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So much great acoustic music was released over the past
two decades—music that inspired acoustic guitar players to pick up a
six-string to jam with friends, play gigs, and even record their own
albums. After many spirited discussions and some serious listening, Acoustic
Guitar’s editors came up with a list of more than 200 albums that
were released during the magazine’s 20-year existence and that continue
to define what is possible in fingerstyle, flatpicking, blues,
bluegrass, songwriting, pop/rock, and other guitar styles. So put those
headphones on and start listening.
1990
Tuck Andress, Reckless Precision
Finger-busting and incredibly grooving solo guitar arrangements of
jazz standards and pop tunes by one half of Tuck and Patti. (Windham
Hill)
Norman Blake and Tony Rice, 2
The second record of flatpicking duets by these two masters features
guest appearances by Doc Watson on three fiddle-tune standards.
(Rounder)
Alison Brown, Simple Pleasures
The contemporary banjo star’s first solo album, with help from David
Grisman, Mike Marshall, and Alison Krauss, earned her the IBMA Banjo
Player of the Year award in 1991. (Vanguard)
Tim Buckley, Dream Letter: Live in London 1968
Recorded when he was two studio albums into his career, Buckley’s
freakishly beautiful voice soars over his acoustic guitar on such early
classics as “Once I Was,” “Buzzin’ Fly,” “Morning Glory,” and “Dream
Letter.” (Rhino)
Mary Chapin Carpenter, Shooting Straight in the Dark
Carpenter proves that a folky singer-songwriter with a pop-oriented
sense of groove and melody can find success in Nashville. (Columbia)
Clive Gregson and Christine Collister, Love Is a Strange Hotel
Gregson and Collister’s powerhouse acoustic duo sound on a snappy
collection of covers, from Merle Haggard to Bruce Springsteen. (Rhino)
Michael Hedges, Taproot
Less about fingerstyle chops than his previous albums, Taproot
showcases Hedges’s creative ensemble arrangements on acoustic, electric,
and harp guitars. (Windham Hill)
Tish Hinojosa, Culture Swing
From Mexican-style ballads to country two-steps to loping cowboy
songs, Hinojosa, singing in Spanish and English, celebrates the rich
traditional music of multicultural Texas. (Rounder)
Adrian Legg, Guitars and Other Cathedrals
Legg goes at his instrument with two hands capable of producing an
amazing dynamic range, from soft melodies to fingerpicking fire.
(Relativity)
Peter Rowan, Dust Bowl Children
The former guitarist and singer for Bill Monroe’s Blue Grass Boy goes
solo, fingerpicking and flatpicking guitar, playing mandola and
harmonica, and singing original songs that “reflect ecological and
humanitarian concerns.” (Sugar Hill)
Greg Brown, Down in There
There’s nothing fancy about Brown’s deep, rumbling voice and
three-chord tunes, but his tales of rural America are unforgettable—sad,
sweet, compassionate, uncompromisingly real. He evokes the dreams and
disappointments of small-town life like a grittier, folkier Bruce
Springsteen. (Red House)
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1991
Carlos Barbosa-Lima, Music of the Americas
A sweet and gently swinging journey from sambas to
Amazon chants to Gershwin to Brubeck, and many points in between.
