Perhaps the most telling tune on Shoulda Been Home is the T-Bone Walker-influenced "Renew Blues," not because of the style, but because the slow blues fades out after just one tiny minute. By contrast, the mellow soul sway of "Out of Eden" stretches out to over nine minutes. Robert Cray has been heralded as a savior of modern blues, but the truth is Cray's music is much closer to the vintage soul of O.V. Wright and Otis Redding than the 12-bar form of B.B. King or Albert King. Granted, his punctuating Stratocaster guitar riffs borrow from the books of all the blues masters, but his songwriting and arranging don't. Often backed by arpeggiated guitar chords, Cray's vocals are front and center here, passionately leaning into these predominantly slow or mid-tempo tunes. By contrast, only a couple of cuts are upbeat enough to really get the knees a-shakin'. The infectious opening cut "Baby's Arms" – the best tune on the record – could have been a hit single for Stax Records, and Sir Mack Rice's upbeat "Love Sickness" was a hit for Stax Records. Meanwhile, "Help Me Forget," with its mellow, candlelight mood, could have been a hit for Barry White.
Home and Heart is the debut album of Laochra, a melodic folk metal project of musician Stíofán De Roiste (Stephen Roche), from Irish folk metal group Celtachor, released on March 31. Almost forty seven minutes long, the album has nine tracks. Profoundly inspired in Irish Celtic mythology, Home And Heart is a beautiful, encapsulating, self-conscious and poetic album, filled with delicate, enchanting and smooth nuances, that transcends temporal concepts of culture, musicality, belief and spirituality, to fully embrace and create in the shroud of a graceful sonorous legacy the marvelous epicenter of an amazingly intricate dimensional life, where everything is completely compromised with the wonderful mist of ancient times.
Just some parsecs away from home is Boulderdash fourth album. This work proceed the expiring of sonic terrain, this time with a bit more aggressive harmonics and melodies, still with the so typical Boulderdash weaving layers of melodies and soundscapes.
Bing & Ruth have announced their third studio album No Home of the Mind. Continuing with the deft minimalism that has marked them out in critical circles in recent years, the New York ensemble’s new record will be released on February 17th, 2017. Established in 2006, Bing & Ruth is an ever-evolving collective steered by composer David Moore. A pianist from Kansas and graduate of New York’s school of Jazz and Contemporary Music at the New School, Moore’s work follows in the great tradition of fellow alumni John Cage and Steve Reich, albeit looking past the more studied repetition of the style’s forerunners toward a meditative form built on feeling. With No Home of the Mind, the ensemble has been streamlined to a five-person unit, exploring the piano’s percussive qualities alongside running woodwinds, warbling tape delays and splattered upright bass lines that stare out with a wide-eyed transcendence, taking so-called “classical” music to new limits.
FALLING IN REVERSE has set an April 7 release date for its fourth album, "Coming Home", via Epitaph. The follow-up to 2015's "Just Like You", "Coming Home" finds the band exploring its sound, all the while retaining the signature ethos and aesthetic that has won the love and loyalty of its incredibly invested fans and followers. Frontman Ronnie Radke previously told Alternative Press that the album is "a huge left turn. It sounds like nothing we've ever done. Every song is very vibey. There's more feeling in it."He continued: "We're challenging ourselves now more than we ever have in the weirdest ways possible, because you would think writing the craziest solo or riffs would be the challenging part. But the challenging part is trying to stick to a theme and not go all over the place like we would normally do."
Released as a double LP on Chisa/Blue Thumb in 1972, Hugh Masekela's Home Is Where the Music Is marked an accessible but sharp detour from his more pop-oriented jazz records of the '60s. Masekela was chasing a different groove altogether. He was looking to create a very different kind of fusion, one that involved the rhythms and melodies of his native South Africa, and included the more spiritual, soul-driven explorations occurring in American music at the time on labels like Strata East, Tribe, and Black Jazz as well as those laid down by Gato Barbieri on Bob Thiele's Flying Dutchman imprint. The South African and American quintet he assembled for the date is smoking. It includes the mighty saxophonist Dudu Pakwana and drummer Makaya Ntshoko, both South African exiles; they were paired with American pianist Larry Willis and bassist Eddie Gomez, creating a wonderfully balanced, groove-oriented ensemble.