Nanny's World

Just a quick track to share. Give it a spin and tell me it doesn't have Fiery Furnaces written all over it? (that's a good thing by the way) It's from an artist named Rose Kemp (no, I don't know a single thing about her), and is being released as a single next month (on the 30th). Head here to check out her previous releases.


Rose Kemp - Nanny's World : Unholy Majesty

Visit her label One Little Indian and become her friend on MySpace.

"I think we're outnumbered"

So last night I checked out Uh Huh Her at Pearl Street in Northampton, MA, and the highlight of the night actually happened before the show even started (no offense to the fine musicians who played - I loved the show, honest!). It went down like this. The show was supposed to start at 8:30, so I got to the venue around 8:15 only to find the doors hadn't been opened yet and there was a much bigger line than I anticipated. Not only was the line bigger than I anticipated, but it's make-up was somewhat unexpected, but I'll get back to that in a minute.

So I'm waiting in line, and one of the guys who works for the venue drifts over to me (if you've been to Pearl Street or the Iron Horse, I'm talking about biker-Santa Claus) and says to me, "Let me tell you something - I think we're outnumbered tonight." Honest, those were his exact words! This is where the composition of the line comes in. Let me put it this way, there were more guys at the last Indigo Girls concert I attended. I just sort of chuckled (as quietly as possible) and looked around to make sure there weren't any eyes glaring at me due to my unwilling complicity. "I think we're outnumbered tonight." Absolutely classic! 'Nuff said about that though.

Come to find out, there was massive amounts of traffic, causing the bands to arrive late, but when the show finally got rolling, opening for the evening was Angie Mattson (MySpace). She played some original tunes (which I wasn't familiar with) on her guitar, and a killer cover of The Black Crowes' song She Talks to Angels.

The Black Crowes - She Talks to Angels (live) : Freak 'N' Roll...Into The Fog (Live - The Fillmore, San Francisco)


The big draw of the night though was Uh Huh Her, whose newest album's (Common Reaction) release date has been pushed back to August. If you're not familiar with the quartet, they play an peppy electro-80's, synth-dance fiesta that feels like it should be the soundtrack for a remake of a Brat-pack film. I was only familiar with the five tracks off of their debut I See Red EP, so much of the material they played during the evening was unknown to me, and presumably off of the upcoming album. Suffice to say, if you enjoyed the EP, the new material carried on in the same tradition.

Thankfully, even though I was in fact outnumbered and one of the minority, I made it out alive in order to share this post with you. they have a few shows left before the end of the month, and I would assume will be hitting the road again during the summer in preparation for the release of the album in August.


Uh Huh Her - Say So (Thom Russo Mix) : I See Red EP

Visit their website, their label Nettwerk, and become their friend on MySpace.

Laura Gibson

I've simply fallen in love with Laura Gibson and her new six song EP Six White Horses: Blues & Traditionals, Vol. 1. It's quiet. It's haunting. It's full of covers and reinterpretations. But it's also wonderfully original. And I love it.

I'd like to just stop here and let my brevity stay the course, as it does on the EP, but I'll add a little more to try and get you to love it, too.

The texture of Gibson's guitar work stays fairly true to the original blues compositions, but she does an incredible job of playing around with the timing, drawing it out, and somehow making it more haunting and powerful in a different sort of way than the originals. When it was recorded, Gibson's voice and guitar were projected and recorded through the speaker of an old-record player, adding that other-worldly feel to it. Accompanying her is Jason Leonard, who adds a washbucket, newpaper drums, porch stomping, bells, whistling, vibraphone and glockenspiels to support her vocals and guitar. The six tracks on the EP include the following:

1. All The Pretty Horses (Traditional)
2. One Dime Blues (Blind Lemon Jefferson)
3. Freight Train (Elizabeth Cotten)
4. One Thin Dime (Mance Lipscomb)
5. Black Is The Color of My True Love's Hair (Traditional)
6. Dry Land Blues (Furry Lewis)

Laura really does an incredible job of taking these timeless songs and making them her own, while still retaining links to the past. You can listen to the first track, All the Pretty Horses, below. I've also added some of the originals for the other tracks so once you pick up the disc (which I'm very much hoping you will), you'll be able to compare and see how Laura has reinterpreted them.

And finally, you can also check out some video of Laura playing four live songs for NPR here, in the first of their "Tiny Desk Concert" series.