(Concord)
D’Gary, Malagasy Guitar
D’Gary has devised a staggering guitar technique to transfer a
repertoire from traditional Malagasy instruments like the marovany and
valiha. Extraordinary, plain and simple. (Shanachie)
Jerry Garcia and David Grisman, Jerry Garcia/David Grisman
Garcia reached his pinnacle of unplugged jamming in this sweet,
soulful first release with mandolinist Grisman. (Acoustic Disc)
John Gorka, Jack’s Crows
Gorka’s songs are so elemental that he seems not to write songs so
much as chisel them in stone. (High Street)
John Prine, The Missing Years
Guests include Tom Petty, Bonnie Raitt, and Bruce Springsteen, but
they all serve Prine’s wry songs, including “It’s a Big Old Goofy World”
and “Jesus, The Missing Years.” (Oh Boy)
Roy Rodgers and Norton Buffalo, R&B
A fresh take on the venerated combination of acoustic guitar,
harmonica, and vocals, peppered with instrumental virtuosity. (Blind
Pig)
Michelle Shocked, Arkansas Traveler
Shocked explores yet another facet of her musical background. Parts of
the record play like a hootenanny or festival in the woods. (Polygram)
Chris Smither, Another Way to Find You
This live solo recording puts Smither’s powerful thumb-driven grooves
and rolling, sliding fingerstyle licks front and center on well-crafted
originals and blues covers, including a stand-out version of ”Statesboro
Blues.” (Hightone)
Richard Thompson, Rumor and Sigh
Producer Mitchell Froom shines a light on all the facets of Thompson’s
talent, from the rockin’ “Keep Your Distance” to the acoustic classic
“1952 Vincent Black Lightning.” (Capitol)
David Wilcox, Home Again
Fingerstyle accompaniment in unconventional alternate tunings (often
with partial capos) carry Wilcox’s impressionistic originals. (A&M)
X, Unclogged
X made its name with Exene Cervenka and John Doe’s careening punk noir
duets, but this live acoustic album showed that it was also capable of
mining the rich territories of country and folk. (Sunset Bouvelard)
Phil Keaggy, Beyond Nature
Everything about this instrumental guitar and ensemble collection
seems effortless. The warmth and emotion of Keaggy's playing completely
overshadow the technique behind it. (Word/Epic)
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1992
Roy Book Binder, The Hillbilly Blues Cats
Piedmont revivalist Roy Book Binder finds the perfect backing for the
rollicking hokum of Pink Anderson’s “Over to My House” or the gravity of
Blind Willie McTell’s “Statesboro Blues.” (Rounder)
Greg Brown, Dream Café
This live set captures the charms of Brown’s live show—the mischievous
mix of humor and hardball, country wholesomeness and a jagged urban
edge. (Red House)
Eric Clapton, Unplugged
Eric Clapton’s appearance on MTV Unplugged reinvented more than just
“Layla,” it also cemented his role as the most prominent acoustic
bluesman of the late 20th century. (Reprise)
Shawn Colvin, Fat City
A Few Small Repairs won a slew of Grammies, but Fat City showcases
Colvin’s songwriting range and guitar playing ability more completely,
with memorable instrumental contributions from Richard Thompson, David
Lindley, and Greg Leisz. (Columbia)
Joe Henry, Short Man’s Room
Backed by the Jayhawks, Henry unveils a towering collection of songs,
from the confused murderer’s lament in “King’s Highway” to the defiant
protagonist of the title track. (Mammoth)
Indigo Girls, Rites of Passage
Amy Ray and Emily Saliers’s opus is a textbook example of the sheer
power of harmonized vocals, including background contributions from
David Crosby and Jackson Browne. (Sony)
Jayhawks, Hollywood Town Hall
The Jayhawks’ beautiful harmonies owed as much to the Beach Boys as to
classic country, marrying big melodies with classic rock flourishes. A
stone-cold classic. (American)
Lyle Lovett, Joshua Judges Ruth
Ranging from gospel-inflected band settings to spare, guitar-forward
tunes, this set explores loss, faith, and death by peanut butter and
jelly. (Curb)
Various artists, A World Out of Time: Henry Kaiser and David Lindley
in Madagascar
The real stars of this revelatory collection are the Malagasy
musicians D’Gary, Dama Mahaleo, and Tarika Sammy. (Shanachie)
Neil Young, Harvest Moon
Twenty years after his classic Harvest, the mercurial guitarist picked
up the acoustic guitar again for Harvest Moon, a set of wistful songs
about loss, enduring love, and his beloved dog. (Reprise)
Jerry Douglas, Slide Rule
The best dobro player on Earth has recorded his best album yet by
pairing superlative playing with totally listenable tunes. (Sugar Hill)
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1993
Martin Carthy, The Collection
On these tunes from his ’70s and ’80s solo recordings, Carthy creates
whole worlds with just his voice and guitar. (Green Linnet)
Counting Crows, August and Everything After
The album that introduced the world to vocalist Adam Duritz also
introduced the mandolin to the ’90s alternative-rock bin. (Geffen)
Iris Dement, My Life
Dement’s traditional-sounding songs and honest, pure delivery stand
out like a beacon in a prairie dust storm. (Warner Bros.)
