Johnny Cash - American III Solitary Man (2000)

John R. "Johnny" Cash (born J. R. Cash; February 26, 1932 – September 12, 2003) was an American singer-songwriter, guitarist, actor, and author, who was widely considered one of the most influential musicians of the 20th century and one of the best-selling music artists of all time.

American III: Solitary Man is the third album in the American series by Johnny Cash released in 2000 (and his 85th overall album).
The Man in Black shows hints of gray on American III: Solitary Man, his first studio album since being interrupted by a series of serious illnesses in 1997. While the inevitability of aging has been the downfall of many of his contemporaries, Johnny Cash's dark convictions and powerful presence have gone from rough hardwood to solid stone. The stark beauty of his 1994 release American Recordings and the warm, friendly collaborations on 1996's Unchained combine to create two distinct moods: one of living-room jam sessions with invited friends, and another of stark solo (and near-solo) songs highlighting Cash's years and stories.
Partnering once again with Tom Petty, the two join together on Petty's own "I Won't Back Down" and the Neil Diamond-penned title track. Cash also lays his lonesome hands on U2's "One" and reunites with fellow outlaw Merle Haggard on the stubborn "I'm Leavin' Now." These duets and well-known covers show an inviting side of Johnny Cash. But the real highlights of the album are those reminiscent of his American Recordings songs; they feature just the man and his guitar, with nothing else to clutter the story.
The creaks and despair of the vaudeville song "Nobody" tell of a man who has become hardened by his solitude, while the Palace hymn "I See a Darkness" soars with the passion of a thousand gospel choirs, even though there are only two men singing. Although at times it is difficult to hear past Tom Petty's growl or Sheryl Crow's young harmonies in the more popular songs Cash covers, these obscure prison songs and country ballads sound as honest and heartfelt as his own compositions. At age 68, his warm baritone may waver but his passion never does.

Tracklist

1. "I Won't Back Down" (with Tom Petty)  (Tom Petty/Jeff Lynne) - 2:09
     Originally recorded by Tom Petty for Full Moon Fever (1989)
2. "Solitary Man"   (Neil Diamond) - 2:25
     Originally recorded by Neil Diamond as a single (1966)
3. "That Lucky Old Sun (Just Rolls Around Heaven All Day)"   (Haven Gillespie/Beasley Smith) - 2:35
     Originally a hit for Frankie Laine (1949)
4. "One"   (Bono, Adam Clayton, The Edge, Larry Mullen) - 3:53
     Originally recorded by U2 for Achtung Baby (1991)
5. "Nobody"   (Egbert Williams) - 3:14
     Originally recorded by Bert Williams in 1906
6. "I See a Darkness"   (Will Oldham) - 3:42
     Originally recorded by Will Oldham for I See a Darkness (1999)
7. "The Mercy Seat"   (Nick Cave/Mick Harvey) - 4:35
     Originally recorded by Nick Cave for Tender Prey (1988)
8. "Would You Lay with Me (In a Field of Stone)"   (David Allan Coe) - 2:41
    Originally recorded by Tanya Tucker for the album of the same name (1974)
9. "Field of Diamonds"   (Johnny Cash, Jack Routh) - 3:15
     Originally recorded by Cash and Waylon Jennings for Heroes (1986)
10. "Before My Time"   (Johnny Cash) - 2:55
11. "Country Trash"   (Johnny Cash) - 1:47
       Originally recorded by Cash for Any Old Wind That Blows (1973)
12. "Mary of the Wild Moor"   (Dennis Turner) - 2:32
       Originally recorded by The Louvin Brothers for Tragic Songs of Life (1956)
13. "I'm Leavin' Now" (with Merle Haggard)  (Johnny Cash) - 3:07
       Originally recorded by Cash for Rainbow (1985)
14. "Wayfaring Stranger"   (Traditional) - 3:19
       Old folk song previously recorded by countless artists

Companies, etc.

• Licensed To – Warner Music International
• Manufactured By – Warner Music International
• Phonographic Copyright (p) – American Recordings, LLC
• Copyright (c) – American Recordings, LLC
• Copyright (c) – Robbins Music Corp.
• Copyright (c) – Bruce Springsteen
• Published By – EMI Robbins Catalog Inc.
• Recorded At – Cash Cabin Studio
• Recorded At – Akademie Mathematique of Philosophical Sound Research
• Mixed At – Akademie Mathematique of Philosophical Sound Research
• Mastered At – Oasis Mastering

Credits

• Johnny Cash – Vocals, Guitar
• Martyn Atkins – Photography
• Norman Blake – Guitar
• Billy Bowers – Digital Editing
• Mike Campbell – Guitar
• John Carter Cash – Associate Producer
• June Carter Cash – Vocals 
• Laura Cash – Fiddle
• Lindsay Chase – Production Coordinator
• Danny Clinch – Photography
• David Coleman – Art Direction
• Sheryl Crow – Vocals, Accordion 
• Richard Dodd – Additional Engineering
• David Ferguson – Engineer, Mixing
• Merle Haggard – Guitar, Vocals & Guitar 
• Will Oldham – Vocals 
• Larry Perkins – Guitar
• Tom Petty – Vocals & Organ, Vocals 
• Lou Robin – Management
• Rick Rubin – Producer
• D. Sardy – Additional Engineering
• David Schiffman – Additional Engineering, Mixing 
• Eddie Schreyer – Mastering
• Randy Scruggs – Guitar
• Marty Stuart – Guitar
• Benmont Tench – Piano, Organ, Harmonium
• Chuck Turner – Digital Editing

Notes

Released: October 17, 2000 

Recorded: 2000 At American Recordings 

Recorded at The Cash Cabin Studio, Hendersonville, TN and The Akadamie Mathematique of Philosophical Sound Research, Los Angeles, CA.
Mixed at The Akadamie Mathematique of Philosophical Sound Research, Los Angeles, CA.
Mastered at Oasis Mastering, Los Angeles, CA. 