Laura Gibson - All the Pretty Horses : Six White Horses: Blues & Traditionals, Vol. 1

and one from her last full length album:

Laura Gibson - Nightwatch : If You Come To Greet Me

Visit her website, her label Hush Records, and become her friend on MySpace.

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Blind Lemon Jefferson - One Dime Blues : Complete Classic Sides Remastered (Disc B)

Elizabeth Cotten - Freight Train : Freight Train and Other North Carolina Folk Songs and Tunes

Mance Lipscomb - One Thin Dime : Texas Songster

The Roots Rising Down

Right about now, I wish I was living in the City of Brotherly Love. Check out the insane line-up above and you'll see why. The Roots just put out their 10th album, Rising Down, and they're hitting the road hard in support of it.

Before I even get to the music, I want to take a look at the title, which comes from William T. Vollmann's tome on violence entitled Rising Up and Rising Down (it's not the first time they've named an album after a book - 1999's Things Fall Apart was named for the Chinua Achebe novel). I actually went to the library and picked up the book myself when I realized the link. The book is a brick - over 750 pages of it (and we're not talking summer beach blanket reading), and it's only an abridgment of the seven volume, 3,500 page version. Vollmann's stance is an interesting one; in the book he posits that violence can be rationalized and justified, and that by careful analysis (what he calls "moral calculus"), we can determine how and why governments come to perform acts of violence. I've just cracked open the book myself, so I won't pretend to be an expert on it, but the premise is an eye-arching one.

The reason I start by talking about the title is because I think it's a clear indication of why The Roots have been around for so long, continue to make music that is warmly received, and continue to receive such positive feedback in a genre known for one hit wonders where singles are king and albums typically full of filler. There is a lot more meat on a Roots' song compared to a lot of entire hip-hop albums out there today.

The stand out track for me (and it may be because I've been listening to Nigeria 70: Lagos Jump a lot lately) is I Will Not Apologize, which is a total throw-back Fela Kuti track. It hits you the first time you listen to it and I'm always finding myself looking forward to getting to it when I've been throwing the album in. The rest of the album is just as good, although to me it feels a little darker when stacking it up against their last release, Game Theory.

If you're in Philly on June 7th, you gotta check out the show. If not, check out the other tour dates below.

The Roots - I Will Not Apologize : Rising Down

Visit their website, their label Def Jam, and become their friend on MySpace.

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The Roots - The Show (Doug E. Fresh cover) : In Tha Beginning...There Was Rap

The Roots (Feat. Cody Chesnutt) - The Seed : Live From Bonnaroo 2003

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Other Upcoming Tour Dates

May
15 Washington, DC- Constitution Hall*
16 Norfolk, VA- Chrysler Hall*
17 Richmond, VA- Landmark Theater*
20 Boca Raton, FL- Mizner Park*
23 Atlanta, GA- Fox Theater*
24 Chillicothe, IL- Summer Camp Music Festival
25 Los Angeles, CA- UCLA Jazz and Reggae Festival
27 Nashville, TN- Ryman Auditorium*
29 St. Louis, MO- Fox Theater*
30 Chicago, IL- Chicago Theater*
31 Chicago, IL- Chicago Theater*

June
2 Denver, CO- The Fillmore*
4 Eugene, OR- Cuthbert Amphitheater
5 Seattle, WA- Marymoor Park*
7 Philadelphia, PA- The Roots Picnic @ Festival Pier
8 Oakland, CA- Paramount Theater*
10 San Diego, CA- Humphrey's*
12 Los Angeles, CA- Greek Theater*
13 Birmingham, AL- City Stages Festival
14 Phoenix, AZ- Mesa Amphitheatre*
17 Houston, TX- Verizon Wireless Theater
18 Dallas, TX- Nokia Theater
19 New Orleans, LA- House of Blues
22 Rochester, NY- Rochester International Jazz Festival

July
4 Milwaukee, WI- Summerfest 2008
20 Commerce City, CO- Dick's Sporting Goods Park

Aug
8 Jersey City, NJ- All Points West Festival @ Liberty State Park

* w/ Erykah Badu

Neil Diamond sparkles again

I've shared this before, but for newer readers I'll repeat myself. As a child growing up, I can remember playing my dad's vinyl, and at one point, Neil Diamond was my favorite artist out of his selections. Looking back, I don't know if it was his name, the album covers, or the music, but the memory stuck with me of loving Neil. Eventually my musical tastes turned onto new pathways, but a piece of me always enjoyed Neil's music.

