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A few extra pounds. A few extra pounds Marital Status:/p>
The cheerful mood vanishes when Garrett and another cop enter the school and confiscate Caleb's computer. Hanna explains the situation to the other girls when they all receive a text from "A. After he leaves, the four discuss this new information, and how if he finds out Ali is dead, there won't be enough money in the world to make him talk. They need to find out what Jonah knows, but they don't have the money. Aria asks Spencer, but her bank account has been on lockdown since she was arrested.
Aria texts Ezra that she is sorry they will have to reschedule their date and sticks around to watch Holden compete. She is impressed by his skilled and also scared by how violent the tournament seems.
It looks like he is in trouble at one point, but manages to dodge his opponent and ultimately wins, much to Aria's relief. Aria meets Duncan at an air field and is surprised to hear he used to take Ali flying. He's had his flying license since he was Duncan asks if Aria is ready to talk about Alison and heads toward the airplanes.
She hesitates, then follows. The girls gather in Jenna's hospital room. Aria tells her Jason was miles away when Jenna got the text.
She breaks down and cries, saying she doesn't blame them for what happened. While leaving her mother a note on her desk, Aria finds what looks to be a boarding school application in Vermont that Byron has faxed to Ella with instructions to send over Aria's transcript. At school the next day, the girls tell Spencer they think Melissa is bluffing.
Spencer isn't so sure. Hanna decides enough is enough. They will trick Melissa into texting them, proving she is "A" once and for all. Aria lets herself into Ezra's apartment, surprised to find him there, not working late. She informs him that boarding school is off the table thanks to some nasty dirt she had to dig up that she would rather remain buried.
He responds by telling her he's been fired and next Monday will be his last class. Ezra has been told by the school they are no longer offering his course, which he assumes is Byron's doing.
Aria is angry, but Ezra tells her breaking up her family is not an option. His plan is to live with his parents for a while and start looking for a new job, more than likely outside of Rosewood. He tells her he loves her and kisses her. Still kissing, they peel away layers of clothing and move to the bed.
In unmAsked , the four girls are in Spencer's living room and a report about Garrett 's arrest. It says the police think he joined the police force to get rid of any evidence linked to him and the night Alison disappeared. Melissa walks in and they turn off the TV. She tells them that she knows how Jenna went blind and that if Garrett killed Ali, it was because she deserved it. Outside school, the girls discuss how smart and untrustworthy Melissa is.
Spencer insists they overlooked a clue in Ali's bag. They change the subject to costume choices when Mona approaches. Mona suggests they all go shopping after school together. They all turn her down one by one. That evening, during a thunderstorm, they drive to the Lost Woods Resort.
The innkeeper, a dead ringer for Norman Bates, taps on the window, scaring them on top of their already frayed nerves. Aria volunteers to go with Spencer to get a closer look at the guestbook.
They climb through the window with flashlights. The next morning, Spencer and Aria return the guest book. Shortly after, the authorities and an ambulance arrive, surprisingly, along with Dr.
Sullivan, and they discover Mona survived the fall. Sullivan comforts the girls, who are all visibly shaken by what has happened.
Sullivan reveals that "A" blackmailed her by threatening her son, which is why she disappeared. Sullivan diagnoses Mona with a personality disorder which caused her to experience a sense of hyper-reality and omnipresence.
We learn from Mona's thoughts that everything is working out just as she planned. Mona is found to be criminally insane and sent to an asylum for treatment. Sullivan is confident that Mona can be helped with treatment. Later, the girls head to Emily's house to spend the night when an ambulance rushes past them. The police are waiting, and Emily runs up to her mom , who tells her that the police found a body… and they think it is Maya's. She falls into Spencer's arms and screams and sobs at the sight of the stretcher taking the body away while the girls try to comfort her.
In " It Happened 'That Night' ," it is opened up with the Liars all together it's the same time of year when Alison had gone missing. The Liars had went their all own separate paths. Hanna went to classes with Caleb. Emily to build houses in Haiti. And Aria had spent her summer with taking a photography class. They were drinking, when they all fell asleep.
Much like that old sleep over Aria wakes up to Spencer missing but this time it's Emily to and she is no where to be found. They find Emily at Alison's grave still drunk, but Alison's grave has been dug up and Alison's remains are gone. With Emily holding the shovel, Aria and Spencer wonder if she had anything to do with it but seeing how drunk she still is they wonder how she got there. After Spencer realizes someone is setting them up again Aria and Hanna wipe the prints off the Shovel and bury it somewhere in the woods, while Spencer takes Emily home to get her cleaned up and to burn her clothes.
When Hanna and Aria go to Hanna's car they see Lucas getting into his car and wonder why he is out at this time of the night. When they get to Spencer's, Spencer's says there going to her families cabin just to be safe. Later that morning Spencer's mom calls and tells her the news on Alison which they already know. Aria wakes up in Ezra's apartment, where they talk about their anniversary.
At school Aria, Spencer, and Hanna are getting their registrations while wondering where Emily is. They see Lucas and wonder if he had anything to do with "That Night", They Lucas talking to some mystery girl who matches the description of the " Black Swan ". Aria later goes to the bathroom where she has a panic attack thinking A is there. Spencer and Hanna go to her and tell her Mona is A and shes locked up at Radley, but Aria is convinced she got put in there so she won't be in jail.
When Hanna says they will soon have Jubilation, which makes her smile but while Spencer and Hanna hug her she has a concerned look on her face. Later that afternoon she's helping her mom pack up her things for her apartment. They talk about their lives and how things change. Later that night she's called to the police station to be questioned about Alison's remains being stolen. When Ezra shows up they decide to have dinner with Ella.
The next day after hanging out with Hanna and Spencer there worried about Emily's whereabouts. She soon shows up at Spencer's and tells them she got a text and she thinks it's from whoever took her to Alison's grave, She also tells them about seeing a car Jenna's and remembers being in a car she didn't recognized. Later they all go to "Lost Woods Resort" since it's now shut down.
They go to A's lair and tell Emily the truth, Which is after discovering Maya's death everything in the lair was gone over night almost as if it was never there but Spencer has been remembering what was there and she think the black swan might have something to do with it. After Spencer's car alarm goes off they all go outside to find all the doors to her car open with over dozens of pictures of them being at Ali's grave.
Aria and Spencer follow her with Hanna in the hall they all go into the bathroom. Spencer thinks it's a bad idea since they lied to the police about where they were that night. Which Aria declares was a huge mistake. Aria says they should at least tell there parents but Spencer says they have no idea what this "A" knows and that they would have to tell every lie they told their parents since Alison's funeral. Spencer offers to put it in her locker but Hanna knows that it's not safe from "A," Hanna grabs the bracelet and Aria tugs it back saying she'll put it in her purse but it falls into the toilet.
Anyway, Spencer reaches for it but Aria says to be careful cause the toilets are censored. The bell rings before Spencer can reach the bracelet which causes it to flush. During lunch Aria says she wanted to give the bracelet to the cops so they can see if there were any finger prints on it, But Emily assures her it would have been hers. Spencer tells Hanna she needs to make Mona talk and Aria agrees.
Aria thinks she still giving orders. After Hanna leaves they notice Jenna and think she's tied to Lucas and the black swan, Aria notices Jenna is even blinder than usual since she got back. After lunch Emily says shes failing and she may have to repeat the eleventh grade. Aria suggest that Ezra could tutor her since he needs to work. Aria sees Meredith and tells Spencer and Emily that she's the one who she and Alison saw kissing her dad. Meredith is talking to a faculty member and Aria asks her why she's there.
Meredith tells her she's applying for a teacher's position and that she won't have her as a reference. After school she tells Ezra that Meredith might work at her school with her mom.
