Tuesday, May 27, 2008
Music List:
Music List:
1. You Got to Reap
2. Just the Blues
3. She's Real
4. Back Slack
5. Be Careful
6. Ten to One
7. Blues Is Here to Stay
8. You Are My Love
9. Third Degree
10. Thank You Baby
11. She's Gone
12. I Can't Stop Loving You
Recorded in 1968 with Peter Green,
John Mcvie and Mick Fleetwood as Backup.
2. Just the Blues
3. She's Real
4. Back Slack
5. Be Careful
6. Ten to One
7. Blues Is Here to Stay
8. You Are My Love
9. Third Degree
10. Thank You Baby
11. She's Gone
12. I Can't Stop Loving You
Recorded in 1968 with Peter Green,
John Mcvie and Mick Fleetwood as Backup.
Amazon.com
Jack Johnson is one talented man. When he's not surfing or recording laid-back, rootsy rock jams like those on his debut, Brushfire Fairytales, he's filming award-winning movies about surfing like the September Sessions. Oh, and naturally, he has a hand in its soundtrack, an eclectic and relaxing array of jam-band improvisation, bluesy licks, and jazz-flecked rhythms. Johnson's solo contributions, including a cover of Jimmy Buffett's "Pirate Looks at 40," are stripped-down acoustic numbers with as much understated grace as Jeff Buckley. Other artists opt for more adornment, like Ozomatli's percussive reggae/hip-hip fusion, the Bollywood funk horn rave-up "Ganges a Go-Go," and the hands-down highlight, Greyboy and Karl Denson collaborating on a hypnotic bite of modern jazz driven by funky, spring-fresh flute loops. Sublime may have been the forbearer of breezy oceanside atmosphere, but this fantastic soundtrack takes laissez faire vibes to new levels--and emerges as yet another building block in the foundation of Jack Johnson's rapidly emerging chill-out empire. --Annie Zaleski
Jack Johnson is one talented man. When he's not surfing or recording laid-back, rootsy rock jams like those on his debut, Brushfire Fairytales, he's filming award-winning movies about surfing like the September Sessions. Oh, and naturally, he has a hand in its soundtrack, an eclectic and relaxing array of jam-band improvisation, bluesy licks, and jazz-flecked rhythms. Johnson's solo contributions, including a cover of Jimmy Buffett's "Pirate Looks at 40," are stripped-down acoustic numbers with as much understated grace as Jeff Buckley. Other artists opt for more adornment, like Ozomatli's percussive reggae/hip-hip fusion, the Bollywood funk horn rave-up "Ganges a Go-Go," and the hands-down highlight, Greyboy and Karl Denson collaborating on a hypnotic bite of modern jazz driven by funky, spring-fresh flute loops. Sublime may have been the forbearer of breezy oceanside atmosphere, but this fantastic soundtrack takes laissez faire vibes to new levels--and emerges as yet another building block in the foundation of Jack Johnson's rapidly emerging chill-out empire. --Annie Zaleski
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