Now that we've got that out of the way, I'll continue my post in the semi-present tense (or at least more present than when I was a wee-young one). I only recently found out that Neil is now working with Rick Rubin, and has been since his last album, 12 Songs. It terms of producers active in music today, Rick Rubin probably tops my list, or at least comes close, of musical masterminds that I respect. When you look back at what he's accomplished, and in such diverse genres, it's hard not to give him some props. I mean if you can take 3 white guys and make them into respected hip-hop artists, you must be doing something right.

Then you have to think about what he did working with Johnny Cash. I'm not going to thumb my nose at all you and say that I was listening to Johnny before American Recordings came out (I was), simply point out that Rick was able to get A LOT of listeners to realize that Johnny still had music in him that wanted to come out and be appreciated. It seems that Neil is hoping for some of that same magic: getting a younger generation of listeners to hear what's coming out of his mouth and soul. With today's generation, unfortunately the only cultural currency I think Diamond holds is Sweet Caroline and his cameo in Saving Silverman.

If my opinion is worth 2 cents, this album proves that he wasn't just a glitzy 70's star that should be relegated to kitschy movie roles. Honestly, I think this album is going to be one of my top 5 favorites of the year. Call me a sentimentalist if you want, but I'll still stick with this album. As he did with Cash, Rubin has stripped down Diamond's sound, although not as much. Diamond's voice is nearly as spent as Johnny's was either (not putting down Johnny, the scratch was part of the draw - that lived hard and played harder mythos that he carried with him), but is certainly carries a somber tone that he hasn't always displayed in his work.

I'd love to give you most of this album to listen to to prove you should be paying attention, but I'm going to limit it to one: One More Bite Of the Apple. It's a great track that on the surface is about not giving up on love, about giving it another go. I listen to it and I hear Neil singing like this is one more chance to make the music that he's loved for decades, one more chance to connect with a new generation. I for one am rooting for him.

Neil Diamond - One More Bite Of The Apple : Home Before Dark

and an old classic:

Neil Diamond - Cracklin' Rosie : Glory Road 1968 To 1972 [Disc 2]

Visit his website, his label Columbia, and become his friend on MySpace.

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Urge Overkill - Girl, You'll Be A Woman Soon (Neil Diamond cover) : Pulp Fiction Soundtrack

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Upcoming Tour Dates

May

24 Rotterdam Ahoy Arena
25 Rotterdam Ahoy Arena
27 Munich Olympiahalle
29 Antwerp Sportpalais
31 Cologne Cologne Arena

June

2 Hamberg Colorline Arena
5 Glasgow Hampden Park
7 Manchester MEN Arena
8 Manchester MEN Arena
10 Birmingham The NIA
11 Birmingham The NIA
14 Dublin Croke Park
17 South Hampton Rose Bowl
19 Cardiff , Wales Millienium Stadium
21 London O2 Arena
23 London O2 Arena
24 London O2 Arena
27 London Wembley Arena

July

19 St. Paul , MN Xcel Energy Center
22 Sioux City , IA Tyson Events Center
24 Omaha , NE Qwest Center Omaha
26 Chicago , IL United Center
29 Indianapolis , IN Conseco Fieldhouse
31 Detroit , MI The Palace of Auburn Hills

August

3 Cleveland , OH Quicken Loans Arena
5 Washington , DC Verizon Center
7 Hartford , CT XL Center
9 Philadelphia , PA Wachovia Center
12 New York , NY Madison Square Garden
14 New York , NY Madison Square Garden
18 Pittsburgh , PA Mellon Arena
20 Albany , NY Times Union Center
23 Boston , MA Fenway Park
25 Columbus , OH Value City Arena at The Schottenstein Center
27 Green Bay , WI Resch Center
29 St. Louis , MO Scottrade Center

September

14 Winnipeg , MB MTS Center
16 Edmonton , AB Rexall Place
18 Calgary , AB Pengrowth Saddledome
20 Vancouver , BC General Motors Place
22 Portland , OR Rose Garden
24 Seattle , WA KeyArena at Seattle Center
26 Sacramento , CA ARCO Arena
28 San Jose , CA HP Pavilion

October

1 Los Angeles , CA Hollywood Bowl
7 San Diego , CA San Diego Sports Arena
10 Phoenix , AZ Jobing.com Arena
12 San Antonio , TX AT&T Center
14 Houston , TX Toyota Center
17 Dallas , TX American Airlines Center
19 Oklahoma City , OK Ford Center
21 Tulsa , OK BOK Center
24 Tampa , FL St. Pete Times Forum
26 Ft. Lauderdale , FL BankAtlantic Center
28 Orlando , FL Amway Arena Orlando
30 Jacksonville , FL Jacksonville Veterans Memorial Arena

65DaysofStatic opening for the Cure

You might remember me posting a track by 65DaysofStatic a few months ago. I just found out that they were hand picked by Robert Smith to open for The Cure on their current tour. Unfortunately for me, I found out the very day they were playing Boston (yesterday) and therefor lost my chance to check out the show. Fortunately for you, I've got the rest of the dates below and hopefully you'll be luckier than me.

