The Tallest Man on Earth is Sweden’s Kristian Matsson.
“1904” is, according to Rock Cellar Magazine, about “a year that ‘shook the world’, with an earthquake in Sweden and Norway, the beginning of the construction of the Panama Canal, and the start of the Russo-Japanese War.”
Glasgow, Scotland’s Alastair Ian Stewart (if all that’s not redundant) has been around as long as the Rolling Stones, whom he actually opened for in 1963, and has quietly built a career as one of the more singular singer-songwriters out there. Truly one artist whose influences are almost impossible to pin down, Stewart’s style forsook convention in many ways: songs with lengthy running times, using the f-word in a ballad, historical and seafaring themes, and a lyrical style rich with detailed imagery. His songs were almost word-paintings, often not built around a hook, but written as narratives that required a little patience of a listener.
“Merlin’s Time” which dates from the tail-end of Stewart’s run of U.S. chart success, finds him in atmospheric reverie of ancient England’s “kingdom lost to time”.
Manchester, England’s Ocean Colour Scene’s reverence for and devotion to the tradition sounds of classic rock, praised by such luminaries as Noel Gallagher and Paul Weller, shines through immediately on this song’s 30-second intro, which is certain to evoke the feel of music of decades ago, if not any particular song.
From their third album and major label debut Infinite Arms, which saw the band revamping the lineup (with only one member remaining from their first album) and sharing composing duties among all five members.
They tap the laid-back countrified vibe and sweet harmonies of Gram Parsons here.
Alison Krauss/Jerry Douglas: “I Don’t Believe You’ve Met My Baby” (1992)
Simply a beautiful rendition of an old chestnut made popular by the Louvin Brothers and others. This song brings to mind Bread’s early 70’s pop hit “Diary” for reasons that become obvious as you listen. And it is worthy of a listen. Nobody does this type of material better than Alison Krauss.
The song originally appeared on Jerry Douglas’ 1992 Slide Rule album. Then Krauss included it, along with several other stray side-project songs, on her 1995 Now That I’ve Found You compilation, which may be the most successful Bluegrass album of all time. It actually reached #13 on the U.S. pop charts, and was certified double platinum.