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Rat A Tat Tat took shape in a dilapitated garage in Toronto's East End (owned by Carlin Nicholson of Zeus) during the summer of 2009. In this comfy hole in the wall, surrounded by clutter of vintage instruments and recording gear held together with shoe laces, gaffer tape and indefatigable optimism, Collett worked with the duo of Carlin Nicholson and Michael O'Brien.

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With his debut, I'm a Stranger Too!, Chris Smither had already proven himself to be a rare combination — a Cambridge folkie with roots in New Orleans, a great writer who knows when to look elsewhere for material, a masterful guitarist who understands simplicity and a powerful singer with restraint. Released in 1972, Don't It Drag On continues this mix and is every bit as good as its predecessor, maybe better.

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Mary Black's newest album continues in a subtle, understated vein that follows the spirit of its predecessor, The Holy Ground. There are no bloated arrangements or exaggerated vocal mannerisms to deliver an immediate rush. Instead, its emotional content and musical elegance drift slowly into your blood-stream, intoxicating you without making you aware that you're under their influence. That's not saying, of course, that the record lacks vitality or life. The first track clearly shows otherwise. The Circus is one of Noel Brazil's exquisitely lyrical songs rendered with the enthusiasm that reinforces my belief that Mary has a particularly strong affinity with this writer's work. Although it's a classic tale of love gone wrong her performance isn't world-weary or maudlin. It certainly leaves you feeling far happier than the song's abandoned subject.

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Neil Young's second solo album, released only four months after his first, was nearly a total rejection of that polished effort. Though a couple of songs, "Round Round (It Won't Be Long)" and "The Losing End (When You're On)," shared that album's country-folk style, they were altogether livelier and more assured. The difference was that, while Neil Young was a solo effort, Everybody Knows This Is Nowhere marked the beginning of Young's recording association with Crazy Horse, the trio of Danny Whitten (guitar), Ralph Molina (drums), and Billy Talbot (bass) that Young had drawn from the struggling local Los Angeles group the Rockets. With them, Young quickly cut a set of loose, guitar-heavy rock songs — "Cinnamon Girl," "Down by the River," and "Cowgirl in the Sand" — that redefined him as a rock & roll artist. The songs were deliberately underwritten and sketchy as compositions, their lyrics more suggestive than complete, but that made them useful as frames on which to hang the extended improvisations ("River" and "Cowgirl" were each in the nine-to-ten-minute range) Young played with Crazy Horse and to reflect the ominous tone of his singing...

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С группой Хуун Хуур Ту, надеюсь уже познакомились, тогда для разнообразия сегодня еще один тувинский коллектив играющий и использующий хоомей. Группа Ят-Ха (Yat-Kha) c ее бессменным лидером Альбертом Кувезиным. Ят-Ха это группа выступающая в жанре рок с элементами хоомея, или наоборот - хоомей в роковых интерпретациях.
Yat-Kha is a band from Tuva, led by vocalist/guitarist Albert Kuvezin. Their music is a mixture of Tuvan traditional music and rock, featuring Kuvezin's distinctive kargyraa throat singing style, the kanzat kargyraa.

No Frontiers is a music album by Irish singer Mary Black. This ground-breaking album assured Black's status as one of Ireland's most respected artists in Europe and also in the US, where the release of the album greatly increased her popularity. It went straight to the top of the Irish album chart and remained there for numerous weeks. No Frontiers remains as one of the biggest-selling albums in Irish history and has helped to define an era in Irish music. --Wikipedia

Mary Black (born 22 May 1955, in Dublin) is an Irish singer. She is well-known as an interpreter of both folk and contemporary material which has made her a major recording artist in her native Ireland, and in many other parts of the world.

This was the album that heralded Mary's transition from singing purely traditional and roots-based songs to tackling a broader range of material. A variety of fresh influences started to colour the songs she chose and the way she performed them. It was also the first time that she recorded with what she now calls her big sound, the full electric-acoustic band that backs her on tour and in the studio.

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Sophie Zelmani recorded her debut self-titled album with Sony in 1995. The album was produced and arranged by Lars Halapi (co-produced by Patrik Sventelius), who also played guitar. She described the process of making the album: "In the beginning Lars and I spent a few months in the studio. We had fun and then picked the musicians. We recorded in two weeks but the whole thing took half a year." By 1997, Zelmani's debut album had sold 200,000 copies in Europe and Asia Pacific, before moving to the US market, distributed by Columbia Records.

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