Genre: Country  

Style:  Americana, Southern gothic

Length: 42:15 

Label - American Recordings 

Ray Davies - See My Friends (2010)

Raymond Douglas "Ray" Davies CBE (born 21 June 1944) is an English musician. He was the rhythm guitarist, vocalist, and songwriter for The Kinks, which he led with his younger brother, Dave.

See My Friends is a studio album released by Ray Davies with the collaboration of various other artists on 1 November 2010 in Europe and in early 2011 in the US.
The album features new studio collaborations of Ray Davies' compositions, which were originally recorded by his band The Kinks.
The album was recorded in Oslo, New York City, New Jersey, Chicago and London. Davies stated: "This project came about almost by accident, with some tracks I had to appreciate the style of the other artists, otherwise it would have sounded unbalanced. And I wanted the album to work as an entire listening experience but each track had a life of its own".
The album featured the last studio recording by Alex Chilton. See My Friends was released seven months after his death. He previously covered "Till The End of The Day" on Big Star's Third/Sister Lovers.
A tribute album starring the man of honor himself, who also curated the whole affair, See My Friends is a bit of a curious creature. Certainly, Ray Davies' influence is so pervasive he could rope in a number of heavy hitters from a number of different generations. Jackson Browne and Bruce Springsteen sign up for duets; Metallica backs the legend on a rip through “You Really Got Me,” while Spoon offers suitably spacy support on “See My Friends”; Jon Bon Jovi and Richie Sambora harmonize on a languid “Celluloid Heroes,” and Black Francis comes in to sing “This Is Where I Belong,” a song he covered with gusto some 16 years earlier.
As it turns out, “This Is Where I Belong” provides a good indication of the energy level of See My Friends in general: the older dudes are comfortable playing with Ray while the newer dudes are respectful, delivering amiably mannered performances. It’s all pleasant enough, but it’s hard not to wish that more of the record had the kick of “Til The End of the Day,” where the late Alex Chilton seems genuinely enthused to sing with his idol.

Tracklist

1. Ray Davies & Bruce Springsteen - Better Things  (3:13)
     Bass, Backing Vocals – Will Lee
     Drums – Anton Fig
     Guitar – Sid McGinnis
     Guitar, Backing Vocals – Felicia Collins
     Piano, Backing Vocals – Paul Shaffer
     Vocals, Guitar – Bruce Springsteen

2. Ray Davies, Jon Bon Jovi & Richie Sambora - Celluloid Heroes  (5:19)
     Bass – Will Lee
     Drums – Anton Fig
     Guitar – Felicia Collins, Richie Sambora, Sid McGinnis
     Piano, Organ, Harmonium – Paul Shaffer
     Vocals – Jon Bon Jovi

3. Ray Davies & Mumford & Sons - Days / This Time Tomorrow  (4:17)
     Banjo – Marshall Winston
     Bass – Ted Dwane
     Piano – Ben Lovett 
     Vocals, Guitar, Drums, Percussion – Marcus Mumford

4. Ray Davies, Lucinda Williams & The 88 - Long Way From Home  (3:05)
     Bass, Backing Vocals – Todd O'Keefe
     Drums, Percussion – Anthony Zimmitti
     Guitar, Backing Vocals – Keith Slettendahl
     Piano, Organ – Adam Merrin
     Vocals – Lucinda Williams

5. Ray Davies & Metallica - You Really Got Me  (2:17)
     Bass – Robert Trujillo
     Drums – Lars Ulrich
     Guitar, Backing Vocals – Kirk Hammett
     Vocals, Rhythm Guitar – James Hetfield

6. Ray Davies & Paloma Faith - Lola  (4:33)
     Bass – Andrea Goldsworthy
     Drums – Samuel Agard
     Guitar – Seye Adelekan
     Keyboards – Dominic Pipkin
     Vocals – Paloma Faith

7. Ray Davies & Jackson Browne - Waterloo Sunset  (4:07)
     Guitar [Baritone] – Bill Shanley
     Vocals, Acoustic Guitar – Jackson Browne

8. Ray Davies, Alex Chilton & The 88 - 'Til The End Of The Day  (2:42)
     Bass – Todd O'Keefe
     Congas – Chopper
     Drums, Percussion – Anthony Zimmitti
     Guitar – Keith Slettendahl
     Organ – Adam Merrin
     Vocals – Alex Chilton

9. Ray Davies & Amy MacDonald - Dead End Street  (3:31)
     Bass – Dick Nolan
     Drums – Damon Wilson
     Guitar – Bill Shanley
     Piano – Ben Waters
     Vocals – Amy MacDonald

10. Ray Davies & Spoon - See My Friends  (4:01)
       Bass – Rob Pope
       Drums, Percussion – Jim Eno
       Keyboards – Eric Harvey
       Vocals, Guitar – Britt Daniel

11. Ray Davies & Black Francis - This Is Where I Belong  (3:04)
       Bass – Dick Nolan
       Drums – Damon Wilson
       Guitar – Bill Shanley
       Keyboards – Ian Gibbons
       Vocals, Guitar – Black Francis

12. Ray Davies & The 88 - David Watts  (2:21)
       Bass – Todd O'Keefe
       Drums, Percussion – Anthony Zimmitti
       Keyboards – Adam Merrin
       Vocals, Guitar – Keith Slettendahl

13. Ray Davies & Gary Lightbody - Tired Of Waiting  (2:50)
       Bass – Dick Nolan
       Drums – Damon Wilson
       Guitar – Bill Shanley
       Keyboards – Ian Gibbons
       Vocals, Guitar – Gary Lightbody

14. Ray Davies & Billy Corgan - All Day And All Of The Night / Destroyer  (3:54)
       Bass – Mark Tulin
       Drums – Damon Wilson
       Piano, Keyboards – Ian Gibbons
       Vocals, Guitar – Billy Corgan

