages” by the Washington Post. The Austin-American Statesman called it “an exquisite portrait of strength and vulnerability.”
http://www.shawncolvin.com
This is quoted from "http://www.cayamo.com/popups/artist.php?id=52" .
mp3 playing "Sunny Came Home"
In an era when female singer-songwriters have been ever-more ubiquitous, Shawn Colvin stands out as a singular and enduring talent. The three-time Grammy winner has released eight albums to date, including the platinum A Few Small Repairs which featured the hit song “Sunny Came Home.” Colvin's songs have been included on many soundtracks ("Armageddon," "Serendipity," “Because of Winn Dixie” and more), and she has also made appearances in films (“Grace Of My Heart,” "Heartbreakers," and the forthcoming “Crazy”), on television ("Suddenly Susan," "The Simpsons," "The Larry Sanders Show") and on the stage (“The Vagina Monologues”). Her most recent album, These Four Walls, (2006), was lauded by People Magazine as “the most self-assured album of her career” and “one for the ages” by the Washington Post. The Austin-American Statesman called it “an exquisite portrait of strength and vulnerability.”
Indigo Girls (artist #5 of 27 on Cayamo cruise)
http://www.indigogirls.com
This is quoted from "http://www.cayamo.com/popups/artist.php?id=99".
mp3 playing is "Galileo"
20 years after they began releasing records as Indigo Girls, Amy Ray and Emily Saliers have politely declined the opportunity to mellow with age. You could just say it's just not in their constitution. Devoted environmental and social justice activists and lifelong music-industry mavericks, the Girls have spent their entire career pushing boundaries on a variety of fronts. Why stop now?
Both Saliers and Ray agree that Despite Our Differences, the 10th Indigo Girls studio album, is a record defined by change and newness. On the business side of things, it's the first CD they've released since signing a new record deal with Hollywood Records earlier this year. And on the creative side, it's one they made far outside the confines of their established Georgia comfort zone, Differences was recorded over a speedy month-and-a-half this spring at veteran producer Mitchell Froom's home studio in Santa Monica, California.
"Making this record was really different for us," Saliers says. "We were all in the same room together. Amy and I with Mitchell and the engineer, David Boucher, and the band," which here includes session-pro drummer Matt Chamberlain and Indigo regular Clare Kenny on bass. "It was a little family experience, which is really, really different from being in a huge, cold studio where everyone's isolated. And there was a really strong trust factor with Mitchell. He has a great musical ear, particularly for harmonies and things like that. If he heard a note that didn't sit well with him, he'd tell us. It was a real exchange."
"We felt intimidated by Mitchell's abilities," Ray admits. "To go in and just put ourselves out there and trust that he's gonna take it and work with it - that felt like a risk, but in a good way. It's nice to get your adrenaline up. At this age you really have to keep trying things you haven't done."
The result of that experimentation: perhaps the freshest-sounding album in the Indigos' ample discography. Differences pulses with warm acoustic guitars, crisp, tasty keyboards (playing by Froom and longtime band member Carol Isaacs), and, of course, the singers' trademark intertwined vocals. Guest appearances from two Indigo Girls fans, Brandi Carlile and Pink (returning the favor the Girls did her when they performed and sang on "Dear Mr. President" from Pink's album I'm Not Dead), "inject the record with this inspiring energy," Saliers says. There's an understated immediacy to the music that evokes the deep-rooted chemistry of the artists' live show, which Saliers admits was part of what she and Ray were after. "Amy and I had learned the songs," she explains, "and we just wanted to go in there and cut them with the rhythm section. Mitchell's not an overproducer - he wants the song to come alive."
