Kaki King

Kaki King at Turning Point Cafe

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Last night we saw Kaki King at Turning Point Cafe in Piermont, NY.

On October 24, 2007, we saw Kathy Mattea at Joe’s Pub in NYC. Accompanying her that night on guitar, as he has been for roughly 18 years, was Bill Cooley. When I reviewed that show I stated that I thought Bill Cooley was possibly the best acoustic guitarist I had seen.

My friend Eric Sink commented that he thought Phil Keaggy was probably the best he’d seen, but he mentioned some others, including Kaki King, who he practically dared me to listen to. πŸ˜‰ Here’s his exact quote (in a comment to a different post I made about Phil Keaggy):

Or if you’re quite daring, have you listened to any of Kaki King’s stuff?

So, given that I respect Eric so much on every level, I had to check her out (and Michael Hedges, whom he recommended as well). I liked Kaki King alot, though there’s little doubt that she’s not a mainstream artist on any level.

Last night was the first opportunity I had to see her live, and I jumped at the chance. I had never been to Turning Point Cafe, but I knew it was a small place. In fact, it seats roughly 63 people. We had awesome seats and were roughly eight feet from Kaki, dead center.

From the many YouTube videos that I’ve watched of her (and the two CDs that I own), I knew that she plays with a full band (and plays multiple instruments herself) as well as just solo guitar (her forte). I figured that in a club this small, she was likely to play solo, and indeed, that’s what she did.

She announced at the beginning that she was experimenting with getting back to her roots of solo guitar, without any vocal accompaniment either! She was hitting up a number of clubs that booked her back in the early days, in order to share the intimacy of that experience with the people who were fans of that style of music.

Here’s a photo to show you how good our seats were, and how intimate the entire experience was:

Kaki King

Kaki King

She didn’t disappoint whatsoever. Aside from being quieter than usual (at least according to her) πŸ˜‰ she is a lovely, thoughtful person. Her guitar virtuosity is exemplary, but her selection can be quite brooding, even angry at times. Like I mentioned above, and like Eric hinted at, this music is not for everyone.

We invited good friends to join us, even though I knew that neither they, nor Lois, would find this kind of music entertaining. That said, seeing Kaki King perform (and you can get a really good sense if you watch her YouTube videos) is as much a wonderful performance art experience, as it is a musical one. She’s a wizard on the guitar.

Here’s a photo of her using both hands on the frets. She creates some incredible sounds when she does this, and both sets of fingers seem to fly independently (but in sonic coordination!). In addition, it’s special for both of us, because we’re Wicked and Wizard of Oz freaks, and she’s obviously wearing the Ruby Red Slippers, so she’s Dorothy to us. πŸ˜‰

Kaki King Wizardry

Kaki King Wizardry

We live 20 minutes from Piermont (on the other side of the Hudson River). Our friends live in Northvale, NJ, 10 minutes from Piermont (further from us). We went for an early dinner at their house, and then we followed them to Piermont. We arrived at around 6:15pm (doors open at 6pm) and ordered some drinks. The show was called for 7pm, but Kaki came out at exactly 7:15pm.

She played straight through to 8:35pm, with the only pauses being tuning. She (and many other current guitar masters) use a variety of non-standard (perhaps they are standard now!) tunings, and they switch them often for different songs. Here’s a fuzzy picture (sorry) that shows her tuning, but also shows one of her original guitars, that she recorded her first CD on (she closed the show with the last cut from that CD):

Kaki King Tuning

Kaki King Tuning

As I suspected, none of the three people that came with me (Lois included) were enamored of the particular selection or style of music (though each found at least one song that resonated with them). That said, I hope they all had a nice time nonetheless, and appreciated how talented this woman is. I think they did. πŸ™‚

I would definitely go see her again live, with or without a full band, but I would likely only bring along Lois next time. πŸ™‚

Last night was the first of four concerts in a row for us. So, when we got home (around 9pm), we packed up the car and headed to the city (the next three shows are all in NYC). Expect updates on each one over the next three days.