15. Ray Davies & Mando Diao - Victoria  (3:18)
       Bass – Carl-Johan Fogelklou
       Drums – Samuel Giers
       Guitar, Vocals – Björn Dixgård, Gustaf Norén
       Keyboards – Mats Björke   

16. Ray Davies & Arno  - Moments  (3:08)
       Bass – Dick Nolan
       Drums – Damon Wilson
       Guitar – Tim Van Der Kuil
       Piano – Ian Gibbons
       Vocals – Arno Hintjens

Credits

• Engineer – Andy Savours (tracks: 3, 4, 6 to 14), Chris Shaw (tracks: 1, 2), Dougal Lott (tracks: 7), Mike Gillies (tracks: 5)
• Mastered By – Bob Ludwig
• Mixed By – Mike Crossey
• Producer – Martyn Berg, Ray Davies
• Vocals, Guitar – Ray Davies
• Written-By, Arranged By – Ray Davies

Notes

Released: 1 November 2010 

Genre: Rock 

Length: 49:15 

Label - Universal Records

Ry Cooder - The Ry Cooder Anthology - The UFO Has Landed (2008)

Ryland Peter "Ry" Cooder (born March 15, 1947) is an American musician, songwriter, film score composer, and record producer. He is a multi-instrumentalist but is best known for his slide guitar work, his interest in roots music from the United States, and his collaborations with traditional musicians from many countries.

The first multi-label spanning, American released Ry Cooder compilation does its best to present a coherent portrait of a musician whose wildly eclectic recordings and broad, four decade (and counting) list of releases makes that job all but impossible. Certainly the guitarist/singer/songwriter/producer and coordinator of the successful Buena Vista Social Club reunion deserves a comprehensive box set. But even then it would be difficult to follow his diverse recorded accomplishments that range from '60s work with Captain Beefheart and Taj Mahal, to sessions with Little Feat and the Rolling Stones, world music side projects, outside productions of other artists, and over a dozen solo albums that mix folk, soul, funk, rock, country blues, gospel, and Tex-Mex, among other styles. This 34-cut double-disc package, compiled by Cooder's son and musical companion Joachim, does an excellent job cherrypicking well-known nuggets along with a batch of obscurities from his father's voluminous output, resulting in an intriguing, enlightening, and above all listenable sonic résumé.
Rather than arrange his father's songs in chronological order, the younger Cooder decided to take the organic approach of presenting the material in a more cohesive fashion. He mixes and matches items from papa Cooder's 1970 debut through 2008's I, Flathead to maximum effect without the jarring segues that might occur if sequencing was done in a time based manner. The elder Cooder provides short, occasionally odd, usually humorous blurbs about each track in the accompanying booklet, shedding a bit of light on the tunes, and in the case of the selections from films such as Southern Comfort, The Long Riders, and Paris, Texas, the directors he worked with. One previously unreleased tune, a passable version of "Let's Work Together" performed with Buckwheat Zydeco is here, perhaps as an enticement to collectors.
But it's Joachim's excavations into his dad's deep catalog to resurrect oddities such as "Smells Like Money" from the Johnny Handsome flick and gems like the Willie Dixon/Cooder jointly composed "Which Came First" from The Slide Area that make this collection so enjoyable. Eagle eyed admirers might lament that nothing from 1978's impressive genre excursion Jazz is included, but Cooder's phenomenal slide guitar skills, and somewhat limited vocal abilities, are well displayed throughout the two-and-a-quarter hour running time.
The song that helps provide the unusual title for the disc, "UFO Has Landed in the Ghetto," is M.I.A. and surely there are fan favorites that didn't make the cut due to limited space, but this is an impressive and relatively inclusive recap that is a fine starting point for anyone interested in delving into Ry Cooder's extensive and influential career.

Disc 1
1.  Get Rhytm  (3:18)
2.  Low--Commotion  (3:11)
3.  Available Space  (2:13)
4.  On A Monday  (2:58)
5.  Do Re Mi  (3:01)
6.  Which Came First (3:47)  
7.  The Very Thing That Makes You Rich (Makes Me Poor) (5:29)  
8.  Down In Hollywood  (4:20)
9.  Smells Like Money  (2:28)
10.  Let's Work Together  (3:12)
11.  I Got Mine  (4:28)
12.  Cherry Ball Blues  (4:13)
13.  Jesus On The Mainline  (4:11)
14.  Tattler  (4:19)
15.  Teardrops Will Fall  (3:06)  
16.  Maria Elena  (4:32)
17.  Jesse James  (5:05)

Disc2
1.  Paris, Texas  (2:54)
2.  Theme From Southern Comfort (3:47)  
3.  Tamp 'Em Up Solid  (3:22)
4.  Billy The Kid  (3:48)
5.  Crazy 'Bout An Automobile (Every Woman I Know) (5:07)  
6.  Drive Like I Never Been Hurt (4:07)
7.  Feelin' Bad Blues  (4:17)
8.  Boomer's Story  (4:15)
9.  How Can You Keep Moving (Unless You Migrate Too) (2:28)  
10.  Alimony (2:56)
11.  Always Lift Him Up/Kanaka Wai Wai  (6:03)
12.  Theme From Alamo Bay  (5:09)
13.  Dark End Of The Street  (3:27)
14.  Why Don't You Try Me  (4:59)
15.  Poor Man's Shangri-La  (5:27)
16.  Going Back To Okinawa  (4:42)
17.  Little Sister  (3:52)