Pat Donohue, Two Hand Band
Donohue’s steel-string solos swing and boogie like good barroom piano
playing. (Blue Sky)
Edward Gerhard, Luna
This soulful album of original compositions rich in melody, chordal
complexity, and stylistic variety proves why Gerhard is considered to
have the most exquisite acoustic-guitar tone on the planet. (Virtue)
Nanci Griffith, Other Voices, Other Rooms
Griffith interprets a thoughtful mix of tunes by writers like Kate
Wolf, John Prine, Bob Dylan, and Woody Guthrie, with guest spots from
Chet Atkins, the Indigo Girls, and Iris Dement. (Elektra)
Steve James, Two Track Mind
Rich, driving vocals and some razor-sharp guitar playing make these
blues adaptations glow in the dark. (Discovery)
Rickie Lee Jones, Traffic from Paradise
Jones’ self-produced collaboration with Leo Kottke, her most intimate
and personal song collection, includes a rousing acoustic cover of David
Bowie’s “Rebel Rebel.” (Geffen)
John McLaughlin, Time Remembered
By taking an acoustic-guitar string-sextet approach to Bill Evans’s
jazz compositions, McLaughlin teases out the classical elegance of the
late pianist’s sensibility. (Verve)
Nashville Bluegrass Band, Waitin’ for the Hard Times to Go
Stunning a cappella vocals, Stuart Duncan’s world-class fiddle,
outstanding songs, and playing that defines good taste. (Sugar Hill)
Uncle Tupelo, Anodyne
This pinnacle of early ’90s alt-country captured the sound of a band
coming into its prime as internal forces pulled it apart. Jeff Tweedy
and Jay Farrar went on to form Wilco and Son Volt. (Sire)
Peter Case, Sings Like Hell
And he plays his six- and 12-string acoustics like hell, too, on these
down-and-dirty live renditions of mostly traditional folk and blues.
(Vanguard)
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1994
Dave Alvin, King of California
Known for his work with the Blasters and the Knitters, Alvin’s first
foray into acoustic music was artfully produced by Greg Leisz, who
contributes excellent slide guitar and mandolin. (Hightone)
Johnny Cash, American Recordings
In need of career rehabilitation in the early ’90s, the Man in Black
enlisted producer Rick Rubin, who spurred Cash to make an inspired,
legendary album that saw him tackling everything from Danzig’s
“Thirteen” to Leonard Cohen’s “Bird on a Wire.” (American)
Peppino D’Agostino, Close to the Heart
With innovative compositions and loads of chops, this album catapulted
D’Agostino to the forefront of the new acoustic movement.
(Mesa/Bluemoon)
Jerry Douglas, Russ Barenberg, and Edgar Meyer, Skip, Hop, and Wobble
This trio delivers much more than hot solos: every cut is charged with
a feeling of spontaneity and discovery. (Sugar Hill)
David Grisman and Tony Rice, Tone Poems
Duets played on 17 pairs of vintage guitars and mandolins (all shown
and described in the accompanying booklet). Hearing Rice’s 1935 Martin
D-28 and Grisman’s 1923 Gibson Loar F-5 on “I Am a Pilgrim” is a treat.
(Acoustic Disc)
Dave Matthews Band, Under the Table and Dreaming
The finger-busting main riff from “Satellite” was enough to turn
guitarists on to Matthews and Co.—the rest of the album turned them into
arena rock legends. (RCA)
Keb’ Mo’, Keb’ Mo’
Loaded with original blues and R&B songs that are more distinctive
than most recent tunes in the genre. (Okeh)
Nirvana, MTV Unplugged in New York
Equally haunting and refreshing, Nirvana’s candlelit acoustic showcase
was an apt parting gift and last hurrah of the grunge era. (Geffen)
Ali Farka Toure with Ry Cooder, Talking Timbuktu
Malian singer/guitarist Toure teams up with guitarist/producer Cooder
to locate compatibilities and contrasts in a cross-cultural exploration
that reveals the Malian roots of American blues. (Hannibal)
Joni Mitchell, Turbulent Indigo
Mitchell’s 17th album is her best and most haunting work in years.
