Post subject: [2014-01-14] Rosanne Cash "The River And The Thread" (Blue Note)
Posted: Fri May 10, 2013 3:04 pm
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1. A Feather's Not A Bird 2. The Sunken Lands 3. Etta's Tune 4. Modern Blue 5. Tell Heaven 6. The Long Way Home 7. World Of Strange Design 8. Night School 9. 50,000 Watts 10. When The Master Calls The Roll 11. Money Road
Limited Deluxe Edition Bonus Tracks: 12. Two Girls 13. Biloxi 14. Your Southern Heart
Post subject: [2014-01-14] Rosanne Cash "The River And The Thread" (Blue Note)
Posted: Fri May 10, 2013 3:05 pm
Joined:
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From Yahoo News:
Quote:
Rosanne Cash's new project takes her out of NYC By DAVID BAUDER | Associated Press – 49 mins ago
NEW YORK (AP) — Rosanne Cash has been a New Yorker for two decades, but her latest project is taking her out of the city.
The 57-year-old singer is preparing a new album of songs about the American South, and did a lot of traveling with husband John Leventhal to get ideas.
Cash performed a smoldering version of Bobbie Gentry's 1967 hit, "Ode to Billie Joe," at a gala Thursday night benefiting New York radio station WFUV.
One of her travel stops in Mississippi was the Tallahatchie Bridge, where, in the song's lyrics, a young man jumped to his death. No, Cash said, she threw nothing from the bridge into the muddy waters below.
Post subject: [2014-01-14] Rosanne Cash "The River And The Thread" (Blue Note)
Posted: Mon Sep 23, 2013 9:26 pm
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This will be called “The River & The Thread,” and it is due on 1-14-14 on Blue Note.
Here's the press release and track listing:
The River & The Thread, Rosanne Cash’s first album in more than four years, will be released on January 14, 2014 by Blue Note Records. Cash wrote the album’s 11 original songs with her longtime collaborator (and husband) John Leventhal, who also served as producer, arranger and guitarist.
The Chicago Tribune hailed Cash’s 2010 bestselling memoir, Composed, as "one of the best accounts of an American life you will likely ever read." With The River & The Thread, Cash turns her attention to other American lives and locations. The album richly evokes the Southern landscape – physical, musical, emotional – and examines the indelible impressions it has made on our own collective culture and on Cash.
The River & The Thread is sweeping in its breadth, capturing a unique, multi-generational cast of characters – from a Civil War soldier off to fight in Virginia to a New Deal-era farmer in Arkansas to a contemporary Mobile, AL couple. While Cash and Leventhal found inspiration in the many musical styles associated with the South – swampy Delta blues, gospel, Appalachian folk, country and rock, to name a few – this is a completely contemporary collection. Cash’s crystalline voice and Leventhal’s compelling guitar work are at the heart of the album, and they bring in additional instrumentation to suit the tone of each particular song – from the delicate orchestral passages of “Night School,” (which nods to Stephen Foster, who also had a deep affection for the South) to the ghostly keyboards of album closer “Money Road.”
The River & The Thread follows 2009’s The List, which was named Album of the Year by the Americana Music Association and nominated for two GRAMMY Awards.
“If I never make another album I will be content, because I made this one,” says Cash of The River & The Thread, which is a marked departure from her earlier works.
She was joined in the studio by a cast of friends and fellow musicians who also have a deep affection for and/or roots in the South, including Cory Chisel, Rodney Crowell (who also co-wrote one song), Amy Helm, Kris Kristofferson, Allison Moorer, John Prine, Derek Trucks, John Paul White (The Civil Wars), Tony Joe White and Gabe Witcher (The Punch Brothers.)
Cash and her band will preview songs from The River & The Thread at two special events this fall. This Thursday, September 19, she will perform at 3rd and Lindsley in Nashville, a showcase that is part of the Americana Music Festival. (She will also present the award for Album of the Year the previous evening at the Americana Honors & Awards show at the Ryman Auditorium.)
On December 5, Cash will begin a three-day residency at the Library of Congress in Washington, DC. Events will include a concert, a round robin with Leventhal, Crowell, Cory Chisel and Amy Helm and a conversation with Natasha Trethewey, U.S. Poet Laureate. For additional details, visit http://www.loc.gov/today/pr/2013/13-141.html.
“We were dreaming of the Tallahatchie Bridge, and we found it,” says Cash. It’s an inevitable, essential destination on this journey through the Southern spirit, a journey that begins with the artist’s assertion in the opening track that “a river runs through me.”