Personnel
Ry Cooder  - vocals, guitar, guitars, electric guitar, tiple, tres, mandola, mandolin, fiddle, accordion, piano, organ, keyboards, vibraphone, bass instrument, percussion
Buckwheat Zydeco - vocals, accordion
Jim Dickinson  - vocals, piano, organ, bass instrument
William D. "Smitty" Smith - vocals, piano, organ
Russ Titelman - vocals, electric bass
Bobby "Blanco" King, Terry Evans, Bill Johnson , Herman "P Nut" Johnson, Bobby King - vocals, background vocals
Walter Cook, Dan Penn, Richard Jones , George McCurn, Walter Cook, Gene Mumford, Karl Russell, Richard Jones , Gloria Jones, Juliette Commagere - vocals
David Lindley - guitar, electric guitar, banjo, mandolin, saz
Osamu Kitajima (biwa, koto); Curt Bouterse - dulcimer, flute
Gayle Levant - harp
David Mansfield - violin, cello
Tom Sauber - fiddle
Kazu Matsui - shakuhachi
Marc Savoie, Flaco Jiménez, Marc-Andre Savoie - accordion
Steve Douglas - saxophone, midi
Steve Douglas & the Rebel Rousers - saxophone
Plas Johnson - alto saxophone
Fred Jackson Jr., Fred Jackson, Jr. - tenor saxophone
Oscar Brashear - cornet
George Bohannon, George Bohanon - trombone, baritone horn
Benny Powell (trombone); Ronnie Barron - piano, organ
Van Dyke Parks - piano, keyboards
Jesse Harms - synthesizer
Jorge Calderón - bass instrument, electric bass
John Duke, Mike Elizondo, Red Callender, Tim Drummond, Tommy McClure , Bill Bryson - bass instrument
Chris Ethridge - electric bass
Joachim Cooder - drums, timbales
Jim Keltner, Milt Holland - drums, percussion
Roger Hawkins - drums
George Pierre, Baboo Pierre, Miguel Cruz - percussion
Willie Green, Jr., Pico Payne, Greg Prestopino, William "Bill" Greene, Cliff Givens, John Hiatt, Arnold McCuller, Willie Green , Jimmy Adams, Chaka Khan - background vocals
Mariachi Los Camperos, John Barbeda, Max Bennett, Richie Hayward, Roy Estrada, Bobby Bruce.

Credits

• Producer – Joachim Cooder
• Art Direction – Al Quattrocchi, Jeff Smith
• Compilation Producer – Joachim Cooder
• Design – Tornado Design
• Executive-Producer – James Austin
• Liner Notes – Michael Ondaatje
• Liner Notes [Discographical Annotation] – Steeve Woolard
• Remastered By – Bernie Grundman

Notes

Release Date: October 28, 2008
Arrangers: Jesus Guzman; Jesús Guzmán; George Bohanon; Nick DeCaro; Ry Cooder.
Recording information: Amigo Studios, Los Angeles, CA; Ardent Recording, Memphis, TN; Little Pink Studio, Los Angeles, CA; Moula Banda Studio; Muscle Shoals Sound, Muscle Shoals, AL; Ocean Studio, Burbank, CA; Ocean Way Studios, Hollywood, CA; Sound City Studios, Van Nuys, CA; Susade Studios, Santa Monica, CA; The Burbank Studios; The Complex; The Sound Factory; Village Recorders, Los Angeles, CA; Warner Bros. Studios, North Hollywood, CA; Western Studios, Hollywood, CA; Young Avenue Sound, Memphis, TN.
Genre: Blues Country, Blues Rock
Style: Americana, Roots Rock, Tex Mex
Length: 2:09:27

Label - Rhino Records

Santana - All That I Am (2005)

Santana is an American Latin rock band formed in San Francisco, California in 1967 by Mexican-American guitarist Carlos Santana. 

All That I Am is the nineteenth studio album by Santana and follow-up to the band's 2002 Shaman.
The third time around is not a charm for Carlos Santana, who delivers his third straight star-studded, middle-of-the-road pop album in a row with 2005's All That I Am.
Like 2002's Shaman, this follows the blueprint that producer/record mogul Clive Davis laid down on 1999's Supernatural, which means that apart from a cut or two, Santana functions as a supporting musician to a parade of guest stars singing pop songs on his own album.
On Supernatural this worked not just because it was a relatively fresh concept that revitalized Santana, but because the guest stars were well chosen and the material was sharp, commercial, and memorable. Shaman was more uneven but it did have one great single in "The Game of Love," a song penned by professional songwriters and sung by Michelle Branch -- it didn't sound much like Santana, but it did make for excellent listening on adult contemporary radio.
Here, Santana and Davis try to make lightning strike again, having Branch sing the "Game of Love" sound-alike "I'm Feeling You," which she also had a hand in writing.
It's not bad, but it sounds like a third-generation photocopy, which is the problem with All That I Am in general: all the ideas and sounds are familiar, but not executed nearly as well as they were the first two times around. The stars don't shine as bright -- the biggest names here are Mary J. Blige, Big Boi, Aerosmith's Steven Tyler, and the ubiquitous and obsequious will.i.am from the Black Eyed Peas, all artists who never seem to turn down a chance to provide a cameo -- and the production is clean and safe, while the songs are professional, predictable, and pedestrian. Since none of the songs are bad and since the guest spots are neither embarrassing nor flashy, All That I Am never offends, but it never entertains, either: it simply exists. Sure, Santana has some nice playing scattered throughout the album -- his signature, rich, super-saturated tone is certainly the most commanding, memorable thing here -- but he never sounds engaged with the songs, he sounds simply like he's running wild over bright, sunny changes. Even with these nice moments,
All That I Am, like Supernatural and Shaman before it, is a deliberate pop album, which means Santana is in the background on his own record -- but the crucial difference with this album is that, unlike its two predecessors, it's not a good pop album, it's a bland, friendly affair that disappears into the ether the moment it's finishing playing.

