Folk - Page 8 - All About Music

Found 208620 Folk Products.

Grace

Resembling at times a soft-sung Robert Plant, Buckley was an intuitive vocalist capable of dizzying arabesques and choir-boy sweetness. He is joined here by a tight band for 10 tracks highlighting his stylistic range--Pearl Jam bluesy on "Eternal Life," impossibly serene on Leonard Cohen's "Hallelujah," art-school noisy on "So Real," Led Zep daring on "Mojo Pin." Unorthodox, this was the debut of '94. --Jeff Bateman

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Coco

Even without MySpace, singer/songwriter Colbie Caillat is sure to have found an audience, but her oft-accessed page accelerated the process, mostly on the strength of the effervescent "Bubbly." On her first full-length album, the California native conjures up clear skies and warm breezes. Not that the lyrics revolve around her stomping grounds of Malibu and Ventura County, but her mellow melodies sound like products of those places (co-writer Jason Reeves' ukulele playing reinforces the beach music impression). Instead, Caillat sings about love in all its guises, as on "Capri," a tribute to a mother-to-be. The daughter of audio engineer Ken Caillat (Fleetwood Mac's Rumours), who provides production assistance, Colbie combines acoustic pop, light jazz, and blue-eyed soul on Coco. Despite her young age--22 at the time of its release--the record seems likely to attract an older audience, although her sunny singing manages to sound centered and spirited at the same time. Coco doesn't offer anything startlingly new, but its relaxing vibe is hard to resist. --Kathleen C. Fennessy

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You Are My Sunshine

Elizabeth Mitchell is a smidge less locked into the no-frills folkie formula on You Are My Sunshine than on her debut, You Are My Flower. In fact, if you subtract the A-list collaborators (and, OK, the dulcimers, mandolins, and human beat boxes), Mitchell starts to look a lot like the female Dan Zanes. The same rootsy sensibility rules both artists' recordings, as does a reverence for tried-and-true folk tunes ("Good Night Irene," "Skip to My Lou") and clean production. More significantly, slivers of Zane-like adventurousness shine through here: "Alphabet Dub" set the ABCs to a reggae beat; "Hey Bo Diddley" tips its hat to the rock & roll pioneer; and the kids are called in to spice up "Crawdad." Counting kids' artists who are genuinely cool still requires fewer than 10 fingers, but with Flower and Sunshine, Mitchell proves she's among the elite. --Tammy La Gorce

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Begin to Hope

The style known as "anti-folk," as realized by practitioners like Ani DiFranco and Billy Bragg, is derived from a punk aesthetic, and thus tends to be spare and confrontational. But while Regina Spektor's music is anti-folk in the way it subverts the traditional coffeehouse vibe, it's less interested in rebellion and more concerned with the joy of eccentricity, melody and surprise. Begin To Hope is full of surprises, and like her promising major label debut Soviet Kitsch, it displays an easy facility with song structure that enables her to go in different--sometimes wildly off-the-wall--directions without sounding scattered. Classically trained on the piano, she's been compared to Tori Amos, but her music isn't as delicate or precious. Fiona Apple comes up as well, but just because neither fits in the usual female singer/songwriter cookie cutter mold doesn't mean they sound the same. Her voice is actually the primary attraction, cracking and loopy on would-be lullabies like "On The Radio" and "Field Below," then punchy and cute on "Hotel Room." But the music, if understated in the mix next to her vocals, makes an impression as well, breaking in with twisty piano arpeggios ("20 Years of Snow") and occasional touches of electronica. It's a consistently intelligent and daring record, yet remains enormously listenable--a neat trick for anti-folk, or any other genre of music for that matter. -Matthew Cooke

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The List

Highly Acclaimed Canadian Singer. Her First Single 'Too Deep' Currently In Rotation At Both Muchmusic And Muchmoremusic.

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Blonde on Blonde (Reis)

Considered an unprecedented magnum opus when it arrived on two records in May of 1966 (1997's Time out of Mind is actually only about a minute shorter), Blonde on Blonde featured Dylan continuing to demonstrate remarkable powers over the course of 14 new numbers. Working in Nashville with session men and a few conscripted recruits (Al Kooper, Robbie Robertson), Dylan continued to bend minds with his warped lyrics and phrasing. Even dashed-off numbers such as "Obviously 5 Believers" and "Rainy Day Women #12 & 35" contribute to the crazed, fun-house ambiance. Dylan will never be this wild again. --Steven Stolder

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Celtic Woman

Fueled by healthy public appetite for traditional melodies and quasi-ethnic roots, the crossover genre continues to flourish with this debut release from Ireland's Celtic Woman ensemble. The brainchild of Sharon Browne, Dave Kavanaugh (founders of Ireland's successful Celtic Collections label) and young Riverdance touring company musical director David Downes, CW's five young women musicians and vocalists offer up an ever pleasant, Eire-savvy fusion of folk, pop and classical influences. Avoiding the intrusive, club-beat/sex kitten window dressing of

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