In addition to sporting tunes from their two albums, they've got a new four track EP out entitled The Distant and Mechanized Glow of Eastern European Dance Parties. Try saying that five times fast. It's got two remixes of the track of the same name from their last album The Destruction of Small Ideas and two brand new songs: Goodbye, 2007 (hear it below) and Antique Hyper Mall.



65DaysofStatic - Goodbye, 2007 : The Distant and Mechanized Glow of Eastern European Dance Parties EP

Visit their website, their label Monotreme Records, and become their friend on MySpace.


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The Cure - Burn : The Crow Soundtrack

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Tour Dates

May 14 2008 Bell Centre w/The Cure Montreal, Quebec
May 15 2008 Air Canada Centre - w/The Cure Toronto, Canada, Ontario
May 17 2008 Allstate Arena w/The Cure Chicago, IL, Illinois
May 17 2008 Subterranean *65HEADLINE SHOW* Chicago, Illinois
May 18 2008 2 Cents Plain *65HEADLINE SHOW* St Louis, Missouri
May 19 2008 Starlight Theatre - w/TheCure Kansas City, KS, Kansas
May 21 2008 Red Rocks Amphitheatre w/The Cure Denver, CO, Colorado
May 22 2008 The Falcon *65HEADLINE SHOW* Englewood, Colorado
May 23 2008 E Center w/The Cure Salt Lake City, UT, Utah
May 24 2008 The Venue *65HEADLINE SHOW* Boise, Idaho
May 25 2008 Gorge Ampitheatre @ The Sasquatch Festival George, Washington
May 26 2008 General Motors Place - w/The Cure Vancouver,, British Columbia
May 28 2008 HP Pavillion San Jose, California
May 29 2008 Santa Barbara Bowl - w/The Cure Santa Barbara, CA, California
May 31 2008 Hollywood Bowl w/The Cure Los Angeles, CA, California
Jun 1 2008 Shrine Auditorium - w/The Cure Los Angeles, California
Jun 2 2008 Chain Reaction *65HEADLINE SHOW* Anaheim, California
Jun 3 2008 Cox Arena - w/The Cure San Diego, CA, California
Jun 4 2008 Dodge Theatre - w/The Cure Phoenix, AZ, Arizona
Jun 4 2008 Modified Arts *65HEADLINE SHOW* Phoenix, Arizona
Jun 6 2008 American Airlines Center - w/The Cure Dallas, TX, Texas
Jun 7 2008 Rock Bottom *65HEADLINE SHOW* San Antonio, Texas
Jun 8 2008 Emos *65HEADLINE SHOW* Austin, Texas
Jun 8 2008 Austin Music Hall - w/The Cure Austin, TX, Texas
Jun 9 2008 Toyota Center - w/The Cure Houston, TX, Texas
Jun 11 2008 St Pete Times Forum - w/The Cure Tampa, FL, Florida
Jun 12 2008 The Social *65HEADLINE SHOW* Orlando, Florida
Jun 13 2008 Bank Atlantic Center - w/The Cure Ft Lauderdale, FL, Florida
Jun 14 2008 The Atlantic Gainsville, Florida
Jun 15 2008 Gwinnet Civic and Cultural Centre - w/The Cure Dulath, Georgia
Jun 16 2008 Charlotte Bobcats Arena - w/The Cure Charlotte, NC, North Carolina
Jun 18 2008 Cleveland State University - w/The Cure Cleveland, OH, Ohio
Jun 19 2008 Mercury Lounge *65HEADLINE SHOW* New York, New York
Jun 20 2008 Madison Square Garden - w/The Cure New York, NY, New York
Jun 21 2008 Radio City Hall - w/The Cure New York, New York

Dueling Cellos

"We strive to expose people to new music through the cello; support local musicians and give them the opportunity to work with an orchestral accompaniment; and to make Portland, Oregon the cello capital of the world, perhaps one day changing its name to Celloland."

