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Views Read Edit View history. If the melodies were more appealing, I might even like a few of these songs, but then "Laughing With" reminds me that you shouldn't write a pop song about God unless it's as good as XTC's "Dear God. It has all their strengths and weaknesses: a fine rhythm section, slide guitar, sloppiness, tossed-off boogie beside brilliant songs, and the heavenly whirl of Ian McLagan's organ.
As with the later albums, the rockers take on greater edge by their juxtaposition with Ronnie Lane's thoughtful, tender ballads. The first, "Devotion," arranges the voices of Lane and Stewart in a way that suggests Lane is the real bandleader. He's also responsible for "Stone," which you might mistake for a folk song. Lane's nimble bass playing is also the key to "Three Button Hand Me Down," a jolly shaggy-dog tale about a suit. The point, of course, is that he's playing solo instead of, as normally, with a quartet.
He was battling with his record company and was honoring his contract without recording new material! All the same, it's one of my favorites: interpretations of his own compositions sit aside four standard tunes. Thus, Irving Berlins "Remember" is played as a sentimental parlor tune with splashes of "Chopsticks" and the occasional dissonance and disorienting filigree. His trademark choppiness is clearly a chosen effect, for there are many passages of rollicking boogie from his left hand and of delicacy from his right.
Then it won a Grammy. Nilsson used the sudden attention to cherry-pick tracks from his first two albums, remix them, alter the vocals, and construct this oddity. The two inset images on the cover are the cover images of those other albums. Nilsson's vocals are captivating, and his songwriting is often brilliant. All very classy. Seven seconds later, singer Kurt Wagner shatters it with profanity.
It may seem an odd analogy, but Wagner's music reminds me of Joseph Cornell's boxes of artfully arranged bric-a-brac. I don't' know what some of it is, or why it's important to him, and some of it is merely the garbage of everyday life, but the result is a delicate, haunting beauty.
The song "2B2" sounds like the words were assembled from random thoughts: about taking down the Christmas lights, watching television, dealing with insomnia. You know, life. The controlling idea is that, now that he qualifies for social security benefits and Medicare, he's re-recorded a set of songs he wrote and recorded decades ago. His voice is nearly as pure as it was when these tuneful, memorable songs were new. Most were major radio hits for other singers, including three songs he co-wrote with members of The Eagles.
Without exception, I prefer these new, stripped-down versions to the glossy "originals," especially "New Kid in Town. But for many people, that's not a recommendation! I bought Blood on the Tracks the day it was released, and love it dearly. Others may prefer this live gig at which Mary Lee Kortes and her band covered it in its entirety. It's flawed in following the original musical arrangements a bit too closely.
But it proves that the songs are great songs, and they work well when detached from Dylan's smothering persona. And I like the way she sings "Wabasha. To my American ears, the thickness of the English accents turns some of the vocals into wordless vocalese.
Rosa Slade and Katy Young co-wrote and sing eleven original songs and reworked the traditional "Green Grow the Rushes" , providing an extended meditation about the poisonous attraction of love. My second impression was that, like the band X, they wear their influences on their sleeves while subverting all the easy pleasure that they might have wrung out of their material. The sound is a kind of queasy folk-punk, with some heightened power from the contributions of drummer Olly Joyce. I find that piano sonatas work well as office music when I have work or which music with words would be too distracting.
As with many inexpensive European reissues, no information is given about the dates of these particular recordings, but the audio quality is high and the Badura-Skoda appears to be from his sonata cycle of Music aside, what's with the image on the cover? But then I think of Willa Cather stories about life on the plains and in the west in the 19th century, and what they played in their parlors. Two Canadians in California, their albums neatly captured multiple polarities in popular music.
She sought "roots" in African-American music, he in country music most of side one. Her primitivism came from sampling African drums, his from using players with limited chops and cranking up the volume. At times it's almost punk rock. Her lyrics are polished poems, while his generally follow the edict of "first thought, best thought.
When it was new, the sound of this record was thought difficult. In retrospect, I value it as a showcase for her voice. What's more, the continuities with Court and Spark stand out "Sweet Bird" could have come right off that earlier LP and "Centerpiece" extends her infatuation with jazz great Annie Ross.
The lead track "In France But I see that the "All Music" website contains multiple factual errors about the most experimental track, "The Jungle Line. Their self-titled debut seems to be out of print in the U. The most obvious point of comparison is Nick Cave, but I find that Stuart Staples is the better vocalist and songwriter.
Tindersticks has a rich sound: a baritone voice is buried within a post-punk sensibility that hides beauty behind shambling soundscapes. They're not afraid to merge string arrangements with the Velvet Underground. I can do without the instrumental "The Walt Blues," but "Blood" is a tremendously moving song.
That's also how their guitars are placed in the stereo separation of this almost-all-instrumental album. As there should be, there's chanting on "A Love Supreme. The theme is heavenly love, with congas. It's one of those records where it makes a difference how you classify it.
It's not jazz, so don't harp on the fact that they don't swing. But the guitars soar, and I'm not the first to say that Larry Young's organ work ties it all together. What the heck is the point of a "hidden" track of music buried on the end of the disc, ten minutes after the eleventh song has ended? It annoys me to wait for it, especially since it's a solid cover version of the Everly Brothers' hit, "The Price of Love.