The tunes on Differences are certainly a batch worthy of that effort. Plainspoken yet rich with literary detail, they address the growing unrest in the world, as well as the smaller push-and-pull that takes place every day between two people. Opener "Pendulum Swinger" takes on institutional sexism and what the Girls view as President Bush's wrongheaded approach to the war on terrorism. "Even though it's a pop song," Saliers acknowledges, "it's saying you're not gonna win this with a bullwhip or posing with your hands on your hips like Mr. Tough-Guy President. The only way to stop this madness is through love. That's a simple sentiment, but I believe it at my core." "I Believe in Love," a gorgeous folk-soul lullaby, proves the point with its message of tolerance and the necessity of understanding "despite our differences". In "Little Perennials," the album's lively lead single, Ray describes "getting something for all this love's labor" over a throbbing backbeat embroidered with strummy fuzz-roots guitars and swirling, helium-high keyboards.
"I think it's remarkable that Amy's life and my life coincided like this," Saliers says, "that we've been able to make music and stay dear friends through all these years." Ray echoes her bandmate. "I remind myself that we've been together for such a long time and that we're lucky to still be together," she laughs.
Though she admits she's not one for making a big fuss over a milestone like the Indigos' 20th anniversary of record-making, Ray says this new chapter in the band's career does reaffirm the principal that's always driven the duo. "It's all about living in the moment that you're in and trying to make it better than the moment that came before," she explains, pointing for example to the band's ongoing work with Honor the Earth, a Minneapolis-based non-profit dedicated to energy justice within the Native American community. "We just want to keep evolving - there isn't a point where that doesn't apply."
http://www.indigogirls.com
This is quoted from "http://www.cayamo.com/popups/artist.php?id=99".
mp3 playing is "Galileo"
20 years after they began releasing records as Indigo Girls, Amy Ray and Emily Saliers have politely declined the opportunity to mellow with age. You could just say it's just not in their constitution. Devoted environmental and social justice activists and lifelong music-industry mavericks, the Girls have spent their entire career pushing boundaries on a variety of fronts. Why stop now?
Both Saliers and Ray agree that Despite Our Differences, the 10th Indigo Girls studio album, is a record defined by change and newness. On the business side of things, it's the first CD they've released since signing a new record deal with Hollywood Records earlier this year. And on the creative side, it's one they made far outside the confines of their established Georgia comfort zone, Differences was recorded over a speedy month-and-a-half this spring at veteran producer Mitchell Froom's home studio in Santa Monica, California.
"Making this record was really different for us," Saliers says. "We were all in the same room together. Amy and I with Mitchell and the engineer, David Boucher, and the band," which here includes session-pro drummer Matt Chamberlain and Indigo regular Clare Kenny on bass. "It was a little family experience, which is really, really different from being in a huge, cold studio where everyone's isolated. And there was a really strong trust factor with Mitchell. He has a great musical ear, particularly for harmonies and things like that. If he heard a note that didn't sit well with him, he'd tell us. It was a real exchange."
"We felt intimidated by Mitchell's abilities," Ray admits. "To go in and just put ourselves out there and trust that he's gonna take it and work with it - that felt like a risk, but in a good way. It's nice to get your adrenaline up. At this age you really have to keep trying things you haven't done."
The result of that experimentation: perhaps the freshest-sounding album in the Indigos' ample discography. Differences pulses with warm acoustic guitars, crisp, tasty keyboards (playing by Froom and longtime band member Carol Isaacs), and, of course, the singers' trademark intertwined vocals. Guest appearances from two Indigo Girls fans, Brandi Carlile and Pink (returning the favor the Girls did her when they performed and sang on "Dear Mr. President" from Pink's album I'm Not Dead), "inject the record with this inspiring energy," Saliers says. There's an understated immediacy to the music that evokes the deep-rooted chemistry of the artists' live show, which Saliers admits was part of what she and Ray were after. "Amy and I had learned the songs," she explains, "and we just wanted to go in there and cut them with the rhythm section. Mitchell's not an overproducer - he wants the song to come alive."
