Ragtime Music

I initially heard one cut "Sacred Ground" on a local NPR station at the end of a long day on the road. Even after 400+ miles "Sacred Ground" had me tapping my steering wheel and wanting to play the cut multiple times to pin down the words.

The album carries on the joys of "Sacred Ground" - simple and direct lyrics, a raw voice with great musicality, acoustical bass and drums supporting an electric guitar, traditional blues with syncopation,... What Mooney does best is carry on a blues tradition while innovating within its constraints.

My only complaint is the similarity between several of the cuts - as creative an artist as John Mooney could surely modify his sound sufficently to give a distinctive touch to each song.

Mooney's voice is unforgettable. If you've heard him once, you'll always recognize him no matter what he's playing. And play he does!!! "Sacred Ground" and "Broken Mold" are raucus toe-tappers. Don't confuse his style on "Sideways in Paradise" (with Thackery) with this album. This one's much more raw and aggresive. Great Job!!!

First a declaration of bias - I am a big John Mooney fan - all the way back to when I first heard his "Late Last Night" album in the 80's.

Of all his albums this remains my favorite (others are "Dealing with the Devil", and of course the one that started it all "Late Last Night")

This first came out on the House of Blues label (that edition may have become something of a collectible) - fortunately it is still available albeit sparsely on the (German) Ruf label.

Although Mooney has a had a long been influenced by New Orleans sound, this is the first album where I think he's managed the full integration/amalgamation between his original major Son House Delta Blues influence and New Orleans.

The sound on this album is full - yet mostly it's just him and a drummer (some tracks add bass and/or congas) - the minimal additional instrumentation enhances the overall sound - yet manages to put focus on the vocal and guitar playing. "Broken Mold" has a great New Orleans second-line rhythm that really makes the song over his live solo performances - great as those are.

The strength of this album is the selection of songs, there's not a weak one among them, and their sequencing - where each song in turn seems just right, and makes the listening an exhilerating pleasure from start to finish.

A very worthwhile album - if you like John Mooney - you should have this album -
and at some of the prices on Amazon MarketPlace there is almost no excuse......

I have been listening to and collecting blues recordings since c. 1970 and I believe that this album is without question one of a handful of truly GREAT blues albums recorded in the modern era. Mooney's distinctive style -- a blend of intense, sharp-edged Delta blues with the syncopated second-line rhythms of New Orleans -- is at its apex on this release. And the minimalist backing (just bass & drums on most cuts) lets Mooney's guitar and vocals exert their powerful spell on you. The songs cut to the bone. This is one of those albums of which it can truly be said, "If you don't like it, then buddy you just don't like blues."

John Mooney has been recording, innovating and evolving his unique style of acoustic and electric blues for 20 years. Never satisfied with simple imatation, he always creates. This album is no exception.

John has developed and mastered an electric delta rooted guitar style then blended it with New Orleans syncopated rhythms to create a brew that is simultaneously soulfull and energizing.

There is little innovation in blues today that is keeping its heart and soul. John Mooney is an exception. He penned 9 of the 10 songs on this record an not one of them is a mere aping of some one else's style - yet they convey all of the human spirit and emotion of the masters before him.

John is an artist with both talent and creativity!

I initially heard one cut "Sacred Ground" on a local NPR station at the end of a long day on the road. Even after 400+ miles "Sacred Ground" had me tapping my steering wheel and wanting to play the cut multiple times to pin down the words.

The album carries on the joys of "Sacred Ground" - simple and direct lyrics, a raw voice with great musicality, acoustical bass and drums supporting an electric guitar, traditional blues with syncopation,... What Mooney does best is carry on a blues tradition while innovating within its constraints.

My only complaint is the similarity between several of the cuts - as creative an artist as John Mooney could surely modify his sound sufficently to give a distinctive touch to each song.

Mooney's voice is unforgettable. If you've heard him once, you'll always recognize him no matter what he's playing. And play he does!!! "Sacred Ground" and "Broken Mold" are raucus toe-tappers. Don't confuse his style on "Sideways in Paradise" (with Thackery) with this album. This one's much more raw and aggresive. Great Job!!!

First a declaration of bias - I am a big John Mooney fan - all the way back to when I first heard his "Late Last Night" album in the 80's.

Of all his albums this remains my favorite (others are "Dealing with the Devil", and of course the one that started it all "Late Last Night")

This first came out on the House of Blues label (that edition may have become something of a collectible) - fortunately it is still available albeit sparsely on the (German) Ruf label.

Although Mooney has a had a long been influenced by New Orleans sound, this is the first album where I think he's managed the full integration/amalgamation between his original major Son House Delta Blues influence and New Orleans.