Peeling away much of the studio layering that dominated her ’80s
recordings, Mitchell once again spotlights her open-tuning guitar style,
a harmonic feast that has never quite been duplicated by the army of
songwriters it inspired. (Reprise)
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1995
Badi Assad, Rhythms
Assad finds her true voice on her second solo guitar album—combining
Brazilian classical guitar chops with mouth music, percussion, and other
unique effects. (Chesky)
Dusan Bogdanovic, Mysterious Habitats
A tour de force of odd-metered originals by one of the world’s finest
guitarist/composers. An amazing blend of classical, jazz, and Balkan
influences. (GSP)
Guy Clark, Dublin Blues
“I have seen the David / Seen the Mona Lisa, too / I have heard Doc
Watson / Play “Columbus Stockade Blues.” Lines like this make Clark one
of the lions of folk/country songwriting. (Elektra)
Ani DiFranco, Not a Pretty Girl
DiFranco at her uncompromising best, from the intricate
tapping/slapping guitar of “Cradle and All” to the anticorporate raging
of ”The Million You Never Made” to the dreamy “32 Flavors.” (Righteous
Babe)
Steve Earle, Train a Comin’
Earle came out of rehab, went into the studio with Peter Rowan, Norman
Blake, Roy Huskey Jr., and Emmylou Harris, and recorded a stripped-down
acoustic album that kicked off a string of critically and commercially
successful recordings. (Warner Bros.)
Emmylou Harris, Wrecking Ball
Produced by Daniel Lanois, this was Harris’s strongest record since
the late ’70s, an ethereal, chilling, and cinematic album featuring
songs from Bob Dylan, Neil Young, and Jimi Hendrix. (Elektra)
Alison Krauss, Now That I’ve Found You
This platinum-selling collection, released when Krauss was just 23,
launched the bluegrass songbird to stardom, thanks in part to the pop
tracks “Baby, Now That I’ve Found You" and ”Oh, Atlanta.” (Rounder)
Son Volt, Trace
Formed from the ashes of Uncle Tupelo, Jay Farrar’s Son Volt came out
of the gate with a mournful, gritty album that balanced spare acoustic
songs with all-out rockers. (Warner Bros.)
Elliott Smith, Elliott Smith
Recorded before his brush with the mainstream, Smith’s second solo
album was a hushed affair featuring nimble fingerpicking and devastating
lyrics. (Kill Rock Stars)
Bruce Springsteen, The Ghost of Tom Joad
Springsteen delivers this solo effort not with a roar but a whisper,
casting a campfire glow on the muted political unrest of the 1990s.
(Columbia)
Various artists, Hawaiian Slack Key Guitar Masters, Vol. 1
You don’t have to know much about slack-key to be mesmerized by this
collection. The playing is complex, with melodies breathtaking in their
peaceful simplicity. (Dancing Cat)
Doc Watson, The Vanguard Years
Drawn from seven albums recorded in the ’60s and early ’70s and a
number of previously unreleased live performances, this four-CD set is a
virtual course in old-time acoustic country music. (Vanguard)
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1996
Duck Baker, Spinning Song
Featuring solo guitar arrangements of compositions by jazz pianist
Herbie Nichols, this modern jazz-guitar masterpiece showcases Baker’s
rich arrangements and solid chops. (Avant)
Cephas and Wiggins, Cool Down
The blues’ premier acoustic duo at their best, with Cephas reaching
back to Blind Boy Fuller and Scrapper Blackwell, while Wiggins pushes
ahead with new songs about urban violence and the upside of heartbreak.
(Alligator)
Shawn Colvin, A Few Small Repairs
This release launched Colvin into the mainstream thanks to the album’s
first cut, “Sunny Came Home,” which won both Record and Song of the
Year at the 1998 Grammy Awards. (Sony)
Patty Griffin, Living With Ghosts
A truly rare breed: a major-label debut with no studio frills.
