Steve Earle & the Dukes - Jerry Jeff - COMPACT DISCS [CD]

Steve Earle was nineteen and had just hitchhiked from San Antonio to Nashville in 1974. Back then if you wanted to be where the best songwriters were you had to be in there. Guy Clark had moved to Nashville and if you were from Texas, Guy Clark was king. Flash forward more than forty years. In the fall of 2018, Steve and The Dukes went into House Of Blues studio in Nashville and recorded GUY in six days. 'I wanted it to sound live... When you've got a catalog like Guy's and you're only doing sixteen tracks, you know each one is going to be strong.' Earle and his current, perhaps best-ever Dukes lineup, take on these songs with a spirit of reverent glee and invention. But in the end Guy leads the listener back to it's beginning, namely Guy Clark, which is what any good 'tribute' should do. Guy is a saga of friendship, it's ups and downs, what endures. We are lucky that Earle remembers and honors these things, because like old friends, Guy is a diamond.

The twelve track set is the anticipated follow up to 2011s Grammy Award-nominated album ILL NEVER GET OUT OF THIS WORLD ALIVE and is the first billed as Steve Earle & the Dukes (& Duchesses). The album is also the first to feature the Dukes band name since 1987s EXIT 0.

On the occasion of the 10th anniversary of the Jewish Music Series - edited by Joel Rubin and Rita Ottens - Wergo publishes with InchDi Eybike MameInch the first CD anthology of recordings featuring women of the Yiddish stage. This carefully edited production with the rare 78 rpm recordings documents the enormous variety of music present during the period 1890-1930, from folksong to music hall and vaudeville, liturgical song to operetta and musical comedy. The booklet includes a detailed essay on Yiddish theater music and the role of women in Yiddish popular song. Despite prohibitions in traditional Judaism against the singing of women in the presence of men, biblical figures such as Miriam and Deborah stand for a female contribution to music within Jewish history. In the 20th century, singers like Sophie Kurtzer, Shaindele and Batsheva dedicated themselves to the Jewish liturgy. Ironically known as InchkhazntesInch (lit. Inchcantors' wivesInch), they were compelled to practice their art outside of the synagogue on vaudeville stages and remained exceptions to the rule - despite a stylistic closeness to the great male cantors such as Yossele Rosenblatt and Gershon Sirota. Yiddish popular songs depicted a great variety of women's roles, including not only deceived girls, deserted wives and long-suffering mothers, but also suffragettes, adulteresses and eccentric spinsters. It's stars - often singer, actress, dancer and impresario all rolled up into one - charmed the Jewish world from Warsaw to Buenos Aires and played an important role in the expansion of gender roles. The singer and actress Bertha Kalish from Lemberg was compared favorably to the great actress Sarah Bernhardt, and Regina Prager's voice could have held it's own with that of a Wagnerian heroine. Isa Kremer set new standards with her art song interpretations of Yiddish folksongs, the tomboyish Molly Picon