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4 of 4 people found the following review helpful:
5.0 out of 5 stars
The Must-Have Kottke Album, June 30, 2001
This is an album you'll treasure for thirty years -- I know I have. I agree with Kottke that his vocals are, well, regrettable. But mainly because they obscure his guiar playing on the non-instrumental tracks. The liner notes are another attraction.Ice Miner may be the most beautiful guitar solo you'll ever hear. Cripple Creek is dazzling. In many of his later albums he could no longer play in quite the same way because of the pain in his hands (his style is explosive, and over time wore out his fingers' strength). Mudlark is the best Kottke album, ever.
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3 of 3 people found the following review helpful:
5.0 out of 5 stars
His best, January 15, 1999
By A Customer
Intersted in Leo Kottke, but you don't know where to start? Well, if it's quirky John Fahey-like guitar instrumentals you want, try with 6 and 12 String Guitar. If you're interested in a broader, more eclectic song selection, and Kottke's unique vocal style, this is the one. It's one of my all-time favorites. His version of "Eight Miles High" is killer, maybe even better than the Byrds' (and that comes from a serious Byrds fan). A truly unique talent.
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2 of 2 people found the following review helpful:
5.0 out of 5 stars
Perhaps his best overall performance--with a blink or two, February 18, 2007
Leo really outdoes his virtuosity here, and there's even room to smile at the few songs with vocals (exceptions allowed for taste with the guest appearance on "Monkey Lust"). Melodically, with "Stealing," this may be his best: one of the most gorgeous songs ever tried throughout Kottke's career; (although truly taken from several sources) it keeps blooming each time it's played. (Hint: on hard-to-find shows from the 70s via collectors, he burned through that on a sizzling 12-string medley that starts with "Last Steam Engine Train.")
Instrumentally, Kottke and mates (among others, a nifty job by either Paul Lagos or Kenny Buttrey on drums) have left as testimony 14 nifty tracks with variety: quick-step dancing jollity and old-fashioned appeal ("Cripple Creek"), humorous bursts of male hormonal desire ("Bumblebee" and "Standing in My Shoes"), and even some J.S. Bach ("Bouree"). Kottke's urge for the bizarre-yet-appealing gets two fine slide features with "June Bug" and even better, a retooled "Machine #2," which shows how much more a song can do with the right percussion backing.
Bukka White (and John Fahey) have their roots (and fingers) in the design of "Poor Boy," but Leo's vocals and lyrics undo whatever magic "Lullaby" is supposed to make. Leave some space for "Room 8" to justify Kottke's serious treatment, because he's back again to sing "hear the Wind Howl," which may be more appropriately called "Hear {Leo} howl."
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