Andy McKee with Antoine Dufour and Craig D’Andrea

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Last night, Lois and I went to Canal Room to hear three amazing acoustic guitarists, Andy McKee, Antoine Dufour and Craig D’Andrea.

I have written about all three before, as well as their label Candyrat Records in this post. I also posted about Andy McKee (including how I discovered him) in this post. I owned all seven albums that the three artists had out between them (or so I thought). πŸ˜‰

It was my instinct to cover the bad parts about last night first, and then end on a high note. Lois intuited that I was leaning that way, and asked me to cover the good parts first. Since Lois is always right, I am acceding to her wishes. πŸ˜‰

Even though Andy McKee was the clear headliner, he came out first, and introduced the other two guys. Well, aside from saying who they both were, he actually introduced Craig D’Andrea, who opened the show. Here is a photo of Andy during the intro (click on any photo for a larger version). I’ll describe more about the place and the stage and other things you will see in the photos, in the bad section of the post. πŸ˜‰

Andy McKee

Craig had an instant rapport with the crowd. Perhaps that was partially because his parents were there as well (two tables over from us). Just kidding, since we didn’t know it was his parents until near the end of the show. He’s a superb guitarist, who entertained both with his music, and his self-deprecating humor, which he worked well. He played for roughly 25 minutes.

He opened the show with Morrison County. Here is a YouTube video of him opening his show at CMU with the same song (therefore live, and close to the experience we had last night). He’s being introduced by Antoine Dufour, so you can get a sense of his gentleness on stage as well. You can also get a sense of the pacing of this type of concert. The song itself doesn’t start until nearly the two minute mark, but watch the whole thing, it’s most definitely worth it!

Next up was Antoine Dufour. In my Candyrat post, I mentioned that while I love all of them (that includes Don Ross, Kaki King and Peter Ciluzzi as well), I probably have an ever-so-slight preference for Antoine. The rest are brilliant, so I feel silly sharing such a razor-sharp distinction, but, if I didn’t say it, I wouldn’t be sharing my complete thoughts.

Antoine was a little slow to engage the crowd with banter, but when he got going, he was quite hysterical. He is a soft-spoken Canadian (I covered that fact in a short Canada Rocks post) with a French accent. Completely entertaining in every way, including his amazing guitar playing.

So, earlier I mentioned that I owned all of the albums that the three had between them. It turns out that Antoine released a new album last week. I bought it at the end of the show, and got to shake his hand and tell him how awesome he is, so now, again, I own every album that they have released. πŸ˜‰

Antoine played half of the songs from the new album, so when I listened to it today at home, it was comfortable and familiar. Here is a YouTube video from the same CMU concert of Spiritual Groove, which is off of his Development album (not the newest, which is Existence).

Antoine played for roughly 35 minutes. Here is a fuzzy photo of him. I like to think it’s fuzzy because his hands are moving at the speed of light while he’s playing. πŸ˜‰

Antoine Dufour

After an intermission (there was no break between Craig and Antoine), Andy McKee took the stage. He too is completely personable, and when he tells a story, you hang on his every word. He too is a genius with the guitar.

Here is a YouTube video of him playing Art of Motion at the same CMU concert. The music starts at the one minute mark, and he tells a story about how the song came to be named, which he also told last night.

Andy played for roughly 70 minutes. When he was done, he called Antoine and Craig up to the stage, and they played one of Antoine’s new songs, A Hiding Place for the Moon. The only word to describe it is Wow! Here is a YouTube video of them playing it together. While it’s incredible, it really doesn’t match the quality of sound or experience that we enjoyed last night. The CMU recordings are better quality…

Here is a still photo of them during our show last night:

Andy McKee with Antoine Dufour and Craig D’Andrea

After the trio played that song, Andy stayed on the stage for one final solo. Between the trio and the solo, the encore was roughly 20 minutes, and was awesome.

The crowd was nuts about all three of them, with ovations lasting a pretty long time after each number.

That ends the good part of the post, and if you are spiritually averse to negativity, this would be a very good time to close your browser.