I swear that some of these horn charts and drum tracks could have been sampled from s pop hits. This is one of those records where I still remember exactly where I was when I first heard it. I was in a record store, thinking about buying a David Bowie album, when the clerk put this on. It was the first I'd ever heard or heard of them. I was intrigued, but I bought the Bowie album anyway.
When I first heard it, twenty years ago, I mostly heard a vocalist who was too close to Kate Bush for comfort. Amos's subsequent career lets me hear her voice more clearly. Which is what this set of songs was always all about: having a voice, finding a way to be heard in a culture that doesn't want to hear some things. The "Adam" of the title isn't Biblical. He's the son of one of the performers. The music is generally placid, except for the second movement, where the string quartet is supplemented by percussion and electronic instruments.
This movement is about a physical location that carries both biographical and symbolic weight, yet musically I prefer the two surrounding movements. What I like best of all is the six-minute piano piece that functions as a coda. I also like its title "The Philosopher's Hand" , which again takes on an unexpected dimension when you read Riley's explanation.
Jangly pieces of steel, which about sums them up. One of my favorite albums of the s, but now I clearly see why they didn't last as a group. Once you get past the title song of this disc, there are four really great songs here, two of which became hits "Manic Monday" and "Walk Like an Egyptian".
But they wrote none of them. Their big hit record didn't make them much money with the songwriting royalties making Liam Sternberg rich and Prince even richer. So, for their next album, they made sure they wrote every last song, and the ratio of strong material plummeted. This selection of 16 tracks are from that period his first seven albums. I personally don't find a weak track here. It doesn't hurt that Nicky Hopkins, the great session pianist of that time, is present on a good deal of it.
I sat down on the top stair and listened right through side one and I was hooked. Let's get clear: this is a batch of introspective, wordy, piano-based songs by a narcissist who would have benefited from fewer literature courses and more philosophy. It could have been as dull as his first album, but it's redeemed by the extraordinary vocal harmonies and David Lindley's contributions on slide guitar and, on "For a Dancer," violin. To this day, the four songs of side one still seem like 22 perfect minutes.
Simon was washed up until this record brought him back, giving him hit records in four continuous decades. For my tastes, it doesn't need the zydeco number, but otherwise it's just about perfect, beginning with rhythms that set the stage for the description of a terrorist bombing in the opening verse of the opening song, "The Boy in the Bubble.
Yet it has its rabid admirers, so I finally got back to it. It takes a few listens, but now I get it. This forgotten group was, like Crosby Stills Nash, a home for refugees from other groups; their producer had worked with the Beatles, their pianist had worked extensively with the Rolling Stones, and all but one song was co-written by members Gallagher and Lyle, who'd go on to write major radio hits for others. The sound? A sophisticated pub rock, a lot like their contemporaries, Brinsley Schwarz, but with a knack for odd arrangements.
The trombone solo sounds like a passage from Steely Dan. It ends with "Sparrow," an absolutely gorgeous song and vocal performance. But this album was the perfect soundtrack when we found ourselves driving through the north country woods in the rain. If it weren't for the drug reference in the lyric to "Casey Jones," newcomers would never guess that the Dead were a highly experimental, psychedelic jam band.
We now call it roots music, but call it what you like, this set of 8 songs sounds more like Appalachia than San Francisco. Assuming there are wolves in Appalachia. Best of all, "Uncle John's Band" is lovely and, dare I say it, spiritual. The newly added tracks are keepers, as well. It certainly meanders. The title track is the only thing I don't like here. It really is about the topic of there being 50 words for snow in Inuit, but it's pompous and dull.
Detractors may find this low-key music dull anyway, but quiet is not the same as dull. Or are we about to start debating 50 words for lack of excitement? Elsewhere, there are two strong duets, one of them with Elton John, which was a delightful surprise when I finally looked at the credits and realized who was singing so soulfully with her. I admire her willingness to go her own way, fans be damned. At present, you can purchase exactly one CD by Valerie Carter at Amazon, and buy one album of music downloads.
This one? But then again, I play the copy that I keep in the car so often, it really is worth that much to me. In any case, Carter comes out of the 70s southern California music scene and has made a living as a high-profile back-up singer. Here, she offers 23 exquisite minutes of song interpretation, including the obscure Lowell George track that gives us the title. Neil Young is represented, so is Prince, and the two Blue Nile songs are heaven. It opens with a bass solo, and the first track, a Richard Rogers song, is basically a duet of bass and voice.
Although I love her voice, it's her playful phrasing and passages of scatting that seal the deal for me. By the time she gets to "Skylark," she's convinced me that Hoagy Carmichael is the greatest songwriter ever. Although I don't know who Fischer and Laine are, their "We'll Be Together" is a nice find, ending this ten song set with a simmering late-night ballad. Warner Bros. On the other hand, maybe it's what it sounds like: a tossed-together alcohol-fueled rave-up.
The original album was 20 tracks on a single LP, so you don't need this with bonus tracks. While there are some outstanding individual songs, the real impact is the cumulative power of the sound of it: I think of a roller rink in Memphis in , late on Saturday night, and the live combo has been hitting the bottle. I play it loud. It soothes, it grates, it amuses, it surprises.