Cash, who was born in Memphis and raised in California, has recorded fifteen albums, including 1981’s Seven Year Ache and 1987’s King’s Record Shop – both certified Gold. She has charted 21 Top 40 country singles, 11 of which climbed to No. 1. She has received 12 GRAMMY nominations, winning in 1985. Cash has also published four books and her essays and fiction have appeared in The New York Times, Rolling Stone and New York magazine, among others.
The River & The Thread - Track Listing 1. A Feather's Not A Bird 2. The Sunken Lands 3. Etta's Tune 4. Modern Blue 5. Tell Heaven 6. The Long Way Home 7. World Of Strange Design 8. Night School 9. 50,000 Watts 10. When The Master Calls The Roll 11. Money Road
Post subject: [2014-01-14] Rosanne Cash "The River And The Thread" (Blue Note)
Posted: Tue Dec 31, 2013 12:00 pm
Joined:
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Posts:
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Renny wrote:
a no-brainer for me......
Renny, get ready to blow a gasket. Just found out that Target will be selling an exclusive version of the standard edition of Rosanne Cash's new CD. It includes two extra tracks, not found on the deluxe edition (which itself has three extra tracks). Plus the first 500 pre-orders via target.com of the exclusive version will come with an "exclusive authentic autographed insert."
The extra tracks on the Target exclusive are an "alternative version" of Money Road and a "special acoustic take" of The Sunken Lands.
Even the lightest-hearted of Rosanne Cash’s superb 35-year repertoire often carries with it the weight of history, the struggle for self-discovery and a sense of place. It’s hardly surprising given her station, born to the first family of American music royalty. On The River & The Thread, Cash’s first album of original material in seven years, and the first since brain surgery in 2007, those vibes run deeper than ever, plunging into complicated emotions, impossible situations, piquant insights, fate and history, and the meaning of it all in the land of Dixie.
Playing like a travelogue through time, space and place, The River & The Thread opens – with a yawning, bluesy guitar chord – in the northwestern Alabama burg of Florence. This is “A Feather’s Not A Bird”, and it finds Cash flitting between emotional and geographical landscapes to a sinewy, swampy mix of hot-wired guitars, silky harmonies and a revelatory, ominously impassioned vocal. The setting could be right now, or 100 years either direction. “There’s never any highway when you’re looking for the past,” she declares, part of a kind of cumulative taking stock.
Cash and guitarist/producer/husband John Leventhal assembled an exemplary lineup of musicians for The River & The Thread: singers Allison Moorer, Amy Helm and John Paul White (The Civil Wars), Allmans guitarist supreme Derek Trucks and, as she puts it, the Voice of God Choir – Rodney Crowell, John Prine, Tony Joe White, Kris Kristofferson – who pitch in on one cut. That said, it’s Cash, at the top of her game as a singer, who carries the day. Her voice is a persistent wonder, a flexibly crystalline instrument, which with a tiny shift in intonation, a subtle turn of phrase, alters the texture or perspective, imbuing the songs with trenchant, kaleidoscopic shades of meaning.
One might think of The River & The Thread as the glorious summation of her post-dad-death trilogy, following 2006′s grief-stricken Black Cadillac and 2008′s tradition-grounded, Johnny Cash-inspired album of covers, The List. It feels as if this is now the point where the internal turmoil subsides, the clouds part, new connections await. Then again, it just might just as easily signal a rather momentous rebirth.
Not that there’s not always more grief around the corner. Sung in a kind of stunned mix of determination, vulnerability, and fatalism, “Etta’s Tune” is at the heart of The River & The Thread, indeed the spark, the first piece written for the album. A tribute in part to fallen Tennessee Two bassist and close friend of Marshall Grant (a prime architect of her dad’s boom-chicka-boom sound), who passed away in 2011 at 83, and Etta, his wife of 65 faithful years, this song is celebration and mourning. It’s deeply personal yet connected to everything, a glimpse into the fabric of centralising, salt-of-the-earth, real-life characters. Every stanza is teardrop territory.
The altogether snappier “Modern Blue” kicks in next, changing up the mood, the album’s shiniest, coolest-rocking coin. Hinging on Leventhal’s catchy guitar curlicues echoing down through the verses, it’s, ostensibly, a world traveler’s tale. The protagonist traipses through a litany of locales, all of them not Memphis, before the epiphany comes: “I went to Barcelona and my mind got changed,” Cash leans into on the song’s pivotal verse, “So I’m heading back to Memphis on the midnight train.”