Last night was far from perfect (though the music was as close to perfect as you could hope for in a live show!). Let’s start with the one part that was entirely my fault. πŸ™

We have never been to Canal Room before, so I committed the cardinal sin of assuming I knew where it was. From the website, I just zoned in on Canal and Broadway. I know where that is. Given that I cut it way too close on Thursday for the Al Jarreau and Najee concert, I decided to grab a cab rather than risk another bus ride. It was raining, but not too badly.

We got to the corner of Canal and Broadway at 7:15pm, and the doors were scheduled to open at 7:30pm. Perfect. Except for the fact that from the addresses, it was obvious we were in the wrong place. Oops. I used Google Maps on my Treo to see that it was on West Broadway. I knew it was close, so I didn’t panic, but I didn’t know exactly where. Again, Google Maps with Directions, led the way. It was a three block walk, and we got there at 7:34.

The doors were open, but the line was still outside, as only a few people at a time could get in. It’s completely unclear whether we would have been near the front of the line if we had gotten there 10 minutes earlier, but it’s possible, and might have made a world of difference.

Canal Room is not a full-time concert venue (like Joe’s Pub, BB King, Blue Note, etc.). As an example, there are only three nights in the next 11 days in February that have a show listed, and 10 dates in March. Perhaps because of that, it’s a complete waste of space as far as concerts are concerned. If you click on the link to their site (at the top of this post), you can see an automatically rotating slide-show of photos of the place. It’s beautiful, and comfortable, but not oriented to maximum quality seating for a concert.

So, comfy leather chairs and booths, but spread out for their bar/lounge business. By the time we got in, there were no seats left on the lower level, near the stage. You could stand there, but we weren’t interested in standing for hours on end. We went upstairs, where most of the seats were taken as well, but one round booth that comfortably seats six, and could easily accommodate eight (though more snugly), was empty.

The two end seats on one side had a reasonably good view of the stage (you can judge for yourself, as all of the photos that Lois took were from that seat). I would say that we were between 30-50 feet from the stage (so not far), and elevated (which was good), so they weren’t awful seats. The acoustics turned out to be excellent, so hearing the subtleties of their guitar playing was not a problem.

That ends my contribution to the bad parts. While our seats were fine, it was still very annoying that there was a ton of wasted space right near the stage. On the top level (as can be seen in all of our photos) there was a glass divider. You could easily see through it, but it also often cut the performers at the neck, meaning, part of them was above the glass, part below. It was mildly irritating.

Much more irritating were the gigantic columns that obscured the view of many people on the upper level. While it didn’t obscure ours at all, it affected where people wanted to stand, sit, etc., and possibly caused some people to talk more than they otherwise would have, if they had a clear view of the stage.

Next, the service. Most people started off walking to the bar (downstairs) and bringing back their own drinks. Neither of us was in a hurry to drink, so we just relaxed at our table. After a bit, a waitress came over and asked if we wanted drinks. I asked for a chocolate martini (surprise!) πŸ˜‰ and Lois asked for club soda (because, at the time, we just assumed that there was some kind of drink minimum).

The waitress asked me what the ingredients were for the chocolate martini (which didn’t bode well), but, when it showed up, it was perfect, so no complaints there. Lois’ club soda came completely flat (which I guess, technically makes it water). The waitress knew it in advance, telling Lois that the machine lost it’s compression, but that she would bring her another one when they fixed it.

At that point Lois asked if there was a drink minimum, and we were told no, so she just canceled the drink. Now it got weird, very weird. The waitress asked me if I wanted to run a tab. I said yes. She asked me for my credit card (for her to keep until the tab was closed), and for my driver’s license. When I showed her my license (should I have been flattered that I was being carded, or was it just to check photo id to match to my credit card?), she said “I need to take it with me.”