The tunes on Differences are certainly a batch worthy of that effort. Plainspoken yet rich with literary detail, they address the growing unrest in the world, as well as the smaller push-and-pull that takes place every day between two people. Opener "Pendulum Swinger" takes on institutional sexism and what the Girls view as President Bush's wrongheaded approach to the war on terrorism. "Even though it's a pop song," Saliers acknowledges, "it's saying you're not gonna win this with a bullwhip or posing with your hands on your hips like Mr. Tough-Guy President. The only way to stop this madness is through love. That's a simple sentiment, but I believe it at my core." "I Believe in Love," a gorgeous folk-soul lullaby, proves the point with its message of tolerance and the necessity of understanding "despite our differences". In "Little Perennials," the album's lively lead single, Ray describes "getting something for all this love's labor" over a throbbing backbeat embroidered with strummy fuzz-roots guitars and swirling, helium-high keyboards.
"I think it's remarkable that Amy's life and my life coincided like this," Saliers says, "that we've been able to make music and stay dear friends through all these years." Ray echoes her bandmate. "I remind myself that we've been together for such a long time and that we're lucky to still be together," she laughs.
Though she admits she's not one for making a big fuss over a milestone like the Indigos' 20th anniversary of record-making, Ray says this new chapter in the band's career does reaffirm the principal that's always driven the duo. "It's all about living in the moment that you're in and trying to make it better than the moment that came before," she explains, pointing for example to the band's ongoing work with Honor the Earth, a Minneapolis-based non-profit dedicated to energy justice within the Native American community. "We just want to keep evolving - there isn't a point where that doesn't apply."
Brandi Carlile (#6 of 27 on Cayamo cruise)
http://www.brandicarlile.com
This is quoted from "http://www.cayamo.com/popups/artist.php?id=37".
mp3 playing is "The Story"
"So many stories of where i've been and how I got to where I am"
On her new album, The Story, Brandi Carlile opens up her heart, soul, and psyche in a series of memorable songs that invite you into her world. To her growing community of fans, it's Carlile's revelatory imagery, stark emotive vocals and finely-detailed songs which provide the keys to who she is, where she's been, and where's she's going.
Shortly after the release of her critically-acclaimed self-titled Red Ink debut (Rolling Stone named her one of the magazine's "10 Artists To Watch in 2005") -- Carlile left her home in Seattle and set out with twin brothers Tim (guitar) and Phil (bass) Hanseroth, with whom she'd worked on her earliest recordings and independent regional tours. The tightly knit trio, which forms the core of her band today, spent the better part of two years on the road. By the end of 2006, Brandi Carlile had embarked on several headlining tours and supported a variety of artists including Ray LaMontagne, The Fray, Chris Isaak, Tori Amos, and Shawn Colvin.
The sound and songs of The Story first formed during the rigors of touring as Brandi began working the new songs into the band's repertoire, road-testing and refining the material under the spotlights, giving each performance its own character. The intensity and authenticity of her music brought her to the attention of the Grammy Award-winning producer T Bone Burnett (Counting Crows, Roy Orbison) who came on-board to produce The Story.
By the time she went into a Vancouver studio with T Bone, Brandi's new songs had become second nature. "We've been playing some of these songs for years – I wrote 'Turpentine' when I was a teenager," Carlile says. "T Bone helped us hear these songs through fresh ears and gave the whole album a great energy."
The Story builds on the plaintive aching melodies, moody atmosphere and heartfelt lyrics characterizing Brandi's first album with nuanced arrangements including electric guitar ("My Song," "Losing Heart"), piano ("Wasted") and cello ("Turpentine," "Late Morning Lullaby").
Driven by Carlile's dynamic vocals, the album's 13 tracks pulse with a raw and road-worthy intensity that is much closer to her live concert sound than her self-titled debut album. "The new songs may surprise people who only know us through the first album," Brandi says. "If you've seen us play, you'll realize this is the direction we've been heading in the whole time."
After recording her first album under sporadic conditions over the course of a year, Brandi decided to cut out all distractions and record The Story in a focused extended session. "This is the album I've always wanted to make," she explains. "I love Elton John because his albums captured moments in time. My favorite records have the timeless feeling you get when a band locks itself in the studio for two weeks and comes out with a record."