The ghostly blues stomp of “World Of Strange Design”, meanwhile, Trucks percolating the rhythms on slide guitar, is Cash pushing her poetic edge, heading off into deepest mystery, exploring the identity of place, the forces of fate (“If Jesus came from Mississippi…” she ponders), on perhaps the albums most powerfully affecting track.
Along the way, Cash touches upon the quest for spiritualism in a world of loneliness (“Tell Heaven”) and the wits-end desperation of a Dust Bowl-era Arkansas farmer (“The Sunken Lands”). “Night School” feels more contemporary lyrically, but with its sparkling, orchestral 1860s parlor-ballad arrangement, it joins most of its peers in defying the conventional parameters of time; musically, it’s The River & The Thread‘s most daring, surprising piece.
Foreboding heartbreak permeates the characters’ stark realities in the aching Civil War-era portrait “When The Master Calls The Roll” – the principals scrolling by as in a novel. Within the general structure of a classic Celtic ballad, gorgeous mandolin and fiddle accents, and her so-called Voice of God Choir, Cash plunges into myth and reality, magnificence and tragedy, her voice delivering each chapter in the story with an aching beauty.
“50,000 Watts”, though, a shuffling blues, grasps new hope, alas a new identity, and optimism in the post-war South – in short, a new start: “We’ll be who we are, not who we were,” she sings in scrumptious, anticipatory harmony with Wandering Sons singer Cory Chisel. The song doesn’t name names, but it might as well be referencing Johnny Cash’s clarion calls “Hey Porter” or “Big River” blasting out of Memphis’ WSM in 1958.
The spidery “The Long Way Home” is the album’s sleeper, at first slipping by unsuspectingly. But here, amid a Leventhal string arrangement seemingly awash in kudzu, David Mansfield’s nimble violin and viola touches, and Cash channeling her purest gothic voice, emerges one of the album’s central truths – the resolute inescapability of place: “You thought you’d left it all behind,” she avers.
By the time The River & The Thread completes its mesmerising trek, tracing the history and its myriad characters, the feel and the psyche of the deepest South in its closer, “Money Road”, the troupe has arrived in tiny Money, Mississippi, upon a rural roadway adjacent to Robert Johnson’s mythical crossroads. Spooky as a pitch-black midnight walk across Bobbie Gentry’s (also adjacent) Tallahatchie Bridge, Cash’s voice cutting like a scythe through keyboards that rise and fall like ghosts, all the themes, a million micro-bits of the story, converge, before Leventhal suddenly, shockingly, takes the listener out with a prickly electric guitar, time heading in both directions.
Even the lightest-hearted of Rosanne Cash’s superb 35-year repertoire often carries with it the weight of history, the struggle for self-discovery and a sense of place. It’s hardly surprising given her station, born to the first family of American music royalty. On The River & The Thread, Cash’s first album of original material in seven years, and the first since brain surgery in 2007, those vibes run deeper than ever, plunging into complicated emotions, impossible situations, piquant insights, fate and history, and the meaning of it all in the land of Dixie.
Playing like a travelogue through time, space and place, The River & The Thread opens – with a yawning, bluesy guitar chord – in the northwestern Alabama burg of Florence. This is “A Feather’s Not A Bird”, and it finds Cash flitting between emotional and geographical landscapes to a sinewy, swampy mix of hot-wired guitars, silky harmonies and a revelatory, ominously impassioned vocal. The setting could be right now, or 100 years either direction. “There’s never any highway when you’re looking for the past,” she declares, part of a kind of cumulative taking stock.
Cash and guitarist/producer/husband John Leventhal assembled an exemplary lineup of musicians for The River & The Thread: singers Allison Moorer, Amy Helm and John Paul White (The Civil Wars), Allmans guitarist supreme Derek Trucks and, as she puts it, the Voice of God Choir – Rodney Crowell, John Prine, Tony Joe White, Kris Kristofferson – who pitch in on one cut. That said, it’s Cash, at the top of her game as a singer, who carries the day. Her voice is a persistent wonder, a flexibly crystalline instrument, which with a tiny shift in intonation, a subtle turn of phrase, alters the texture or perspective, imbuing the songs with trenchant, kaleidoscopic shades of meaning.