Tracklist

1. "Hermes" – 4:08
       Written by Carlos Santana and S. Jurad
       Produced by Carlos Santana

2. "El Fuego" – 4:17
       Written by Carlos Santana, Jean Shepherd and Richard Shepherd
       Produced by Carlos Santana

3 ."I'm Feeling You" – 4:13  
      Featuring Michelle Branch and The Wreckers
      Written by Kara DioGuardi, John Shanks and Michelle Branch
      Produced by John Shanks and Kara DioGuardi

4. "My Man" – 4:37
      Featuring Big Boi and Mary J. Blige
      Written by Antwan Patton, Nsilo Reddick, Nicholas Sherwood and Rob Thomas
      Produced by Big Boi and The Beat Bullies

5. "Just Feel Better" – 4:12
       Featuring Steven Tyler
      Written by Jamie Houston, Buck Johnson and Damon Johnson
      Produced by John Shanks

6 ."I Am Somebody" – 4:02
      Featuring will.i.am
      Written by will.i.am and George Pajon, Jr.
      Produced by will.i.am
      Additional Production Lester Mendez
      This song is considered by most as a tribute to "I Am - Somebody", a poem by Reverend Jesse Jackson.

7 ."Con Santana" – 3:18
     Featuring Ismaïla and Sixu Toure, also known as Touré Kunda
     Written by Carlos Santana, Ismaïla Toure and Tidane "Sixu" Toure
     Produced by Carlos Santana

8 ."Twisted" – 5:11
      Featuring Anthony Hamilton
      Written by Dante Ross and Nandi Willis
      Produced by Dante Ross

9 ."Trinity" – 3:33
      Featuring Kirk Hammett and Robert Randolph
      Written by Carlos Santana and Michael Brook
      Produced by Carlos Santana
      This song is a tribute to the Pakistani musician Nusrat Fateh Ali Khan and is a cover of his song Tere Bina

10 ."Cry Baby Cry" – 3:53
       Featuring Sean Paul and Joss Stone
       Written by Lester Mendez, Sean Paul, Kara DioGuardi and Jimmy Harry
       Produced and Arranged by Lester Mendez

11. "Brown Skin Girl" – 4:44
       Featuring Bo Bice
       Written by Jamie Houston
       Produced by Lester Mendez and Jamie Houston
       Vocal Arrangement by Jamie Houston

12 ."I Don't Wanna Lose Your Love" – 4:00
       Featuring Los Lonely Boys
       Written by Henry Garza, Ringo Garza and Joey Garza
       Produced by Carlos Santana
       Additional Production by John Proter and Los Lonely Boys

13 ."Da Tu Amor" – 4:03
       Written by Carlos Santana, Andy Vargas, and Gary Glenn
       Produced by Carlos Santana

Personnel

• Carlos Santana – guitar, background vocals
• Chester Thompson – organ
• Benny Rietveld – bass guitar
• Dennis Chambers – drums
• Karl Perazzo – congas, timbales, percussion, background vocals
• Raul Rekow – congas, background vocals
• Jeff Cressman – trombone
• Bill Ortiz – trumpet

Credits

• A&R – Pete Ganbarg
• A&R [Administration] – Rani Hancock
• Art Direction, Design – Gravillis, Inc.
• Artwork [Mural Assistant] – Miranda Bergman
• Artwork [Mural: "when Doves Cry"] – Susan Greene 
• Engineer – Jim Gaines
• Engineer [Additional Pro Tools Engineering By] – John Hanes 
• Engineer [Assistant Mix Engineers] – Kevin Mahoney, Tim Roberts 
• Engineer [Assisted By] – Ben Conrad, Dave Luke
• Engineer [Pro Tools Engineer] – Tone 
• Mastered By – Ted Jensen
• Mixed By – Boris Milan, Jim Gaines, Serban Ghenea 
• Mixed By [Assisted By] – Tim Roberts 
• Photography By [All Other] – Kwaku Alston
• Photography By [Cover] – Jay Blakesberg
• Producer [Album Producers] – Carlos Santana, Clive Davis

Notes

Released: November 1, 2005 (U.S.)
Recorded:2004 - 2005
Genre: Latin rock
Length: 53:10

Label - Arista Records 

Kurt Cobain - Montage of Heck Home Recordings [Deluxe Edition] (2015)

Kurt Donald Cobain (February 20, 1967 – April 5, 1994) was an American musician who was best known as the lead vocalist, guitarist, and primary songwriter of the rock band Nirvana. Cobain formed Nirvana with Krist Novoselic in Aberdeen, Washington, in 1987 and established it as part of the Seattle music scene and grunge genre. 

Montage of Heck: The Home Recordings is a compilation of home recordings by Kurt Cobain that were used as the soundtrack to the film Kurt Cobain: Montage of Heck, released posthumously on November 13, 2015 by Universal Music.
The album was released as a standard 13-track CD, a 31-track deluxe album, and an audio cassette.
The 13-track standard version focuses on the music found on Cobain's personal cassettes and the 31-track deluxe version showcases tracks from the documentary including spoken word, demos and full songs.
Simultaneously billed as the first Kurt Cobain solo album and the soundtrack to Brett Morgan's 2015 documentary Kurt Cobain: Montage of Heck, this mangled beast of a record is indeed both. No other records are credited to Kurt Cobain, and this album, in either its single- or double-disc edition, wouldn't exist if Morgan hadn't stumbled upon a cache of homemade cassettes when researching his film. So, truth in advertising in that regard.
The bigger question is whether Montage of Heck needs to exist at all. Purportedly an unflinching, "intimate" -- upon its release in November 2015, no writing about the record, whether it arrived in the form of a review or feature, lacked that word -- portrait of the young artist at work, Montage of Heck is cobbled together from home recordings, some previously leaked on Nirvana bootlegs in the '90s (mainly the Outcesticide series), that come tantalizing close to taking the form of a rough demo but are amorphous enough to be called "free form" or "experimental." Uncharitably, they could also be called "dicking around."
This isn't a criticism as much as it is a description. Cobain made these tapes with no expectation they'd ever be heard. Based on a few, including the opening "The Yodel Song" (inexplicably featured in a "clean" version on the single-disc and "explicit" in the double-disc), it's likely he never considered the tape again after he pressed the stop button.
Certainly, there's some historical merit in exploring early drafts, demos, and outtakes from an important figure, but apart from a handful of demos ("Clean Up Before She Comes," "Sappy," "Frances Farmer Will Have Her Revenge on Seattle"), Montage of Heck largely doesn't consist of early drafts; it consists of scrawls waiting to be turned into a first draft. While that's interesting for a while, at a certain point -- and it arrives rather quickly -- the fascination curdles and it's hard not to feel unclean, as if you're snooping through your beloved brother's desk.

