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Sizzling hot z ag

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There's also a drip catcher that goes below the griddle area that also cleans up quickly with hot soapy water. Most power cords on kitchen equipment seem to be designed with optimistic thought that every kitchen has outlets aplenty and always within 2 feet of where you want to use the appliance -- this is no exception.

Luckily, those of us who actually use our kitchens know how to cope with short appliance cords or shortly learn to cope.

All in all, a really nice appliance when you need a griddle and a grill. The instructions say not to use outdoors but I'm assuming that means don't use it in inclement weather -- my thought was to use it with an extension cord when having bbq parties and needing more cooking surface than just the bbq and for those who object to food from charcoal grills.

A large appliance that took up my entire stove top, but works nicely for fixing a traditional breakfast without having to have a grill going on one electric burner and pancakes on another.

The grill and griddle are not divided for some reason.. That is not terribly inconvenient depending upon what you are cooking, but you need to take it into consideration when preparing pancakes as to size and number if people being served.

Fat did drain away from the grill, the plates were easy to clean. Keep in mind that it is a bigger than normal grill and if you have limited storage space it might be a challenge to find room for it.

It has a short power cord and I would hesitate to use an extension cord with it to try to use it outside. The instructions say for indoor use only, and I intend to take them at their word.

It is also at the high end of the price range for this type of appliance and it is up to the buyer to determine if the additional cost is worth it.

Heats up quickly Does not smoke.. Easily hand or dishwasher washable Removable grease trap Cons: Does not cook thicker meat cuts all the way through.

There is no cover to keep the heat in to do so, and no top grill like you find on the George Foreman's Not easily stored. It's too big to fit in a cabinet easily without scratching the surface up Removing the grill is easy enough but getting it back together is a royal pain in the you know what!

The plug is on the wrong side of the grill for our household. I wish they would put them in the middle so it could reach the outlets without being backwards regardless of how your counter is configured.

Well constructed and sturdily made but it's usefulness is limited. I remain on my search for a grill to replace my family size George Foreman For most of my indoor grilling needs I use either a George Foreman grill or a Philips Digital AirFryer--however, I was interested in trying this product with the dual grilling areas.

Very easy to clean. Burgers tasted better than they do with the George Foreman grill--but this is because most of the fat from the burgers remained in the burgers.

When I use the George Foreman grill the weight of the top presses the extra fat out and it drains away. Obviously, the fat improved the taste--but it will also add to the calorie content.

Nice to have two areas to cook. It also took much longer to cook than the Foreman and Philips product. Uneven heat--there were areas where the heat was not as hot as other areas and the burgers placed there had to be cooked much longer or moved to the hot areas when those burgers were done.

This is a good grill--but I prefer both the Foreman and Philips over it. I do think this would be a great grill to take camping if you have an electrical outlet nearby!

See all 19 reviews. Amazon Giveaway allows you to run promotional giveaways in order to create buzz, reward your audience, and attract new followers and customers.

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Get to Know Us. English Choose a language for shopping. But whatever the provenance or vintage of the songs here, Jeff's output is heard to be mightily consistent and always better than likeable, with the more recent tracks in particular really characterful in a soft-edged alt-country mode that's often reminiscent as much of the rootsy mid-period Band albums as anything else.

Blissville sure makes you want to hear more of Jeff's work; indeed, I can't quite fathom why he'd never appeared on my own personal radar before. Jeff Talmadge - The Spinning World Bozart Records Singer-songwriter, acoustic guitarist Jeff Talmadge is an impressive talent from Austin, Texas who we haven't heard of this side of the pond for the usual reasons: We are privileged at NetRhythms that sometimes we get sent music that we wouldn't otherwise get to know about.

Who is Jeff Talmadge? His website gives a little background information about the man, ' Associate Baseball Scout for a major league baseball team, Capitol Hill spin doctor, award-winning poet, practicing lawyer Jeff Talmadge is a man of multiple talents and many hats.

The Spinning World is an album of polished songs which I've found easy to play again and again and hard to chose a favourite from.

Care and craftsmanship are evident throughout - the lyrics are sharp and insightful, wry and witty, the musicianship with the assistance of Stephen Bruton on slide guitar, mandolin and mandola is excellent and on the twangy side of folk, and the backing vocals from Iain Matthews and Eliza Gilkyson are a joy.

Throughout the collection of eleven songs the professional production by Bradley Kopp is bright, full and warm with acoustic guitars, gentle bass and percussion, strings cello and violin and touches of accordion and harmonica.

His latest release, Bad Tattoo, which I've yet to hear, brings back several players from The Spinning World plus and she's always a ' plus ' Annie Gallup on backup vocals.

Want to hear more? You may download soundclips from his website before clicking on to Amazon. We may live in a spinning world but Jeff Talmadge's albums are for those important ' time out ' moments - lay back and enjoy!

Singer-songwriters of the Saharan desert, the Touareg ex-rebels Tinariwen, birthed distinctive blues grooves - intense and enthralling - now taken up by the young seven-strong Touareg blues-rock band Tamikrest.

Their name "Tamikrest" is Tamashek the Touareg language for "union" and "knot" - a symbol for the desert, language and culture which unifies and binds them.

And unified they are. A western band might be considered "tight" but Tamikrest are another thing entirely. The slow-paced caravan of bass-driven rhythms, electric guitars, tunes layered with claps and harmonies punctuated by the ululation of female backing singers and even echoes of the Eagles and a few reggae beats , become trance-like.

The words of lead vocalist of Ousmane Ag Mossa in the Tamashek language seem totally comprehensible to the Western heart, even if to the ears they aren't.

It's the universal voice of pain and passion of struggle, of war, the beauty of the desert, of travelling grooves and - ultimately and hopefully - prayers for freedom.

If you need an actual translation, the sleeve notes are also in English and French. John Tams - The Reckoning Topic. John Tams rocks - oh, yes he does!

You don't believe me? You think he's all songs of desolation, Napoleonic adventure and industrial turmoil? Think again, my friend.

Just as it was surprising to realize that Unity , the album before this, was Tams' first solo outing, it's still a little shocking that, with more than 30 years' experience and a hand or two in at least one of folk-rock's seminal albums, Home is only the second collection to carry the Tams monicker.

And, as might be expected, he's learned a thing or two with all those years under his belt. One of those lessons is to keep your material varied, for that way is the path to holding the attention of your audience.

Thus, possibly with that thought in mind, he's penned some stirring uptempo firecrackers and sprinkled them, like hundreds and thousands, across his latest home-baked offering.

The first of them, to draw the punters in, is track number one, You don't know me anymore. With telling, hurting observations, it concerns a man's realization that the relationship with his lover has lost its spark.

But, though the song brims with sadness, it's sung to a strident beat pushed along by Keith Angel's drums, swollen by the lovely rich tones of Alan Dunn's Hammond organ and lifted by the first of many fine lead guitar breaks from Graeme Taylor.

In stark contrast to the superficial happiness of the album's opener, track two is like a damp, overcast afternoon stood among the ruins of a derelict northern mill.

Featuring just Tams - singing and playing guitar, bass and keyboards - and Angel, it's dark and doomy, with the percussionist really coming into his own.

His marimba soaks through the melody with all the persistence of a relentless drizzle at the same time as his staccato drums seem to mimic short, sudden downpours.

The song has a bleak beauty that's hard to ignore. In The ballroom , Tams slips into his pumps for the first of two songs marking the lure of the dance.

Littered with characters looking for something they'll not find in this palais de danse, the song's filled with a sadness not entirely bereft of hope.

Dunn again shines, initially on piano accordion and then with a delicious Hammond organ pattern filling the latter half of the song.

Red gown starts with Tams' acoustic guitar and vocals, and the organ, this time played by Barry Coope, before Taylor lets rip with a perfectly measured lead break.