Ezra wonders why aria is having him drop her off three blocks away from her dad's house. Aria says she hates having to not mention him around her dad, but he says they'll get though it.
Emily calls Aria but won't call Ezra, Aria tells her to call Ezra because he's available. The next day Emily talks about tutoring with Ezra, When Aria opens her locker there's an envelope she opens it and finds an earring in it. Aria looks surprised and nervous When Spencer and the others ask whats wrong Aria tells them that one night her and Alison broke into her dad's office at Hollis and tried to find out if Byron kept his word and wasn't still seeing Meredith.
After Alison finds an earring in the couch she shows Aria and she finds the other earring deeper in the couch Aria realized he lied and her and Alison trash his office making it look like Meredith did it so he'll dump her.
Aria tells them after they trashed the place she felt horrible and begged Alison not to tell. After Alison's body was found before her funeral Jessica, Ali's mom asked them to leave something in Ali's coffin. Aria says she put the earring in it. They realize if those teeth were real or not the earring was in Ali's grave.
After school Jenna asks Aria to help her play during an assembly next week. Aria lies and says she cant but as she leaves Jenna watches her. She tells Hanna she wishes she could get something out of Mona. Later "A" texts Aria telling her to tell her dad about her trashing his office or this "A" will give the earring to the police.
While Aria hides the earring for now she doesn't notice "A" is out her window watching. The next morning she tells Byran the truth, He tells her they both owe Meredith an apology. Later that day Aria goes to the coffee house and finds Meredith, she apologizes for framing her but Meredith tells her that Byron already told her and that she has a date with him tomorrow and she has Aria to thank for that.
Aria decides to give her, her earring back But Meredith tells her it's not hers and that she's never seen that earring before. The next day at school in the bathroom Aria, Hanna, Spencer, and Emily think of what to do next with Jenna and the new " A ".
After hearing Jenna coming into the bathroom Spencer plans on finding out if she can really see. After they do they plan on using it against her.
In Kingdom of the Blind , all of the girls are outside of the school watching Jenna. Emily can't believe she has been faking her blindness for so long.
They ask Aria to accompany Jenna in her musical program so she can watch her more and try to see what she's up to. The next day at school, Aria agrees to help Jenna. She is pleased, as they walk down the hallway. Jenna makes a joke about seeing something, making Aria uncomfortable. Aria tells her she just had stage fright.
They arranged for Aria to come over after school to practice. Aria meets her friends at lunch where they talk about Jenna some more.
Aria is practicing with Jenna. While playing, Aria notices a piece of paper lying on the bed. She tries to get a closer look at it, but can't with Jenna in the room. At that point, Jenna decides to take a break and they have a little chat. Jenna asks Aria about Emily. They also talk about Mona and Alison's grave. At this point, Jenna pointedly asks if anyone thinks the girls had something to do with the grave-digging. Then, Jenna leaves the room and Aria gets a better look at the note.
The note just says,"H. In Spencer's room, Aria tells the others about the note. The girls decide to follow Jenna at 4: Aria then mentions that Jenna also asked about Emily.
Spencer thinks Jenna is pressing Aria to find out how much Emily remembers. They now know that somewhere between leaving Spencer's house that night and going to Alison's grave, Emily was with Jenna. They just have to know when and why. Just then, Aria gets a call from her mom and so leaves the room to talk to her.
Emily asks Spencer about Veronica. They still do not understand why she is taking Garrett's case. Spencer is convinced Melissa is the reason her mother is defending Garrett. Hanna then confesses her thoughts about Melissa and Garrett: Maybe that was the medical record Garrett told Spencer about.
Aria enters the room and says that the vice principal wants to speak with Ella about something. Meanwhile, Ezra is still trying to find a job. He has recently been rejected in an interview. Aria tries to comfort him by kissing him, but she gets distracted. She confesses to Ezra that Ella altered Emily's grade, and the vice-principal now wants to talk about her grading practices. She's worried her mother is going to get fired.
They say if she is telling the truth she can't be on the A-Team. They wonder if it is Lucas but Hanna says he isn't capable of digging up a grave. Hanna thinks it is Melissa but before they talk about it anymore, [[Jason Di comes in and demands to know why Veronica is defending Garret.
Veronica doesn't want to talk about it in front of everybody there. Jason says he is giving a reward for whoever knows any information about where Ali's body is. A sends them a text saying: The next day at school, Aria is talking to Hanna about her dad and Meredith. Hanna tells her she should tell her mom before she finds out from somebody else.
When she goes to talk to her mom, she backs out and doesn't tell her. Instead, they make plans to do something. Later, Aria is in Hanna's kitchen where Hanna tells her that Caleb is getting suspicious. Aria says if it were her, she would tell Ezra. Aria is looking at dating websites for her mom and Hanna helps find somebody. Aria tells her she didn't tell Ella about Meredith and this why she's making a dating profile for her. Ashley walks in and looks at what they are doing. They can't find anybody attractive enough.
Ashley suggests a better site and they get on there. Hanna and Aria set up an account for her and Hanna names her "hotmama. The next day, they are all in Spencer's living room. Hanna tells them that Wilden was trying to see Mona in Radley. Hanna interjects that they need to find out who the Black Swan is pronto. They also need to find out where Melissa lost her baby, but Spencer is still on the defense. They know why Mona hated the Liars, but why would Melissa have a vendetta against the Liars?
Aria says that Melissa knows that the liars have the video of her in Ali's room the night she disappeared. Also, she fits the costume. Immediately, Spencer decides to go to Philly to talk to Melissa.
Later that day, Aria, Emily, and Hanna are waiting by Melissa's apartment. After Melissa leaves, Spencer won't let them go in until she gets there. They go in anyway and look through her things. They try to find anything with a date but when they are in the middle of searching, Melissa comes back.
They clean everything up the way it was before and hide in her closet. After the close call, they find a costume bag. When they unzip it, they find a feather. Aria, Hanna, and Spencer are in Aria's room.
They show the feather to Spencer. This proves Melissa's "A," but Spencer is still does not believe it. They decide to go to Philly again and talk to Melissa together. That night, Ella comes in Aria's room and confesses to finding her profile on the dating website.
Ella tells her she isn't looking for anybody right now. Aria apologizes and says she just wanted her to be happy. After Aria goes to delete it though, Ella tells her she actually does want to keep it. At the end, we see Aria comforting a heartbroken Hanna. They consider going to Hanna's house with takeout, who is still brooding over her break-up with Caleb , when suddenly, they hear sirens. A police car and ambulance pull up to Garrett's house and Mrs. Reynolds is rolled out on a stretcher.
Aria sees somebody across the street dressed in a black hoodie. Before the other girls can see, that person disappears. The next day, Ezra is outside Lucky Leon's , buying a newspaper. Aria gets him takeout from the restaurant. He tries to pay her for the food, but she refuses.
Ezra doesn't seem to appreciate the gesture. She tries to explain, but Ezra cuts her off, saying he has to go to an interview, and heads towards his car. But before Aria gets in the car, she sees Lucas banging on a storefront. He starts screaming, "Please! Just give me back my stuff! Later at Spencer's house, Spencer advises Aria not to baby Ezra too much.
Ezra texts her that he's been invited to Jenna's party. Spencer questions the purpose of Jenna's birthday party. She also wants to find out when Garrett is visiting the hospital so she can be there to see who he's really visiting. Ezra is surprised Aria is interested in stopping by Jenna's party. He gives her an antique camera as a gift.
At the party, Ezra wants to leave, but Aria talks him into waiting a little bit longer. Ezra is getting angry that Aria keeps ditching him at the party. This leads to a discussion of money and he tells her he got a new job. Laurel spots her wet equipment and Aria offers to run to the studio and bring her back dry memory cards.