Captured in raw, dramatic solo performances, Griffin’s songs cut right
to the emotional bone. (A&M)
Alvin Youngblood Hart, Big Mama’s Door
Although he covers Leadbelly and Charlie Patton, Hart never sounds
like a traditionalist: he sounds like an artist at the beginning of a
long, evolving career. (Sony)
Tim O’Brien, Red on Blonde
O’Brien takes on a formidable task: the songs of Bob Dylan,
string-band style. (Sugar Hill)
John Scofield, Quiet
Electric jazz-guitar hero Scofield’s sound isn’t as blazing and funky
when he picks up a nylon-string, but he loses none of his invention and
passion. (Verve)
Martin Sexton, Black Sheep
From the first resonant strums of Sexton’s kick-ass wooden guitar,
this album is delightfully singular and acoustically riveting. (Eastern
Front)
Solas,
Solas
Generation X conquers Irish trad! John Doyle propels things with
inventive and unrelenting guitar work. (Shanachie)
Various artists, True Life Blues: The Songs of Bill Monroe
This collection of Monroe’s most powerful and enduring songs is a
must-have for every bluegrass fan. (Sugar Hill)
Wilco, Being There
Front man Jeff Tweedy defied predictions with this sprawling two-disc
album, breaking free of the alt-country straitjacket in spectacular
fashion. (Sire/Reprise)
Gillian Welch, Revival
Welch aims to write songs that Bill Monroe or Ralph Stanley would be
comfortable singing, and she hits the mark with simple ballads like
“Orphan Girl.” (Almo Sounds)
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1997
Chet Atkins and Tommy Emmanuel, The Day Finger Pickers Took Over the World
Atkins’s collaboration with the Australian guitar master is full of
beautiful writing, harmonious picking, and good clean fun. (Sony)
Paulo Bellinati, Lira Brasileira
Contemporary Brazilian guitar at its very finest. Rooted in
traditional Brazilian music styles, Lira Brasileira showcases original
compositions of remarkable depth and beauty. (GSP)
Buena Vista Social Club, Buena Vista Social Club
Languid, sexually charged tunes and hot Cuban big-band arrangements
sparked by Ry Cooder’s stinging slide guitar. (Nonesuch)
Bob Dylan, Time Out of Mind
Dylan’s strongest album since Blood on the Tracks, this Daniel Lanois
production was a magnificent comeback that heralded a fertile new period
for the Bard from Hibbing. (Columbia)
Charlie Haden and Pat Metheny, Beyond the Missouri Sky
An evocative 70 minutes of music that Haden accurately describes as
“contemporary impressionistic Americana.” (Verve)
Martin Hayes and Dennis Cahill, The Lonesome Touch
The combination of Hayes’s fiddle and Cahill’s guitar is unbearably
beautiful, with an approach so radical it sounds perfectly true to the
tradition. (Green Linnet)
Taj Mahal, Señor Blues
Reaching a crossroad in his career, Taj Mahal reinvented himself on
the breathtaking Señor Blues, which spanned urban blues, jazz, soul,
country, and Caribbean funk. (RCA)
Al Petteway, Caledon Wood
Anchored in Celtic music with African and South American influences,
these original pieces and traditional arrangements show why Petteway is
one of today’s most respected fingerstyle players. (Maggie’s Music)
Kelly Joe Phelps, Roll Away the Stone
His playing is absolutely monstrous, bridging the gap between gospel
and blues, white and black, sacred and secular. (Rykodisc)
Ricky Skaggs and Kentucky Thunder, Bluegrass Rules
Skaggs returns to the bluegrass fold with the jaw-dropping young
guitarist Bryan Sutton in tow. (Rounder)
Whiskeytown, Strangers Almanac
This drunken, messy, and rowdy album, which sounds like the
Replacements fronted by Gram Parsons, propelled Ryan Adams to the
forefront of the alt-country movement. (Outpost)
Martin Simpson, Cool and Unusual
This all-instrumental outing shows Simpson moving away from the
smoldering pyrotechnics of previous recordings to present a restless,
searching side to his playing. The band percolates with a lush sound,
finding new corners in the largely American traditional melodies. (Red
House)
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1998
Beck, Mutations
A distinct stylistic shift from the cut-and-paste Dadaism of Odelay,
Mutations showed that Beck could be every bit as riveting while rocking
bossa nova rhythms on the acoustic guitar. (DGC/Bong Load)
Blue Highway, Midnight Storm
With dobro star Rob Ickes and guitarist Tim Stafford, Blue Highway is a
double threat for guitar-oriented bluegrass fans. One of the most
influential bluegrass bands of the past 20 years at its peak. (Rebel)
Billy Bragg and Wilco, Mermaid Avenue
This Grammy-nominated collaboration fused Woody Guthrie’s unpublished
lyrics with modern music. Highlights include the buoyant “California
Stars” and the playful “Ingrid Bergman.” (Elektra)
Cry Cry Cry, Cry Cry Cry
Lucy Kaplansky, Dar Williams, and Richard Shindell present songs by
some of their favorite songwriters, including James Keelaghan’s “Cold
Missouri Waters“ and Julie Miller’s “By Way of Sorrow.“ (Razor and Tie)
Alex de Grassi, The Water Garden
Sometimes the guitar swirls in a thickly woven tapestry; sometimes it
creates open and airy spaces and evokes images of half-remembered
settings. (Tropo)
Paco de Lucía, Luzia
The emotional and intellectual depth of this music and its breadth of
resources give it a rich, burnished feeling. (Polygram)
Preston Reed, Ladies Night
The definitive album of two-handed-tapping fingerstyle guitar grooves
like a funk band. (Dusty Closet)
Kate Rusby, Hourglass
Rusby’s debut set a new standard for traditional singers, bringing an
unadorned contemporary cool and inventive acoustic arrangements (with
help here from guitarists Tony McManus and Ian Carr) to age-old songs.