One might think of The River & The Thread as the glorious summation of her post-dad-death trilogy, following 2006′s grief-stricken Black Cadillac and 2008′s tradition-grounded, Johnny Cash-inspired album of covers, The List. It feels as if this is now the point where the internal turmoil subsides, the clouds part, new connections await. Then again, it just might just as easily signal a rather momentous rebirth.
Not that there’s not always more grief around the corner. Sung in a kind of stunned mix of determination, vulnerability, and fatalism, “Etta’s Tune” is at the heart of The River & The Thread, indeed the spark, the first piece written for the album. A tribute in part to fallen Tennessee Two bassist and close friend of Marshall Grant (a prime architect of her dad’s boom-chicka-boom sound), who passed away in 2011 at 83, and Etta, his wife of 65 faithful years, this song is celebration and mourning. It’s deeply personal yet connected to everything, a glimpse into the fabric of centralising, salt-of-the-earth, real-life characters. Every stanza is teardrop territory.
The altogether snappier “Modern Blue” kicks in next, changing up the mood, the album’s shiniest, coolest-rocking coin. Hinging on Leventhal’s catchy guitar curlicues echoing down through the verses, it’s, ostensibly, a world traveler’s tale. The protagonist traipses through a litany of locales, all of them not Memphis, before the epiphany comes: “I went to Barcelona and my mind got changed,” Cash leans into on the song’s pivotal verse, “So I’m heading back to Memphis on the midnight train.”
The ghostly blues stomp of “World Of Strange Design”, meanwhile, Trucks percolating the rhythms on slide guitar, is Cash pushing her poetic edge, heading off into deepest mystery, exploring the identity of place, the forces of fate (“If Jesus came from Mississippi…” she ponders), on perhaps the albums most powerfully affecting track.
Along the way, Cash touches upon the quest for spiritualism in a world of loneliness (“Tell Heaven”) and the wits-end desperation of a Dust Bowl-era Arkansas farmer (“The Sunken Lands”). “Night School” feels more contemporary lyrically, but with its sparkling, orchestral 1860s parlor-ballad arrangement, it joins most of its peers in defying the conventional parameters of time; musically, it’s The River & The Thread‘s most daring, surprising piece.
Foreboding heartbreak permeates the characters’ stark realities in the aching Civil War-era portrait “When The Master Calls The Roll” – the principals scrolling by as in a novel. Within the general structure of a classic Celtic ballad, gorgeous mandolin and fiddle accents, and her so-called Voice of God Choir, Cash plunges into myth and reality, magnificence and tragedy, her voice delivering each chapter in the story with an aching beauty.
“50,000 Watts”, though, a shuffling blues, grasps new hope, alas a new identity, and optimism in the post-war South – in short, a new start: “We’ll be who we are, not who we were,” she sings in scrumptious, anticipatory harmony with Wandering Sons singer Cory Chisel. The song doesn’t name names, but it might as well be referencing Johnny Cash’s clarion calls “Hey Porter” or “Big River” blasting out of Memphis’ WSM in 1958.
The spidery “The Long Way Home” is the album’s sleeper, at first slipping by unsuspectingly. But here, amid a Leventhal string arrangement seemingly awash in kudzu, David Mansfield’s nimble violin and viola touches, and Cash channeling her purest gothic voice, emerges one of the album’s central truths – the resolute inescapability of place: “You thought you’d left it all behind,” she avers.
By the time The River & The Thread completes its mesmerising trek, tracing the history and its myriad characters, the feel and the psyche of the deepest South in its closer, “Money Road”, the troupe has arrived in tiny Money, Mississippi, upon a rural roadway adjacent to Robert Johnson’s mythical crossroads. Spooky as a pitch-black midnight walk across Bobbie Gentry’s (also adjacent) Tallahatchie Bridge, Cash’s voice cutting like a scythe through keyboards that rise and fall like ghosts, all the themes, a million micro-bits of the story, converge, before Leventhal suddenly, shockingly, takes the listener out with a prickly electric guitar, time heading in both directions.
Nice -- thanks, Lawrence.
Damn, she's so good. Can't wait to get this. There's nobody making better music right now. Saw her live about a year ago, and it was one of the very best shows I've ever seen.
Black Cadillac is a great album that will always be special to me. I lost my dad about the same time she did, and they were from the same generation. Those songs really resonated with me, and that disc will always make remind me of my dad.