What? We were incredulous. We’re no youngsters, and this has never happened to us at any restaurant, bar, club, concert, etc. Perhaps when renting a car. She said she needed to photocopy the license because of credit card fraud. Wow, Canal Room must attract some type of crowd for this to be such a problem there, and not at our other haunts. I’ve gone on too long about this, but suffice it to say, it was weird at best…

More peeves on the way. The show was scheduled for 8pm. No announcements of any sort were made. Andy McKee walked on to the stage at exactly 8:30pm. No apologies or explanations for the late start. At best, it’s rude. Why not just print 8:30pm on the tickets and be done with it?

I’ve already covered the show, which was simply awesome, so in the midst of these complaints, I need to reiterate that point! πŸ™‚

Craig D’Andrea’s set was relatively unmarred, in other words, completely enjoyable. One other couple was sitting at our booth (and they got there just minutes after we did). The booth is a large semi-circle. We were at the left edge and had a clear view. The right edge had an obstructed view. So, the couple slid in, but not entirely to the middle. We all seemed OK with our situation.

When Antoine started his set, a bunch more people started drifting upstairs, looking for seats. I feel like dragging this part out, because it completely annoyed us, but I’ll cut to the chase. An extremely rude couple ending up sitting back-to-back with us (meaning, they were the right edge of the next booth over). The people at their table warned them when they asked if the seats were available that they would provide little-to-no view. They sat down anyway.

They then proceeded to talk to each other, rather loudly, nearly non-stop. Stares did nothing. This continued into Andy McKee’s set as well. When Andy was playing a song he wrote for his father, who had passed away (a clearly emotional part of the show), finally, someone shushed them. They looked around angrily, to see who might have been so rude as to interrupt their conversation.

Listen up folks. There are a million places in NYC to sit and chat, with and without drinks, with and without food, with and without music. A concert, where people specifically pay to see a specific artist is not once of those places. Thankfully, due to their annoyance at being shushed, they moved far enough away from us that we were able to enjoy the rest of the show without having to hear them on their date.

Anyway, we’re old folks, and this is the third night this week that we’ve been out later than we’re usually awake. Last night was 30 minutes later than it needed to be, just because they started late.

I’m probably leaving out a number of additional nuisances. We basically don’t like the place, even though it’s reasonably beautiful on some levels. We are hoping that these (and other) Candyrat artists discover the joys of playing a place like Joe’s Pub, where you hear zero conversations during the performances, ever. We also hope that no one else that we love ends up playing Canal Room. We’d likely go, with eyes wide open this time, but prefer not to find out if this was unusual or not…

Candyrat Records

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I have written twice now about Magnatune as a real leader in the new age of publishing music. I am completely impressed with their business model and operation, and if you missed the first post, here it is.

Candyrat Records is another cool online music label, but they don’t quite measure up to Magnatune in my opinion.

First, let’s cover what makes Candyrat Records cool.

  1. They have some amazing artists on the label
  2. They actively promote many (not all?!?) on YouTube
  3. Those that they promote, are very high quality videos (specifically, the audio is very good quality, so you really get a good sense of the artists capabilities)
  4. They offer DRM-free downloads (320Kbps MP3’s)
  5. They sell some/most (not all?!?) albums on Amazon.com MP3 downloads also

I’ve been threatening for a few posts now to tell how I discovered Magnatune and through them Jeff Wahl. This is as good a time as any. πŸ˜‰

In this post, I mentioned that Rob Page (CEO of Zope Corporation) had introduced me to an Andy McKee video on YouTube. That video was posted by user “rpoland”, who I believe is the owner of Candyrat Records. He has 108 videos posted. Most of them are for a variety of acoustic guitarists that Candyrat represents.

At the time, I didn’t pay attention to that, but I did fall in love with Andy McKee. Instead of going to Candyrat’s site, I searched for Andy McKee on Amazon’s MP3 downloads site. I found three albums and bought them all immediately.

A few weeks after I bought those albums, I was listening to Pandora. I have six different stations that I’ve created on Pandora, and one of them is mostly acoustic music. On January 2nd, 2008, I heard a song that I thought was fantastic, so I made sure to write down the artist’s name: Don Ross. I went to YouTube and found tons of videos of him as well, and noticed that it was the same “rpoland” and Candyrat Records.