Unlike The ballroom , the lyric is filled with the excitement and expectation of an evening's fun: But it's historical ballads at which Tams excels and Home has a belter right at its heart.

She was an angel all in my eye, which made me from my colours to fly". He is eventually betrayed, court martialled and executed with a timely warning to all young men who fall in love.

Other top-notch tracks on a top-notch album are: Right on time - Tams solo with his acoustic guitar - The traveller and Bound east for Cardiff.

It may say John Tams on the front of the package but due credit must go to his fellow players, each of whom more than earns his crust here.

In addition to the already mentioned Taylor, Dunn, Angel and Coope, Andy Seward 's bass is bang on the money throughout. Home is an album that reveals new treasures with each play.

It's a natural progression, and a more than worthy follow-up, to Unity and it's stating the obvious to say that any who enjoyed Tams' first album will love this.

JT call Home sorry! Music Of The Good Hope T2 The recent National Theatre production of the play The Good Hope , relocating the tale in Whitby, provided the vehicle for a new musical collaboration between Messrs Tams and Taylor reunited in an echo of former Home Service and Albion Band glories , providing a telling 17 minutes' worth of soundtrack that's recorded here.

They've roped in the talents of Chris Coe, Alan Dunn, Charlie Hart and Clare Taylor; Chris Coe's is certainly the dominant presence, contributing some extraordinary vocals, hammer dulcimer and even some clogging!

Personally, I could easily have done with three times as much music, but the absorbing and riveting nature of what there is proves a sufficiently poignant and effective tribute to the fishing communities around the tragedies of which the play is based.

Named for a favourite hiking spot in the Adirondacks region of northern New York state, this is the new project by Mike Ferrio, the former frontman of Tandy which came to an end with the death of multi-instrumentalist fellow member Drew Glackin.

Deciding to start over rather than continue without Glackin's integral input, Ferrio assembled a collective of musicians who played with names such as The Silos, Ron Sexsmith and the Guthries plus violinist Eleanor Whitmore to put together what he describes as 'an artistic project for a lost friend.

Recorded live on vintage analogue equipment, the songs inevitably deal with the big issues of death, friendship, life and love, the music embracing elements of soul, rock, folk, gospel, and Americana with instrumentation that includes organ, horns, harp, strings and, notably on the wide open prairie skies ambience of More Than A Feeling no, not that one , harmonica.

With tracks clocking in between two and a half and six and a half minutes, it's clearly a work born of great personal emotion, Ferrio's dusty timbre leaking wistful reminiscence and sadness but also, as with the uptempo The Seven Sisters, alight with hope.

Lyrically there's much religious imagery alongside that of mortality and transience with, as on the sparsely arranged The Perfect Circle with its otherwordly background ambience, calls to make the most of the 'diamond days', before 'your deal goes down.

One to let wash over you as things like Requiem For Andrew, On Faith and Heaven In The Haze with its gospel choir seep into the soul, it's both a poignant, reflective elegy and the birth of a new future.

You know you're good when such an august figure as Steve Earle is in your corner. Just how good is demonstrated by the fact that yours is the first music he featured on his radio show.

Rarely has a set of songs contained such an impact and achieved it so deftly. Tandy draws you into an intimate and personal world until you're not so much a listener as a welcome confidant.

Ferrio's voice sits squarely in the middle of some gossamer delicate melodies and, throughout both albums, tracks build thoughtful layer upon thoughtful layer until they become utterly irresistible.

Ferrio is joined on his endeavours by kindred spirits Ana Ege and Malcolm Holcombe. While both Ege and Holcombe are talented musicians, it's the combined spirit and determination of the three to cosset and comfort the music that provide the albums true delights.

Tandy may not shout from the rooftops but its music is deafening in what it has to say. Ferrio and co display an unerring accuracy in getting to the root of every note and word, there is not a wasted second on either album.

Musicians like Ferrio, Ege and Holcombe don't deserve labeling, leave that cheap trick for lesser talents. Two for the price of one - with a bonus track on each!

There's two ways of looking at this. Either Tandy's publicist is pursuing the 'less is more' line of thinking or the band prefers to let its music do the talking because biographical details are scarce.

The other members of the band are: Whether they are roots rockers, rock n rollers or something completely different, I'm A Werewolf hits with the force of an express train.

A malevolent harmonica stalks it, like some unseen predator in the night, you can almost taste the fear. If you have a gravelly singing voice and write the kind of deep, dark songs that fit that voice perfectly, then there are certain people you must expect to be compared to.

Tom Waits is one, Tom Ovans and Warren Zevon are a couple of others and Ferrio slots right in with them, however this is an album that has as much light as shade.

Without cooling the white-hot intensity of the rock 'n' roll, the album moves into Bait. To describe it as 'lighter' would be wrong but it's certainly airier than its predecessor.

Listening to Tandy is akin to being caught in a vice-like grip, even if you wanted to escape there's no chance. All you can do is sit tight and listen intently, the effort is rewarded by the tender Evensong.

After the maelstrom to hear a heart being poured out is a startling moment. It's brought into even starker relief by the almost operatic feel to Misery Boys, a song of distinct parts - neither the lyrics nor the melody are there merely to support each other - which come together to produce a much grander whole.

Singer-songwriter Mike Ferrio is occasionally joined by Ana Egge, their duets creating the sense that he's Gram, and she's you-know-who! Incidentally, in terms of packaging this CD ought to be regarded as the benchmark against which all self-released albums are judged.

The package includes a lyric booklet, sticker, personally signed band photograph and the video for Girls Like Us - all mightily impressive for a release limited to a mere five hundred copies.

This would, of course, matter not a jot were the music not so captivating. To A Friend is an album as intimate as it's title suggests, a mature, crafted meditation on the past, which is destined for 'buried treasure' status in the future.

Tandy - The Lowdown Gammon Fronted by gifted songwriter Mike Ferrio who has a voice somewhere between John Prine and Steve Earle, the New York quartet have been making the rounds now for some six years, totting up three self released albums along the way.

With a rising awareness of their brand of Americana and now signed to a proper label, they've taken the opportunity of gathering together the best of the old tracks with a couple of new numbers for good measure.

The presence of tabla on Becky California is indication that they're prepared to explore beyond the usual roots rock fence without sacrificing their distinctive rural mood, and if more recent numbers such as The Truth Is Better Than A Lie or the Byrdsian pedal steel driven Sister Golden Hair are stripped down, the more musically fleshed out likes of The District Doctor, Shine and Ted are no less convincing testimony to the band's keening charms.

Their Lichtenstein's Oriole album pricked up ears when they played the UK a few years back, and it's good to revisit their lollopping bluesy collaboration with the late Dave Von Ronk on Lorna and be reminded of the Steve Earley I Signed A Circle and the simple but complex storytelling childhood reminiscences of Pictures of China.

Tandy's latest album ' Lichtenstein's Oriole ' is an ornithologist's delight: Artwork out of the way, the music is pure joy: The album drives along with acoustic and electric guitars from Ferrio and Jay Sherman-Godfrey, aided by Dobro and lap steel from session man David Hamburger, fiddle from Miss Darlene, Sibel Firat's cello, cajun accordion from Charlie Giardano and Ferrio's harmonica.

It's a fine, fine album with hidden depths and secrets beneath the instant pop appeal. At the Bar Club and a pub gig, Rosie O'Grady's in Camden, in May, they produced as perfect a sound as a band can make, even with a slightly changed line-up, without losing any of the vitality or magic of the album.

Maybe it's the other way round - the album perfectly captures the ' live ' Tandy. Well, the album was mostly recorded ' live ' in the studio and they have at least three elements working perfectly together in both album and ' live ': Tom McCrum's acoustic sticks drumming on tour he used just brushes and acoustic sticks on snare and never missed a beat.

Virginian Miss Darlene's fiddle was a smoothly mellifluous constant. Mike Ferrio controlled the whole with his songs: Language can be percussive in its own right; here the words roll rhythmically along, as much an instrument as his harmonica.