So Brandi, Tim, and Phil hooked up with renowned drummer Matt Chamberlain (Tori Amos,
Morrissey) and set out to capture that "timeless feeling" in a real-time 11-day session. Brandi recorded The Story live with Tim, Phil and Matt in the same room while she looked on from the vocal booth. "Being able to see each other was important because it allowed us to lock in and let things flow like we do on stage," Carlile explains.
Carlile's decision to record live mainly to tape gives The Story a stark and soulful authenticity accentuating the humanity of each performance. "When you record to tape, it forces you not to dwell on small imperfections and keep a lot of the things you would usually edit out...like a weird breath or a strangely sharp note," Carlile explains. "When I listen back and hear those things now, I'm glad we didn't take them out because they give this album a real human character."
The intensity of the title track comes from one of those "beautiful mistakes" that sometimes underlie hidden, subconscious intentions. "The song peaks in a way that takes everything in my voice to hit it," Carlile admits. "When I went for that note, my voice cracked and I almost stopped, but I'm glad I kept going because it turned out to be such a pure moment – technically wrong, but emotionally right."
The intricate harmonies defining "Josephine" become all the more stunning when you realize that the song was recorded in one take with the trio gathered around a single microphone. "What you actually hear on the album is us running through the song not realizing T Bone was rolling tape," explains Tim, who penned the track. "The performance is so relaxed; we're just flowing, which
suits the song's mood perfectly."
One of the album's highlights, according to Carlile, is "Cannonball," a song she recorded with in Atlanta with Amy Ray and Emily Saliers of the Indigo Girls. "I don't think I would play guitar if it weren't for the Indigo Girls," says Brandi (who made a guest appearance on the Indigo Girl's recent releaseDespite Our Differences). It means the world to me to have them on my record."
The album's closing track, "Again Today," brings The Story to its transcendent emotional crescendo using a wall of ambient sound as a backdrop to her voice swinging confidently from bulletproof power to a vulnerable falsetto asking, "Who's gonna break my fall, when the spinning starts?" "It's a different kind of song for me, but it's still very organic" Carlile says. "We've been closing our sets with this song for such a long time now, that it just felt right ending the record this way too."
Brandi's first steps toward creating The Story began years ago outside of Seattle, where, while growing up, Carlile taught herself to sing and play guitar at a young age with her family. Dedicating her life to music, Carlile became a disciplined musician playing constantly and performing whenever possible as way to learn her craft and develop her art. She expanded her sound with the addition of twin brothers, Tim and Phil Hanseroth.
Columbia Records signed Carlile in late 2004 on the strength of songs she'd been recording periodically at her home. Released in 2005, Brandi Carlile, her debut showcased those early songs along with several newly recorded tracks. Reviews of the album universally heralded Carlile as an important new singer-songwriter. She hit the road opening for other artists while going on to headline her own shows.
Brandi found a new wider audience when the ABC hit medical drama "Grey's Anatomy" showcased three of Brandi's songs -- "Tragedy," "What Can I Say" and "Throw It All Away" -- an unprecedented honor for a new artist.
With The Story, Brandi Carlile takes you into the deepest most poetic moments of her own experiences, creating the kind of artist-audience bond that makes you feel you're living inside those moments yourself.
http://www.brandicarlile.com
This is quoted from "http://www.cayamo.com/popups/artist.php?id=37".
mp3 playing is "The Story"
"So many stories of where i've been and how I got to where I am"
On her new album, The Story, Brandi Carlile opens up her heart, soul, and psyche in a series of memorable songs that invite you into her world. To her growing community of fans, it's Carlile's revelatory imagery, stark emotive vocals and finely-detailed songs which provide the keys to who she is, where she's been, and where's she's going.
Shortly after the release of her critically-acclaimed self-titled Red Ink debut (Rolling Stone named her one of the magazine's "10 Artists To Watch in 2005") -- Carlile left her home in Seattle and set out with twin brothers Tim (guitar) and Phil (bass) Hanseroth, with whom she'd worked on her earliest recordings and independent regional tours. The tightly knit trio, which forms the core of her band today, spent the better part of two years on the road. By the end of 2006, Brandi Carlile had embarked on several headlining tours and supported a variety of artists including Ray LaMontagne, The Fray, Chris Isaak, Tori Amos, and Shawn Colvin.