I am delighted that, after thirty years, "O Superman" seems weirder, sharper, and more terrifying than it did when it was new. Rhythmically organized by a tape loop of the single syllable "ha," her electronically filtered voice alternates spoken platitudes and segments of singing, interspersed with bits of music that derive from Phillip Glass.
Even within familiar traditions, there are huge swaths of the repertoire that remain marginal. Or, more to the point, that become marginal with changes of fashion. We forget that the mandolin was once a common instrument. So common, in fact, that major composers wrote for it. While no one is likely to think that Beethoven's multiple compositions for mandolin are his most innovative work, they are fascinating for the glimpse they give into the broader musical culture of the time.
To make it all the better, it's what I've listened to while reading Theodor Adorno's attack on listening to "authentic" music. With the hits few and far between, he kept touring to adoring crowds. This set has him in great form, determined to demonstrate both sides of "Country and Western. For me, the best song is a dead-on version of "Sunday Morning Coming Down. You may know the voice from her appearance on the fourth Led Zeppelin LP. She really could sing.
At the same time, her admirers tend to overrate her talent. This three disc overview displays her strengths and weaknesses. About half of it was otherwise unreleased when it was assembled. There are two great revelations. One is that, as a writer, she had one great song, and it provides the collection's title. The other is that the quality of the music jumps tremendously whenever Richard Thompson is her musical partner.
And if that's how you think of Daryl Hall, this disc is quite a shock, so out of keeping with audience expectations that the record company refused to release it for three years. The opener, the title song, is a driving piece of rock and roll with odd lyrics. After that, we head down the rabbit hole, thanks to producer and guitarist Robert Fripp, fresh from his work on David Bowie's Heroes. From moment to moment on tracks 2 through 5, you don't know whether you'll get pop music, 's electronic experimentation, or a crazed guitar solo.
After that it's relatively straightforward, except that the songs and singing are uniformly great. The expanded edition adds 2 killer tracks Fripp put on his own solo album, Exposure , in There's the title, for a start: naming a commodity "for sale" drags critical theory into the record store. Next, there's the dualism of roughly equal numbers of covers and originals. Most of the covers date back to the s and come from their Hamburg stage set, heavy on the rockabilly, with some great George Harrison guitar work.
Some of the originals are stylistically close to this material, but there's also a handful of strikingly unique pop songs, among them the two openers, "No Reply" and "I'm a Loser. Her more recent record demonstrates real growth as both a singer and a songwriter -- so much so that I'll probably buy her next record as soon as it's released, something that I seldom do with anyone any longer.
Song for song, an amazing record with real variety in the arrangements and some stellar riffs. The lyrics have gotten more complex, reflecting her years as student of English literature yet they're never pretentious! The sea of the title, and of the gentle closing song, is time. It doesn't always heal. With Brady, you can easily imagine you're hearing a Regency era singer in a Dublin pub.
The song is a protest ballad that's shockingly current. The poor are recruited to fight the wars of imperial conquest, and the potential cannon fodder the narrator and his cousin Arthur protest with their only means: violence. The irony: it's Christmas morning. But in the end, it's the melody and the voice that matter here. The same holds for the rest of the record.
She's right, if you don't think of Irish music as "Danny Boy," drinking songs, or Clannad. Case in point: "Country Fair. And then I wanted to hear it again. Although the sound is predominantly acoustic, this LP is the last gasp of Morrison's great early band, the Caledonia Soul Orchestra with special kudos to David Hayes on bass. She sounds just like what Tina Turner wants to sound like, but rarely does. I'd love to hear her belting out "River Deep Mountain High.
Each Beatle gets a tune but all but John gets a post-Beatles song. But who would have predicted that the Moody Blues and The Who would come across so well, reshaped as soul music? In other places, minus the vocals, it's not all that far from Neil Young's work with Crazy Horse. I play it often, and I've come to think that the "war" of the title is the war between the sexes. Or, to borrow one of the song titles, it should be called "Love, and the Lack of It. Now I usually turn it off after the opening eight songs, after which it kind of drags.
Eleven songs, but only two originals. Not that you can always guess which are which. The John Lennon song is dull and strident, but perhaps that's the point: it makes it clear that this is a record about something. That's a peace sign on the cover, and it's a concept album about war, the military, and their true cost. Thanks to the unifying theme and their distinctive, unifying sound , it's their most cohesive record.
Singer Margo Timmins shines throughout. Petty yowls, the backing vocalists echo key lines, the guitars chime and howl, and the organ swells. Best of all, musical hooks abound. By comparison, a lot of Petty's more recent music is relatively formulaic.
Throughout much of this record, I'm delighted by a recurring musical strategy. It's like those cartoons where the coyote is moving fast, goes off a cliff and then hangs suspended in the air until he realizes he lacks support.
Then he falls. In these arrangements, the music will speed forward and then, suddenly, all sense of motion is momentarily suspended. And then it speeds on. Am I exaggerating when I assert that "Heart Like a Wheel" and " Talk to Me of Mendocino" are two of the most exquisite weddings of words and music that exist? I think not. Their music originates in minstrel songs, Stephen Foster, Charles Ives, French chanson, and blues, to which they add their singular harmonies and descriptions of the tangled webs of human relationships.