Deluxe Edition

1. "The Yodel Song" – 3:37
2. "Been a Son" (demo) – 1:21
3. "What More Can I Say" – 3:09
4. "1988 Capitol Lake Jam Commercial" – 1:27
5. "The Happy Guitar" – 2:12
6. "Montage of Kurt" – 2:12
7. "Beans" – 1:22
8. "Burn the Rain" – 1:17
9. "Clean Up Before She Comes" (demo) – 2:35
10. "Reverb Experiment" – 2:52
11. "Montage of Kurt II" – 1:09
12. "Rehash" – 2:35
13. "You Can't Change Me / Burn My Britches / Something in the Way" (demo) – 4:19
14. "Scoff" (demo) – 0:37
15. "Aberdeen" – 4:19
16. "Bright Smile" – 1:56
17. "Underground Celebritism" – 0:29
18. "Retreat" – 2:13
19. "Desire" – 2:27
20. "And I Love Her" – 2:05 (Lennon–McCartney)
21. "Sea Monkeys" – 0:55
22. "Sappy" (demo) – 2:30
23. "Letters to Frances" – 2:05
24. "Scream" – 0:32
25. "Frances Farmer Will Have Her Revenge on Seattle" (demo) – 4:24
26. "Kurt Ambiance" – 0:26
27. "She Only Lies" – 2:47
28. "Kurt Audio Collage" – 0:25
29. "Poison's Gone" – 2:12
30. "Rhesus Monkey" – 0:44
31. "Do Re Mi (Medley)" – 10:11

All songs written by Kurt Cobain except where noted.

Notes

Released: November 13, 2015 

Genre: Grunge, Acoustic

Style: field recordings, spoken word

Length: 71:05 (deluxe edition) 

Label - Universal Music 

Pink Floyd - A Foot In The Door: The Best Of Pink Floyd (2011)

Pink Floyd were an English rock band formed in London. They achieved international acclaim with their progressive and psychedelic music. Distinguished by their use of philosophical lyrics, sonic experimentation, extended compositions and elaborate live shows, they are one of the most commercially successful and influential groups in the history of popular music.

The Best of Pink Floyd: A Foot in the Door is a greatest hits album by Pink Floyd, that was released as part of the Why Pink Floyd...? 2011–12 remastering campaign.
The first single-disc Pink Floyd compilation to surface in 30 years -- the last being A Collection of Great Dance Songs, released as a stopgap between The Wall and The Final Cut -- A Foot in the Door: The Best of Pink Floyd has its share of idiosyncrasies, quirks evident right from the choice of the moody “Hey You” as the set’s opener.
“Hey You” might not be an ideal keynote song but it is certainly one of Floyd’s signature songs, something that can’t be said of every one of the 16 songs here, the oddest choices being “The Happiest Days of Our Lives” (used as an extended intro for “Another Brick in the Wall, Pt. 2”) and “The Fletcher Memorial Home” (an album cut from the un-beloved The Final Cut).
Apart from these tunes, A Foot in the Door serves up the expected -- five cuts from Dark Side of the Moon, three from Wish You Were Here, four from The Wall (of the big radio staples, “Run Like Hell” and “Young Lust” are absent), adding the early Syd Barrett “See Emily Play” and the latter-day “High Hopes” and “Learning to Fly” almost as afterthoughts.
Although the compilation could withstand some minor tweaks -- a post-Syd song like “One of These Days” would have been welcome, for instance -- this is still a very worthy compilation of (most of) the Floyd songs everybody knows by heart.

Tracklist

1. "Hey You"  (Roger Waters) - 4:40
     appears on: The Wall (1979)
2. "See Emily Play" (Syd Barrett) - 2:48
     Non-album single (1967); appears on Relics (1971) and original US/Japan versions of The Piper at the Gates of Dawn (1967) 
3. "The Happiest Days of Our Lives"  (Waters) - 1:32
     appears on: The Wall  (1979)
4. "Another Brick in the Wall (Part 2)"  (Waters) - 3:48
     appears on: The Wall 
5. "Have a Cigar"   (Waters) - 5:08
     appears on: Wish You Were Here (1975) 
6. "Wish You Were Here"  (David Gilmour, Waters) - 5:05
     appears on: Wish You Were Here  (1975)
7. "Time" (Edited version)  (Gilmour, Nick Mason, Waters, Richard Wright) - 6:20
     appears on: The Dark Side of the Moon (1973) 
8. "The Great Gig in the Sky"  (Wright, Clare Torry) - 4:36
     appears on: The Dark Side of the Moon (1973)
9. "Money"  (Waters) - 6:34
     appears on: The Dark Side of the Moon (1973
10. "Comfortably Numb"  (Gilmour, Waters) - 6:19
     appears on: The Wall (1979)
11. "High Hopes" (Edited version)  (Gilmour, Polly Samson) - 6:55
     appears on: The Division Bell (1994) 
12. "Learning to Fly"  (Gilmour, Anthony Moore, Bob Ezrin, Jon Carin) - 4:49
     appears on: A Momentary Lapse of Reason (1987) 
13. "The Fletcher Memorial Home"  (Waters) - 4:11
     appears on: The Final Cut (1983) 
14. "Shine On You Crazy Diamond" (Edited version of parts 1-5) (Wright, Waters, Gilmour) - 11:05
     appears on: Wish You Were Here  (1975)
15. "Brain Damage"   (Waters) - 3:46
     appears on: The Dark Side of the Moon (1973)
16. "Eclipse" (Early fade-out)  (Waters) - 1:53
     appears on: The Dark Side of the Moon  (1973)

Companies, etc.