The sound and songs of The Story first formed during the rigors of touring as Brandi began working the new songs into the band's repertoire, road-testing and refining the material under the spotlights, giving each performance its own character. The intensity and authenticity of her music brought her to the attention of the Grammy Award-winning producer T Bone Burnett (Counting Crows, Roy Orbison) who came on-board to produce The Story.
By the time she went into a Vancouver studio with T Bone, Brandi's new songs had become second nature. "We've been playing some of these songs for years – I wrote 'Turpentine' when I was a teenager," Carlile says. "T Bone helped us hear these songs through fresh ears and gave the whole album a great energy."
The Story builds on the plaintive aching melodies, moody atmosphere and heartfelt lyrics characterizing Brandi's first album with nuanced arrangements including electric guitar ("My Song," "Losing Heart"), piano ("Wasted") and cello ("Turpentine," "Late Morning Lullaby").
Driven by Carlile's dynamic vocals, the album's 13 tracks pulse with a raw and road-worthy intensity that is much closer to her live concert sound than her self-titled debut album. "The new songs may surprise people who only know us through the first album," Brandi says. "If you've seen us play, you'll realize this is the direction we've been heading in the whole time."
After recording her first album under sporadic conditions over the course of a year, Brandi decided to cut out all distractions and record The Story in a focused extended session. "This is the album I've always wanted to make," she explains. "I love Elton John because his albums captured moments in time. My favorite records have the timeless feeling you get when a band locks itself in the studio for two weeks and comes out with a record."
So Brandi, Tim, and Phil hooked up with renowned drummer Matt Chamberlain (Tori Amos,
Morrissey) and set out to capture that "timeless feeling" in a real-time 11-day session. Brandi recorded The Story live with Tim, Phil and Matt in the same room while she looked on from the vocal booth. "Being able to see each other was important because it allowed us to lock in and let things flow like we do on stage," Carlile explains.
Carlile's decision to record live mainly to tape gives The Story a stark and soulful authenticity accentuating the humanity of each performance. "When you record to tape, it forces you not to dwell on small imperfections and keep a lot of the things you would usually edit out...like a weird breath or a strangely sharp note," Carlile explains. "When I listen back and hear those things now, I'm glad we didn't take them out because they give this album a real human character."
The intensity of the title track comes from one of those "beautiful mistakes" that sometimes underlie hidden, subconscious intentions. "The song peaks in a way that takes everything in my voice to hit it," Carlile admits. "When I went for that note, my voice cracked and I almost stopped, but I'm glad I kept going because it turned out to be such a pure moment – technically wrong, but emotionally right."
The intricate harmonies defining "Josephine" become all the more stunning when you realize that the song was recorded in one take with the trio gathered around a single microphone. "What you actually hear on the album is us running through the song not realizing T Bone was rolling tape," explains Tim, who penned the track. "The performance is so relaxed; we're just flowing, which
suits the song's mood perfectly."
One of the album's highlights, according to Carlile, is "Cannonball," a song she recorded with in Atlanta with Amy Ray and Emily Saliers of the Indigo Girls. "I don't think I would play guitar if it weren't for the Indigo Girls," says Brandi (who made a guest appearance on the Indigo Girl's recent releaseDespite Our Differences). It means the world to me to have them on my record."
The album's closing track, "Again Today," brings The Story to its transcendent emotional crescendo using a wall of ambient sound as a backdrop to her voice swinging confidently from bulletproof power to a vulnerable falsetto asking, "Who's gonna break my fall, when the spinning starts?" "It's a different kind of song for me, but it's still very organic" Carlile says. "We've been closing our sets with this song for such a long time now, that it just felt right ending the record this way too."
