The Koosjer connection

Zoals bekend doet wierook[na verloop van tijd] vreemde dingen in je grijze massa..... --Hans.

Nu staat een album op wat ik zelden draai om 'm zo " krispie "als mogelijk te houden. Nu gaan ik wel heel erg mooie muziek luisteren die alle tijds-grenzen wegvaagd,velen hebben dan ook zijn nummers ge-coverd. Het bevat al zijn recordings voor het label Verve in de jaren '60[bijna 132 min.] Tim Hardin--Hang on to a dream/The Verve recordings Hier de biografie van de man van AMG-Music: A gentle, soulful singer who owed as much to blues and jazz as folk, Tim Hardin produced an impressive body of work in the late '60s without ever approaching either mass success or the artistic heights of the best singer/songwriters. When future Lovin' Spoonful producer Erik Jacobsen arranged for Hardin's first recordings in the mid-'60s, Hardin was no more than an above-average white blues singer, in the mold of many fellow folkys working the East Coast circuit. By the time of his 1966 debut, however, he was writing confessional folk-rock songs of considerable grace and emotion. The first album's impact was slightly diluted by incompatible string overdubs (against Hardin's wishes), but by the time of his second and best LP, he'd achieved a satisfactory balance between acoustic guitar-based arrangements and subtle string accompaniment. It was the lot of Hardin's work to achieve greater recognition through covers from other singers, such as Rod Stewart (who did "Reason to Believe"), Nico (who covered "Eulogy to Lenny Bruce" on her first album), Scott Walker (who sang "Lady Came From Baltimore"), Fred Neil ("Green Rocky Road" has been credited to both him and Hardin), and especially Bobby Darin, who took "If I Were a Carpenter" into the Top Ten in 1966. Beleaguered by a heroin habit since early in his career, Hardin's drug problems became grave in the late '60s; his commercial prospects grew dimmer, and his albums more erratic, although he did manage to appear at Woodstock. His end was not a pretty one: due to accumulated drug and health problems, as well as a scarcity of new material, he didn't complete any albums after 1973, dying of a drug overdose in 1980. ********* En hier die van CD-NOW. Editorial Reviews Amazon.com An introspective, obsessive artist, Tim Hardin wrote songs that many better-known singers turned to--Marianne Faithfull, Astrud Gilberto, Rod Stewart, Johnny Cash; likewise his "If I Were a Carpenter" has become a virtual standard--but Hardin's own versions are uniquely moving and must be heard. His confessions are soaked in a hieratic, trembling moan, a soft piano or guitar, a keen way of seeing inside every line, and jazz- and blues-influenced phrasing (Hardin sounds like a more urgent, haunted Mose Alison). The Verve collection captures nearly all the great songs, and the visceral pain and illuminating wisdom that was Hardin's genius. --Roy Francis Kasten an essential collection, March 20, 2002 Reviewer: stephen f mulcahy (see more about me) from massachusetts United States this 2 cd set includes hardin's work for verve records, a sixties label that also featured some of the " bosstown sound" acts, as well as luminaries like the velvet underground and the blues project, among others. the second cd consists of outtakes and hardin's not so great tim hardin 4 album. it's alright, but nothing special the first cd contains numerous classics. the man's work has been covered by bobby darin, the four tops, scott walker, robert plant, rod stewart, the small faces, the psychedelic band gandalf, zz top's frank beard and dusty hill's early outfit american blues, and numerous others. this shows how highly regarded hardin's work was by his contemporaries, bob dylan apparently claimed that hardin was either THE, or one of the, country's greatest living songwriters. hardin's work is a model of simplicity, and that's why so much of his material is so great. his plaintive, yet powerful vocals are another testament to the importance of the material. this first cd is chock full of classic tunes. many of the best tunes can also be found on the various best of compilations out there, this 2 cd set is for big hardin fans. people with a mild interest in the singer would probably be better off buying a cheaper and briefer disc to start out with. hardin isn't really a folk singer, his stuff is more jazzy and bluesy. his phrasing is excellent. there are too many classics to list,suffice it to say that the first two hardin records, tim hardin 1 and 2, are simply essential. the song i'm into lately are two that don't show up too often on best of hardin releases: never too far and part of the wind, from his debut. his work will be appreciated by those who like brevity ( most cuts are under three minutes, and many under two!), vocal clarity, and melancholy ballads with a jazzy flavor. little of this is topical, hardin was apparently rather apolitical. hardin is yet another musician who is more appreciated today than at the time, it's too bad he never had any real prolonged success in terms of reaching a large audience. sadly, hardin died in 1980, leaving us these two beautiful early recordings to remember him by. IT'LL NEVER HAPPEN AGAIN, November 17, 2000 Reviewer: hodge31 from nottingham, notts United Kingdom and it it just might not, worth the admission fee for two versions of the above title which remains a haunting beautiful ballad. Tim Hardin has touched everyone and his influence runs deeper than most, listening to disc one confirms this with Red Balloon, Black Sheep Boy,Reason To Believe, all popular covers these days by luminaries such as Paul Weller and Dr Robert. Buy it as an lntroduction to the man, like I did, or as a completist, either way just buy it!! exotic when listened to in norwich, england..., January 26, 1999 Reviewer: An Amazon.com Customer On the John Peel show in October, British band Quickspace led by the lo-fi king Tom Cullinan did a cover of Tim Hardins' "If I were a Carpenter." faster and repetitive in the Quickspace kinda way, It got me interested in checking out Hardin - so I did. Hang on to a dream is the perfect way into the world of Hardin, this twists my telescope. An original singer-songwriter, May 14, 1998 Reviewer: A music fan from Woodbury, CT A lot of people think of James Taylor as the original confessional singer-songwriter. Tim Hardin preceeded him by a number of years. Hardin is probably best known for "If I was a Carpenter" though surely not his version. Hardin's first two albums are classics, to my mind, of songrwriter's bearing their souls. Songs like "Reason to Believe" still haunt me. Besides anyone who can say everything they need to say on a topic in less than two minutes, as Hardin did on nearly all of his songs, is truely in search of the perfect song. This collection includes all of Hardin's great songs, and many that are only near great. Genoeg gelult nu,luisteren maar! --Hans.