Even the lightest-hearted of Rosanne Cash’s superb 35-year repertoire often carries with it the weight of history, the struggle for self-discovery and a sense of place. It’s hardly surprising given her station, born to the first family of American music royalty. On The River & The Thread, Cash’s first album of original material in seven years, and the first since brain surgery in 2007, those vibes run deeper than ever, plunging into complicated emotions, impossible situations, piquant insights, fate and history, and the meaning of it all in the land of Dixie.
Playing like a travelogue through time, space and place, The River & The Thread opens – with a yawning, bluesy guitar chord – in the northwestern Alabama burg of Florence. This is “A Feather’s Not A Bird”, and it finds Cash flitting between emotional and geographical landscapes to a sinewy, swampy mix of hot-wired guitars, silky harmonies and a revelatory, ominously impassioned vocal. The setting could be right now, or 100 years either direction. “There’s never any highway when you’re looking for the past,” she declares, part of a kind of cumulative taking stock.
Cash and guitarist/producer/husband John Leventhal assembled an exemplary lineup of musicians for The River & The Thread: singers Allison Moorer, Amy Helm and John Paul White (The Civil Wars), Allmans guitarist supreme Derek Trucks and, as she puts it, the Voice of God Choir – Rodney Crowell, John Prine, Tony Joe White, Kris Kristofferson – who pitch in on one cut. That said, it’s Cash, at the top of her game as a singer, who carries the day. Her voice is a persistent wonder, a flexibly crystalline instrument, which with a tiny shift in intonation, a subtle turn of phrase, alters the texture or perspective, imbuing the songs with trenchant, kaleidoscopic shades of meaning.
One might think of The River & The Thread as the glorious summation of her post-dad-death trilogy, following 2006′s grief-stricken Black Cadillac and 2008′s tradition-grounded, Johnny Cash-inspired album of covers, The List. It feels as if this is now the point where the internal turmoil subsides, the clouds part, new connections await. Then again, it just might just as easily signal a rather momentous rebirth.
Not that there’s not always more grief around the corner. Sung in a kind of stunned mix of determination, vulnerability, and fatalism, “Etta’s Tune” is at the heart of The River & The Thread, indeed the spark, the first piece written for the album. A tribute in part to fallen Tennessee Two bassist and close friend of Marshall Grant (a prime architect of her dad’s boom-chicka-boom sound), who passed away in 2011 at 83, and Etta, his wife of 65 faithful years, this song is celebration and mourning. It’s deeply personal yet connected to everything, a glimpse into the fabric of centralising, salt-of-the-earth, real-life characters. Every stanza is teardrop territory.
The altogether snappier “Modern Blue” kicks in next, changing up the mood, the album’s shiniest, coolest-rocking coin. Hinging on Leventhal’s catchy guitar curlicues echoing down through the verses, it’s, ostensibly, a world traveler’s tale. The protagonist traipses through a litany of locales, all of them not Memphis, before the epiphany comes: “I went to Barcelona and my mind got changed,” Cash leans into on the song’s pivotal verse, “So I’m heading back to Memphis on the midnight train.”
The ghostly blues stomp of “World Of Strange Design”, meanwhile, Trucks percolating the rhythms on slide guitar, is Cash pushing her poetic edge, heading off into deepest mystery, exploring the identity of place, the forces of fate (“If Jesus came from Mississippi…” she ponders), on perhaps the albums most powerfully affecting track.
Along the way, Cash touches upon the quest for spiritualism in a world of loneliness (“Tell Heaven”) and the wits-end desperation of a Dust Bowl-era Arkansas farmer (“The Sunken Lands”). “Night School” feels more contemporary lyrically, but with its sparkling, orchestral 1860s parlor-ballad arrangement, it joins most of its peers in defying the conventional parameters of time; musically, it’s The River & The Thread‘s most daring, surprising piece.
Foreboding heartbreak permeates the characters’ stark realities in the aching Civil War-era portrait “When The Master Calls The Roll” – the principals scrolling by as in a novel. Within the general structure of a classic Celtic ballad, gorgeous mandolin and fiddle accents, and her so-called Voice of God Choir, Cash plunges into myth and reality, magnificence and tragedy, her voice delivering each chapter in the story with an aching beauty.
“50,000 Watts”, though, a shuffling blues, grasps new hope, alas a new identity, and optimism in the post-war South – in short, a new start: “We’ll be who we are, not who we were,” she sings in scrumptious, anticipatory harmony with Wandering Sons singer Cory Chisel. The song doesn’t name names, but it might as well be referencing Johnny Cash’s clarion calls “Hey Porter” or “Big River” blasting out of Memphis’ WSM in 1958.
