Try Me One More Time

Product Description Our product to treat is a regular product. There is not the imitation. From Japan by the surface mail because is sent out, take it until arrival as 7-14 day. Thank you for you seeing it. Amazon.com Though the esteemed guitarist hasn't released an album since 1990--leaving his career as a recording and touring musician to study violinmaking--David Bromberg's feel for folk and blues tradition and his encyclopedic command of it remain undiminished. This is a back-to-basics affair, just vocals and guitar, as Bromberg puts his own stamp on material from seminal influences such as the Rev. Gary Davis ("I Belong to the Band," "Trying to Get Home") and Bob Dylan ("It Takes a Lot to Laugh, It Takes a Train to Cry"), one of the many recording artists who employed Bromberg as a sideman. Though the tricky time shifts of "Buck Dancer's Choice" show his dexterity, there isn't much showoff guitar here (and no guitar at all on the a cappella "Moonshiner" and "Lonesome Roving Wolves"). He's singing better than ever, from the falsetto on Robert Johnson's "Kind Hearted Blues" to the expressiveness of his own title track, as he sounds more than ever like one of the masters he began by trying to emulate. Accompanying the CD are notes from Bromberg that provide extensive annotation on the selection of material. --Don McLeese Review ". . . A delight . . . Full of warmth, wit and hot licks. . . . Full of life." -- Associated Press, March 1, 2007 ". . . A flawless set of solo country blues performances . . . a jaw-dropping tour de force." -- San Francisco Chronicle, February 26, 2007 ". . . Delightful . . . The fluid, orchestral invention of Bromberg's fingerpicking . . . is in undiminished bloom, invigorating sturdy old blues and ballads . . ." -- Rolling Stone, March 8, 2007 "A master . . . Bromberg made this album to enjoy, not to impress. . . . it accomplishes both. (3/1-2 stars out of 4)" -- USA Today, February 27, 2007 "Bromberg's guitar playing is as agile as ever, and his song choices are astute . . . relevant, funny and moving . . ." -- Chicago Tribune, January 18, 2007 About the Artist He's played with everyone, he's toured everywhere, he can lead a raucous big band or hold an audience silent with a solo acoustic blues. Here's the story of David Bromberg, or at least some of it . . . Born in Philadelphia and raised in Tarrytown, NY, Bromberg listened to rock 'n' roll as a kid and whatever else was on the radio. He discovered Pete Seeger and The Weavers and, through them, Reverend Gary Davis. Next came the music of Big Bill Broonzy, Muddy Waters, and Chicago blues. Bromberg also started exploring the bluegrass of Flatt and Scruggs, Bill Monroe and Doc Watson. He began studying guitar-playing when he was 13 and eventually enrolled in Columbia University as a musicology major. The call of the Greenwich Village folk scene in the mid-'60s drew David to the downtown clubs and coffeehouses, where he could watch and learn from the best performers, including primary sources such as his inspiration and teacher, the Reverend Gary Davis. Bromberg's sensitive, versatile approach to guitar-playing earned him jobs playing the Village "basket houses" for tips, the occasional paying gig, and lots of employment as a backing musician for Tom Paxton, Jerry Jeff Walker and Rosalie Sorrels, among others. He became a first-call, "hired gun" guitarist for recording sessions, ultimately playing on hundreds of records by artists including Bob Dylan ("New Morning," "Self Portrait," "Dylan"), Link Wray, The Eagles, Ringo Starr, Willie Nelson, and Carly Simon. A wildly successful solo spot at the 1970 Isle of Wight Festival led to a solo deal with Columbia Records, for whom David recorded four albums. His eponymous 1971 debut included the mock-anguished "Suffer to Sing the Blues," a Bromberg original that became an FM radio staple, and also "The Holdup," a songwriting collaboration with former Beatle George Harrison, who played