Inside the studio Aria finds Lucas' equipment. While she looks through it we see a shadow. She pulls out some film and leaves. Outside she runs into Lucas who says "I need to get inside. Aria calls Emily and looks at the negatives. Emily looks up the drug from her flask and finds it's a sedative used to subdue aggressive patients and inmates.
One of the side effects is memory loss and Emily realizes she was drugged that night. Aria finds three of the pills in Lucas' camera bag. Then, Ezra asks her about her job. Ezra doesn't think that's such a good idea, as it's her first day.
They both have an impromptu photoshoot with the antique camera Ezra gifted Aria. Later, Aria is looking for a sock while Ezra is taking a shower. She searches in Ezra's sock drawer and finds a huge stack of money. She is shocked and tells Ezra she needs to go. Hanna, Spencer and Aria meet at the Grille. Spencer suggests that Garrett might be taking instructions from "A", and that's how he wound up behind bars. Hanna tells them that she has made some changes in her plan; Emily and her are going to hide behind the organ and see who is at the party, so that they can plan their attack.
Aria asks Spencer about the reward Jason offered to whoever has information about Alison's body. She thinks that might be related to Ezra's sudden influx of cash.
Aria goes to Ezra's place. She confronts him about the money in the sock drawer. Ezra tells her he sold a car belonging to his grandfather. He did not want to tell Aria because he is embarrassed that he lost his job, and is now answering want-ads for webzines and reusing coffee filters.
Aria feels sorry for suspecting him and asks to join him on the couch. They snuggle together, but Ezra steals a secretive glance at his sock drawer. The girl walks over to them and introduces herself as CeCe. Hanna comes home with Aria and finds an Ouija board on her kitchen counter. She grabs it and cuts herself.
On the other side of the board is a note from "A" that says "See how easy it is for me to get your blood? A flower pot crashes outside, and Hanna immediately decides to sleep at Aria's that night. Aria goes to see Mona. The visit is supervised. Mona asks "Would you like to play a game? When the nurse leaves to get medication Aria demands that Mona tell her who is trying to hurt them.
Mona only says "it isn't me" and "tell Hanna I'm sorry. They decide to sneak back in to get more answers from Mona. Hanna tells Aria that after the night she thought she saw Alison on her patio, she called Alison's mom and told her Alison was still alive, three days before Alison's body was found.
They look up and Mona is gone, along with the keys. Hanna and Aria find Mona in the Children's Ward. Ella calls Aria and tells her she went on a second date with Zack. She says she couldn't deal with Ted eating ice cream the same way Byron did. Hanna tells the rest of the girls about the code she and Mona had when they were younger and Alison was missing taking the first letter of every word " Where were we?
Maya's away sleeping sweet; until Garrett's all rosy, count on me. When the girls visit the website, a picture of Maya shows up on the screen. Underneath, it asks "What's the magic word? In Stolen Kisses , The episode opens with the girls who decide they need to figure out what is on the website featuring Maya's picture. Emily tries one possible password but comes up short. He says he'll tell Ella. Aria meets Ezra's mother Dianne.
She finds out his real last name is Fitzgerald, but he prefers to shorten it to Fitz. Dianne invites Aria and Ezra to an opening at a museum that night. Ezra tells Aria that he fibbed about when their relationship began. He told his mother, Dianne, that it was after he left Rosewood High School. Aria drops by Spencer's place for help with her wardrobe. She goes through her mother's bag and finds Garrett's case file.
Once they look through the file, they find the name Bart Comstock in the prosecution witness list. It seems Veronica is planning to attack this person's credibility. Later, Aria runs into Bart, who manages a movie theater in town. He says he told the police he saw Maya getting into a car with Garrett the day she was killed. At the art function Aria asks Ezra about his parents' financial situation. He's not comfortable with the fact that his grandparents were extremely wealthy. Dianne asks Aria what her parents think of Ezra.
She also asks about her parents being separated. Dianne then starts to get really nosy and rude about Aria's family, beginning to suggest how bad she's been for Ezra. She then says she's not going to let Aria "ruin" Ezra and hints at paying her to break up with her son. Aria leaves in disgust, spilling her drink into a nearby plant on the way. Ezra asks Dianne what she said to Aria, since he can't find her now. Ezra tells her this kind of stuff is why he doesn't want to have anything to do with his family.
Byron finds Aria sitting by herself on the floor. She asks him if he thinks she ruined Ezra's life.
He says nobody could be harmed by having her in their life and hugs her. Aria begins to cry in her father's arms. Hanna, Aria and Spencer watch a video of Emily from Maya's site. There are hundreds of videos, seemingly in no discernible order. They come across a video where Maya says to the camera, "I'm a coward.
I have to face my fears. They wonder why Mona send them to the site. They decide they need to watch the rest of the videos with Emily, so they try calling her. Spencer expresses no concern for the photo as she starts to stress about missing the early admissions deadline to the University of Pennsylvania. CeCe Drake comes in and passes Aria back her phone that she had left on the counter, and hears about Spencer's college conflict.
Spencer desperately pleads with "puppy dog eyes" for CeCe to let her and Aria tag along to the party so Spencer can give her application to him.
Aria is then seen in the hallway outside of Ezra's apartment , hearing a loud argument going on. Ezra's brother, Wesley is now shown for the first time as he greets Aria while Ezra shouts at him to leave. Aria is surprised that again, Ezra has kept another family member from her and Ezra reveals why Wesley was there. Wes was offering Ezra money in order to buy back the car that he sold before.
Apparently, the car wasn't his to sell in the first place in which his mother had claimed it an "old family heirloom" and wants it back. However, Ezra doesn't want to borrow the money, or even have to deal with his rich family for that matter, so he goes to withdraw money from the bank and leaves Aria behind along in his apartment.
Aria revels on Spencer's bed about how Ezra "kicked" her out of his apartment earlier, while Spencer proposes gaudy business attire to Aria that she will wear to impress the UPenn man, "Steven," at the party. CeCe also reveals that Noel has an older brother named Eric, who is running the party. Not only that, once they try to get into the party, Aria and Spencer see that they have to get stamped with the same black eye that Holden and Maya had on their wrists.
As it's a wild college party, Spencer and Aria feel uncomfortable while trying to find Steven with CeCe. Within a certain time limit, each person can ask whatever they want to the other back and forth and they must tell the truth. Noel tries to get Aria to tell everyone about her relationship with Ezra, but she is careful and leaves her answer vague. Aria continuously questions Noel about Maya, and he says that Maya came to the Kahn party a few times with an open invitation.
Jenna tells Aria and Spencer that her and Noel know they lied about being at Spencer's lake house the night that Ali's body was stolen. Spencer has challenged Jenna to play "Truth" but Aria decides to leave the party, after realizing Noel and Jenna know about her and Ezra.
Aria then calls Ezra but it's his brother who picks up. She tells him to tell Ezra to pick her up and gives him the address. Wesley arrives and Aria accepts the ride. In the way to Ezra's apartment, Wes inadvertently tells Aria about Maggie, Ezra's ex-girlfriend whom he got pregnant in high school.
Later, Aria arrives at Ezra's and tells him she knows about Maggie. Ezra explains that his mother gave Maggie money to go away and never talk or contact Ezra anymore because she thought being pregnant in high school was ruining him. That's why he got away from his family and changed his last name to Fitz. In What Lies Beneath , the four girls are in Hanna's room because she found a letter from Maya on her porch.
Maya wrote that she had something she wanted to show Emily, but not to contact her phone because someone had stolen it.
