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Discursive essay openers


discursive essay openers

nor determined to prove a point, and exhibiting an eagerness to please that extends right. He really can go anywhere his ambition takes him. The whole album has a commendable unity of purpose and achievement. I'm running out of superlatives now and each song is getting better and better. Appropriate then that, having duetted on Gilmore's version, she's recorded it herself here with Thea returning the compliment and providing harmony. And this approach sure paid off, for it captures the loose, unpremeditated feel of a Tanyas gig so much better while retaining the atmosphere of close, intense yet relaxed music-making. The spine of the album is the kind of melody driven country that hasn't quite jettisoned it's folk roots, it's bitingly honest, heartfelt and real. The second section of the disc brings three choice stories of Jackie Leven's own concoction: the first of these, the infamous Sting's Dead, was recorded live in front of an anything-but-humourless German audience, while the second, Stupid Local Boasts, is culled from the double album. If you take things at sound-face value, there's quite a feelgood aura to the album generally, notably on the bouncy sunshine-pop of Down Amongst The Living and the iron-clad stompsome beat of School Reunion, and even on the more sinister numbers like The Doomed Ship. At the time of making the CD, all but Lori were in their late teens, but no special pleading needs to be made on that account, for the musicality and maturity - and sensitivity - of their playing is in every way a match for. Born in Scotland but resident in Australia since 1969, he's notched up an impressive array of studio and live albums bearing songs dealing with politics, social issues and relationships. Sarah's original compositions are pretty fine, but she also makes a good passionate fist of her chosen covers, particularly Come Back To Me (sourced from LA punk pioneers X Greg Cartwright's Stop And Think It Over and the aforementioned Tom Waits song.

Admirably clear production's by Jonathan Burnside (The Sleepy Jackson) and Tim Powles (The Church and George's guests include Emily James Palethorpe, Michael Hubbard, Leah Gihlin and Holly Throsby. Those roots are in evidence too on Rush which harks back to the days of Matthews Southern Comfort's fusion of folk and psychedelia and Tell Me Beth, Do You Recall?

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Their richness of tone is mirrored in the rich diversity of material that they perform, all fitting comfortably within The Tradition (in its widest sense and all grist to the mill of folk-song you might say. It's no bad thing, but I get the feeling at times that the guys are trying hard to be an aural representation of the mean'n'dirty scrapyard cats posing on the inner sleeve sorta mtch or Oysterband image-wise and sure their music has plenty of thrust. No but seriously, the girl's ridiculously talented, penning acerbic songs of relationships and self examination that manage to be both prickly and vulnerable at the same time and then dressing them up with a hooks, nagging melodies, and radio friendly choruses, offering jubilant pop with. David Kidman December 2009 Alison Brown - The Company You Keep (Compass) Banjo virtuoso and so much else besides, Alison's still carrying the torch for top-flight music at the label she co-founded nearly 15 years ago. OK, it's been against my better judgement I suppose, but I ended up enjoying this one pretty much - tho' I'm not sure how long it will be before (if) the novelty wears off - so maybe I'd better get to experience The Bosshoss live.

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