-Portland Cello Project co-founder, Doug Jenkins

Well, if there is ever a national referendum on the topic, you've got my vote Doug. Although Finnish cello-metal quartet Apocalyptica might argue the point with you.

What are the odds of getting not one, but two albums dedicated to cello music in the same week? Amazingly, it happened to me, and I was tempted to call the folks over at Ripley's. The first disc that appeared was The Portland Cello Project, which is a loose confederation of any and all cello players that want to contribute in the Portland area. Although I've not seen them myself, I hear that they play a mean combination of covers, both classical as well as modern, and their disc represents that. Some tracks have a very classical feel to them (try Robing Hood Changes His Oil), while others are obviously very contemporary (Toxic, of course!).

While the Portland Cello Project reaches wide for diverse source material with cellos as the primary form of instrumentation, Apocalyptica takes the cello and adds a fair dose of other harder rocking instruments as well to make a more modern sound that alternates between soothing your nerves to encouraging you to thrash (all in the same song)

Although both consider themselves cello groups, they are quite unalike from one another, as you can probably guess from the above descriptions. Get both though - one for the dinner party, and one for the late night party.

Portland Cello Project - Gideon Freudmann: Robin Hood Changes His Oil : Portland Cello Project

Portland Cello Project - Toxic (Britney Spears cover) : Portland Cello Project

Visit their website and become their friend on MySpace.

Apocalyptica - Grace (Feat. Hotei Tomoyasu) : Worlds Collide

Apocalyptica - S.O.S. (Anything But Love) (Feat. Cristina Scabbia of Lacuna Coil) : Worlds Collide

Visit their website, their label Jive/Zomba, and become their friend on MySpace.

Nigeria 70: Lagos Jump

When it comes to my knowledge of Nigerian music, it can be summed up in three words: Fela Kuti’s Afrobeat. I’ll surmise that the same can be said of most Western listeners. That being said, listening to Nigeria 70: Lagos Jump was a refreshing dose of new music for me. It’s the newest title from Strut Records that I’ve been listening to lately. Instead of me going on and on with my love of the label, just keep reading.

Like I said above, I know next to nothing about the development of music in Nigeria in the last 50 years, and won’t pretend otherwise here. I did however learn quite a bit from reading the extensive and informative (as typical for Strut’s releases) liner notes that accompanied this compilation. Not surprisingly, the only musician’s name I recognized in the track list or in the notes was Fela Kuti, but his is a name, and contribution, that only builds on preceding artists. As I always do, I’d suggest picking up a physical copy of the album when it comes out for the liner notes alone. From reading the notes, I learned much of the following information.

Without getting into the history and development of the music too much, I’ll say that the tracks here represent many musical movements that took place within Nigeria. The basis for much of the music on the album comes from two contrasting musical styles: Highlife dance band music which revolved around big bands that initially mimicked and then built off of American Swing music, and Juju music which was more of an organic traditional music.

The popularity and prominence of these two very unlike styles waxed and waned as the country went through political strife, but with the infusion of western pop music in the 60’s, things would change - permanently. Rock and Roll, ska, soul, and funk made inroads with young musicians who started incorporating these western styles into their own music, beginning the development of Afro-pop, then Afro-jazz, and of course Afrobeat (which Fela Kuti is celebrated for pioneering and why his name is indelibly branded in musical history). The sixteen tracks on this disc are an audible expression of how African musicians took in outside music, played with it, adopted parts of it, and created a fusion of styles of their own.

This disc is in some ways a follow-up to another release that Strut put out in 2001 their first time around titled simply Nigeria 70 (a 3 CD set that goes for insane prices now - if you can find it that is). Whereas the previous release included many established names such as Kuti and others, Lagos Jump focuses on other relatively unknown artists. It's coming out later this month on the 27th, but in the meantime, enjoy the opening track by Sir Shina Peters below.

Sir Shina Peters and His International Stars - Yabis : Nigeria 70: Lagos Jump

Visit Strut Records, and become their friend on MySpace.

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Fela Kuti - No Agreement : No Agreement

Sunday Soul - Do It In the Name of Love

Step In Da Name of Love

You can make me talk so easy
Boy, you sure know
How to please me (ooh, yeah)

Don't you do it if you
Think you got to, no
Don't you do it if you
Think you ought to (ooh, yeah)

Oh, oh, oh
Do it in the name of love
If you really want me
That's reason enough

Do it in the name of love

Candi Staton - Do It In the Name of Love (stereo) : Do It In the Name of Love 7"

Candi Staton - Do It In the Name of Love (mono) : Do It In the Name of Love 7"

Check out The Best of Candi Staton

The Bridges

So when I found out that Matthew Sweet was working with and producing a group of comparative youngins named The Bridges, my curiosity was piqued. Although Matthew dropped off my radar screen after 100% Fun in 1995 (I wish I still had that tour shirt), I reacquainted myself with his work when he teamed up with ex-Bangle Susanna Hoffs for Under the Covers, Vol. 1 in 2006.