This time I went to the site. I saw on the front page of the site that a few days from then, Don Ross was releasing a new CD with Andy McKee. Cool! I went to Amazon.com and checked for Don Ross, and sure enough, they had something like five of his CDs available. I decided to wait to see if they would pick up his new CD when it was released.

When the day came, I checked, and Amazon was not carrying the new CD. They still aren’t, over a week after release. So, I decided to investigate Candyrat a little further. I searched for Candyrat DRM. I found a very interesting blog post here. As you’ll see if you read that post, he makes a lot of the same points I make here (or will make, shortly). πŸ˜‰

When I clicked on Magnatune, I listened to Jeff Wahl (and watched a bunch of his YouTube videos as well), and ended up buying all three of his CDs (as previously reported).

Now that I was sure that Candyrat music was DRM-free, I decided to buy the new Don Ross and Andy McKee album from them, which I did. While everything worked, and the experience wasn’t bad, it wasn’t Magnatune quality either. Here are the material differences:

  1. Music is available in one format only, 320Kbps MP3 (or you can order a physical CD). Magnatune is just awesome in offering a variety of download formats
  2. You can only pay with PayPal. I happen to have a PayPal account, so I personally don’t mind. I know that you can use a plain old credit card through PayPal, but there are still many people out there who will likely be nervous about new-fangled services like PayPal. It should be an option. They should get a Merchant Account and accept credit cards directly.
  3. All music costs $9.95 per CD. (OK, I didn’t actually check all the music on the site, but all of the albums I checked were $9.95.) There are two separate problems with that. The first is that as I mentioned previously, not all music is created equally, and therefore shouldn’t necessarily be priced equally. But, the bigger problem is that when the same CD is available on Amazon.com, it’s cheaper, so it would appear that they are driving you to purchase on another site. Perhaps that’s their intention.
  4. When you purchase on their site, the zip file you download has horrible naming conventions for the files inside. Magnatune unzips into a perfect directory tree for direct import into iTunes (and most other naturally organized music player software). I had to create my own directory structure and rename and move all of the individual MP3 files in the Candyrat download. Not a huge problem, but annoying nonetheless. Another reason to buy their albums from Amazon.com when available!
  5. All Magnatune albums (over 441!) are available on Amazon.com. Some (many?, but not all) Candyrat albums are. Why?
  6. On Magnatune, I can listen to every album, for free, completely. On Candyrat, I can hear 30 seconds of each song. The saving grace is that for the artists I was interested in, there are a plethora of YouTube videos, but Magnatune still gets it more correct on this feature.
  7. Pricing differences! Aside from the fact that Magnatune lets you name your own price (with a $5 floor), they suggest a price for each album. Their suggested price is the same price they’ve negotiated on Amazon.com. Candyrat sels their albums at a fixed price (that’s fine), but charges more than Amazon.com. How can their costs be higher to deliver directly when they don’t have to pay Amazon?
  8. Transparency with the artists. I love knowing exactly how much money that I spend is going to the artist with Magnatune. If I knew for sure that spending the extra $1 with Candyrat over Amazon was putting that $1 directly in the artist’s pocket, perhaps I would pay it happily. But, for all I know, that extra $1 goes only to Candyrat, in which case the Amazon experience is better, so why not save the $1 as well?

There may be some other differences, but those generally cover the big points for me. Don’t get me wrong, there is nothing evil, or even wrong with Candyrat, but they don’t get it, quite like Magnatune does.

As for artists, I’m in love with the Candyrat acoustic guitarists, of whom they have a number of superstars! Since discovering Don Ross on January 2nd, I have bothered to look more closely at Candyrat, and have purchased one album by Peter Ciluzzi, one by Craig D’Andrea, and two by Antoine Dufour. All of them are spectacular, and all have amazing YouTube videos available. I have linked one to each of their names, but you should check them all out, and then buy their music (I bought mine on Amazon.com, not Candyrat.com).

In addition to the above, Candyrat also represents Kaki King, who I’ve written about before. I bought two of her CDs from Amazon as well, and a third is available on Candyrat, which I may buy in the future.