And there were no jokes or wisecracks between songs - just straight into one great song after another.

An album to hug to death and buy for special friends. I hope they come back to the UK soon. Rochdale's Will Tang hasn't exactly taken the conventional route to gaining UK recognition.

He made his name in Hong Kong by starting off in the burgeoning blues and jazz scene before going on to be a highly rated session harmonica player playing for, amongst others, Jackie Chan.

From there he went on to his first record deal and paling 10, seater stadiums. After a further four albums he decided to come home to the UK, settle in Manchester and release his debut UK album.

Opening with the eponymous title track, Will sets about realising the boast of the album's title. There is certainly a big change from his last album, The Other Side although eight of the thirteen tracks on offer are from that very same album.

The title track is acoustic rock that has him in the same class as Paulo Nutini and David Gray.

Troubles Down, one of the new songs, is sedate country rock with well executed slide guitar. On My Way, another of the new tracks, stays in the acoustic vein and sees him straying away from the blues.

This shows a level of sensitivity and vulnerability. He beefs it up a bit for The Other Side, which heralds the return of the electric guitar and, more importantly, the harmonica.

This gritty, blues influenced rocker is a welcome addition. Red City Blues returns to an acoustic setting and is not a blues, as such, but rather a slinky rocker.

Something Special is a new one and although it is upbeat, it is unmemorable. Stories is more soft acoustic rock but Love Bites is a bit harder and his voice suits this.

He gives the harp another airing on Time Of Day and the fuzzed vocal adds to the overall stormy effect. Drifting is not the blues classic as you may have expected but another acoustic rocker, this time much in the style of the aforementioned Mr Nutini.

The last official track is Sun Down, which is a harmonica blues which is short, sweet and cuts the soul. There are two bonus tracks, remixes of Travellin' Man the normal mix of which is not on the album and Love Bites.

The former is a contemporary acoustic blues and the latter adds snappy drums from Geoff Holroyde to give another gritty modern blues. They say that a change is as good as a rest so Will Tang must be completely rested for his next charge for widespread recognition.

A Hong Kong harp player, you've got to be kidding? Well, I'm not and William Tang has as much right as anyone to express his love of the blues.

The opener, Walkin' Round is excellent and a song that any U. It is a very good introduction to the playing of William and he has surrounded himself with good musicians.

This is a 'live' studio album and gives us a feeling of how the band would sound in an intimate club - fantastic. It's Alrite rocks - it's another Tang song and guitarist Murdoch produces some good slide guitar before William goes almost apoplectic at the end.

Sweet Little Angel is a B. King song and he has done the right thing by not trying to sound like the great man and there is some more strong guitar work from Murdoch.

The Thrill Is Gone is the song made famous by B. King but William's voice is not really suited to this but the interesting use of harmonica redeems it.

It is an instrumental finish to a good album and, like the other tracks, is held together by the tight drumming of Mark Menezes.

Canada's Tanglefoot have become one of that country's most popular exports, with a loyal following in the UK largely due to their storming, swashbuckling appearances at festivals.

In the flesh they've an almost overwhelming, distinctly larger-than-life presence which draws you into their stirring and passionate music: One special thing about Tanglefoot is that even though the band's always had a strong "corporate identity" as a performing unit, each of its members is a more than capable front-person when taking the lead role on a song.

There's a wide gamut of emotions on display, from Al's deliciously menacing theatrical portrait of the Bishop on Boot Soup and guitarist Steve Ritchie's charming swing-idiom retelling of When Dad And Uncle Archie Lost The Farm, both of which contrast nicely with Tanglefoot's tremendous, lively take on the traditional Paddle Like Hell done in authentic French-Canadian dialect, naturally!

The band's newest recruit, flamboyant fiddle player Sandra Swannell, contributes loads more than just a pretty face and some spirited musicianship, and not just in the vocal-harmony department but in the shape of a fine song, the story of Maggie, which fits in really well with the rest of the group compositions.

Steve's anthem For The Day another well-harmonised acappella item forms an ideal closer. Maybe you'll feel that the brief sequence of slightly silly extraneous outtakes tacked on at the end should have been left on the cutting-room floor, but at least you can exit before they start.

Any mild sense of underplay at moments during the set is only apparent while memories of the band's massive live presence remain in your mind; what's important is that Tanglefoot still make a suitably big sound even on disc and they're on splendid form both vocally and instrumentally here.

After five studio albums and even more UK tours, the big hairy ones have finally got round to releasing a live CD. Captured Alive brings right into your living-room or bedroom, car or privy!

Recorded in Toronto over three nights in May last year, and following hard on the heels of the release of their successful Agnes On The Cowcatcher CD, this minute selection of definitively passionate, full-frontal Tanglefoot performances marks a watershed in the band's development.

It acts as both a swansong for the retirement of original member Joe Grant from performing with the band although he continues to write for them and as an introduction to new recruit, fiddler Terry Snider they appear together on the set's finale La V'la M'Amie..

If you don't already know Tanglefoot from their many riotous UK festival appearances thus far, take heart: I need to come clean myself, for during the early years of their career I was wondering what all the fuss was about.

I couldn't deny their energy, passion, musicianship and artistry, but somehow their larger-than-life presence, at least on CD, seemed overly concerned with maximising the impact with over-the-top delivery and a certain amount of posturing, which, although designed to impress, left me somewhat cold in the end.

But more recently I've been a bit of a convert even though it's still the case that not all of their material totally convinces me , and not only because experiencing the band live is a whole different kettle of fish.

Quite simply, Tanglefoot are a top-flight live act, working hard, giving value aplenty with their supercharged, upfront performances of folk-tales that veer credibly from the good-natured and cheekily witty to the tragic and highly poignant, counterpointed by a true instrumental versatility and a hell of a stage presence.

Tanglefoot are true showmen, who know how best to present their uniformly strong material and how to please an audience and keep their interest throughout a set.

There are no longueurs, and every song's a winner, whether rollicking or thoughtful. With 14 songs ranging far and wide through the band's healthy back-catalogue, together with five intros, and all encased in a handsome, heavy-duty digipack with photos, lyrics and notes, Captured Alive is as essential for the Fan as for those who still need convincing of Tanglefoot's already legendary status.

A sure-fire chart hit? That's the way it's always been for those of us who have found our music in the margins; the ' word ' passed by a friend, a great review in an American magazine, a link on the internet.

We find our music under the radar. Michael Tarbox's unpretentious foursome, with himself on guitars and vocals, Jon Cohan on drums and percussion, Daniel Keller on violin and vocals and Johnny Sciascia on bass fiddle and vocals, strut their raw, rootsy rockers with a genuine feel for the soul of the South.

It's unpasteurised and so real you can taste it. Fresh arrangements guarantee you're not left with that ' jeez, there goes another blues standard again ' feeling.

The core of the band started with Joss Clapp acoustic bass and Rob Armstrong cittern. Having worked together intermittently as a duo, they were soon joined by Ben Murray accordion and Jon Redfern drums and ultimately Emma Hancock fiddle.

This is their second album, and although it does not feature Emma, still gives a good impression of the band as they are today. Not folkrock red in tooth and claw, but a much more subtle variation.

There are tinges of Bert Jansch, celtic, cajun, jazz, and other influences even Pink Floyd on a pot puree of memorable tunes and songs.

The rather down beat title track kicks off the album - actually it's a bit of a grower - followed by a splendid instrumental, Russian in feel with Celtic overlays.

Next up is the sprightly song ' Fires ', featuring some nice accordion and acoustic guitar. Next up is a real gem - ' Dark Eyed Sailor '.

The well known trad song given a drop dead gorgeous acoustic arrangement. The CD is worth buying for this track alone.