Hanna and Aria think that she found something that proves Garrett killed Ali. However, the location of the meeting place was washed off in the rain. They see a date on the note - the day Maya died. Aria asks Ezra about his mother paying Maggie to disappear. Aria's still upset he never told her and there is tension. Aria apologizes to Ezra for not respecting his past. He tells her he's found Maggie, but hasn't called her yet. Ella and Zack have lunch in her classroom. The title track proves to be another equally catchy ditty with memorable join-in tag lines, expressing partly complex personal conundrums in maddeningly simple language.
The close, intimate feel of the new album as a whole is managed as much by the lyrics as by the brilliantly simple and proudly unadorned acoustic-guitar-based arrangements, which mostly involve just Danny himself with occasional second-guitar embellishments courtesy of Will Sexton , some gentle harmony vocal work from Raina Rose and Carrie Elkin, piano from Keith Gary on and charismatic harmonica from Ray Bonneville on Ragtime Ragtime Blues which otherwise is probably the album's least memorable song.
The central theme of questioning recurs in most of the album's ten new original songs, from the cyclical philosophy informing the thought-patterns of Little White Angels down to the playfully political Guilty By Association Blues and its kinda-sequel Almost Round The World, complementing the folky-fable-style reflection On Abundance and the more defiant Know Thy Place.
Danny's softly tremulous vocal is, as ever, the ideal expression of this wide-eyed yet knowing, and ever-keen, questioning of life's imponderabilities. The two oldest songs in this latest batch, however, are the exception: I've Mostly Watched observes with admirable honesty Danny's penchant for commenting on life, rather than engaging directly with it, while Two Guitars explores a similar vein whereby, taking the form of a letter back to Danny's artistic comrade Paul Curreri, he laconically laments the state of their common "careers" having quit their day-jobs to become full-time artists.
As it happens, the magic of this cover version dovetails neatly into the appealing, and quietly compelling, fabric created by Danny's own compositions. Austin-based Danny's latest collection is a considered, themed set that explores the concept of money and wealth and its worth in today's world.
It's an increasingly complex concept nowadays, and even on such a well-worn theme, Danny proves that he's got plenty to say and makes his observations relevant to all our lives, his central thesis being that how we choose to relate to the idea of money reflects a lot about our values.
Simply crafted, plain-spoken in expression and attractively sung, while furnished with impressively memorable melodies, the songs on this set tend to fall into two broad categories: My initial feeling, that the set's strongest songs occur in the second half of the disc, is reinforced on each subsequent replay, with the enigmatic Accidentally Daisies and the genial barroom waltz of The Night's Just Beginning To Shine fast becoming favourite cuts.
After the darker mode of much of Danny's previous material, the folky-singalong opener Better Off Broke may seem deceptively jaunty, but Danny has the gift of making quite deep observations out of everyday colloquies, as a number of other songs on this new set also demonstrate. Even when you feel that Danny's trying to shoehorn too many words or force the pace a little, as on Southland Street, his delivery is irresistible.
Generally, Danny still continues to follow the time-honoured musical templates of folky Americana, with occasional dashes of indie-roots-rock and blues, and his gently quivering yet strong and resonant vocal style continues to enchant. The album's blessed with great packaging too, by the way, with attractive design and lyrics clearly reproduced on the foldout sleeve.
With excellent songs and performances like these, Danny's set to seduce us for some time yet, I suspect. David Kidman April So here's the promised new Waterbug release from the Texas-born songwriter whose set Parables And Primes so impressed me on its way-belated UK release last autumn. And it lives right up to expectation in just about every way even tho' there's no epic track like Stained Glass on this record.
It "takes its title from the fact that at one point in time or another, each song had been deemed too askew to fit neatly alongside its peers", yet its unity - as a "flock", if you like - resides in that each song can be traced back to a very particular episode in Danny's life, and in Danny's special worldview as applied to the personal rather than as on Parables the generalised human experience.
The album as a whole still compels close listening and commands and gets your undivided attention right from the outset. Danny's beguiling and highly individual brand of apparent gentility emerges from the ether on the opening song, Leaves Are Burning, a jaw-droppingly atmospheric piece dripping with highly sensory imagery and cocooned with ear-burningly eerie female harmony vocal Joia Wood, who shares this role with Devon Sproule over the course of the album.
Towards the end of the record, though, Danny presents a more straightforward stance on the constancy of love and friendships, with the beautiful and delicate Song For Judy And Bridget and the powerfully valedictory litany-cum-credo Company Of Friends this itself complements the fairly cautious optimism of Drawing Board earlier on the disc. The disc's two parables provide contrasting experiences: Go Ugly Early is steeped in desperate southern-gothic familial mythology while Tales Of Sweet Odysseus is a more overtly ironic twist on a mythological adventure that's craftily set to a sideways cod-Irish slip-jig as a companion to Beggars And Mules, it's almost kind of another in-joke for Danny's muso friends, I suspect.
Then there's an almost-too-easy Guthrie-esque demeanour to the next pair of songs, Emigrant, MT and the quirkily double-edged California's On Fire, but both make their points concisely and attractively. The only track I'm unsure about is Adios To Tejasito, which may well be summed up by the "It's nice enough to visit, It's nice enough to get back in your car" couplet for which sentiment the song's general of air of too knowing over-flippancy and somewhat sloppy rhythm-section input don't hope to compensate.
Helping Danny with production this time round is Paul Curreri, a genius who plays a large assortment of instruments very sparingly and is blessed with an acute ear for just what limited textures should grace each of Danny's compositions banjo, guitar, piano, whatever ; other Charlottesville musicians fiddle, accordion, harmonica, steel guitar, bass, drums are also occasionally brought in for softly judged traceries and subtle effects. Even the "heavier" electric arrangement for Trouble Comes Calling isn't allowed to swamp Danny's lyrics.
This convincing new set from Danny was worth waiting for, sure. New England musician Lissa's is one of those names you don't forget notwithstanding which, she's evidently an accomplished musician of whom I'm very surprised not to have heard previously. According to Lissa's website, Dance is her seventh recording and sixth CD since It seems to be intended as the second in a complementary pair of releases that started with 's disc entitled Song.
As you'd expect, then, Dance is all-instrumental, concentrating on Lissa's clear-sighted fiddle playing and surrounding her with a select number of simpatico musicians, who as it happens are an entirely different crew from those who supported her on Song. Lissa's playing style is unassumingly communicative: Lissa delivers a series of tunes both fairly well-worn and definitely more unusual, including some great ones I'd not come across before the Mountain Ranger set and Suffer The Child, for instance.
And it's fortunate that Lissa has a good ear for ringing the changes in matters of accompaniment, because Bethany Waickman's guitar backing is pretty ubiquitous and in its own syncopated way can sometimes seem a touch routine, although it's pleasing enough in context, especially when its more supportively restrained as on Eugenia's Waltz. The sound of a tenor banjo brightens Lady Walpole's Reel, while trombones and pump organ fill out Moneymusk and euphonium and trombone Jamie Allen on both of these, a second fiddle part really boosts the sound and drive of Lissa's own playing ; a piano accordion counterpoints Lissa's lithely folksy take on Weber's Huntsman's Chorus, while bass and drums grace and propel Fisher's Hornpipe.
This is a well-judged CD which sparkles where it ought , so it should not fail to charm its listeners, although I feel its a little too polite and unchallenging on occasion; everything is in its rightful place, and I can't fault the playing or presentation the package even includes cryptic to me! He's been compared to such names as Counting Crows and The Wallflowers, to which, judging by the laid back shrugging lazy rock of Captain Kirk, you might also want to add Steve Miller, the track clearly owing a debt to The Joker.
He's got a relaxed, warm style, easing through mellow Americana hued numbers like Come With Me Tonight, A Long Way To Get shades of Paul Simon here and the string enhanced lullabying ballad Love Is Everywhere while a sparkier side's revealed with the Dylan-like jogging rhythmed title track and a Tom petty flavoured C'mon Baby with its hard guitar riffs.