• Record Company – EMI Music Ltd.
• Mastered At – Das Boot Recording
• Phonographic Copyright (p) – Pink Floyd Music Ltd.
• Phonographic Copyright (p) – Pink Floyd (1987) Ltd.
• Copyright (c) – Pink Floyd Music Ltd.
• Copyright (c) – Pink Floyd (1987) Ltd.
• Licensed To – EMI Records Ltd.
• Published By – Roger Waters Music Overseas Ltd.
• Published By – Muziekuitgeverij Artemis B.V.
• Published By – Westminster Music Ltd.
• Published By – TRO-Hampshire House Publishing Corp.
• Published By – Pink Floyd Music Ltd.
• Published By – Pink Floyd Music Publishers Ltd.
• Published By – Pink Floyd Music Publishers Inc.

Credits

• Cover – StormStudios
• Design – StormStudios
• Mastered By [2011] – James Guthrie, Joel Plante
• Performer [Pink Floyd] – David Gilmour, Nick Mason, Richard Wright, Roger Waters (tracks: 1 to 10, 13 to 16), Syd Barrett (tracks: 2)
• Photography By – StormStudios
• Producer(s) - James Guthrie, Pink Floyd Compiler(s) - David Gilmour, Nick Mason, Roger Waters

Notes

Released: 7 November 2011 

Recorded: 1967–1994 

Genre: Rock 

Style: Psychedelic Rock, Prog Rock  

Length: 79:39 

Label - EMI Records

Paul Carrack - I Know That Name (2008)

Paul Melvyn Carrack (born 22 April 1951) is an English singer, songwriter, composer and multi-instrumentalist who has recorded as both a solo artist and as a member of several popular bands.

''I Know That Name'' is the 14th studio album from Paul Carrack, the hit songwriter and former member of Squeeze and Mike and the Mechanics. Paul delivers the perfect mix of soulful vocals and melodic rock.
The album includes the single ''I Don't Want to Hear Any More'' which was originally written for the Eagles by Carrack and appeared on their 2007 album ''Long Road Out of Eden.'' On Carrack's emotional solo version, Eagles members Don Henley and Timothy B. Schmit return the favor, joining Paul on vocals. The pair also appear on ''Ain't No Love in the Heart of the City.'' ''I Know That Name'' is the work of a superb pop craftsman at the height of his game!
There's a friendly familiarity to the title of this, his twelfth proper studio effort, that carries over to the very sound of the album, a sound that's as soft and comfortable as a well-worn robe.
The newest wrinkle for Carrack here is a slight emphasis on elastic reggae grooves, congregated toward the back stretch of the album, but other than that, I Know That Name glides by on a mellow, soulful groove that never gets too heated, nor does it ever get too cool. It's easy-rolling and even-handed, offering no surprises but plenty of comfort if you've ever been a fan of any of Carrack's work over the years.

Tracklist 

1. "Ain't No Love In The Heart Of The City"  (Michael Price & Dan Walsh) - 3:42
2. "I Don't Want To Hear Any More"  (Paul Carrack) - 4:07
3. "It Ain't Easy (To Love Somebody)"  (Paul Carrack) - 3:56
4. "No Doubt About It"  (Paul Carrack) - 4:05
5. "I Don't Want Your Love (I Need Your Love)"  (Paul Carrack) - 4:02
6. "Stay Awake (I'm Coming Home)"  (Paul Carrack & Chris Difford) - 3:24
7. "Just 4 Tonite"  (Paul Carrack) - 4:13
8. "Love Is Thicker Than Water"  (Paul Carrack & Chris Difford) - 3:36
9. "If I Didn't Love You"  (Paul Carrack) - 4:08
10. "Who Am I?"  (Paul Carrack) - 4:05
11. "Eyes Of Blue"  (Paul Carrack) - 3:58
12. "Am I In That Dream?"  (Paul Carrack)  - 3:58

Personnel
Paul Carrack - vocals, various instruments
J.T. Corenflos - guitar
Steve Beighton - saxophone)
Ed Collins - trumpet
Mike Rojas - Clavinet, Hammond b-3 organ
Craig Young - bass guitar
Brian Pruitt - drums
Produced by - Paul Carrack except as stated
Executive Producer - Dave Robinson

also
Don Henley
Timothy B. Schmit

Notes
Release Date May 05, 2009
Genre: Pop
Style: Blue Eyed Soul
Length: 47:19

Label - Carrack-UK

Leonard Cohen - Dear Heather (2004)

Leonard Norman Cohen, CC GOQ (21 September 1934 – 7 November 2016) was a Canadian singer, songwriter, poet and novelist. His work explored religion, politics, isolation, sexuality, and personal relationship.