Finally, is ' Bagels ', another well played and enjoyable tune set. All in all, a real gem of an album, and one to add to anyone's CD pile. From the name alone, Tattie Jam might be deduced to be either frivolous or fusionist, but although this Scottish duo incorporate elements of those traits they're embraced as entirely positive qualities that don't overstay their welcome.

Here we have two very accomplished instrumentalist-singers: Each of them is intensely but wholly naturally capable of switching between lead and supporting roles during the course of a song or instrumental set, as the music demands, and their open-minded versatility enables them to maintain a constant freshness of approach that, though employing a necessary measure of thoughtful pre-arrangement, also retains both a healthy degree of spontaneity and the all-important element of surprise for the listener within the unusual flavourings and often strange twists and turns of text and texture.

In this way, Tattie Jam always manage to tread the fine line, and maintain the all-important balance, between the contrasting elements of their musical personalities, allowing each of these to percolate to the surface at the appropriate moments.

Their respectful attitude to tradition is given due weight, while the slightly more facetious side of life is not neglected, being cheekily conveyed in a lively Scottish fashion.

Entertainment value is high throughout the disc in fact, as is the level of invention in the musical arrangements. In the duo's takes on traditional ballads Earl Richard and The Birken Tree , no stone is left unturned in their enthusiastic communication of the narratives, yet their responses are finely tuned and sensitive with it, and you never feel that they're selling their material short.

Ruaridh himself has had a direct involvement in the composition of seven of the disc's 13 tracks: Goldwins Golden Pot Of Gold. Gong He Xin Xi.

Gong Xi Fa Cai. Gong Xi Fa Cai Toptrend. Good Girl Bad Girl. Great Book Of Magic. Great Book Of Magic Deluxe. Great Wall To Riches.

Gu Gu Gu 2. Guardians Of Fire Ice. Guardians Of The Kingdom. HR Reel Grand Prix. Hansel And Gretel Witch Hunters.

Hansel Gretel Enchanted Cottage. Happy Chinese New Year. Happy Farm Dream Tech. Happy Golden Ox Of Happiness.

Happy New Year Dream Tech. Harley Davidson Freedom Tour. Haunted House Rest In Paradise. Heart Of The Jungle.

Heart Of The Jungle 2. Herclues Son Of Zeus. Hercules High And Mighty. Highway To Hell Deluxe. Hockey Hero Push Gaming. Hockey League Wild Match.

Hole In The Wall. Holmes And The Stolen Stones. Home Of The Brave. Honey To The Bee. Honey Trap Of Diao Chan. Hot Shot Blazing 7s. Huangdi The Yellow Emperor.

Humpty Dumpty Wild Riches. I Pirati Del Bounty. In It To Win It. Invaders From Planet Moolah. Isle Of Plenty Mega Jackpots. It Came From The Moon.

It Came From Venus. Jack And The Beanstalk. Jack In The Box. Jason And The Golden Fleece. Jewel In The Crown. Jewel Of The Arts.

Jewel Of The Dragon. Jewels Of The Nile. Jewels Of The Orient. Jewels Of The Sea. Jin Ji Bao Xi. Journey Of The Sun.

Journey To The West. Journey To The West Deluxe. Journey To The West Evoplay. Journey To The West Genesis. Journey To The West Opus.

Journey To The West Proprietary. Judges Rule The Show. Juego De La Ca. Jungle Treasure Mr Slotty.

Jungle Wild Jackpot Adventure. Kat Lee Bounty Hunter. Kat Lee Bounty Hunter 2. Keeping Up With Paddys. King Kong Skull Island. King Of Monkeys 2.

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Getting a full release after being available for some time as downloads from his website, these cds are ample evidence that James Talley's talent and musical vision remain intact more than thirty years after his debut recording.

His vision is to bring us tales of ordinary lives - his own and those he works among - and to mark in song the familiar trials and tribulations that most of us would recognise.

All his influences are here: All of these are stamped with his warm, laid -back baritone. Frustratingly, at times, he has a tendency to sing in stacatto phrases which is a shame because when he connects the phrases you could bathe in the warmth of his voice.

On occasion here he sounds remarkably like Willie Nelson - that nasal twang - but mostly he sounds remarkably unchanged from that 34 year old debut record.

As a performer, he's definitely on the mellow side which might lead you to overlook the steel core at the centre of his music. There's sentimentality here and overt Christianity but in his own quiet way it's a radical Christian message that Jesus himself might recognise.

On 'Cold Blooded Killers' - a country blues song if there ever was one - and 'The Most Influential Teacher', which has a blunt directness of language that George Orwell would have been proud of, James makes clear his disdain for those in power who would wrap themselves in their bibles whilst pursuing the most un-Christian behaviour.

Performances of songs that cover his entire career, the first selection was released previously as 'Journey'. This second batch of songs has been added to in the studio to flesh out the sound but still retains the warm feel of a performance and features some beautiful musicianship.

In fact, throughout both of these albums I'm reminded of liner notes Mike Nesmith wrote back in the 70's in which he said - to paraphrase - that his aim was to achieve the purity of intent and execution that Jimmy Rodgers and Hank Williams achieved in their time.

Making it look easy is where the art lies, and that's what James Talley and his musical pals pull off. Apparently the record made quite a splash at the time, it's simple directness contrasting hugely with most other Nashville product of the time.

Sadly, perhaps, for James Talley, it didn't lead to a lasting career as a musician; though still writing, he's had to earn his living in other ways.

He takes a deep pride, though, in being a working man, working alongside ordinary folk, so maybe he's happy enough that that was how life turned out for him.

Described in contempotary reviews as country-folk, these songs straddle those fields of music as much, and as well, as any other record you might care to name.

The album opens with a swinging tune motored along by Johnny Gimble's fiddle that celebrates Talley's Oklahoma childhood and the Saturday nights when they would dance to "W.

Lyrically, that about sets the tone for the rest of the album: So far, so sentimental, and the sweetness of the singing and the arrangements re-enforces that sentimental sound.

Thirty years on when we've embraced the darker moods of alt. There is, however, a rugged spine to these songs, a rootedness in real lives that means they deserve their place of honour in the line that leads from Woody Guthrie to where we are today.

So, "Give him another bottle, let him ease his mind". And whilst the Nashville mainstream would have given this a slow sickly over-sweet arrangement, Talley and his fiddler turn it into a fast-chugging railroad song, a celebration of the drunk's earlier life.

Elsewhere, he gives us his take on "Red River Valley", beautifully played and with an added verse of his own in the middle; the famous tune is abandoned for a sparse dreamy sequence at that point in a songwriting experiment that reminds me of stuff Don Maclean was doing at the time, all of which makes it about as "folk" as you can get in an American context.

Not content with that , "Sing Song Kitty", which I only knew from Doc Watson's version, turns up with different words - nonsense and otherwise- as "Daddy's Song", and sounds just great.

It seems there are as many versions of that song as there are households that sang it. Throughout, the playing is warm, lively and sensitive and Johnny Gimble's fiddle is a particular delight; recording back in was a protracted and informal affair and the core musicians were augmented by more than a dozen others who "happened by", including a young John Hiatt who contributes the lead acoustic guitar on one track.

All in all, a quiet delight. For his latest release, Jeff Talmadge has gathered some of Nashville and Austin's top musicians and produced an album that is as gentle as it is deep.

Texan Talmadge has a rich experience to draw on for his poetic songs and has worked as a janitor, a Capitol Hill Congressional press secretary, an associate scout for a major league baseball team and a board-certified lawyer.

Country and very easy going. Let Her Go showcases Talmadge's velvet voice and is some more easy going Country. Wrong Train sets me to thinking that it is going to be gentle sounds all the way through the album.

This guy is so laid back and the idea for the song came from a time that he caught the wrong train in Groningen in the North of Holland.

He says that he enjoyed the journey even though he was going in the wrong direction and sometimes in life we have to go in a different direction to reach our destination.

Austin When It Rains has an obvious drumbeat! However, it picks up only slightly from those that have gone before but does have a sense of melancholy.