And, as The Bridge Builders demonstrates, he can whip up a beefy quiet-to-a-storm moody rock ballad too. With broken relationships, alienation and drugs on the lyrical agenda, he deals in the darkside but there's a sense of wit and ironic humour in there too; viz God Is My Friend which, nodding melodically to Joan Osborne's If God Was One Of Us, offers the image of the Almighty lounging around on a cloud snorting coke or wearing Italian shoes and chugging on a Coors Light. The album takes a while to work its way inside your head and there are a couple of tracks that probably won't figure on the repeat play button, but it is something to which you will find yourself returning.
Manchester's finest Matt Schofield returns with his fourth album and makes it a set of two apiece for live and studio albums. Just as he was influenced by Albert Collins and Robben Ford he now is regularly quoted as being an influence on many a young British guitarist.
Although a studio album, Ear To The Ground was recorded live with the band in a single room and the overdubs were kept to a minimum. They open with Freddie King's Pack It Up and turn it into a funky blues, strong both musically and vocally. Nine Schofield and band written originals follow and start with Troublemaker.
This gives Jonny Henderson on keyboards a chance to shine, and he takes it. Schofield joins in with Albert Collins influenced runs as he burns up the frets. The eponymous title track is a grittier, tougher blues altogether and the trio get into a groove. Heart Don't Need A Compass is a slow brooder. Schofield's guitar is a star - jazzy and much influenced by Albert King's Stax period. Once In A While is even slower and has a Gospel feel surrounding it - classy guitar.
Room At The Back, a short instrumental that allows free flow guitar, allows Schofield to tip the nod to such bands as The Meters and Soulive. Someone has a full blown harmonica burst from 'Big Pete' Van Der Pluym and is heavier than most on offer. It builds well and the guitar and harp work well together. Searchin' Give Me A Sign is jazzy blues with an edge - slinky guitar and reputed to be Matt's favourite. A fast paced, energetic instrumental with drummer Evan Jenkins chipping in to complete a classic organ trio song.
Cookie Jar is organ based but Schofield steals the show and turns it into a highlight. It is different enough from the original but still keeps the ethos. Schofield manages to sound like the great man on guitar and it sounds as if everyone who was in the studio that day is involved in the sing-along finish. The Matt Schofield trio have an album that keeps them in the highest echelons of British Blues. David Blue June Matt Schofield is a bright young light in British guitar playing and this debut album recorded at the Bishops Blues Club shows why.
There's a strong guitar and drum start on the funky, jazzy Uncle Junior and Evan Jenkins provides a continuing rhythm, for over 8 minutes, on his kit. His voice is silky but it's not BB King. The stunning guitar work on this make it a highlight. Treat Me Lowdown is a swinging jazzy blues and Jonny Henderson is given his chance to shine on the organ. There's some good interplay between guitar and organ on Cissy Strut and this 8 and a half minutes of virtuoso playing just makes you realise how good a guitarist Schofield is.
I don't know many people who would cover an Albert Collins track but Matt's version of Travellin' South will have made the maestro proud.
His chopping, snappy guitar and vocal are delivered with feeling. This is different from the original and also from the version done by Cream and Schofield has managed to put his own stamp on the song, something very difficult on a much-covered track. The trio belt out the jazzy blues Hippology to finish and I detect the Albert Collins style in there once again. The trio are a very good live band and the only thing that I can criticize them on is that they did not offer up any self-written material.
Maybe they are saving that for the next studio album and I wait in anticipation. Many readers will remember encountering the spellbinding Canadian fiddler Oliver Schroer when he performed regularly with singer-songwriter James Keelaghan during the earlier part of the decade; tragically, however, Schroer, an intensely gifted musician and composer and noted music educator in his own right, died of leukaemia in July At the time of his initial diagnosis in the spring of , and while awaiting treatment, Oliver recorded Hymns And Hers, an ensemble project on which he collaborated with friends old and new including some of Toronto's finest musicians including David Woodhead, who's also worked with JK and vocalists.
In direct contrast to many of Oliver's earlier compositions, the music of Hymns And Hers is altogether more spiritual in character, in that it expresses important things about his relationship to life.
It does this by means of more rarefied kinds of forms and melodies outside of pure entertainment vehicles like jigs, reels and waltzes , instead now bringing forth prayers, incantations, melismas and suchlike in lovingly textured musical settings that are sometimes quite plush yet remain pure and intimate. Each of the disc's dozen items possesses a special character all its own. The opening "prayerful hymn" A Song For All Seasons gradually unfolds like a Mike Oldfield piece Oliver even plays a burst or two of electric guitar , while Flowers centres around a playful baroque fiddle-and-piano arabesque and She's With The Angels Now is a peaceful and reverential though almost unbearably touching piece written after the death of a close friend.
Roses For The Lady, written for Oliver's mother, resembles a slightly cheeky variant of an elegant Edwardian salon-piece, contrasting with the desperate discords and strange vocal juxtapositions and ululations of Hymn For The Dispossessed.
The Morning Star joyfully unites brass and fiddle choirs in hope and jubilation: So OK, we understand the hymns, but why the "hers", you'll now be asking?
Camino, recorded three years before Hymns And Hers, is here re-promoted, hopefully to gain wider circulation. Both albums share a basic quality of intimacy, but Camino's intimacy derives from the purely solo nature of the performances enshrined within as much as from their ambient settings.
The disc presents a series of excerpts from a vivid audio record of Oliver's trek along the Camino de Santiago pilgrim trail, the major element of which consists of pieces Oliver played on the violin that he carried with him like a precious relic on that pilgrimage, wrapped not in a violin-case but in a sleeping-bag in his backpack. These musical items are like limpid fantasias, both highly ascetic and deeply emotionally charged, like a disenfranchised parallel universe where time stands still for the duration of each piece and the austerely quasi-improvisatory world of the Bach partita meets the mesmeric but spacious liturgical iconography of John Tavener, at times also hinting at indigenous Canadian fiddling traditions.
Oliver's playing is both graceful and evocative, it forming a two-way process whereby the attractive remoteness of the settings informs the almost religious spirit of Oliver's communing with the genius-loci. Each sonic space is acoustically enticing in its own way, each church possessing its own special resonances, while the trail's various environments also provide the ambient sound-sketches that punctuate the musical performances: Immerse yourselves in this rich and rather magical experience; though it may prove all too easy to get lost in its charms and you may not want to return to our world.
David Kidman January It contains exactly what it says on the label. The opening track's clattering rhythm may initially recall his former paymaster, but as it opens out into Native American tribal colourings the album's globe hopping musical and thematic nature is quickly signposted.
Calcutta, Italy, Malawi are among the places Schwarz's stories visit, taking potent angry, sorrowed or yearning photos of the socio-political landscapes and emotional climates. Here are the world's unwanted and rootless, forced to move on Same Old World , work in menial jobs Lavaplatos , left ' pacified ' in their own blood Refugees or trying to scrape a life in the land of the free Taxi. Here are personal stories of torn dreams and crushed hopes but also of the tenacity to survive Mother of Exiles and the strength of love Wind In Our Sails in the face of adversity.
Musically eclectic, it journeys through the blues, Hindustani tala, Bulgarian trad, Tijuana waltzes, Celtic twilights, African funk, Jewish roots, show tunes and Kurt Weill cabaret, constantly and consistently in tune with the humanity from which it's birthed and which it observes. A quite magnificent and moving work. No it's not The White Stripes.