If you have any affinity for that music, this might just be your musical Nirvana. Coincidentally, I've had his debut album in the car, mainly to listen to its two great Bob Dylan covers and, above all, "Bye Bye Blackbird. When's he's in top form, as here, the slow and midtempo material is both unpredictable and intense. Avalon II, to be precise. I cannot say that the presence of Brian Eno makes a notable difference, but I attribute a couple of the better guitar solos to Pink Floyd's David Gilmour.
Of the eight new original songs, five are midtempo funk grooves and three are languid ballads. The lyrics are largely inconsequential, except to establish whether Ferry's voice should express lust or longing. To round things out he reaches back to the late s for two terrific covers, Tim Buckley "Song to the Siren" and a Capaldi- Winwood tune from Traffic's debut album.
In both cases he bests the originals. Notice that their faces are not seen in the cover photo. Their relative lack of "redneck" or "hick" accents made their bluegrass appealing to a folkie audience, as did their decision to treat non-traditional material just like the traditional stuff.
The other twist is that a dobro takes the place of the fiddle, so that their sound is often stripped-down and the high end never sounds cluttered. Steve Goodman's "City of New Orleans" is taken at a surprisingly fast tempo, and James Taylor's "Sweet Baby James" is, to my ear, superior to the source recording, thanks to the harmonies. Amy Winehouse, for starters. And she's something of a vocal chameleon. And then "Where I'm From" reminds you that she's just a country girl from Alabama. The guitars are less prominent than one might desire, and Jagger's singing is sometimes awkward, but I adore ten of the twelve songs here despite their overt misogyny.
Okay, "Back Street Girl" might be a critique of class-based misogyny. But I wouldn't swear to it. The true album title should be "Charlie Watts drums to 11songs about women and 1 about drug use. The rhythms of New Orleans permeate much of it, beginning with the title song, a reflection on morality and divine judgment.
God has background singers and speaks French! On first listen some of the songs seem so throw-away that they sound improvised, but the rhythmic timing and sly spoken asides are so brilliant that I suspect that every word was carefully selected. If you "get" him, you'll find that this record is one of the strongest in Newman's long career. If that appeals to you, you might join me in thinking that this disc redeems the late 70s. If that's an exaggeration, it's because the closing song isn't very good.
By the time they put this together, they got ambitious. What I admire here, besides the sense of craft, is that they make it sound as if all American song rap excepted springs from the same source -- Appalachia by way of Tin Pan Alley? The key source might be Dylan's "You Ain't Going Nowhere," a song often played by progressive bluegrass bands and which King Wilkie thinly rewrite as the splendid "Crazy Daisy," on which they sound remarkably like the Band. Most of the songs are taken at a slow pace, but "Angeline" is not far from Chuck Berry done acoustic listen for the instrumental break!
Garfunkel's voice is in top form here which is no longer the case, perhaps because, as the cover reveals, he spent too much time around secondhand smoke. Why the folksy misspelling, with not even an apostrophe? Still, this acoustic disc is his most consistent and listenable record. It helps that he's backed by some of the best players that money can rent, and Emmylou Harris adds her voice to these casual proceedings. All too often, his records are dominated by one or two very good songs three of which are prominently featured in the film Talladega Nights.
Still, it must be said that he tends to yowl and drawl beyond all need, and that he did not write any of the best four or five songs on this disc. But then again, those include a Beatles tune and a reggae classic.
Her appearances are the sorbet course in a French meal: palette cleansers. He contributes bitter, raging, and just plain weird material, and she provides four wonderful songs, including "Over and Over" and "Honey Hi," neither of which I tire of hearing. This is also a great sonic achievement, with great care taken in the sounds of the instruments, and for my money this is the best mix.
Don't bother with the expanded version. Of the recordings I have, I play this one the most. These are vocal pieces: real songs. I'm always puzzled by students who refer to every musical work as a song. Short patterns repeat endlessly, supplied by Glass's own ensemble and by the Kronos Quartet. If that's not descriptive enough, think of operatic lines over block-block-block of sound, intertwined with whirly-whirly-whirly bursts of sound.
There's lots of motion, but not much sense of a journey. I haven't tried it in this context, but I think it would be the perfect soundtrack for a long car drive through endless cookie-cutter suburbs. Among the vocalists, Linda Ronstadt shines. Assembled on one disc, it's a wonderful, incoherent mess. There's some stuff from the early years with Fairport Convention including a languid "cover of the Byrds' song, "Ballad of Easy Rider" , some of the best Linda Thompson performances ever, and two epic guitar work-outs "Calvary Cross" and "Night Comes In".
For those who think he can't sing, half the songs have other vocalists. Just for fun, there are traditional jigs done as guitar tunes. Me, I like the doom and gloom, and I think he's a great singer. This year, I decided to give the Roches a rest and pulled this gem from the pile. Ironically, given that he's a "singer-songwriter," Taylor has written only a handful of really memorable songs, but he's turned out to be a remarkable interpreter of the songs of others.
In this case, his version of "Baby, It's Cold Outside" ranks with the best of them. His duet partner is Natalie Cole, and their exchanges are both relaxed and sultry. Cole's presence is a clue that the music is closer to "lite jazz" than folk or rock, due to Grusin's presence as pianist and arranger.