Talmadge says that this is one of his favourite Dylan songs and that he'd always wanted to record it.

He should be pleased with the result as the band plays as one. Because Of You gets him out of first gear - almost.

Like the others, this skirts the area between folk, Americana and Country. Train From Amsterdam slows things back down again and is just so easy to listen to.

This song came from his thoughts about how much his life had changed whilst on another train in The Netherlands.

White Cross remains firmly in the slow lane and mixes Americana with Country. In the US it is common practice for people to place small white crosses at the scene of road accidents and it was spooky that both Talmadge and his friend, Claudia Russell, were both working on a song on this topic at the same time.

They thought it would be best if they collaborated and the result is here. Scrapbook is an almost seamless transition from its predecessor and keeps up the gentle theme.

This idea came from Talmadge thinking that every place he visits is like turning the page of a scrapbook. The slightly jazzy Chet Baker Street closes the album and Talmadge doesn't crank it up, even for the last song.

This album is perfect for when you have a few friends around and don't want the music to completely drown out the conversation but still want to raise a few talking points.

Texan singer-songwriter Jeff writes strongly and powerfully, much in the tradition of Townes Van Zandt and Guy Clark those especially called to mind - well at least that's on the evidence of Blissville , which would seem to be Jeff's fifth CD release.

I was very much taken with the warmth of Jeff's idiomatic, honest, intimate, sometimes half-spoken vocal style, and by his plain-speaking and simply evocative lyrics.

He cloaks his stories of regret and oblique reminiscences in attractively homespun and often decidedly ironic philosophy, a fetching combination that yields as much intellectual as pure listening pleasure.

Examining the liner notes, though, Blissville would also seem to be, at least in part, an anthology of sorts, for it's stated that of the album's thirteen tracks, three had originally appeared on Jeff's album Bad Tattoo , whereas a further two are from 's Secret Anniversaries and two others from 's The Spinning Of The World the versions here differing in that they benefit from remixed vocals, it says.

That leaves just six tracks having been newly recorded in But whatever the provenance or vintage of the songs here, Jeff's output is heard to be mightily consistent and always better than likeable, with the more recent tracks in particular really characterful in a soft-edged alt-country mode that's often reminiscent as much of the rootsy mid-period Band albums as anything else.

Blissville sure makes you want to hear more of Jeff's work; indeed, I can't quite fathom why he'd never appeared on my own personal radar before.

Jeff Talmadge - The Spinning World Bozart Records Singer-songwriter, acoustic guitarist Jeff Talmadge is an impressive talent from Austin, Texas who we haven't heard of this side of the pond for the usual reasons: We are privileged at NetRhythms that sometimes we get sent music that we wouldn't otherwise get to know about.

Who is Jeff Talmadge? His website gives a little background information about the man, ' Associate Baseball Scout for a major league baseball team, Capitol Hill spin doctor, award-winning poet, practicing lawyer Jeff Talmadge is a man of multiple talents and many hats.

The Spinning World is an album of polished songs which I've found easy to play again and again and hard to chose a favourite from.

Care and craftsmanship are evident throughout - the lyrics are sharp and insightful, wry and witty, the musicianship with the assistance of Stephen Bruton on slide guitar, mandolin and mandola is excellent and on the twangy side of folk, and the backing vocals from Iain Matthews and Eliza Gilkyson are a joy.

Throughout the collection of eleven songs the professional production by Bradley Kopp is bright, full and warm with acoustic guitars, gentle bass and percussion, strings cello and violin and touches of accordion and harmonica.

His latest release, Bad Tattoo, which I've yet to hear, brings back several players from The Spinning World plus and she's always a ' plus ' Annie Gallup on backup vocals.

Want to hear more? You may download soundclips from his website before clicking on to Amazon. We may live in a spinning world but Jeff Talmadge's albums are for those important ' time out ' moments - lay back and enjoy!

Singer-songwriters of the Saharan desert, the Touareg ex-rebels Tinariwen, birthed distinctive blues grooves - intense and enthralling - now taken up by the young seven-strong Touareg blues-rock band Tamikrest.

Their name "Tamikrest" is Tamashek the Touareg language for "union" and "knot" - a symbol for the desert, language and culture which unifies and binds them.

And unified they are. A western band might be considered "tight" but Tamikrest are another thing entirely.

The slow-paced caravan of bass-driven rhythms, electric guitars, tunes layered with claps and harmonies punctuated by the ululation of female backing singers and even echoes of the Eagles and a few reggae beats , become trance-like.

The words of lead vocalist of Ousmane Ag Mossa in the Tamashek language seem totally comprehensible to the Western heart, even if to the ears they aren't.

It's the universal voice of pain and passion of struggle, of war, the beauty of the desert, of travelling grooves and - ultimately and hopefully - prayers for freedom.

If you need an actual translation, the sleeve notes are also in English and French. John Tams - The Reckoning Topic.

John Tams rocks - oh, yes he does! You don't believe me? You think he's all songs of desolation, Napoleonic adventure and industrial turmoil?

Think again, my friend. Just as it was surprising to realize that Unity , the album before this, was Tams' first solo outing, it's still a little shocking that, with more than 30 years' experience and a hand or two in at least one of folk-rock's seminal albums, Home is only the second collection to carry the Tams monicker.

And, as might be expected, he's learned a thing or two with all those years under his belt. One of those lessons is to keep your material varied, for that way is the path to holding the attention of your audience.

Thus, possibly with that thought in mind, he's penned some stirring uptempo firecrackers and sprinkled them, like hundreds and thousands, across his latest home-baked offering.

The first of them, to draw the punters in, is track number one, You don't know me anymore. With telling, hurting observations, it concerns a man's realization that the relationship with his lover has lost its spark.

But, though the song brims with sadness, it's sung to a strident beat pushed along by Keith Angel's drums, swollen by the lovely rich tones of Alan Dunn's Hammond organ and lifted by the first of many fine lead guitar breaks from Graeme Taylor.

In stark contrast to the superficial happiness of the album's opener, track two is like a damp, overcast afternoon stood among the ruins of a derelict northern mill.

Featuring just Tams - singing and playing guitar, bass and keyboards - and Angel, it's dark and doomy, with the percussionist really coming into his own.

His marimba soaks through the melody with all the persistence of a relentless drizzle at the same time as his staccato drums seem to mimic short, sudden downpours.

The song has a bleak beauty that's hard to ignore. In The ballroom , Tams slips into his pumps for the first of two songs marking the lure of the dance.

Littered with characters looking for something they'll not find in this palais de danse, the song's filled with a sadness not entirely bereft of hope.

Dunn again shines, initially on piano accordion and then with a delicious Hammond organ pattern filling the latter half of the song. Red gown starts with Tams' acoustic guitar and vocals, and the organ, this time played by Barry Coope, before Taylor lets rip with a perfectly measured lead break.

Unlike The ballroom , the lyric is filled with the excitement and expectation of an evening's fun: But it's historical ballads at which Tams excels and Home has a belter right at its heart.

She was an angel all in my eye, which made me from my colours to fly". He is eventually betrayed, court martialled and executed with a timely warning to all young men who fall in love.

Other top-notch tracks on a top-notch album are: Right on time - Tams solo with his acoustic guitar - The traveller and Bound east for Cardiff. It may say John Tams on the front of the package but due credit must go to his fellow players, each of whom more than earns his crust here.

In addition to the already mentioned Taylor, Dunn, Angel and Coope, Andy Seward 's bass is bang on the money throughout.

Home is an album that reveals new treasures with each play. It's a natural progression, and a more than worthy follow-up, to Unity and it's stating the obvious to say that any who enjoyed Tams' first album will love this.

JT call Home sorry! Music Of The Good Hope T2 The recent National Theatre production of the play The Good Hope , relocating the tale in Whitby, provided the vehicle for a new musical collaboration between Messrs Tams and Taylor reunited in an echo of former Home Service and Albion Band glories , providing a telling 17 minutes' worth of soundtrack that's recorded here.