This, their debut album, opens with the angst ridden American Girl not the Tom Petty song and continues to ask questions about your musical leanings for the next ten tracks. The only song not written by the duo is the final offering, the classic Surfin' Bird which is given a slower treatment than the original but when it gets going it is the best track on the album. This would be the ideal song for them to do on 'Later With Jools Holland' if they get an invite. Songs like Holy Cat and Twin Donut could easily be modern American classics although the formers title sounds like one that Phoebe from Friends would sing.
The simple yet effective Dinner is one of my favourites and the equally simple and powerful Springtime may have you humming 'Don't Fear The Reaper' before it settles down. They do tackle the classic them of love as well as the offbeat. Breaking In is their version of a love song.
Something Else again a title from days gone by but this is a new song is very reminiscent of The Eels and Schwervon! Judging by the follow-up, it seems the quest took her deep into the American south. Indeed, on the opening Looking For Elvis she pretty much lays out her map and motivations as she sings "I'm just looking for some inspiration, I'm looking for something to rock my soul, I'm looking for for a brand new destination, I'm looking for Elvis down a Memphis road.
That's not the only specific 60s reference either. But then the whole feel of the album harks back to those musical streets, Play Around a gently rippling ballad that Ben E King might have sung had he been Dion De Mucci while Run, Run, Run struts the sort of dirty heat Tina Turner patented back in her scorching raw youth.
I suppose I should mention that, yes, husband Bruce does play some guitar and organ, while the musicians also include E-Streeters Lofgren and Soozy Tyrell, but, more than ever, it's clear from this album Scialfi's standing in no one's shadow.
Patti Scialfa - 23rd Street Lullaby Columbia. It's been over a decade since Mrs Springsteen released her excellent but underestimated debut album Rumble Doll, immediately attracting speculation that hubbie had anonymously provided the songs as well as playing on the album.
The domestic connections are evident again, Bruce providing occasional guitar and keyboards fellow E Streeters Nils Lofgren and Soozy Tyrell are also present and correct while the nostalgia steeped atmosphere and images of streets, rain and romance recall much of his own work.
No great surprise there, but this is patently Scialfa's baby, the songs hewn from her own and her family's experiences and while the melodies may conjure him indoors its influences hark more to the guitar ringing Jersey soul of Southside Johnny and the delivery to Dylan. Rich in hooks and harmonies, tumbling emotions caught in folky vocal catch on songs that veer between the Mink De Ville meets The Corrs of Love Stand Up , the swaggering bluesy City Boys, the gospel hued piano ballad showtune that is When You're Young in the City and the wonderful title track's down on the avenue and up on the Brill Building rooftop city valentine.
Musically speaking, this album suggests the quest's well underway. This sparkling new set of 13 contrasted songs also moves their musical development on a stage further, taking their basic approach and extending it with some finely contoured musical arrangements which, while remaining tastefully minimal, really do enhance both the songs and the singing.
Credit here to producer Dave Walmisley and engineer Ken Powell, both formerly of the well-regarded trio Risky Business, whose trademark gentle mellifluosity pervades the proceedings to good effect and all of whose members appear sporadically during the course of the disc.
Both Sue and Liz happen to be really good singers, either heard individually or together in attractive harmony, and their thoroughly professional attitude to their craft enables them to relax sufficiently as they demonstrate their affinity with their chosen material and communicate its essence directly to their audience.
Their delivery is captivating, refreshing and entertaining, and often very moving; coincidentally perhaps, the latter quality characterises my personal highlights: I also really liked the ladies' tender setting of Ron Baxter's succinct yet poignant character portrait Molly, also their unsentimentalised take on Mary Benson's Sail Away, both of these done straight acappella the latter with Felicia Dale guesting , and their lovely treatment of Allan Taylor's deceptively simple Come Home Safely To Me.
But Scolds Bridle can make you laugh as well as cry too - the disc's "fun" song, Lynne Heraud's piquant little discourse on The Menopause, is a perfectly acceptable interlude in this context, while one has always to acknowledge that "fun" songs tend to wear less well in the cold light of home listening hmm, I'm tempted to label this particular song "less suitable for regular periodic sic!
Recording-wise, there's an occasional tendency to fierceness or over-closeness in capturing Liz's lead vocal contributions, but this is a minor point that's more noticeable on some CD players than others. In summary, this is a very lovely CD that, while almost effortlessly pleasing Scolds Bridle's growing loyal fanbase, really ought also to bring them plenty of new admirers.
This Dublin singer-songwriter had a brilliant start to her career with her debut album Poor Horse, which has subsequently appeared on at least one Irish critic's "best-ever" poll.
Having not heard that album, I was a mite puzzled by the followup, We're Smiling, which I reviewed quite late in the day, finding it a slightly wayward and yet more than intermittently promising collection that purely in sound terms owed more to alt-indie-rock and ambient, opaquely trip-hop-shaded electronica than to the folk songwriting models one might have expected from glances through her press releases. On that album it was Ann's voice rather than her songwriting that mesmerised, and I was left wondering whether I was missing out on some of the textual substance through paying attention to the voice and the arrangements.
Flo, album number three, does at least allow at times for greater concentration on Ann's lyrics through a generally sparser-textured aural milieu, much of it based around her own acoustic guitar but still for much of the time imaginatively, if blurrily enhanced by assorted strange reverberant layerings, pluckings and strummings "real" cello, violin and piano, with sounds that may or may not be "real" dulcimer, autoharp and vibes, and some programming courtesy of Ann's co-conspirator Kark Odlum and bold, if sometimes ominous percussive gestures.
Notwithstanding the evident attention to precise detailing within that quite tangled web of sound, and the myriad of individual textural strands, there's still a sense of woozy dislocation about Ann's music on this new record, which she describes as "a bunch of songs about being lost and how to get there".
At the risk of making a very obvious comment, it may take a bit of getting into, and once you're in there it might be likened to being lost in a slightly impenetrable maze, such is the nature of Ann's aural imagination.
It's possibly at moments like the spooked Hangman, or the cascading guitar arabesques of All Eternity ringing across the ether before the storm finally breaks, that Ann's work is arguably at its most mesmerising, her moody and yet sweetly wistful voice there being used almost as another instrument. Having said that, the softly menacing character of the pair of songs opening the disc Love Is In Him, featuring a harmony vocal from Gemma Hayes, and the eerie Killerman with its spectral banjo part is as much of a highlight in its own way, as are the forlorn pointilliste rhythm of Return To Die and the plaintive, deliquescent gamelan of Lost.
Ann has clearly lavished much time and effort on this spare but lush creative endeavour, and its provocative air of sensual mystery is undoubtedly very attractive; I would strongly advocate the listener repaying Ann's effort. Apparently she's twice been nominated for Best Female by the Irish Meteor Awards and her debut, Poor Horse, has been ranked in the top of the greatest Irish albums.
Maybe I'm missing something, then. The Dublin singer-songwriter certainly has presence, her voice dark and moody, her music swathed in the sort of atmospherics that have seen her dubbed Tori Amos with a guitar and compared to the likes of Imogen Heap, Juliana Hatfield, Cat Power and Gemma Hayes. And yet I still find myself having to work to find a way into this, her second album, with its twisting rhythmic structures, electronica shaded goblin folk, and murky ambience.
There are entry points. The six minute She: But, ultimately, the shadings tend to remain within a narrowly defined palette and Scott's voice never really shows the same warmth that, for example, Kate Ellis' cello brings to Imelda, a track that oddly reminds me of The Cranberries at their more spidery. Approach her more from the trip hop alt folk pop perspective that Beth Gibbons assayed with Rustin' Man and many will find the rewards waiting.
And, I suspect, after I've given it a few more plays and soaked it by osmosis, so will I. For some years now, the Irish music scene in Liverpool has been a vibrant one; the charming and distinctive singing of Liverpool Irishman Bruce Scott, one of that scene's most charismatic performers, is captured faithfully on this disc, which has been put together exclusively from recent recordings.