The spidery “The Long Way Home” is the album’s sleeper, at first slipping by unsuspectingly. But here, amid a Leventhal string arrangement seemingly awash in kudzu, David Mansfield’s nimble violin and viola touches, and Cash channeling her purest gothic voice, emerges one of the album’s central truths – the resolute inescapability of place: “You thought you’d left it all behind,” she avers.
By the time The River & The Thread completes its mesmerising trek, tracing the history and its myriad characters, the feel and the psyche of the deepest South in its closer, “Money Road”, the troupe has arrived in tiny Money, Mississippi, upon a rural roadway adjacent to Robert Johnson’s mythical crossroads. Spooky as a pitch-black midnight walk across Bobbie Gentry’s (also adjacent) Tallahatchie Bridge, Cash’s voice cutting like a scythe through keyboards that rise and fall like ghosts, all the themes, a million micro-bits of the story, converge, before Leventhal suddenly, shockingly, takes the listener out with a prickly electric guitar, time heading in both directions.
Nice -- thanks, Lawrence.
Damn, she's so good. Can't wait to get this. There's nobody making better music right now. Saw her live about a year ago, and it was one of the very best shows I've ever seen.
Black Cadillac is a great album that will always be special to me. I lost my dad about the same time she did, and they were from the same generation. Those songs really resonated with me, and that disc will always make remind me of my dad.
rosanne cash is very very good, but i must respectfully disagree with your statement about no one making better music, lucinda williams is., but not a whole lot more.
_________________ Incorrectly is the only word that when spelled correctly is still spelled incorrectly.
Post subject: [2014-01-14] Rosanne Cash "The River And The Thread" (Blue Note)
Posted: Sun Jan 12, 2014 10:13 pm
I love Music & hate brickwalled audio
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On first listen of the 11 track version.
The biggest surprise for me is how heavy handed they were with the mastering. Brickwalled at DR8. To put that in perspective, I was playing the MFSL Billy Joel Soings From The Attic right before this. I had to cut the volume in half; & it still feels loud.
Musically it's less country than I'd feared, but more country than her best mid career albums. Musically I'd give it about a 6.5 of 10 on 1st listen.
It's unfortunately so compressed that it's hard for me to relax into the music; even though the MUSIC is in a soft style; listening to it puts me emotionally on edge from the mastering.
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Post subject: [2014-01-14] Rosanne Cash "The River And The Thread" (Blue Note)
Posted: Mon Jan 13, 2014 6:09 pm
Who are those guys?
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Renny wrote:
rosanne cash is very very good, but i must respectfully disagree with your statement about no one making better music, lucinda williams is., but not a whole lot more.
You're mileage may differ, Renny. I'll take Rosanne.
Post subject: [2014-01-14] Rosanne Cash "The River And The Thread" (Blue Note)
Posted: Mon Jan 13, 2014 6:24 pm
Who are those guys?
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Geff R. wrote:
On first listen of the 11 track version.
The biggest surprise for me is how heavy handed they were with the mastering. Brickwalled at DR8. To put that in perspective, I was playing the MFSL Billy Joel Soings From The Attic right before this. I had to cut the volume in half; & it still feels loud.
Musically it's less country than I'd feared, but more country than her best mid career albums. Musically I'd give it about a 6.5 of 10 on 1st listen.
It's unfortunately so compressed that it's hard for me to relax into the music; even though the MUSIC is in a soft style; listening to it puts me emotionally on edge from the mastering.
Hope it doesn't bother me as much, Geff, but that doesn't sound good. WHY? WHY? WHY?
Post subject: [2014-01-14] Rosanne Cash "The River And The Thread" (Blue Note)
Posted: Tue Jan 14, 2014 1:53 am
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She was interviewed on NPR's Morning Edition this morning (Monday), and the snippets they played from the album sounded great! I'm looking forward to this very much.
Post subject: [2014-01-14] Rosanne Cash "The River And The Thread" (Blue Note)
Posted: Tue Jan 14, 2014 9:26 pm
Who are those guys?
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Great stuff. The mastering is loud, as Geff reports, but the music is pretty great. The three bonus cuts on the deluxe edition are aces. I may also have to spring for the Target version to get THOSE extra cuts too (grrrrrrrrrr...).
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