They've roped in the talents of Chris Coe, Alan Dunn, Charlie Hart and Clare Taylor; Chris Coe's is certainly the dominant presence, contributing some extraordinary vocals, hammer dulcimer and even some clogging!

Personally, I could easily have done with three times as much music, but the absorbing and riveting nature of what there is proves a sufficiently poignant and effective tribute to the fishing communities around the tragedies of which the play is based.

Named for a favourite hiking spot in the Adirondacks region of northern New York state, this is the new project by Mike Ferrio, the former frontman of Tandy which came to an end with the death of multi-instrumentalist fellow member Drew Glackin.

Deciding to start over rather than continue without Glackin's integral input, Ferrio assembled a collective of musicians who played with names such as The Silos, Ron Sexsmith and the Guthries plus violinist Eleanor Whitmore to put together what he describes as 'an artistic project for a lost friend.

Recorded live on vintage analogue equipment, the songs inevitably deal with the big issues of death, friendship, life and love, the music embracing elements of soul, rock, folk, gospel, and Americana with instrumentation that includes organ, horns, harp, strings and, notably on the wide open prairie skies ambience of More Than A Feeling no, not that one , harmonica.

With tracks clocking in between two and a half and six and a half minutes, it's clearly a work born of great personal emotion, Ferrio's dusty timbre leaking wistful reminiscence and sadness but also, as with the uptempo The Seven Sisters, alight with hope.

Lyrically there's much religious imagery alongside that of mortality and transience with, as on the sparsely arranged The Perfect Circle with its otherwordly background ambience, calls to make the most of the 'diamond days', before 'your deal goes down.

One to let wash over you as things like Requiem For Andrew, On Faith and Heaven In The Haze with its gospel choir seep into the soul, it's both a poignant, reflective elegy and the birth of a new future.

You know you're good when such an august figure as Steve Earle is in your corner. Just how good is demonstrated by the fact that yours is the first music he featured on his radio show.

Rarely has a set of songs contained such an impact and achieved it so deftly. Tandy draws you into an intimate and personal world until you're not so much a listener as a welcome confidant.

Ferrio's voice sits squarely in the middle of some gossamer delicate melodies and, throughout both albums, tracks build thoughtful layer upon thoughtful layer until they become utterly irresistible.

Ferrio is joined on his endeavours by kindred spirits Ana Ege and Malcolm Holcombe. While both Ege and Holcombe are talented musicians, it's the combined spirit and determination of the three to cosset and comfort the music that provide the albums true delights.

Tandy may not shout from the rooftops but its music is deafening in what it has to say. Ferrio and co display an unerring accuracy in getting to the root of every note and word, there is not a wasted second on either album.

Musicians like Ferrio, Ege and Holcombe don't deserve labeling, leave that cheap trick for lesser talents. Two for the price of one - with a bonus track on each!

There's two ways of looking at this. Either Tandy's publicist is pursuing the 'less is more' line of thinking or the band prefers to let its music do the talking because biographical details are scarce.

The other members of the band are: Whether they are roots rockers, rock n rollers or something completely different, I'm A Werewolf hits with the force of an express train.

A malevolent harmonica stalks it, like some unseen predator in the night, you can almost taste the fear. If you have a gravelly singing voice and write the kind of deep, dark songs that fit that voice perfectly, then there are certain people you must expect to be compared to.

Tom Waits is one, Tom Ovans and Warren Zevon are a couple of others and Ferrio slots right in with them, however this is an album that has as much light as shade.

Without cooling the white-hot intensity of the rock 'n' roll, the album moves into Bait. To describe it as 'lighter' would be wrong but it's certainly airier than its predecessor.

Listening to Tandy is akin to being caught in a vice-like grip, even if you wanted to escape there's no chance. All you can do is sit tight and listen intently, the effort is rewarded by the tender Evensong.

After the maelstrom to hear a heart being poured out is a startling moment. It's brought into even starker relief by the almost operatic feel to Misery Boys, a song of distinct parts - neither the lyrics nor the melody are there merely to support each other - which come together to produce a much grander whole.

Singer-songwriter Mike Ferrio is occasionally joined by Ana Egge, their duets creating the sense that he's Gram, and she's you-know-who!

Incidentally, in terms of packaging this CD ought to be regarded as the benchmark against which all self-released albums are judged.

The package includes a lyric booklet, sticker, personally signed band photograph and the video for Girls Like Us - all mightily impressive for a release limited to a mere five hundred copies.

This would, of course, matter not a jot were the music not so captivating. To A Friend is an album as intimate as it's title suggests, a mature, crafted meditation on the past, which is destined for 'buried treasure' status in the future.

Tandy - The Lowdown Gammon Fronted by gifted songwriter Mike Ferrio who has a voice somewhere between John Prine and Steve Earle, the New York quartet have been making the rounds now for some six years, totting up three self released albums along the way.

With a rising awareness of their brand of Americana and now signed to a proper label, they've taken the opportunity of gathering together the best of the old tracks with a couple of new numbers for good measure.

The presence of tabla on Becky California is indication that they're prepared to explore beyond the usual roots rock fence without sacrificing their distinctive rural mood, and if more recent numbers such as The Truth Is Better Than A Lie or the Byrdsian pedal steel driven Sister Golden Hair are stripped down, the more musically fleshed out likes of The District Doctor, Shine and Ted are no less convincing testimony to the band's keening charms.

Their Lichtenstein's Oriole album pricked up ears when they played the UK a few years back, and it's good to revisit their lollopping bluesy collaboration with the late Dave Von Ronk on Lorna and be reminded of the Steve Earley I Signed A Circle and the simple but complex storytelling childhood reminiscences of Pictures of China.

Tandy's latest album ' Lichtenstein's Oriole ' is an ornithologist's delight: Artwork out of the way, the music is pure joy: The album drives along with acoustic and electric guitars from Ferrio and Jay Sherman-Godfrey, aided by Dobro and lap steel from session man David Hamburger, fiddle from Miss Darlene, Sibel Firat's cello, cajun accordion from Charlie Giardano and Ferrio's harmonica.

It's a fine, fine album with hidden depths and secrets beneath the instant pop appeal. At the Bar Club and a pub gig, Rosie O'Grady's in Camden, in May, they produced as perfect a sound as a band can make, even with a slightly changed line-up, without losing any of the vitality or magic of the album.

Maybe it's the other way round - the album perfectly captures the ' live ' Tandy. Well, the album was mostly recorded ' live ' in the studio and they have at least three elements working perfectly together in both album and ' live ': Tom McCrum's acoustic sticks drumming on tour he used just brushes and acoustic sticks on snare and never missed a beat.

Virginian Miss Darlene's fiddle was a smoothly mellifluous constant. Mike Ferrio controlled the whole with his songs: Language can be percussive in its own right; here the words roll rhythmically along, as much an instrument as his harmonica.

And there were no jokes or wisecracks between songs - just straight into one great song after another. An album to hug to death and buy for special friends.

I hope they come back to the UK soon. Rochdale's Will Tang hasn't exactly taken the conventional route to gaining UK recognition. He made his name in Hong Kong by starting off in the burgeoning blues and jazz scene before going on to be a highly rated session harmonica player playing for, amongst others, Jackie Chan.

From there he went on to his first record deal and paling 10, seater stadiums. After a further four albums he decided to come home to the UK, settle in Manchester and release his debut UK album.

Opening with the eponymous title track, Will sets about realising the boast of the album's title.

There is certainly a big change from his last album, The Other Side although eight of the thirteen tracks on offer are from that very same album.

The title track is acoustic rock that has him in the same class as Paulo Nutini and David Gray. Troubles Down, one of the new songs, is sedate country rock with well executed slide guitar.

On My Way, another of the new tracks, stays in the acoustic vein and sees him straying away from the blues.