Bruce's performing style is both a reflection and a consolidation of a lifetime spent singing; it embodies a bold and quite florid use of decoration and vibrato, while retaining a fluent sense of pacing that does not destroy the internal rhythms of the songs. This collection of 15 songs brings together both strands of Bruce's artistry - his interpretation of existing principally traditional song and his own songwriting the latter being a comparatively recent venture, we're told.
The former is the source for just over two-thirds of the CD's material, and includes versions of The Rocks Of Bawn, Easy And Slow, The Month Of January and She Moved Through The Fair which are very characterful indeed, if at times some listeners may find some of the slower songs a mite strident perhaps, or even slightly laboured.
To introduce a bit of tonal variety into the proceedings, Bruce is accompanied on five of the songs, on whistle or flute, by Terry Coyne who you'll know as member of Garva.
Good though Bruce's renditions of traditional songs may be, his own compositions, very much in the traditional style, are uniformly excellent; this CD's title track won him the title of All-Ireland Champion in the category of newly-composed ballads, and no wonder - although all four self-penned songs display a comparable flair for composing within the tradition, especially in respect of Bruce's creative adoption of traditional airs.
This well-presented CD makes for mesmerising listening, and proves a worthy addition to Veteran's catalogue. Still underrated in many quarters, even as an acknowledged virtuoso in the Americana field, Darrell - currently touring with Plant's Band Of Joy - is now celebrating his own talent by unassumingly releasing a whole double album's worth of new self-penned songs.
And wow, not only has he written everything but he also plays every note himself; not just the expected guitars, mandolin, banjo, dobro, but also keyboard, cello, accordion, entire rhythm section and harmony vocals!
This epic of multitracking was Darrell's intention right from the start, but that it all comes off as impressively as it does might be counted a minor miracle well, for those who don't know Darrell that is. Darrell effortlessly rises above the potential torrent of "oh what a clever boy" criticism by producing a thoroughly musical record for which the phrase "labour of love" is an understatement. The songs have definitely been written from the heart, and those on the first disc in particular carry a potent emotional weight, a true life experience, without descending into sentimentality.
The melodic element is especially strong, for these are classic songs that you almost feel have been around for ages, genuinely timeless. Darrell's singing has never been better, and his close, almost confessional delivery puts you at ease straight away, with instrumental backing that provides exactly the right contours and measures to suit the songs.
Outstanding cuts include the sparsely scored title track which opens proceedings , the almost unbearable heartache of Candles In The Rain Childless Mothers , the deep pathos of A Father's Song, and the sumptuous evocation of The Open Door.
And then there's For Suzanne, which pays tribute to a litany of songwriters through underselling Darrell's own humble gift as a songwriter. And as far as consistency goes, there's not really a seriously weak moment among the 20 tracks 16 songs and four rather brief instrumentals , so the argument for distilling all the music onto an abridged single disc is probably a non-starter although the two discs weigh in at only just over the minute disc capacity threshold, so by cutting one of the lesser instrumentals Darrell might've been able to make it a single-disc release I guess.
The second disc certainly contains the songs that I'd characterise as mini-epics, more consciously produced and staged creations with by and large a fuller sound and more expansive musical setting I might cynically suggest ripe for cover by other artists.
From personal preference, I might be tempted to skip the rock gestures of Snow Queen And Drama Llama and the slightly tired-sounding gospel of This Time Round on repeat playthrough, but that would largely depend on my mood at the time. Either way, though, there's no doubting that with his eighth solo album release Darrell has produced possibly the best and most coherent set of his illustrious career to date.
The status of this release is readily apparent right from the first chords of its opening track, Darrell's cover of the undersung Gordon Lightfoot "prayer" All The Lovely Ladies: Darrell's long-term admiration for Gordon's artistry is present in every lovingly phrased note of his interpretation. As confirmed in his own companionable and anecdotal booklet notes, Darrell similarly conveys his desire to make other folks' great songs truly his own, in the easy company of a stalwart roster of musos that includes Dirk Powell, Danny Thompson, Andrea Zonn, Stuart Duncan, Casey Driessen, Ronnie McCoury and Danny Flowers, with extra vocal support from among others Del McCoury, Kathy Chiavola and the Fisk Jubilee Singers.
In terms of material, Darrell draws on the work of writers whom he clearly considers personal heroes, in a special category which he rather appealingly terms "lock-myself-in-my-teenage-bedroom-and-absorb affairs".
There's Bob Dylan, Hoyt Axton, John Hartford, Kris Kristofferson and Mickey Newbury, for a start; and yet there are also some pretty unexpected choices here, while even the more familiar of the songs are invariably dealt with in intriguing ways. On the final track, Darrell repays the compliment of Guy Clark covering one of his own songs, by turning in an affectionate rendition of Guy's That Old Time Feeling he even gets to play Guy's old 6 flamenco guitar on the track too!
The one strictly non-vocal number, Pat Metheny's James, is bestowed with a gorgeous wordless part Moira Smiley that when it's not keening the main melody forms a counterpoint to the sensitive newgrass-style instrumental treatment. No other word for it - this disc is a gem. And it's not just because he's a member of Steve Earle's Bluegrass Dukes, or the producer of two of Guy Clark's albums or even that he plays with John Cowan or Sam Bush, the real reason he's so special is revealed on The Invisible Man - the title shows a nice line in irony because it is going to make him anything but invisible.
The songs on the album aren't plucked from the imagination of a writer, they're hewn from the beliefs and experiences of a man who just happens to be one of the most talented musicians around country music today. Even if he weren't, the passions that drove him to write and perform I'm Nobody would have to find an outlet somewhere, it's music's gain that his safety valve is a guitar and a lyric.
Darrell Scott's brand of country is deep-rooted, there's a substance and solidity to his music. He opens up his soul on Looking Glass but he's not about to crumple while he's doing it. The film was also remade by MGM as Dr. The heavily-censored film featured themes of sexual abuse, man's dual nature, and repression. Subsequent reissues of the film in were heavily censored and cut, and the most controversial scenes were shot with different versions some longer and in different states of undress.
It was mostly criticized for Dr. Jekyll's sexy scenes with Cockney slut "Champagne Ivy" Pearson Miriam Hopkins , where he exhibited sordid, vicious, sexually-decadent and sadistic behavior. His counterpart, the simian-like Hyde, terrorized streetwalker lover Ivy and eventually murdered her. Earlier in the film, after rescuing Ivy from one of her brutal 'callers', Dr.
Jekyll took her up to her room and insisted on a medical inspection of her bruised leg. He told her suggestively: It's bad for you. It impedes the circulation. The tempting prostitute then insisted that he check out her hurt ribs, and prepared to undress to rest in her bed, asking him flirtatiously to "turn your eyes away now. She then reclined on her bed totally nude, covering herself with her bedspread and bedsheets. When he came over to her and asked: John Lanyon Holmes Herbert at the door who was appalled at his behavior.
Jekyll told Ivy as he was leaving: Jekyll, as she entreated and invited him to return quickly: As he left, a superimposed overlay of her swinging leg with her whispered words was seen over his descent of the stairs. Although he was reminded by Lanyon that he was engaged to virtuous Muriel Carew Rose Hobart , he explained how he was only expressing his impulses - and how sex-starved he was: Do you know what would happen to that thirst if it were denied water?
Director Jack Conway's romantic pre-Code melodrama modified and heavily watered down before release due to its spicy nature was based on Eugene Walter's scandalous play about being tempted to a life of luxury - and becoming a call-girl or 'kept woman. Constance Bennett starred as Laura "Lolly" Murdock, a poor, working-class slum-tenement girl who turned to advertising agency modeling. She experienced the good life she took "the easiest way" by becoming the high-priced mistress of wealthy "sugar-daddy" advertising executive William "Will" Brockton Adolphe Menjou.