Een sterk debuut van deze nieuwe singer/songwriter ala Mellencamp... dus...Roots-rock/altn.country/americana enz. Echt nieuw It's ironic that Todd Snider's first radio exposure would come from a song included on his debut as an afterthought and contained as a "hidden" track. "Talking Seattle Grunge-Rock Blues" is reminiscent of early Dylan, hilarious in its satire as a clever dose of good-natured pokes at the industry hype surrounding the Seattle music scene (including references to Eddie Vedder and Nirvana). Although he is a very talented songwriter with a keen wit, at times Snider is just a little too consciously contrived for his own good, threatening to reduce his art to novelty. For instance, the extremely countrified "My Generation, Pt. 2" and the Mellencamp-esque "Alright Guy" are very humorous observations, but dangerously close to sounding trite, especially when compared to the seriousness of the chilling "You Think You Know Somebody," which deals with the ramifications of child abuse. A rootsy record that combines country and folk elements with a genuine rock & roll sensibility, Songs for the Daily Planet also features some cutting fretwork by one of Nashville's finest young guitarists, Eddy Shaver, the son of country outlaw Billy Joe Shaver, one of Snider's heroes. Overall a fine introduction to a remarkable voice. — Jack Leaver Een goed verstaander heeft hier wel genoeg aan --Hans.

Ik denk dat scat-man wellicht japanse voor-ouders heeft.... :D Nou,niks weerhoud je ervan om het touwtje weer op te pakken --Hans.

Vreemd, was mij nog niet opgevallen...

We hebben hier weinig regen, maar anders had ik er ook door gegaan voor zo'n smoeltje ahuuum,zangeres Bij mij,zonder regen; Jerry Jeff Walker-----Live at Gruene Hall Tja,je moet wat zo zonder Witte Bal Een mooie live recording,zoals het eigenlijk altijd hoort! Hier de recentie,en zoals gewoonlijk,een puike! Een mooi album,als je van het gerne houd tenminste Live from Gruene Hall is an excellent return to form from Jerry Jeff Walker. Running through a selection of new songs, Walker is accompanied by a tight version of the Lost Gonzo Band, who help turn these performances into little gems. The hit singles "I Feel Like Hank Williams Tonight," "The Pickup Song" and "Trashy Women" only are the tip of the iceberg. It's may be a live album, but Live from Gruene Hall is arguably one of the best records Walker ever made. Of special note is a brief vocal cameo by Willie Nelson. — Thom Owens Heb ik wat teveel gezegd? --Hans.