This shows a level of sensitivity and vulnerability. He beefs it up a bit for The Other Side, which heralds the return of the electric guitar and, more importantly, the harmonica.

This gritty, blues influenced rocker is a welcome addition. Red City Blues returns to an acoustic setting and is not a blues, as such, but rather a slinky rocker.

Something Special is a new one and although it is upbeat, it is unmemorable. Stories is more soft acoustic rock but Love Bites is a bit harder and his voice suits this.

He gives the harp another airing on Time Of Day and the fuzzed vocal adds to the overall stormy effect. Drifting is not the blues classic as you may have expected but another acoustic rocker, this time much in the style of the aforementioned Mr Nutini.

The last official track is Sun Down, which is a harmonica blues which is short, sweet and cuts the soul. There are two bonus tracks, remixes of Travellin' Man the normal mix of which is not on the album and Love Bites.

The former is a contemporary acoustic blues and the latter adds snappy drums from Geoff Holroyde to give another gritty modern blues.

They say that a change is as good as a rest so Will Tang must be completely rested for his next charge for widespread recognition. A Hong Kong harp player, you've got to be kidding?

Well, I'm not and William Tang has as much right as anyone to express his love of the blues. The opener, Walkin' Round is excellent and a song that any U.

It is a very good introduction to the playing of William and he has surrounded himself with good musicians.

This is a 'live' studio album and gives us a feeling of how the band would sound in an intimate club - fantastic. It's Alrite rocks - it's another Tang song and guitarist Murdoch produces some good slide guitar before William goes almost apoplectic at the end.

Sweet Little Angel is a B. King song and he has done the right thing by not trying to sound like the great man and there is some more strong guitar work from Murdoch.

The Thrill Is Gone is the song made famous by B. King but William's voice is not really suited to this but the interesting use of harmonica redeems it.

It is an instrumental finish to a good album and, like the other tracks, is held together by the tight drumming of Mark Menezes.

Canada's Tanglefoot have become one of that country's most popular exports, with a loyal following in the UK largely due to their storming, swashbuckling appearances at festivals.

In the flesh they've an almost overwhelming, distinctly larger-than-life presence which draws you into their stirring and passionate music: One special thing about Tanglefoot is that even though the band's always had a strong "corporate identity" as a performing unit, each of its members is a more than capable front-person when taking the lead role on a song.

There's a wide gamut of emotions on display, from Al's deliciously menacing theatrical portrait of the Bishop on Boot Soup and guitarist Steve Ritchie's charming swing-idiom retelling of When Dad And Uncle Archie Lost The Farm, both of which contrast nicely with Tanglefoot's tremendous, lively take on the traditional Paddle Like Hell done in authentic French-Canadian dialect, naturally!

The band's newest recruit, flamboyant fiddle player Sandra Swannell, contributes loads more than just a pretty face and some spirited musicianship, and not just in the vocal-harmony department but in the shape of a fine song, the story of Maggie, which fits in really well with the rest of the group compositions.

Steve's anthem For The Day another well-harmonised acappella item forms an ideal closer. Maybe you'll feel that the brief sequence of slightly silly extraneous outtakes tacked on at the end should have been left on the cutting-room floor, but at least you can exit before they start.

Any mild sense of underplay at moments during the set is only apparent while memories of the band's massive live presence remain in your mind; what's important is that Tanglefoot still make a suitably big sound even on disc and they're on splendid form both vocally and instrumentally here.

After five studio albums and even more UK tours, the big hairy ones have finally got round to releasing a live CD. Captured Alive brings right into your living-room or bedroom, car or privy!

Recorded in Toronto over three nights in May last year, and following hard on the heels of the release of their successful Agnes On The Cowcatcher CD, this minute selection of definitively passionate, full-frontal Tanglefoot performances marks a watershed in the band's development.

It acts as both a swansong for the retirement of original member Joe Grant from performing with the band although he continues to write for them and as an introduction to new recruit, fiddler Terry Snider they appear together on the set's finale La V'la M'Amie..

If you don't already know Tanglefoot from their many riotous UK festival appearances thus far, take heart: I need to come clean myself, for during the early years of their career I was wondering what all the fuss was about.

I couldn't deny their energy, passion, musicianship and artistry, but somehow their larger-than-life presence, at least on CD, seemed overly concerned with maximising the impact with over-the-top delivery and a certain amount of posturing, which, although designed to impress, left me somewhat cold in the end.

But more recently I've been a bit of a convert even though it's still the case that not all of their material totally convinces me , and not only because experiencing the band live is a whole different kettle of fish.

Quite simply, Tanglefoot are a top-flight live act, working hard, giving value aplenty with their supercharged, upfront performances of folk-tales that veer credibly from the good-natured and cheekily witty to the tragic and highly poignant, counterpointed by a true instrumental versatility and a hell of a stage presence.

Tanglefoot are true showmen, who know how best to present their uniformly strong material and how to please an audience and keep their interest throughout a set.

There are no longueurs, and every song's a winner, whether rollicking or thoughtful. With 14 songs ranging far and wide through the band's healthy back-catalogue, together with five intros, and all encased in a handsome, heavy-duty digipack with photos, lyrics and notes, Captured Alive is as essential for the Fan as for those who still need convincing of Tanglefoot's already legendary status.

A sure-fire chart hit? That's the way it's always been for those of us who have found our music in the margins; the ' word ' passed by a friend, a great review in an American magazine, a link on the internet.

We find our music under the radar. Michael Tarbox's unpretentious foursome, with himself on guitars and vocals, Jon Cohan on drums and percussion, Daniel Keller on violin and vocals and Johnny Sciascia on bass fiddle and vocals, strut their raw, rootsy rockers with a genuine feel for the soul of the South.

It's unpasteurised and so real you can taste it. Fresh arrangements guarantee you're not left with that ' jeez, there goes another blues standard again ' feeling.

The core of the band started with Joss Clapp acoustic bass and Rob Armstrong cittern. Having worked together intermittently as a duo, they were soon joined by Ben Murray accordion and Jon Redfern drums and ultimately Emma Hancock fiddle.

This is their second album, and although it does not feature Emma, still gives a good impression of the band as they are today.

Not folkrock red in tooth and claw, but a much more subtle variation. There are tinges of Bert Jansch, celtic, cajun, jazz, and other influences even Pink Floyd on a pot puree of memorable tunes and songs.

The rather down beat title track kicks off the album - actually it's a bit of a grower - followed by a splendid instrumental, Russian in feel with Celtic overlays.

Next up is the sprightly song ' Fires ', featuring some nice accordion and acoustic guitar. Next up is a real gem - ' Dark Eyed Sailor '. The well known trad song given a drop dead gorgeous acoustic arrangement.

The CD is worth buying for this track alone. Finally, is ' Bagels ', another well played and enjoyable tune set. All in all, a real gem of an album, and one to add to anyone's CD pile.

From the name alone, Tattie Jam might be deduced to be either frivolous or fusionist, but although this Scottish duo incorporate elements of those traits they're embraced as entirely positive qualities that don't overstay their welcome.

Here we have two very accomplished instrumentalist-singers: Each of them is intensely but wholly naturally capable of switching between lead and supporting roles during the course of a song or instrumental set, as the music demands, and their open-minded versatility enables them to maintain a constant freshness of approach that, though employing a necessary measure of thoughtful pre-arrangement, also retains both a healthy degree of spontaneity and the all-important element of surprise for the listener within the unusual flavourings and often strange twists and turns of text and texture.

In this way, Tattie Jam always manage to tread the fine line, and maintain the all-important balance, between the contrasting elements of their musical personalities, allowing each of these to percolate to the surface at the appropriate moments.

Their respectful attitude to tradition is given due weight, while the slightly more facetious side of life is not neglected, being cheekily conveyed in a lively Scottish fashion.