She was given a fancy apartment, jewels and furs, and she helped her family, although they disapproved of her lifestyle. She experienced complications after truly falling in love with newspaperman Jack "Johnny" Madison Robert Montgomery. Could she give up her lavish lifestyle?
In keeping with the Hays Code edicts, Laura suffered and was endlessly punished for being a "fallen woman. After The Divorcee , this was Norma Shearer's next taboo-breaking, racy pre-Code film that challenged the morals and manners of the times. The Oscar-nominated actress was cast as a free-spirited San Francisco socialite - a non-conformist, rebellious, liberated diva named Jan Ashe.
She was the daughter of prominent lawyer Stephen Ashe Best Actor-winning Lionel Barrymore , an alcoholic criminal defense attorney.
The independent, headstrong woman liked to smoke, drink, experience pre-marital sex, and have fun. In the film's opening, she was engaged to a devoted and distinguished polo player Dwight Winthrop Leslie Howard , but broke it off by stating: Jan drove off with Ace in his fast-driving open roadster after being snubbed at a stuffy family birthday party, and proclaimed to him: At his penthouse apartment, she wore a very thin, seductive, bra-less, white silky dress [Note: When Ace asked Jan's father for her hand in marriage, Stephen told off the low-life gangster: A few illegal dollars and a clean shirt, and you move across the railroad tracks.
She told him she was madly in love with him and wanted him to show his love rather than talk: They don't talk well Why, I take it on the run right into your arms, don't I, darling? Ace, darling, I'm head over heels mad about you, but what's in the future I don't know She refused to marry him, realizing the possible consequences for her life, but with the film's most famous line that was threatened by censorship , she invited him to embrace her as she sensuously stretched back and aggressively entreated him: Her father continued to vehemently disapprove of her "backstairs affair with a rat," calling her "cheap, common, contemptible.
When she returned to Ace after a three-month camping trip with her father, the insensitive gambler attempted to boss her around, brutalize her and force her to marry him, while suggesting that she forget her father: And you got a drunken, washed-out tramp who said I wasn't good enough for ya You make no more bargains, sweetheart, with anybody but me.
We get married in the morning You can't live without me. That's why you came back here. And that's all marriage is, just two people that want to live together. You can call the rest just nothing. You're mine and I want ya From now on, you listen to me.
We get married in the morning. Fearing his beastly villainy and sensing the "filthy mark" he left on her soul , Jan abruptly left him and housed herself temporarily at the St. Francis Hotel in the city, where Ace found her the next day.
He threatened both Jan and Dwight's possible romantic reconciliation by disclosing her spoiled womanhood and threatening to ruin her high-society reputation: Now, let me lay it on the line for ya.
She tossed all her ritz overboard months ago. She came to my place and she stayed there. She belongs to me Well, I'll spread the news to high, wide, and handsome you don't dare marry her.
To Jan And you'll come crawling back like you did last night. Maybe I'll step out of my class and give ya a break. To Dwight Listen, buddy. Back out, right now. If you don't, you won't live long enough to start the honeymoon. And I'm not kidding. To preserve Jan's honor, Dwight shot Ace dead in his gambling office and was placed on trial for murder. Dwight claimed non-payment of a gambling debt as the reason for the killing.
He was defended by Jan's father on the grounds of temporary insanity due to Ace's lethal threats , and acquitted of the murder. At the end of his eloquent appeal, Stephen collapsed of a heart-attack, and Jan and Dwight were destined to be together as the film concluded.
It was a shocking story for its time about extra-marital sex and an unconventional test marriage - it told about a couple who cohabitated 'living in sin' together - out of wedlock - on the weekends in Connecticut: Ives, is either unhappily married or unhappily divorced, and I've simply come to the conclusion that marriage is disastrous to love. In an early scene, she told him: She feared that marriage would ruin their relationship, although her beau kept worrying about "all the lying and pussy-footing.
After being pressured into committing and tying the knot, her fears were realized and they separated for a time, only to reunite. This landmark lesbian film from Germany director Leontine Sagan with an all-female cast was the first movie to portray forbidden lesbian love.
It was based on the play by Christa Winsloe about an adolescent lesbian relationship in a Prussian girls boarding school. The film was remade in as a W. US censors banned the film for its depiction of lesbian desire between: During a bedtime ritual in the dormitory in which all the schoolgirls were kneeling at the end of their beds and anticipating a goodnight kiss, the teacher kissed all the girls on the forehead, except for Manuela who received an intimate lip-kiss.
Late in the film, after Manuela boldly declared her love for her teacher, the love-struck student was rejected by the school's headmistress. Distraught, Manuela prepared to end her life by jumping from a stairwell. In most prints of the film, Manuela lept to her death. An edited version left the plot's sexuality vague, and Manuela was saved by classmates.
This early talkie film was a fictionalized historical melodrama. In the film's trailer, the infamous woman of the title was called "the Most Notorious Temptress of the Twentieth Century! Greta Garbo was showcased as the dangerous and seductively-exotic and sexually-alluring courtesan and femme fatale spy Mata Hari.
In one of the film's earlier scenes, she performed a sensual dance for the god Shiva at a high society party. As in earlier films, some of the sexual innuendos of the pun-filled dialogue of Groucho Marx as Himself in the Marx Brothers' films were either eliminated or edited from the script.
After Lucille Briggs foil Thelma Todd asked: I'm a shyster lawyer. And who are you, he countered roguishly, his beautiful white body aching to be held.
The second part of Groucho's line in italics was cut from the script. Also, a section of this line in italics below delivered to Lucille in her stateroom was also truncated: This notorious Warner Bros.
The melodrama was considered salacious and too sexually adventurous in the way that it used every imaginable excuse to have its two actress-stars frequently and liberally undressing down to their silky, lacy underwear.
Almost immediately, Lora was down to her bra and slip when trying on her nursing uniform. She was spied upon by a horny male intern who told her: I just came from the delivery room. Lora courageously risked her career as a "night nurse" to save two abused and deliberately-starved children Desney and Nanny Betty Jane Graham and Marcia Mae Jones who had an unfit, widowed, alcoholic mother Mrs.
Lora discovered a dastardly plot to kill them in order to acquire their trust fund inheritance, orchestrated by the mean and evil family chauffeur Nick Clark Gable: That's why you keep the mother all hopped up and full of booze all the time. One of these days, you'll take her out and marry her and grab the children's trust fund.
That's what you're after, but you're not going to get away with it! At one point, Nick even socked Lora in the chin and sent her unconscious to the floor. The plot was foiled when kindly Dr. In the film's unusual ending, Lora happily accompanied criminal "My Pal" in his convertible.
Director Clarence Brown's and MGM's film-noirish drama demonstrated the unfairness of the double standard for a single woman engaged in a years-long affair without marital vows. She was defiantly independent, telling her hometown suitor and fellow worker Al Manning Wallace Ford: My life belongs to me.
We would like to show you a description here but the site won’t allow us. Aria Marie Fitzgerald (neé Montgomery) is one of the main characters in the Pretty Little Liars television series on Freeform. She is portrayed by Lucy Hale. Aria Montgomery was the artsy and alternative girl in Alison's clique prior to her disappearance, sporting pink streaks in her hair and a. The History of Sex in Cinema: Title Screens: Movie Title/Year and Film/Scene Description: Screenshots: Animal Crackers () In the second Marx Brothers effort Animal Crackers (), one of the original lines of the classic "Hooray for Captain Spaulding" song was censored and abruptly cut because of its sexual suggestiveness for the film's re-release, and is now only rarely heard.