The Bridges consists of five members, four siblings (whose last name is Byrd – I guess The Byrds is already taken though, isn’t it?) and a cousin, and actually formed back in 2002. Their big break though was when they signed with VerveRecords at the end of last year, and then soon after started working with Sweet at his own studio. Although I’m not entirely positive about this, the group might have got connected with him via the Hoff-Sweet connection after opening for The Bangles earlier in 2007.

(Somewhat completely unrelated fun fact side-note: Did you know that Hoff and Sweet, along with Mike Myers, made up the fictitious rock group Ming Tea in the Austin Powers movie?)

Anyway, as you can imagine, with Sweet’s name involved, I jumped to some assumptions about what the group would sound like. As it turns out, I was pretty much completely wrong.

Unlike Sweet’s work (at least his older material which I’m more familiar with) which really is guitar driven, The Bridges’ strength lies in the three part sunshine harmonies sung by its three sisters. Behind them is a scaled back, bordering on the edge of country twang, and a sound which connects back to the group’s stated influences: Fleetwood Mac and The Mamas and the Papas. Put simply, they’re not here to hit you over the head with their sound.

The album, Limits of the Sky, which is their big league debut, is set to hit shelves on June 10th. Also, in July, look for Matthew Sweet’s new album, Sunshine Lies.

The Bridges - All the Words : Limits of the Sky

The Bridges - Echo : Limits of the Sky

Visit their label Verve Forecast and become their friend on MySpace.

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Matthew Sweet - Theme From Camp Burlesque : Camp Burlesque

Matthew Sweet And Susanna Hoffs - Cinnamon Girl (Neil Young cover) : Under The Covers Vol. 1

Wearing your Galoshes?

the journey of the boots

well i've been thinking
that there's not a really lot to know
it's cut and dry
it's crystal clear as the day
that you better wear galoshes or some thicker boots
my boots are aching cuz it's raining today

Who can resist a song titled galoshes on a rainy day like today?


The Box Social - Galoshes : Get Going

Become their friend on MySpace.

Tapestry Revisited

Some albums hold a mythical place in our cultural consciousness. Tapestry, released in 1971 and quite possibly the pinnacle of Carole King’s career, is one such album. From the people involved in helping Carole make the album (James Taylor and Joni Mitchell, who both added supporting vocals), to the monumental success gained in record sales (over 24 million copies sold worldwide), to the artistic recognition the album garnered (winning Grammies for Record of the Year for It’s Too Late, Album of the year, Best Female Pop Vocal, and Song of the Year – James Taylor’s version of You’ve Got A Friend), Tapestry is an album that will probably never fade into the past.

A few weeks ago, Sony released what they call a Legacy Edition of the album. It’s a deluxe double disc release which not only acknowledges the impact the album made on the musical world, but also celebrates Carole’s 50th year as a recording artist. 50 years. Disc one is the original album remastered. Twelve classic cuts including It’s Too Late, I feel the Earth Move, (You Make Me Feel Like A) Natural Woman, You’ve Got A Friend, etc… Disc two is where the magic happens. On this disc the album is captured and recreated in the original order from live performances Carole gave of the songs in 1973 in Boston, Columbia, and NYC and in 1976 in San Francisco. These tracks, previously unreleased, are Carole and a piano. The only track missing from the second disc is Where You Lead, as there were no live recordings at that time of her playing that song.

Not only does the Legacy Edition include the extra disc of live material, it also contains liner notes penned by music journalist Harvey Kubernik, track-by-track annotations by Lou Adler, who worked as Carole’s manager and publishing rep for many years, and unpublished color pictures of the album’s 1971 recording session.

For those of you still spinning Tapestry on vinyl or clicking through the 8-track, here’s your chance to get it on CD with plenty of additional incentive.

Carole King - You've Got A Friend : Tapestry: Legacy Edition (Disc 1)

Carole King - I Feel The Earth Move (live) : Tapestry: Legacy Edition (Disc 2)

Visit her website and become her friend on MySpace.