 Cohen was inducted into both the Canadian Music Hall of Fame and the Canadian Songwriters Hall of Fame as well as the Rock and Roll Hall of Fame. He was a Companion of the Order of Canada, the nation’s highest civilian honour. In 2011, Cohen received one of the Prince of Asturias Awards for literature and the ninth Glenn Gould Prize.
Dear Heather is the 11th studio album by Canadian singer-songwriter Leonard Cohen, released by Columbia Records in 2004.
There is an air of finality on Leonard Cohen‘s Dear Heather. Cohen, who turned 70 in September of 2004, offers no air of personal mortality — thank God; may this elegant Canadian bard of the holy and profane live forever.
It nonetheless looks back — to teachers, lovers, and friends — and celebrates life spent in the process of actually living it. The album’s bookend tracks provide some evidence: Lord Byron‘s bittersweet “Go No More A-Roving,” set to music and sung by Cohen and Sharon Robinson (and dedicated to Cohen‘s ailing mentor, Irving Layton), and a beautifully crafted reading of country music’s greatest lost love song, “Tennessee Waltz.” Cohen‘s voice is even quieter, almost whispering, nearly sepulchral. The tone of the album is mellow, hushed, nocturnal. Its instrumentation is drenched in the beat nightclub atmospherics of Ten New Songs: trippy, skeletal R&B and pop and Casio keyboard- and beatbox-propelled rhythm tracks are graced by brushed drums, spectral saxophones, and vibes, along with an all but imperceptible acoustic guitar lilting sleepily through it all.
But this doesn’t get it, because there’s so much more than this, too. That said, Dear Heather is Cohen‘s most upbeat offering. Rather than focus on loss as an end, it looks upon experience as something to be accepted as a portal to wisdom and gratitude. Women permeate these songs both literally and metaphorically. Robinson, who collaborated with Cohen last time, is here, but so is Anjani Thomas. Leanne Ungar also lends production help. Cohen blatantly sums up his amorous life in “Because Of”: “Because of a few songs/Wherein I spoke of their mystery/Women have been exceptionally kind to my old age/They make a secret place/In their busy lives/And they say, ‘Look at me, Leonard/Look at me one last time.'” “The Letters,” written with Robinson, who sings in duet, is a case in point, reflecting on a past love who has been “Reading them again/The ones you didn’t burn/You press them to your lips/My pages of concern…The wounded forms appear/The loss, the full extent/And simple kindness here/The solitude of strength.”
“On That Day” is a deeply compassionate meditation on the violence of September 11 where he asks the question: “Did you go crazy/Or did you report/On that day….” It is followed by the spoken poem “A Villanelle for Our Time,” with words by Cohen‘s late professor Frank Scott that transform these experiences into hope. “We rise to play a greater part/The lesser loyalties depart/And neither race nor creed remain/From bitter searching of the heart….” On “There for You,” with Robinson, Cohen digs even deeper into the well, telling an old lover that no matter the end result of their love, he was indeed there, had shown up, he was accountable and is grateful. Cohen quotes his own first book, The Spice Box of Earth, to pay tribute to the late poet A.M. Klein. “Tennessee Waltz” is indeed a sad, sad song, but it is given balance in Cohen‘s elegant, cheerful delivery. If this is indeed his final offering as a songwriter, it is a fine, decent, and moving way to close this chapter of the book of his life

Tracklist

1. “Go No More A-Roving” (words by Lord Byron, poem “So, we’ll go no more a roving“) – 3:40
2. “Because Of” – 3:00
3. “The Letters” (Cohen, Sharon Robinson) – 4:44
4. “Undertow” – 4:20
5. “Morning Glory” – 3:28
6. “On That Day” (Cohen, Anjani Thomas) – 2:04
7. “Villanelle for Our Time” (words by F. R. Scott) – 5:55
8. “There for You” (Cohen, Robinson) – 4:36
9. “Dear Heather” – 3:41
10. “Nightingale” (Cohen, Thomas) – 2:27
11. “To a Teacher” – 2:32
12. “The Faith” (music based on a Quebec folk song, see “Un Canadien errant“) – 4:17
13. “Tennessee Waltz” (Redd Stewart, Pee Wee King, additional verse by Cohen) [Live at Montreux Jazz Festival] – 4:05

All songs were written by Leonard Cohen, except where noted.

Personnel

• Leonard Cohen – vocals, Jew’s harp
• Sharon Robinson – vocals, arrangements
• Anjani Thomas – vocals, backing vocals; piano on “On That Day”, “Nightingale” and “Tennessee Waltz”
• Bob Sheppard – tenor saxophone on “Go No More A-Roving”
• Stan Sargeant – bass on “On That Day” and “Nightingale”
• Johnny Friday – drums on “On That Day” and “Nightingale”
• Sarah Kramer – trumpet on “Dear Heather”
• Mitch Watkins – guitar on “The Faith” and “Tennessee Waltz”
• Garth Hudson – accordion on “The Faith”
• Roscoe Beck – bass on “The Faith”
• Bill Ginn – piano on “The Faith”
• Raffi Hakopian – violin on “The Faith”
• John Bilezikjian – oud on “The Faith”
• Ron Getman – steel guitar on “Tennessee Waltz”
• John Crowder – bass on “Tennessee Waltz”
• Richard Crooks – drums on “Tennessee Waltz”
• Producer(s) – Leanne Ungar, Sharon Robinson, Anjani Thomas, Henry Lewy, Leonard Cohen

Track notes

• “Go No More A-Roving” is musical adaptation of Lord Byron’s poem “So, we’ll go no more a roving”, dedicated to Cohen’s friend and mentor, Canadian poet Irving Layton, member of the Montreal Group of modernist poets.
• “Villanelle for Our Time” was recorded 6 May 1999, shortly after Cohen’s return from Mount Baldy Zen Center. It is an improvised jazz recitation of a poem by F. R. Scott, Cohen’s older colleague from the Montreal Group of modernist poets.
• “To a Teacher” is a spoken-word track based on Cohen’s poem from his 1961 book of poetry The Spice-Box of Earth, dedicated to the Canadian poet A.M. Klein.
• “The Letters” is a duet with Cohen’s producer, collaborator and track’s co-writer Sharon Robinson.
• “Because Of” is a recitation of Cohen’s poem which was included in his 2006 Book of Longing.
• “On That Day” is a song about the September 11, 2001 attacks in New York City.
• The track “Nightingale” is dedicated to the late R&B singer Carl Anderson, Anjani Thomas’s colleague. She composed the music using Cohen’s abandoned poem.
• Music track for “The Faith” is actually an outtake from Recent Songs, with completely new lyrics, re-mixed and with new vocals added (thus the production was co-credited to Recent Songs producer Henry Lewy).
• The final track is a live performance of “Tennessee Waltz”, recorded 9 July 1985 at the Montreux Jazz Festival. It was taken from the bootlegged radio recording and cleaned up digitally.

In Memory Of Jack McClelland 1922-2004.

Notes
Released: October 26, 2004
Recorded: 1979, July 9, 1985, 2002–04
Genre: folk rock,
Style: contemporary folk
Length: 49:27

Label - Columbia Records