So, I’ve supported Candyrat and their artists quite a bit lately. I’ve purchased two more Don Ross CDs from Amazon, the Don Ross and Andy McKee one from Candyrat directly, the two Kaki King, the three Andy McKee, and the four mentioned above (Peter, Craig and Antoine), for a total of 12 CDs in a short period of time.

I know this is crazy long already, but I need to add one more story to the mix. When the Don Ross and Andy McKee album was announced, a quick search showed that they were touring together. I was really excited to see them. Unfortunately, they are touring in Hawaii and the West Coast only (for the time being). I mentioned to Rob Page that I really wanted to see Andy McKee live, and he said that he too had looked at his site and couldn’t find anything on the East Coast.

When I went to either Don Ross’ or Andy McKee’s MySpace page (I can’t remember which), I noticed that the top friends linked were all Candyrat artists. I think it’s really cool that they support each other so well, and it’s one of the benefits of the label I guess. That’s how I first discovered Craig D’Andrea. Then, on his MySpace page, I saw that he was playing in NYC on February 17th at the Canal Room.

When I clicked over to their calendar, I saw that Andy McKee was headlining that show, and Craig was the second guy listed. The third guy listed was Antoine Dufour. By the end of the day, I had tickets to see the three of them (I can’t wait for Feb 17th!), and had bought Craig’s CD and both of Antoine’s. I love them all, but even though Antoine is listed third on the bill, I may actually be most impressed with him. I’m listening to him on iTunes now as I type this post. πŸ˜‰

Whew. Another mega-post, sorry, but I had to get this all out of my head, and I finally did. πŸ™‚

Acoustic Guitar Update

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This is another long post, so bail now, while you can, or grab a cup of coffee (to keep you awake). πŸ˜‰ Actually, the post itself isn’t insanely long, but if you watch each of the videos that I’ve linked it, the entire trip will take a while…

I’ve gone on and on in a number of posts about my long-time love for acoustic guitar music, and my recent discovery of some masters of the genre. I could link to those posts, but if you have an interest, it’s simple enough to type the word “acoustic” in the search box and see the titles and decide for yourself.

This post has been rattling around in my head for over a week, begging to be set free. I was waiting for one of two things to happen before writing it. Neither has happened, but a third (unexpected) event occurred last night, finally pushing me over the edge to get this on paper. πŸ˜‰

This new adventure was officially kicked off when I saw Bill Cooley live accompanying Kathy Mattea. I wrote that he might be the best acoustic guitarist I’d ever heard. Eric Sink commented that those were fighting words (not really!) πŸ˜‰ and pointed me to Phil Keaggy. When I reviewed The Master and The Musician by Phil Keaggy, Eric commented that I should check out Michael Hedges and possibly (only if I dare!) Kaki King.

Like I’ve said before, anyone who doesn’t pay attention when Eric Sink speaks is likely a dummy. I try hard not to be a dummy (not always successful), so I checked both of them out. What, exactly, does that mean?

When I was growing up, one discovered music mostly on the radio. Word of mouth was probably second, but then the circle of mouths was relatively small. Third was TV, with shows like Ed Sullivan showcasing some musical group every week. All of that is different today. I’ve had a specific post about Pandora and Last.fm rattling around in my head for months now, and I’ll birth that sometime in the next few weeks (and therefore ignore it for now).

Today, with the Internet (you’ve heard of it, right?), one can purposely or accidentally discover music to the extent that one cares, with extremely little effort and time invested, with little risk of purchasing music that will eventually disappoint. There are probably hundreds, if not thousands of sites to listen to music on, but for me, the two juiciest targets are MySpace and YouTube.

An incredible number of bands have MySpace pages, with the vast majority of those offering at least four songs for immediate streaming. If someone mentions a band to you, see if they are on MySpace, and check out whether you like their music or not. For my personal quintessential example (no surprise to anyone who has visited here before), I learned in 30 seconds that I would love Girlyman from their MySpace page.