(Compass)
Chris Whitley, Dirt Floor
Fresh off the major-label roller coaster, Whitley recorded Dirt Floor
in a Vermont barn in one day. With just his National guitar, banjo,
stomping foot, and haunting vocals, this is our best document of his
acoustic playing. (Messenger)
Lucinda Williams, Car Wheels on a Gravel Road
Ornery, emotionally naked, and brilliant, Car Wheels is a classic
roots-rock album with unparalleled songwriting and gritty, passionate
performances. (Mercury)
Dave Alvin, Blackjack David
An American novel in 11 sparse, mostly acoustic chapters. Bluesman and
rocker Alvin doesn’t suffer the lyrical excesses of modern songwriters,
and he knows how to lay down an inescapable groove. (Hightone)
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1999
Muriel Anderson, Hometown Live!
Showcasing influences from diverse mentors Christopher Parkening and
Chet Atkins, Anderson’s playing blends classical (“Rumores de la
Caleta“) and lightning-speed fingerpicking (“Mister Chester“). (Muriel
Anderson)
Dixie Chicks, Fly
The Chicks took flight on their second major-label album, bringing
bluegrass banjo, dobro, Texas fiddling, and songs by Darrell Scott,
Patty Griffin, and Buddy Miller to the top of the pop and country
charts. (Monument)
Steve Earle and the Del McCoury Band, The Mountain
Earle brought the songs and the virtuosic McCourys “taught me how to
play them,” as Earle says. The result is a genuine bluegrass document.
(New West)
Béla Fleck, The Bluegrass Sessions: Tales from the Acoustic
Planet, Vol. 2
Contemporary bluegrass fans rejoiced when Fleck reined in his jazz
fusion chops with a band that included Sam Bush and Tony Rice and guests
Vassar Clements, Earl Scruggs, and John Hartford. (Warner Bros.)
John Jackson, Front Porch Blues
“Discovered” during the 1960s folk revival, Jackson, a fingerpicking
master with a light touch and gentle sense of humor, exemplified the
best of Piedmont blues. (Alligator)
Leo Kottke, One Guitar, No Vocals
A return to the pure Kottke experience: just the instruments, the
fingers, and the unmistakable musical voice. (RCA)
Dave Matthews and Tim Reynolds, Live at Luther College
Enlisting the help of longtime collaborator guitarist Tim Reynolds,
Matthews pulls off the music of the Dave Matthews Band in an acoustic
setting with surprises to spare. RCA)
Don Ross, Passion Session
The fingerstyle guitarist creates a dreamscape of intimacy and
breathtaking technique on cerebral compositions like “No Goodbyes” and
perky pieces like “Tight Trite Night.” (Narada)
Jody Stecher, Oh the Wind and Rain
On his collection of 11 ballads, Stecher steadfastly tacks against the
prevailing winds, and the result is timeless music, deeply rooted but
not tied to a particular stylistic moment. (Appleseed)
Various artists, Rushmore
Arguably as timeless as the rest of this terrific classic rock
soundtrack are producer Mark Mothersbaugh’s crafty instrumental
interludes. (Polygram)
Tom Waits, Mule Variations
Seven years after the apocalyptic, industrial clank of Bone Machine,
Waits returned with an album of off-kilter acoustic songs.
(Anti/Epitaph)
Habib Koité and Bamada, Ma Ya
Koité’s unusual fingerstyle guitar work pays homage to the Malian
n’goni, a koralike instrument featured in his arrangements. A finely
crafted concert set from an innovative artist. (Putumayo)
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