Brandi's first steps toward creating The Story began years ago outside of Seattle, where, while growing up, Carlile taught herself to sing and play guitar at a young age with her family. Dedicating her life to music, Carlile became a disciplined musician playing constantly and performing whenever possible as way to learn her craft and develop her art. She expanded her sound with the addition of twin brothers, Tim and Phil Hanseroth.
Columbia Records signed Carlile in late 2004 on the strength of songs she'd been recording periodically at her home. Released in 2005, Brandi Carlile, her debut showcased those early songs along with several newly recorded tracks. Reviews of the album universally heralded Carlile as an important new singer-songwriter. She hit the road opening for other artists while going on to headline her own shows.
Brandi found a new wider audience when the ABC hit medical drama "Grey's Anatomy" showcased three of Brandi's songs -- "Tragedy," "What Can I Say" and "Throw It All Away" -- an unprecedented honor for a new artist.
With The Story, Brandi Carlile takes you into the deepest most poetic moments of her own experiences, creating the kind of artist-audience bond that makes you feel you're living inside those moments yourself.
Buddy Miller (#7 of 27 artists on Cayamo cruise)
NOTE that Over the Rhine opened for Emmylou Harris in a band that included Buddy Miller at the Carnegie in Northern Kentucky (I believe it is in Newport, but maybe Covington, KY). When Buddy and Julie Miller played at Southgate House in Newport, KY, Buddy was wearing an Over the Rhine t-shirt.
I plan to see Buddy Miller for my "Twice Is Nice" choice to get a closer seat.
http://www.buddyandjulie.com
This is quoted from "http://www.cayamo.com/popups/artist.php?id=70" .
mp3 playing is "Have a Little Faith in Me".
With music that is always deeply personal, naturally eccentric and spiritually weighted, not to mention expertly performed, Buddy Miller is considered an auteur and a virtuoso. A skilled producer and emotive songwriter, Buddy is also widely recognized as one of the best guitar players in Nashville. Buddy Miller began his career in the early '60s as an upright bassist in high-school bluegrass combos. Later, Miller traveled the back roads of America as an acoustic guitarist, eventually landing in New York City, where his Buddy Miller Band included a young Shawn Colvin on vocals and guitar. Eventually relocating to Nashville, Miller has become one of music citys most valuable assets, doing session work on albums by Jim Lauderdale, Victoria Williams, and Trisha Yearwood, among others and earning praise from fellow greats like Steve Earle, who has called Miller the best country singer working today and Emmylou Harris who has said Miller is one the best guitar players of all time. In Nashville, Millers songwriting also began to garner major attention with artists like the Dixie Chicks, Lee Ann Womack and Brooks and Dunn cutting Miller-penned songs. Over nine years, the ambience of his home studio and favored machinery have become instantly recognizable. At the same time the experimental, concept-driven edge of his arrangements and mixes have become a point of fascination and admiration by musicians, producers and fans. With a career spanning six albums, including the Grammy-nominated Buddy and Julie Miller, recorded with his wife Julie, Buddys most recent release, Universal United House of Prayers has its soul firmly planted in the traditions of gospel and also in the roots-country music Miller knows and does so well. His extraordinary talents writing, recording and producing have allowed Buddy Miller to create a niche in American music that he can truly call his own.
NOTE that Over the Rhine opened for Emmylou Harris in a band that included Buddy Miller at the Carnegie in Northern Kentucky (I believe it is in Newport, but maybe Covington, KY). When Buddy and Julie Miller played at Southgate House in Newport, KY, Buddy was wearing an Over the Rhine t-shirt.
I plan to see Buddy Miller for my "Twice Is Nice" choice to get a closer seat.
http://www.buddyandjulie.com
This is quoted from "http://www.cayamo.com/popups/artist.php?id=70" .
mp3 playing is "Have a Little Faith in Me".