Deze vraag is niet 1.2.3 te beantwoorden. Er is gewoon teveel moois,en de smaken zo divers,dat je gewoon maar hier moet blijven langst komen om mooie tips op te pikken. Zo zijn er diverse topics gestart onder de noemer; Welk album heb jij gekocht deze week?, en,Wat staat er nu bij jou op? Daar staan reeds een ton aan info in waar je voorlopig wel zoet mee bent Verder is mijn tip aan jou deze: Ga,voor zo ver mogelijk,iedere dag hier even kijken,en zoek op AMG of CD Now de gelezen tips na. Verder begrijp ik uit jou lijst dat de groep Singer/songwriter jou voorkeur heeft. Ik heb,in het verleden,een topic gestart over dit onderwerp,en hieronder de link. Veel plezier met de speurtocht. >>>>> De singer/Songwriter <<<<< --Hans.

Een goede verkoper is tegenwoordig nog maar moeilijk te vinden helaas. En van een verkoper had ik zo'n reactie wel kunnen verwachten, " ren dan maar snel naar Blokker " Van een winkelier,met verkoop ervaring,verwacht ik toch tegen-gas. En een top-verkoper/winkelier laat zo'n figuur met zijn doos met inhoud de deur uit lopen Helaas is de trend er een van popie-jopie opmerkingen,want die doen het zo leuk op verjaardagen... Dus, men vergaard op voorhand alle nodige info,en zoekt dan maar gewoon de goedkoopste[dozen-schuiver]zaak uit. Per slot van rekening is het met de buurt-super precies zo verlopen[service/klant-vriendelijke bediening ect]. De man in zijn stof-jas kon je alles vertellen over zijn produkten, dit in tegenstelling tot de gemiddelde supermarkt-medewerker. Kom daar maar eens om produkt-info --Hans.

Bedoel je deze.....?>>>>> MarQuant <<<<< --Hans.

Dus, waar gaat iedereen dan kopen Nu ben je mij even kwijt.. Dat komt door de Big-Boys? Ga je uiteindelijk niet,aan het einde van de dag,voor je zuur verdiende[gekregen?] euro's?. --Hans.

Leuk Karma,die locatie van jou, ik ben er geboren.......eens,lang geleden Enuuh, maak je geen zorgen,het zijn hier geen tere zieltjes. We hebben wel zwaardere kluiven te verwerken gehad op dit forum --Hans.

Zeguuuh Erik, als dat zo is,neem 'm dan even mee naar de buren. Ik weet bijna zeker dat hij zo in te passen is daar... :D ;) --Hans.

Alison Krauss is in feite pure Bluegrass,met uitstapjes naar de New-grass. Jerry Douglas is een Dobro player zoals er maar weinig zijn op deze aardkloot Op zijn album Plant Early zoekt hij de kant van de folk/jazz op,om vervolgens met het album Slide Rule weer terug naar de roots te komen. Ik heb gezocht naar woorden om het je duidelijk te maken,maar ik vondt deze recentie van het gegeven Prog.Bluegrass, en ik hoop dat je er wat aan gehad hebt. Ik persoonlijk,vindt de stijlen Prog.Bluegrass en New-Grass interesanter dan de traditionele Bluegrass die gewoon niet van z'n pad af wil Dus,lees even zou ik zeggen Bluegrass is one of the most rigid music genres, one that steadfastly refuses to change its direction. Therefore, Progressive Bluegrass is viewed with skepticism at best, derision at worst, by some hardcore bluegrass fans. Progressive bluegrass expands the sonic palette of bluegrass either by adding elements of jazz, folk, country, and rock, or by amplifying the instruments. The subgenre developed in the late '60s, but it flourished in the '70s, when bands like the Dillards, Boone Creek, Country Gazette, and New Grass Revival began coming to the forefront of bluegrass and folk festivals. Throughout the '80s and '90s, progressive bluegrass continued to evolve, moving closer toward folk and rock in some quarters and closer to jazz in others. Related Styles: Traditional Bluegrass Bluegrass Progressive Country Country-Rock New Acoustic Bluegrass Contemporary Bluegrass Nou,ik geloof dat ik m'n best gedaan heb[?] --Hans.

Laat ik ook weer eens een mooi album in de strijd gooien Hank Shizzoe--Plenty of time Prog.Bluegrass...dus weet Alco weer genoeg Zijn er eigenlijk meer liefhebbers van deze muziek-stijl hier op het forum? --Hans.