Entertainment value is high throughout the disc in fact, as is the level of invention in the musical arrangements. In the duo's takes on traditional ballads Earl Richard and The Birken Tree , no stone is left unturned in their enthusiastic communication of the narratives, yet their responses are finely tuned and sensitive with it, and you never feel that they're selling their material short.

Ruaridh himself has had a direct involvement in the composition of seven of the disc's 13 tracks: Forty and the sprightly Summer Shower jig and three of the vocal items.

But in all honesty I'd have to go as far as to say that every single one of the disc's tracks has distinctive and commendable qualities all its own, right from the attention-grabbing nay, arresting , spectrally bluesy album opening, the prelude to the duo's driving rendition of Robert Tannahill's Are Ye Sleepin', Maggie?

Lest it be thought I'm concentrating unduly on the duo's vocal prowess both are excellent solo singers, with an unerring ability to harmonise with each other as a bonus , I must emphasise that their instrumental skills are also second to none.

Seylan, playing a five-string electric instrument, coaxes with her determinedly syncopated bow-strokes some of the most attractively funky cello playing you're ever likely to encounter, balanced by an equally determined sensuous lyricality, while Ruaridh's sense of rhythm whether on tenor banjo or guitar is utterly infectious and balanced by an understated dexterity and sureness of purpose hear how he negotiates the tricky contours of the Nine Pint Favourite set for instance.

This vibrant duo certainly have a lot going for them, not the least a unmistakable sound, and they've produced what I can only describe as an outstandingly inspired debut CD, one which I'd not hesitate to class as undoubtedly one of the finest Scottish albums on the market at the moment.

If you're looking for a seriously different angle on Scottish tradition with a contemporary slant, then Tattie Jam will fit your bill very well indeed.

It's great to see on CD at long last this treasured LP from the tail-end of the s that first appeared on the Argo label in; it forms part of the tentatively continuing programme of reissues from the admirable Talking Elephant stable In Port is set to follow very shortly.

Admittedly, Cyril owns up, in his sleeve note, that even he just does not know what we mean by the term "children's songs", but goes on to explain that the record contains a wide selection of suitable candidates including delightful "nursery songs crooned by Nanny" The Snail , cautionary tales like Tommy And The Apples, fun "cumulative" songs like The Tree In The Valley and I Had A Little Cock, and a handful of adult songs which are "sufficiently simple and humorous to appeal equally to young folk".

Well then, so what if with one possible exception all the "children's songs" on this record were obtained from grown-ups? The release comes with faithful reproduction of all the original liner notes and text, as well as some attractive additional artwork, but I do need to warn you that the published track listing is slightly awry, as items 2 and 3 have been banded together as track 2 so all successive tracks are one cue adrift.

But this is still without doubt one of the most charming and yes, treasurable records of children's songs one could hope to come across.

Talking Elephant's latest crop of enterprising reissues finds the label testing the waters by licensing a select few LPs from the long-deleted Argo catalogue for well-overdue first-time-reissue in CD format.

In tandem with the iconic initial fruits of Peter Bellamy's exploration of the Kipling legacy, here's the first of what I hope will be many reissues of key albums by the late Cyril Tawney.

A Mayflower Garland, which was recorded in mid-December and released in , is a miscellany of traditional and contemporary material connected in some way or other with the counties of Devon and Cornwall which was offered as a tribute on the occasion of the th anniversary of the sailing of the Mayflower.

Some of these are regional variations of folksongs heard throughout Britain, whereas others are uniquely local. Perhaps the most celebrated of the latter is Cyril's matchlessly steadfast rendition of The Bellringing, which in the sound of the human voice imitates the flow of the bells but "forgets that bells don't have lungs"!

Among other staples of Cyril's repertoire of the time, included on the LP are three of his own compositions, each having as its subject some aspect of life in Plymouth the wonderfully tender, affectionate and yet plaintive portrait of The Oggie Man, the modern-lullaby-cum-caustic-farewell Beacon Park and the necessarily slightly exaggerated satirical commentary of Second Class Citizen's Song.

Not quite so authentic, but more fun, is the silly Devonshire version of the maritime ballad The Cruise Of The Calabar which relocates the action to a clumsy barge in the comparative safety of a canal!

A Mayflower Garland has long been regarded as one of Cyril's finest albums, which makes it all the more surprising that fully three-quarters of its song contents has never before been available on a Tawney CD.

Happily, that omission has now been rectified, and the present handsome reissue package comes complete with original sleeve notes. Yes, it's a cause for rejoicing that this fine, sensibly wrought collection can now take its rightful place on our CD shelves.

This handsome double CD was specially compiled for the Celebrating Cyril day held at Cecil Sharp House on 14 April this year, and in no way is it just an ephemeral memorial issue.

Cyril's legacy, like his music, reaches far and wide, and this is evidenced by a realisation of the extent of his impact on the folk scene, an impact which in turn we can gauge not only by the sheer number of performers performing his songs itself a hefty tally , but also by the strength and depth of the tribute anthem from which this compilation takes its title: But before that closing anthem, we're treated to 31 songs performed by Cyril himself, taken from existing available recordings made over a wide timespan.

These either derive from the Cyril Tawney Archives or are expertly re-mastered recordings of gems of his repertoire both traditional and self-penned.

The actual selection is both canny and salutary, and is actually contrary to what you might expect weighted heavily towards traditional song, for Cyril's talent for reinterpreting traditional song can easily get overlooked during the course of one's enthusiastic appreciation albeit well-founded of his original songwriting.

Cyril's versions of such staples as Ball Of Yarn and A Jug Of This could easily find a natural place on a future Voice Of The People collection, I feel, while his tender, lyrical rendition of the usually-pub-thumping Wild Rover is masterly, both astute and beautifully apposite.

Cyril's easy, naturally expressive delivery and adept, deceptively simple accompanimental style on nylon-strung guitar may always have betrayed the influence of Burl Ives, the man whom he readily admitted was the catalyst for him taking up the singing of folk songs in the first place, but his was a distinctive voice - and presence - that once heard was never mistaken or forgotten!

His commanding tones ring out on the one non-solo track, the shanty Roll Down in the performance taken from the original recording of the ballad opera The Transports.

It's probably fair to say that this compilation, consistently entertaining though it is, doesn't necessarily paint the most complete picture of Cyril the folk legend; for that you really need also to collect at least one but preferably more of the other Cyril Tawney titles Navy Cuts or Nautical Tawney now available on CD from the same excellent label, as well as the brand-new Live At Holsteins release reviewed separately.

And personally I'd have liked the package to have included those important discographical details such as recording dates and sources. But in every respect - performance, fine re-mastered sound quality, presentation - The Song Goes On is a magnificent celebration of Cyril Tawney's artistry.

The latest album from Allan, his 20th, is heralded as showing a return to the more folk-inflected style of troubadour song that characterised his earlier songwriting years.

Whatever, Allan remains the consummate craftsman-in-song, and he hasn't in any way abandoned the key themes and concerns that he's developed and made very much his own over his long and illustrious nigh-onyear career as a premier singer-songwriter.

Leaving At Dawn is absolutely quintessential Allan Taylor, instantly recognisable for its telling combination of a uniquely expressive, warm and inviting vocal delivery and an attractive, precisely captured instrumental backing, centred as ever around Allan's own intricately moulded and mellifluous guitar playing.

But it's also the product of an artist of maturity and integrity, always delivering work of the highest self-imposed standards and exhibiting in every single aspect of its presentation supreme confidence without complacency.

This new batch of songs was written with just one exception between and , each one a prime example of Allan's second-nature ability to directly share his emotions in simple yet always profoundly literate language, thereby taking the listener on a journey that feels personal yet contains universal truths aplenty.

Allan's musings are affectionate and eloquent, yet often more complex than they appear, primarily because they're shot through with the perceptiveness and realism that are the hallmarks of a true observer.

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Author Since: Oct 02, 2012