With music that is always deeply personal, naturally eccentric and spiritually weighted, not to mention expertly performed, Buddy Miller is considered an auteur and a virtuoso. A skilled producer and emotive songwriter, Buddy is also widely recognized as one of the best guitar players in Nashville. Buddy Miller began his career in the early '60s as an upright bassist in high-school bluegrass combos. Later, Miller traveled the back roads of America as an acoustic guitarist, eventually landing in New York City, where his Buddy Miller Band included a young Shawn Colvin on vocals and guitar. Eventually relocating to Nashville, Miller has become one of music citys most valuable assets, doing session work on albums by Jim Lauderdale, Victoria Williams, and Trisha Yearwood, among others and earning praise from fellow greats like Steve Earle, who has called Miller the best country singer working today and Emmylou Harris who has said Miller is one the best guitar players of all time. In Nashville, Millers songwriting also began to garner major attention with artists like the Dixie Chicks, Lee Ann Womack and Brooks and Dunn cutting Miller-penned songs. Over nine years, the ambience of his home studio and favored machinery have become instantly recognizable. At the same time the experimental, concept-driven edge of his arrangements and mixes have become a point of fascination and admiration by musicians, producers and fans. With a career spanning six albums, including the Grammy-nominated Buddy and Julie Miller, recorded with his wife Julie, Buddys most recent release, Universal United House of Prayers has its soul firmly planted in the traditions of gospel and also in the roots-country music Miller knows and does so well. His extraordinary talents writing, recording and producing have allowed Buddy Miller to create a niche in American music that he can truly call his own.
I'm seriously thinking about this. I need a cruise.... need lots of good music.... and I'm trying to get a few good friends to come along.
QUOTE
heartnsoul Posted Yesterday, 12:05 AM
I'm seriously thinking about this. I need a cruise.... need lots of good music.... and I'm trying to get a few good friends to come along.
I'm seriously thinking about this. I need a cruise.... need lots of good music.... and I'm trying to get a few good friends to come along.
I hope we all win the lottery so that we can afford to go.
I asked the Cayamo cruise organizers who the "headline" artists are. Joy Todaro sent this reply:
QUOTE
The six artists that are considered headliners (those who will be playing 3 shows in the mainstage venue with all guests having ticketed entrance to one of three shows by all headliners) are Lyle Lovett, John Hiatt, Patty Griffin, Shawn Colvin, Brandi Carlile, and The Indigo Girls.
The schedule will not be finalized until closer to sailing, but typically we have at least 3 or 4 other stages set up aside from the main venue which non-headlining artists will perform at throughout the cruise, general admission. A tentative schedule is typically released a few weeks prior to sailing and finalized schedule is printed up and handed out in program form onboard.
During sea days music typically starts up around 2 or 3pm with shows scheduled throughout the evening and into the late night. Shows are only scheduled while we are onboard, there are no concerts while we are at our ports of call.
More information in regards to the ticketing procedure may be found at http://www.cayamo.com/faq.php?page=Top%20Q...ategory=8#faq-1.
Please let us know if we may be of any further assistance. We hope to see you on board!
Cheers!
joy todaro l customer service
sixthman l www.sixthman.net
1-877-749-8462 toll free l 404-525-0222 fax
The schedule will not be finalized until closer to sailing, but typically we have at least 3 or 4 other stages set up aside from the main venue which non-headlining artists will perform at throughout the cruise, general admission. A tentative schedule is typically released a few weeks prior to sailing and finalized schedule is printed up and handed out in program form onboard.
During sea days music typically starts up around 2 or 3pm with shows scheduled throughout the evening and into the late night. Shows are only scheduled while we are onboard, there are no concerts while we are at our ports of call.
More information in regards to the ticketing procedure may be found at http://www.cayamo.com/faq.php?page=Top%20Q...ategory=8#faq-1.
Please let us know if we may be of any further assistance. We hope to see you on board!
Cheers!
joy todaro l customer service
sixthman l www.sixthman.net
1-877-749-8462 toll free l 404-525-0222 fax
I'm going!!!! 
I'd like to go, but because of my job, I won't know till it gets much closer. Almost a last minute thing. Its a little more expensive than I usually pay for a cruise, but it sounds like it will be worth it.
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