Page Text: AllMusic — AllMusic Staff Pick: Tsegué-Maryam Guèbrou...
1.5M ratings
A truly enchanting compilation of solo piano pieces by Ethiopian nun and composer Emahoy Tsegué-Maryam Guèbrou. Captured in the 1960s and ‘70s, her peculiar amalgam of blues, jazz, and classical is deeply poignant, yet effortlessly breezy.
- Timothy Monger
December 3, 2013
Alternative Singer/Songwriter
Calm but not dull, this full-length debut from itinerant musician Jordan Lee comes to rest in a sylvan chamber folk where wind chimes, violin, banjo, and swirling electronics co-exist fluently. It’s a perfect soundtrack for anything from an early morning skinny-dip, to an apple-orchard frolic, to a much-needed mental diversion in trying times.
- Marcy Donelson
June 16, 1998
Hard Bop
This collection of the funkiest breakbeat-heavy songs from Grant Green’s 1969-1971 offers a solid introduction to the guitarist’s catalog using tracks that beatheads and crate diggers may already be familiar with in one form or another. For folks who normally turn up their nose at jazz, this can be a great, listenable and tuneful introduction.
- Zac Johnson
August 19, 2008
Alternative/Indie Rock
The second installment in Yep Roc’s mammoth Robyn Hitchcock reissue series introduces the Egyptians (bass player Andy Metcalfe and drummer Morris Windsor) into the mix, collecting Fegmania!, the live Gotta Let This Hen Out!, and Element of Light, along with a double disc of B-sides called A Bad Case of History.
- James Monger
June, 1975
Album Rock
Recorded in the wake of the heroin-related deaths of Crazy Horse guitarist Danny Whitten and roadie Bruce Berry, 1975’s Tonight’s The Night is a ragged and harrowing rock & roll wake, a litany of wrong turns and bad choices whose moments of wit and random bursts of joy only make the darkness that much more forbidding. This ranks with Neil Young’s darkest and most uncompromised music, as well as his best.
- Mark Deming
September 13, 1982
Art Rock
Eager to prove she was more than an eccentric schoolgirl reeling under the influence of David Gilmour’s tutelage, Kate Bush fully seized the creative reigns on her fourth album, 1982’s The Dreaming, and the results were utterly unique, a stew of addled folk and art rock seasoned with Bush’s willful theatricality and bursts of lyrical and vocal fancy. Beautifully, fearlessly eccentric and deeply personal, this is the album Tori Amos has wished she could make since 1992.
- Mark Deming