Hajj.....mooi nummer Heeft een berg werk afgeleverd zeg! --Hans.

En van de ene Hans naar de andere Hans.. wederom zijn grote dank :D --Hans.

En uiteraard ook even wezen neuzen bij deze titel..... Zelf heb ik dit album,en dat is een erg mooi album,een groei-diamant zogezegd En dit is de recentie van het nieuwe album,en die is niet misselijk te noemen,ga der maar eens voor zitten. Want als ik de ervaring met mijn album kombineer met deze recentie,staat het garant voor een klassieker. While many considered Car Wheels on a Gravel Road and Essence as definitive statements of arrival for Lucinda Williams as a pop star, she "arrived" creatively with her self-titled album in 1984 and opened up a further world of possibilities with Sweet Old World. The latter two records merely cemented a reputation that was well-deserved from the outset, though they admittedly confused some of her earliest fans. World Without Tears is the most immediate, unpolished album she's done since Sweet Old World. In addition, it is simply the bravest, most emotionally wrenching record she's ever issued. It offers unflinching honesty regarding the paradoxes inherent in love as both a necessary force for fulfillment and a destructive one when embraced unconsciously. Fans of her more polished, emotionally yearning material may have a hard time here because there isn't one track — of 13 — that isn't right from the gut, ripped open, bleeding, and stripped of metaphors and literary allusions; they're all cut with the fineness of a stiletto slicing through white bone into the heart's blood. World Without Tears is, among other things, predominantly about co-dependent, screwed-up love. It's about relationships that begin seemingly innocently and well-intentioned and become overwhelmingly powerful emotionally and transcendent sexually, until the moment where a fissure happens, baggage gets dumped in the space between lovers, and they turn in on themselves, becoming twisted and destructive — where souls get scorched and bodies feel the addictive, obsessive need to be touched by a now absent other. The whole experience burns to ashes; it becomes a series of tattoos disguised as scars. The experience is lived through with shattering pain and bewilderment until wrinkled wisdom emerges on the other side. Most of Williams' albums have one song that deals with this theme, but with the exception of a couple of songs, here they all do. Musically, this is the hardest-rocking record she's ever released, though almost half the songs are ballads. Her road band — on record with her for the first time — cut this one live from the studio floor adding keyboards and assorted sonic textures later. The energy here just crackles. Sure, there's gorgeous country and folk music here. "Ventura," with its lilting verse and lap steel whining in the background, is a paean to be swallowed up in the ocean of love's embrace. In fact, it's downright prosaic until she gets to the last verse: "Stand in the shower to clean this dirty mess/Give me back my power and drown this unholiness/Lean over the toilet bowl and throw up my confession/Cleanse my soul of this hidden obsession." The melodic frame is still moving, but the tune reverses itself: It's no longer a broken-hearted ballad, but a statement of purpose and survival. "Fruits of My Labor" is a straight-ahead country song. Williams shimmers with her lyric, her want pouring from her mouth like raw dripping honey. Her words are a poetry of want: "I traced your scent through the gloom/Till I found these purple flowers/I was spent, I was soon smelling you for hours...I've been trying to enjoy all the fruits of my labor/I've been cryin' for you boy, but truth is my savior." One can hear the grain of Loretta Lynn's voice, with an intent so pure and unadorned. But the muck and mire of "Righteously," with its open six-string squall, is pure rock. It's an exhortation to a lover that he need not prove his manhood by being aloof, but to "be the man you ought to tenderly/Stand up for me." Doug Pettibone's overdriven, crunching guitar solo quotes both Duane Allman and Jimi Hendrix near the end of the tune. "Real Live Bleeding Fingers and Broken Guitar Strings" is a Rolling Stones-style country-rocker with a lyric so poignant it need not be quoted here. "Over Time," a tome about getting through the heartbreak of a ruined relationship, could have been produced by Daniel Lanois with its warm guitar tremolo and sweet, pure, haunting vocal in front of the mix. "Those Three Days" may be the most devastating song on the record, with its whimpering lap steel and Williams' half-spoken vocal that questions whether a torrid three-day affair was a lie, a symbolic sacrifice, or the real thing. The protagonist's vulnerability is radical; she feels used, abused — "Did you only want me for those three days/Did you only need me for those three days/Did you love me forever just for those three days." Yet she holds out hope that there is some other explanation as the questions begin to ask themselves from the depth of a scorched heart and a body touched by something so powerful it feels as if it no longer owns itself. Pettibone's solo screams and rings in the bridge to underline every syllable and emotion. "Atonement" is something else altogether; it's a punkish kind of blues. If the White Stripes jammed with 20 Miles in a big studio it might sound like this, with Williams singing from the depths of a tunnel for a supreme megaphone effect. She growls and shouts and spits her lyrics from the center of the mix. And Taras Prodaniuk's fuzzed-out basement-level gutter bass is the dirtiest, raunchiest thing on record since early Black Sabbath. "Sweet Side" is almost a poem in song, attempts to inspire someone who's been broken by life to accept his goodness. It is not a rap song despite what's been written about it so far. It's more in the tradition of Bob Dylan's early talking blues, but with a modern organic rhythm played by Jim Christie instead of drum loops. In addition, there is the gorgeously tough "People Talking," the most straight-ahead country song Williams has written since "Still I Long for Your Kiss" (from the Horse Whisperer soundtrack, not the version that appears on Car Wheels, which is dull and lifeless by comparison). Here again, Pettibone's guitar and the slippery, skittering shuffle of Christie's drumming carry Williams' voice to a place where she can sing her protagonist's personal, soul-searing truth without restraint. World Without Tears is a work of art in the Henry James sense; it is "that which can never be repeated." It is as fine an album as she could make at this point in her life — which is saying plenty. While she has never strayed from her own vision and has made few compromises, this album risks everything she's built up to now. The audience she's won over time — especially with her last two records — may find it over the top, which would be too damn bad; it'd be their loss. Hopefully, history will prove that World Without Tears sets a new watermark for Williams, and is an album so thoroughly ahead of its time in the way it embraces, and even flaunts, love's contradictions and paradoxes — the same way the human heart does. It is this writer's hope that people will be listening to and learning from it for years to come. — Thom Jurek Zo,en dus,zonder te luisteren reeds op de bestel-lijst Ik bedoel maar........ --Hans.