These piano explorations of six songs were recorded in the summer of , a time we now recall as sunnier and less insane. The general mood is a pleasant stroll in the park. In short, this is my kind of jazz: it works perfectly as background music, but it's not bland, either. Jarrett's released a number of these sets of "covers" with this trio, and I selected this one simply because I like the song "It's All in the Game.
No, it's just the collapse of the music business. That aside, it's an extremely strong record, right up there with another similar disc from about the same time, John Doe and the Sadies' Country Club. Fogerty has assembled stellar supporting musicians and a great set of songs.
The John Denver tune is a bit sentimental, and covering himself "Change in the Weather" is silly, but the opening three "Paradise," "Never Ending Song of Love," and "Garden Party" are outstanding versions of well-known songs. Given his status, he even gets two members of the Eagles to sing with him on "Garden Party. His singing is more mush-mouthed than ever, as if he's imitating Leon Redbone, and the arrangements smack of middle-period Tom Waits by way of New Orleans.
While the singing is still annoying in spots, the complexity of the arrangements has grown on me, as have about half of the songs. But for a very long stretch in the middle of the disc, he's working with standard blues progressions, and only the jazzy horns hold my interest.
Ten listenings later, this one proves to have a batch of superior songs -- I particularly like "It Once was My Life" -- and a few really strange ones, like "Burning Ground. And then, of course, there's the big, sad ballad that lets us wallow in sentimentality. I give it a listen from time to time, then put it away. O'Hara's voice frequently moves up into a squeal that sounds like a fingernail on a blackboard.
It's the same problem I have with Victoria Williams. If only O'Hara sang it all as she does on "Dear Darling. Yet one of my favorite records has most of the tell-tale signs. Lyrics about dropping acid? Flutes and harpsichords? Gratuitous movement of instruments across the stereophonic environment? Long, unorganized stretches of instrumental jamming?
So why, if I hate so much of this music, do I regard this controlled anarchy as one of the great discs of ? Great vocalists, strong harmonies, intelligent if cryptic lyrics, and gorgeous melodies. And the bonus tracks are uniformly strong. I don't know why Graham Parker has released so many albums with horrific covers after the first three, anyway , but it can't have helped his career.
Which is still going after all these years. To borrow from Elvis Costello, with whom he was frequently compared when both were starting out, he used to be disgusted, but now he's mostly amused. But I digress. Having not played it in years, I am reminded of how genuinely rude and raw and energetic he sounds here, on his debut. He even jokes about the reception to his singing on "Talkin' New York.
Nonetheless, he really could sing. His "Man of Constant Sorrow" is phenomenal. Above all, he was a master of timing. Those tiny pauses and extended notes are brilliant. Four lovely minimalist pieces with a total running time of a little over 45 minutes, this is music without tension, direction, or disruption. Much of the time, it's the musical equivalent of staring at a pond of water, throwing in small pebbles, then watching the ripples form and then fade away.
At other times, it's the equivalent of watching a small stream flow over the pebbles. Other listeners will supply their own metaphors, but no one is going to describe it as a ride on a bucking stallion. But if you're not in the mood for it, you might describe it as kicking a dead horse. Epic I bought it the week it was released, 30 years ago, and haven't played it in 20 years.
Although I remembered most of the songs, I'd forgotten how boring most of it is, especially the second half. Clash fans praise it as inventive and experimental, but today's fans don't listen to the original stuff that they're appropriating. If you don't own any dub reggae, I suppose their version of it sounds pretty good.
Strangely, my two favorite tracks are both cover versions of songs they didn't write: "Police on My Back" my very favorite Clash track? There are some strong originals, including "Charlie Don't Surf," but the final impression is a band that couldn't agree on what they were doing. Applying the test of time, it's even better than I remembered, and it's certainly the best of the three albums he's made with T-Bone Burnett.
Some of it is country music, in the very British and twisted way that the Kinks sometimes recorded country music. Especially the fast ones, like "Glitter Gulch. Having seen him on more than one tour, and having seen an earlier show of this tour, I join those who maintain that he peaked in , and that this is one of the greatest rock performances ever.
The guitars snarl, the piano tinkles, Springsteen howls, and the band's timing is perfect. He fumbles some of the lyrics, but the venue was relatively small perhaps 5,? So why has he put out so many weak live-recordings when he could be releasing shows from ? Which is ironic, since it joins the rest of the songs in expressing themes of alienation, failure, frustration.
Case in point: find the line in "Without A Trace" that gives the disc its title. Overall, it's a melodic singer-songwriter album buried under surging, distorted guitars. Case in point: "Somebody to Shove. The first LP by they made after Brian Eno's departure, I may be in the minority in suggesting that his departure benefited the band. The songs are better, and so are their arrangements. The opener, "Street Life," is my favorite opening track on any of their albums, and "Amazona" is one of my favorite Roxy tracks ever, with a mixture of funk and instrumental swagger that they seldom attempted again.
On vinyl, "Serenade" was another great side-opener. Above all, I admire the thin line between sincerity and irony in songs like "Psalm" and "Mother of Pearl. In any case, his education is there in the metaphors and wordplay e. The opening two songs are superb: "The Young Idealists" and "Woman in a Bar," and the rest are never less than good.