All that said, lately, I am much more hooked on YouTube. It has boggled my mind how many clips (many of them of reasonabe quality) are available for an amazing number of artists. Since I love live music, YouTube gives much more of a feel of the performance in addition to just the music. With some of the incredible styles that today’s acoustic guitarists have, the video is much more powerful (to me) than just listening to the music.

So, after watching quite a number of YouTube videos (I’ll link at least one to each artist’s name in the coming paragraphs), I have purchased a bunch of new albums, mostly downloaded on Amazon’s MP3 service, with the rest on real CDs.

Following Eric’s advice, I ordered two Michael Hedges CDs. He’s not available for download on Amazon πŸ™ so I have to wait for them to show up. Since his CDs haven’t shown up yet, he was one of the reasons that I was waiting on this post.

Also following Eric’s advice, I checked out Kaki King. He was correct, as some of her stuff is out there. Still, even that stuff, when seen, is amazing. The rest of her music is gorgeous. I downloaded both of her albums that were available on Amazon. I can’t tell you how hard it was to boil her down to two videos for this paragraph. The selection is very broad, and most of them are truly entertaining. Check her out!

Bill Cooley himself (yes, he’s kind enough to respond when I email him!) suggested that I check out Phil Keaggy’s Beyond Nature CD. It wasn’t available for download at Amazon (though many others are, including Acoustic Sketches, which I’ve downloaded and really enjoy). I had intended to purchase Free Hand – Acoustic Sketches II from Amazon, but on PhilKeaggy.com they had a special bundle.

Three CD’s, Beyond Nature, Acoustic Sketches, and Free Hand – Acoustic Sketches II, for a very good price. Unfortunately, I already bought Acoustic Sketches. I bought the bundle anyway, since Beyond Nature was only available on that site, and the price was great, and I’ll give Acoustic Sketches as a gift to some lucky person! πŸ™‚ They haven’t arrived yet, so I can’t review Beyond Nature. That was reason number two for holding off on this post…

On Phil’s site, they mentioned that Beyond Nature was ranked #3 on the DigitalDreamDoor list of the 100 Greatest Acoustic Guitar Albums. In addition, Acoustic Sketches and Freehand are both in the top 100 as well (hence, their idea for the bundle!).

On that list, in number one is Aerial Boundaries by Michael Hedges. Cool, it’s one of the two of his that I ordered. Number two is 6 & 12 String Guitar by Leo Kottke. I remembered at that moment that I had a CD of his that I hadn’t listened to in 20 years, and hadn’t ripped on to my iPod. I ran downstairs and found it immediately (my CDs are filed alphabetically), it’s called Guitar Music from 1981, and it’s fantastic. I also downloaded 6 & 12 String Guitar from Amazon. Also fantastic!

So, while I owned Leo Kottke already, without the list at DigitalDreamDoor, I wouldn’t have looked for it. I then noticed that the guy in number five, Adrian Legg, had three other top 100 albums listed. I bought two of his albums on Amazon Downloads as well.

What prompted me to finally write this post when I’m still waiting for the Michael Hedges and Phil Keaggy CDs? Yesterday evening, Rob Page (CEO of Zope Corporation, the portfolio company that I spend the majority of my time with/on) IM’ed me this video of Andy Mckee. It’s the first time he’s recommended any music to me, so, to humor him, I bought all three of Andy Mckee’s albums that were available on Amazon Downloads. πŸ˜‰

I wasn’t a very careful consumer though. While I think Andy is wonderful, there are four songs that are on both his Art Of Motion and Dreamcatcher albums, so I now own two copies of each of those…

Whew, I think that’s most of what’s been screaming in my head on this topic. One last thing though. I need to contact Bill Cooley one last time in 2007, and ask him (or beg him) to put his music up for sale at Amazon.com, and iTunes as well. It’s very hard to promote him to others when it’s difficult to buy his stuff online. At the very least, his new album (coming sometime in 2008) better be available for download! Now, if I could twist his arm to put up a YouTube video or two… πŸ˜‰