Nee,die is nieuw voor mij, maar daar ga ik natuurlijk wel even wat aan doen De 3 tracks hoorde ik op de site die mij een link gaf naar MP3 van deze Singer-songwriter. Staat genoteerd op de " bestel "lijst Thanx, --Hans. even wezen zoeken, en dit kwam eruit: With their literate, lush, and countrified indie-folk Brooklyn's Timesbold spans the rather sizable gap between Lyle Lovett and Bright Eyes on their self-titled debut. Lead singer and songwriter Jason Merritt's voice is plaintive and earnest, with a slight quiver, but never pretentiously emotive. And his lyrics, while not dazzlingly profound, speak of heartbreak and disappointment in simple and subtle terms, always avoiding clichי. The album has an intimate handmade feel, and the instrumentation — mostly acoustic, but including such odd choices as thememin and optigan — suits the songs well, adding an extra dimension to this well-rounded debut. — Jason Nickey " los-gelaten " in Holland/Belgie in de lente van 2002,en verkocht 2500 albums. aldus de biografie van AMG-Music. weten we dat ook weer

Beste Harry, Na het lezen van de recentie ben ik even gaan luisteren naar 3 tracks t.w; Morning.....One more time.....This voice. Mooie nummers, en is het hele album in deze trend? Want nergens anders kan in info vinden,dus ik moet het hebben van de 3 tracks en jou info. Zoja,dan is dit een klasse " Witte Bal "debuut-album..... --Hans.

Waar aan gelikt?

Tja veel te jong natuurlijk, maarja,that's life... Was wel een opmerkelijke clip met al die mooie vrouwen benen.....lang geleden --Hans.

Nou Henrie, Ik persoonlijk vindt de albums die jij aanhaald wel de mooiste. Met dit album is het begonnen, maar dat zal ik je niet aanraden,want dat is van een geheel andere " tijd " Dit is een kompleet lsd-trip album,maar laat wel gelijk zien wat een kracht erin zit. De albums waar jij naar geluisterd hebt zal voor jou wel genoeg blijken. Zodra je wat meer " gewend " bent aan de sound-scape's van PF,zou je eens een ander album kunnen luisteren. Probleem is dan echter dat ze reeds al niet meer samen gezien willen worden,laat staan in een rercording-sessie schouder aan schouder voor magie willen zorgen --Hans.

Is aan een hartaanval overleden...54. Robert Palmer 1949-2003 --Hans.

Grote klasse, thanx,ik ga er eens voor zitten --Hans.