His voice is often conversational -- think Leonard Cohen, but pleasanter and with more melodic movement -- but he can sing more conventionally when he chooses, as on "Traveling Light" and a moving cover of Moby Grape's melancholic "I am Not Willing. The studio disc is structured so that each side ends with a big, sad ballad, "Sitting in My Hotel" and "Celluloid Heroes," two of Ray Davies' very best songs and performances.
On compact disc the organization just feels random, with "hillbilly" music, show tunes, calypso, English music hall, and a few touches of hard rock. But I do like the way Davies toys with our expectations in us on the live segment with "Banana Boat Song" and "Lola," editing out the songs themselves and just giving us the sing-along with the audience. Such a tease. But Green is merely one attraction. I admit that there are some tracks that underwhelm me the early stuff on disc one, and the novelty tune "Drunk' but the house band at Hi could hold their own with cross-town rivals Booker T.
The music is like that, as well. On one level, it's a all about the juxtaposition of static parts. On another level, it's about the interaction of those parts, and the unexpected beauties that arise as distinct sounds interact to form music; "Sky Saw" opens the album with jagged, raw guitar against a bubbling bass line, punctuated by seemingly random drum sounds.
After that, things are generally calm and predominantly instrumental, with lots of synthesized sound , as if someone has re-imagined Satie's piano music as a Roxy Music album. It doesn't hurt to have Phil Collins yes, Phil Collins and Robert Fripp on board for percussion and guitars, respectively.
But not Denny's original. I needed to hear Collins singing it, along with "Someday Soon. Stephen Stills had a big hand in this album and his relationship with Collins led to one his own greatest achievements, "Suite: Judy Blue Eyes" -- just look at those eyes on her album cover. One Dylan cover, one Leonard Cohen cover, two traditional songs. And "My Father," which she wrote. His only American hit, "Wondering Where the Lions Are," is an amazingly catchy piece of folk reggae, "The Trouble with Normal" could have been written yesterday as a critique of yet another American turn to the right , and "If I Had a Rocket Launcher" makes it clear why even a pacifist might think that violence is sometimes necessary.
Browne chose the song lineup for this collection, and other than the choices from number four The Pretender they're pretty much the ones I'd select, too. The real reason to own this, to be honest, is the presence of "Lawyers in Love," the funniest thing he's ever recorded better than "Redneck Friend".
It's an almost perfect documentation of the Reagan years and, with the possible exception of "Somebody's Baby," the catchiest thing he's done. It's not particularly well recorded, and operating as a trio, they sound thin in spots. For him, it was another day on the road, but I'm thankful it was preserved. I love it for three reasons: Krauss, Plant in a gritty, subdued mode, and T. Bone Burnett's production and song choices. I see over at Amazon.
Krauss does her usual thing, which is already a positive, but then Burnett's steered her into bluesy material, and then everyone had the good sense not to pursue "blooze" music of the sort we know from Led Zep -- no banshee wailing!
Then there's the deep, bottom-heavy production: when they duet, it's two sweet voices singing over the abyss. Except this one. Okay, I admit I haven't heard the last decade's worth, so don't hold me to that. This is small- combo rock and roll with a hint of roots-country, with genuine working-class bitterness in the lyrics. At the time of its release it got a lot of comparisons to Springsteen, but now I think it holds up better than the Boss's Born in the USA.
Kenny Aronoff's drumming is rock solid and "Small Town" gives a voice to conservative pride, and "Scarecrow" to economic suffering, that together keep the red states red. Mellencamp wanted us to take this seriously. Doe covers thirteen country classics and the Sadies throw in two instrumentals, most likely to throw some publishing revenue their way. But the arrangements, particularly the percussion, keep it lively.
Penn's lyrics are sometimes described as bitter, but I've always found them to be a balance between a cynical realism and a joyful idealism. Case in point, the rollicking closing track: "Evenfall. This year, it was Emmylou's, recorded when she moved into to a more "traditional" country sound in other words, she got rid of the honky-tonk piano and electric guitars and started recording acoustic versions of bluegrass standards.
It's worth noting that the original cover photograph stupidly replaced with other images in its digital releases emphasizes that these are religious songs; there's no "I Saw Mommy Kissing Santa Claus" here!
But if you want "O Little Town Of Bethlehem" and "Away In a Manger," and don't want overproduced schlock, this is the record you want playing when you're unwrapping presents. I don't feel like hearing Erik Satie, so this fit the bill nicely. Long, droning washes of decaying sound support twisting, snaking squeals of electric guitar. In the absence of melody and harmonic progression, there's noting but texture and tone. In short, my office has music, yet there's nothing to distract me as I determine whether a student has accurately summarized standard defenses of medical confidentiality.
As the titles suggest, "Heavenly Music Corporation" is a bit more soothing than "Swastika Girls," for the latter has a greater sense of competing motions. It's a group project, which is why it works. Clapton teams up with Bobby Whitlock and writes the best songs of his career; Clapton and Whitlock trade vocal lines, energizing Clapton; they team up with Duane Allman, and his guitar work inspires and energizes Clapton.
And their rhythm section is no slouch, either: it's drummer Jim Gordon's piano composition that provides the long coda of "Layla. Their live recordings, without Allman, are somewhat dull, and don't include "Layla" because they broke up before it became their FM radio hit.
