If you were around when the second Jimi Hendrix album was released you probably got ripped off. After Reprise’s success with Are You Experienced?Capitol dusted off a Curtis Knight and the Squires album that Hendrix had played on as a sideman before forming The Jimi Hendrix Experience and using a recent photo, issued it as Get That FeelingJimi Hendrix Plays and Curtis Knight Sings.
This hard /progrock trio never got the media hype and they are rarely mentioned outside their own musical world, but Muse has made it big. How? The old fashioned way: hard work in the studio and constant touring. They have an intensely loyal fan base. Their worldwide touring grosses are impressive and they chart well around the world
Well this is embarrassing: I've played often and enjoyed this excellent sounding reissue featuring L.A. based anglophile singer/songwriter Emitt Rhodes in preparation for this write-up but the record has gotten lost here somewhere.
Recorded in glorious mono in 1956 and issued first in 1957, this set of small combo standards with Cole both singing and playing the piano remains as fresh and vital as it did when originally released.
In an indie-rock era saturated with smirky, slacker irony, the roots-rocker Ray La Montagne comes across as downright solemn. He and his group execute cleanly and almost reverentially, funk, blues, jazz and country, which La Montagne sings in a honey coated gruff voice that veers between Joe Cocker and Tim Hardin. The man is sincere and like Tim Hardin, he knows how to move three chord rounds.
Trumpeter Kenny Dorham brought Joe Henderson to Blue Note and on the late tenor saxophonist's second lead album gives him strong support as the two chase each other through some zig-zag bop thickets. "Teeter Totter," the fast-paced Henderson-penned opener alone is worth the price of admission but the other tracks simmer with equal intensity.
You could argue the advisability of naming a sophomore effort Everybody Digs Bill Evans but today it’s clear that everybody in fact does, or still does depending on your feelings about that second album’s title.
What possessed Amanda Palmer to cover Radiohead playing her "magic ukelele"? Who knows? Did this inspire Eddie Vedder to issue a ukelele-based record? What would Arthur Godfrey think of all of this (look him up if you're too young to know who he is)?
Henry Saint Clair Fredericks A/K/A Taj Mahal grew up in Harlem, spent time as a teenager on a Massachusetts dairy farm, attended U of M, gigged around and finally headed west and built a musical career first in Los Angeles and later in the Bay area. The life influences come through in his music: a mix of urban and country blues mixed with world music.
Jenny Lewis and Johnathan Rice were a couple when they made this REM indebted pop/rock album a few years ago. For all I know they are still a couple. I sure hope so because they make exquisite folk/rock music together, with both sharing guitar and bass playing.
This is a vinyl reissue of lo-fi home recording genius and underground hero Ariel Pink. These sometimes tuneful lo-fi experiments from a decade ago are interesting and probably very influential but there's no real reason to have them on double 180 gram vinyl given the lo-tech origins of the material.
How fast was Miles Davis moving in 1970? Listen to the title track on the double LP recorded late summer 1969 and released the next April and then play the version on the bonus live at Tanglewood CD recorded August 1970.
It was 1965 and Junior Wells was no longer the precocious teenager who had gotten the likes of Muddy Waters, Elmore James and Otis Spann to back him up on his 1953 and 1954 hit singles. Now 30, he was a fixture of that generation of electric Chicago bluesmen. He toured, and worked regularly at Theresa’s on the South Side. And he was about to make an album that has long been a staple of any modern blues collection.
Chris Darrow may not be a name familiar to you, nor might Kaleidoscope, the ‘60s psych/folk band on Epic of which he was part. That band passed me by back then. Maybe I didn’t like the cover art, or thought Epic wasn’t in the same solid A&R league as was Elektra for instance, so I didn’t want to chance it. I never heard them on the radio and Epic probably did a crappy job promoting them.
When Buffalo Springfield broke up, Neil Young set about building his solo career. The high-production work with Jack Nitzsche that had created classics like “Expecting to Fly” and “Broken Arrow” brought Neil back to the producer/keyboardist/orchestrator, who gained fame working with Phil Spector but the results on Young’s eponymous debut album were not as memorable. In fact, many critics and fans alike back in 1969 considered the album a disappointment and a misstep.