His third album in as many years to tackle the classic U.S. sounds of the '60s, California: Americana, Vol. 3 sees Canadian-Acadian vocalist Roch Voisine abandon the old-school rock & roll and Nashville country of its predecessors in favor of nine of the flower power movement's defining folk-pop hits. Recorded in California itself, the 2010 installment of the successful series pays homage to the state's musical heritage, with faithful performances of the Byrds' Book of Ecclesiastes-inspired "Turn! Turn! Turn! (To Everything There Is a Season)," Crosby, Stills & Nash's "Southern Cross," and the Monkees' Neil Diamond-penned "I'm a Believer," alongside both English and bilingual versions of Scott McKenzie's "San Francisco" and the Mamas & the Papas' "California Dreamin'."
I'll Always Be There is a 1993 English language album by Canadian singer Roch Voisine. It includes his successful hit single I'll Always Be There and an English-language version of his earlier French language hit La légende Oochigeas found on his Europe Tour live album.Joseph Armand Roch Voisine, OC better known as Roch Voisine, (born March 26, 1963 in Edmundston, New Brunswick) is a Canadian Acadian singer-songwriter, actor, and radio and television host who lives in Montreal, Quebec and Paris, France. He writes and performs material in both English and French. He won the Juno Award for Male Vocalist of the Year in 1994. In 1997 he was made an Officer of the Order of Canada.
The shear breadth and diversity of artists gathered for this benefit project, Sweet Relief: A Benefit for Victoria Williams, is a tribute to the affection Victoria Williams' peers had for her. It conveniently also makes for heady listening for any fan of contemporary music. The hard, brittle edges of Soul Asylum ("Summer of Drugs") and Buffalo Tom ("Merry Go Round") stand shoulder to shoulder with the country-folk of Lucinda Williams ("Main Road") and Maria McKee (an inspired and riveting "Opelousas (Sweet Relief)"). Sweet Relief offers a unique opportunity to introduce yourself to an enduring songwriter while savoring some of the day's most intriguing musicians. How sweet it is!
Oysterband's Trawler is a compilation of favorites from the group's previous seven albums, only newly recorded by the present lineup. Essentially, it's like a "covers" album of The Oysterband covering itself. Long one of Britain's prime synthesists of Celtic and rock, and a thorn in the side of purists everywhere, Trawler takes the group's material one step further away from tradition. Hal-An-Tow is a possessed whirligig of sounds; Oxford Girl reconfirms itself as the group's most memorable melody. One has to admit to slight unease with the "rewriting history" aspect of this re-recording, and a compilation of the original versions would have been far more comfortable.
Cast's All Change serves as the perfect antidote to the inner rage fueling much American alternative rock – it would be hard to imagine a more gloriously upbeat backbeat of a guitar pop record, one that appeals to the eternal adolescent in each of us. The group's pedigree derives from good stock, founder John Power having served time with another fine Mersey combo the La's. But Cast transcends the hackneyed expectations of its environment, structure, and genetics through sheer, relentless quality of songcraft and performance. No sooner has one wide-eyed, hook-infested injection stormed the synapses demanding total capitulation than another of equal potency lines up to take its place. Cast vocals recall Small Faces-era Steve Marriott fused, in places, to Suede's Brett Anderson. There's a soft-psych feel to several tracks (try "Sandstorm") that calls to mind "Pictures of Matchstick Men"-era Status Quo; Cast has clearly assimilated several volumes of Bam Caruso's Rubble and A.I.P.'s Electric Sugarcube Flashbacks series, without sacrificing its power-Mod backbone.
This final LOiseau-Lyre set presents some of the most significant Medieval & Renaissance albums recorded by one of the most authoritative Early Music labels.