Bloomfield plays guitar on side one, Stills on side two. The opening minute of this album tells you everything there is to know about Bloomfield: it's a blistering, joyous solo. Some of Kooper's overly-busy horn arrangements now sound dated, which is why those who love this album love the expanded CD: we get two of the best tracks the opener, and "Season of the Witch" with the overdubs removed.
We won't fuss here about the limits of translation. But that's the issue: what we have here is a collection of 13 "traditional" Irish songs, using "traditional" instruments, such as banjo and bouzouki. In other words, not really. Generally, I hate this stuff. Here, I love it, mainly because her singing is astoundingly moving. The opening track, "Peggy Gordon," is a close cousin of the song "The Water is Wide," and this is one of the best versions I've heard.
After 12 songs about lost love and Irish suffering and homesickness, it ends with a rousing "I'll Tell Me Ma," so we culminate with optimism instead of misery. II , I'll buy it right away. Adding Mark Olson to the band changed their vocal sound: the harmonies are a lot richer on this one, and suddenly they sound more like The Byrds in country-rock mode and less like the Flying Burrito Brothers.
That's meant as a compliment. They front-load the thing with four great uptempo songs. But as I listen to it again, I find that the most moving song comes later: "See Him on the Street" is a short story about seeing an acquaintance years after he vanished and was declared a suicide.
Gram Parsons would have killed for this song. This record so strongly evokes its time and place for me that I cannot pretend to be very objective, for it's as much a time machine as music. The first two songs illustrate, if nothing else, that the hippie mindset was often complex and conflicted. And then there's "When I Was a Boy I Watched the Wolves," so good that they should have given it to their group, Jefferson Airplane, but which they kept for themselves.
Yet I think it's superior to The Wind , made when he definitely knew so. It ranges from stripped-down acoustic numbers "Hostage-O" to something approaching rock'n'roll "Porcelain Monkey," a runaway metaphor about Elvis's decline. A lot of it is profane, rude, and deliberately offensive, but not without rhetorical effect, and almost every song is tuneful and catchy.
There's also a very strong take on a song he didn't write, "Back in the High Life Again," arranged as wishful thinking rather than boasting. Fronted by Neil Finn, this was a rock band that remembered to put melodies and hooks into their music, which requires a great singer. Sure enough: they had one: Finn's singing is always the primary attraction.
This, their fourth album, is my favorite, with a balance between uptempo rockers and yearning ballads and between simple and elaborate arrangements. There's not a bad track on here, but four of these songs are as good as some of the best popular songs of the last fifty years: "Pineapple Head," "Private Universe," "Distant Sun," and "Catherine Wheels. Now it's quite grown on me, and the four longest tracks are among my favorite Led Zep performances.
The opener, "Achilles' Last Stand," has genuine grandeur. The closer, "Tea For One," is sheer desolation. Many fans think that this is their least satisfying disc, but I think that the group is so in tune with one another that they've finally gotten down to playing together without trying to call attention to their instrumental chops. There's no clutter and no over- arranging. Page's lead guitar is a constant delight, always serving the tune.
It's not. I put it on because there are two or three songs that I wanted to hear. Maybe four. Which leaves six tracks that are unbelievably misguided: poor songs, poorly suited to her voice, poorly arranged. In case you don't know, it's Linda's attempt to make a trendy "new wave" record, but two of the strongest tracks are the cover versions of Neil Young and a 's rock'n'roll hit.
If you want to listen to Blondie, listen to Blondie, and beware of fans who can't bear to admit when their favorite artist has gone wrong. The last few days, it's been this record. Musically, it's more about John McLaughlin's guitar than Davis's horn playing, which only occasionally joins the proceedings. For much of its two long tracks, the music flows aimlessly "grooving," as they used to say in the 60s , occasionally becoming a little more animated and even a bit cluttered before it settles down again.
The highlight is the Josef Zawinul tune that gives the album its title; you just want it to go on and on. Before they edited the tapes and pulled out the choicest moments, I guess it did. This time, it's "Well-A-Wiggy," a gospel-tinged, doo-wop nonsense song that was a minor hit for the Weather Girls. Got to have good songs or what's the point? Something seems to have taken hold of Chrissie Hynde, inspiring her to write her strongest batch in years.
Instant classic: "Love's a Mystery. Ace session drummer Jim Keltner makes an essential contribution to the Bob Diddly groove of the title track and the staccato beat of "Rosalee. Not like "Thumbelina" back in Now that was country! Okay, there's pedal steel. There are more slow ones than rockers, but almost every song is memorable. It's time for Skylarking , an album about lying in the grass, tilling the soil, and all that nostalgic British Romantic longing for Thomas Hardy's poor peasants.
In retrospect, I have mixed feelings about "Dear God," the song that got attention back when the album was new. Shouldn't they have been singing to Zeus or Bacchus? What the film didn't want to show was his relationship with white boys here in the USA. Fathers and Sons is a beautifully recorded Muddy Waters album in which he performs many of his best songs, in both studio and live settings.
He's supported by a mixed race band of older bluesmen the "fathers" and hot-shot white boys who learned from them the "sons". And far from ending his career, it was the start of a genuine comeback. I didn't buy it because it's him, but rather to get the Concerto for oboe and violin in D minor. He's supposed to be a "rebel" in the world of serious music, but barely is. I do like the zippy tempos, and the Berlin Philharmonic is just sonic sugar, an aural cotton candy.