The sound on this album is full - yet mostly it's just him and a drummer (some tracks add bass and/or congas) - the minimal additional instrumentation enhances the overall sound - yet manages to put focus on the vocal and guitar playing. "Broken Mold" has a great New Orleans second-line rhythm that really makes the song over his live solo performances - great as those are.

The strength of this album is the selection of songs, there's not a weak one among them, and their sequencing - where each song in turn seems just right, and makes the listening an exhilerating pleasure from start to finish.

A very worthwhile album - if you like John Mooney - you should have this album -
and at some of the prices on Amazon MarketPlace there is almost no excuse......

I have been listening to and collecting blues recordings since c. 1970 and I believe that this album is without question one of a handful of truly GREAT blues albums recorded in the modern era. Mooney's distinctive style -- a blend of intense, sharp-edged Delta blues with the syncopated second-line rhythms of New Orleans -- is at its apex on this release. And the minimalist backing (just bass & drums on most cuts) lets Mooney's guitar and vocals exert their powerful spell on you. The songs cut to the bone. This is one of those albums of which it can truly be said, "If you don't like it, then buddy you just don't like blues."

John Mooney has been recording, innovating and evolving his unique style of acoustic and electric blues for 20 years. Never satisfied with simple imatation, he always creates. This album is no exception.

John has developed and mastered an electric delta rooted guitar style then blended it with New Orleans syncopated rhythms to create a brew that is simultaneously soulfull and energizing.

There is little innovation in blues today that is keeping its heart and soul. John Mooney is an exception. He penned 9 of the 10 songs on this record an not one of them is a mere aping of some one else's style - yet they convey all of the human spirit and emotion of the masters before him.

John is an artist with both talent and creativity!

One of the best band organ CDs I've found -- great selection of songs and the sound quality is just right. Close your eyes and you can picture yourself riding on your favorite carousel of your childhood!

This is the perfect antidote for the blues! It is absolutely impossible to feel down once you begin listening to this CD! I use it to give me a lift whenever I need it. I DARE you to not giggle with glee upon pressing the "play" button! If you have fond remembrances of carousel music as a child, you will get goosebumps and feel warm and fuzzy all at once when you listen to this! Why take anti-depressant drugs when you can cure the blahs quickly and naturally with this CD? An exceptionally clear recording, I bumped it down to four stars ONLY because I liked the musical selection slightly better on their follow-up album, "Catch Another Brass Ring."

Play this CD on a system in another room, at low volume, for that ineffable feeling that there's a tumble-down old-fashioned trolley park just over the next hill.

It's a toughie reviewing this album - I don't know quite how to rate it for the everyday listener, seeing as how band organ music is definitely an acquired taste. However, that said, if you happen to be a band organ nut, you're in for a treat with this CD. It's about as good as it gets.

Kudos to Klavier records for making a recording of this wonderful Wurlitzer 165 band organ - it sounds like a dream, and has transferred relatively well to CD format. My only complaint is that the glockenspiel sounds rather abrasive, and gets really grating when recorded onto a cassette tape. Otherwise, the album is pristine.

The tunes featured are all classic band organ offerings, and the rolls used are in splendid shape. The organ's mechanism performs beautifully - whatever "prominent Midwestern collection", as the liner notes read, it comes from is taking very good care of it.

Basically, this, alongside its sister album "Catch Another Brass Ring", stands as an ideal representation of what a Wurlitzer 165 should sound like. Band organ lovers will adore it. The average Joe? Hard to say...but it's certainly worth a try.

This is the real thing,not some [poor],boring pipe organ imitation.You'll feel like you're really at the fair again when you listen to this CD!

While this only has a small portion of The Firebird, it has an excellent collection of Stravinsky music. Stravinsky was one of the greatest composers and this CD has a good wide variety of selections.

Maybe the first handbell recording to combine exquisite sonic fidelity, incredible repertoire, solid technical playing, and amazing unity of ensemble. If you've only heard Segovia, Bream, or Williams play "Leyenda," you're in for a treat! The overall program is varied, featuring spirituals and folksongs; highlights are the haunting "Nocturne," two final two scenes from Copland's "Rodeo," and of course "Leyenda." The readings on this disc give justification to the rising wave of handbell ringing sweeping the country.

If you think handbells can only play Christmas music, think again.

This CD has such a variety of material that both the newcomer to handbells and experienced ringers will enjoy it. It also will intrigue any classical music lover. Some selections are arrangements for handbells, and some are original works for handbells. Familiar works take on a fresh new face when played on handbells, and the original works showcase the unique tonal qualities of the bells. It's amazing to think that only a handful of people are juggling 55 or so bells to make the music happen. It's also remarkable the range of color and voice that can come from what is essentially one large instrument.

I highly recommend this recording for any listener.