It's perfect background music for grading final exams for my modern philosophy course. You've got Bach, soundtrack for the rational dimension of the Enlightenment, and you've got the solo instruments for the rise of the individual. Or something like that. Having not listened to Evans in a while, I am forcefully struck by the similarities to Thelonious Monk. Granted, Evans is less radical and more melodic; it's sort of Monk-polished.
Evans wanted the freedom of free jazz, minus the cacophony, with each player free to simultaneously improvise. While Paul Motian's drumming is relatively straightforward, LaFaro is an inventive foil for Evans, providing an alternative, interesting focal point during passages of each performance. As before, there are no "extras. But scratch the surface and the major themes are dislocation he's constantly moving on to somewhere else, such as Utah, or the Dakotas , religious faith, and nostalgia except for the term "dude," "Winterlude" might be a Hoagy Carmichael song.
Most of the arrangements are rooted in piano, giving it a unique feel for a Dylan album. His own playing on "Sign on the Window" supports one of his best melodies, simple words, and great singing. For you, that may mean the economy.
For me, it meant the local river forcing an evacuation. From "natural" bonds a mother and her children in the opening song to international ones "Chinese Envoy" , Cale's lyrics and music explore the darkest emotions. Frayed emotions are frequently heightened by sonic distortion, and the few serene moments are welcome respites. Who's Joe Maphis? He's darn good on that guitar. While I wonder if this music would sell a few more copies if the album graphics weren't so horrible, I do appreciate the oddly informative liner notes, which trace the histories of the various songs.
I've always like "Cannonball Blues," but now I marvel at the strangeness of its perspective President McKinley has a premonition of his assassination and bids farewell to his "honey babe". Yet there's not much info about the performers. I don't know how I stumbled across the existence of this one, but I did. She has few equals when it comes to performing a ballad, and there are some fine ones here, especially Rufus Wainwright's "Beauty" -- the opening line of which, "Beauty, you make me sad," describes her own accomplishments.
Here's confirmation of that rule. In theory, this should be wonderful. In practice, not so much. Astral Weeks is a unique record and I wrote about it in my most recent book. Recreated live, the arrangements hew so closely to the record that it feels embalmed. What ruins it for me, though, is the singing. If you don't have them memorized, I dare you to tell me the words to the first three lines of the opening song, "Astral Weeks. Nor am I a fan of the change in song sequence.
The expanded CD follows the original album with the same again, except live a little faster and less polished, with some over-amplified backing vocals. I love both versions. I know that some people are put off by "You Can't Be Too Strong," which is frequently cited as a pro-life diatribe. Since when is empathy a political stance?
It seems perfectly in keeping with the anti-Americanism of "Discovering Japan," one of Parker's nastiest and best songs. Of all his records, this one does the most justice to the guitar playing of Brinsley Schwarz and Martin Belmont. It's one of Bowie's early albums and yet one of the last that I came to know. It features the full Spider From Mars band, used to such good effect on the next three albums, yet the sound is dominated by Rick Wakeman's florid piano work.
The songs include three of my favorites: "Oh! You Pretty Things," "Life on Mars? A blueprint for Morrissey's career? Too many versions are cutesy and thus annoying. Her version is the first since Robert Johnson's that I enjoy. Beyond that, we have her usual mix of a few original songs and a bunch of standards. Not jazz standards, of course, but songs that you might know if you're visiting my web site.
In this case, her failure to do anything special with The Band's "The Weight" is balanced by what she does with Dylan's "Shelter from the Storm" and the old pop hit "Wichita Lineman. The only song that got old was their cover of Hank Williams' "Hey Good Lookin'," which seems too obvious a choice and then remains too close to the original to add anything to the song.
The chorus and guitar riff is Van Morrison's "Here Comes the Night," slightly altered so that they can keep the royalties. Since the day of its release, this album has been attacked as a low point in the Captain's career -- he's said as much himself. While it lacks the rude cacophony and spirit of anarchy that attracts noise lovers to Beefheart, it's just wrong that "difficult" is synonymous with "better.
The rhythms have been regularized and he even tries to croon in a place or two, but the results are still closer to punk than Frank Sinatra. It's half blues, half gospel, and it all makes me feel good. The music is dominated by the acoustic guitar of Duane Allman and the piano of Leon Russell -- and at least one song features Eric Clapton. In other words, it's Derek and the Dominos unplugged. After what has seemed an increasingly ugly election and a foul mood of division, Haydn offers me a dose of civilization.
Sure, Haydn has a prankster mode, but it's such an urbane wit. His music is always a soothing reminder that, whatever the outcome of the election, we are not condemned to anti- intellectualism. This recording uses a period pianoforte not a modern piano , giving the faster movements a wonderful lightness. Generally slow and stately, like a soundtrack for the grinding of tectonic plates.
Then, from time to time, the piano lightens the mood. I've seen their music described as psychedelic. It's not very. And as heavy metal. Sorry, but big fat guitar sounds do not mean it's heavy metal. I recognize some of the lumbering pace of early Black Sabbath, but what I hear most of all is progressive rock: it's a distant cousin of King Crimson circa Red in their more conventional moments. If your musical background is limited, I suppose you might find the music interesting.
I just find it tediously derivative.
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