If you buy this and just hear some moldy old monophonic Dixieland you deserve to spend the rest of your life listening to Aqualung and Patricia Barber, not that there’s anything wrong with either that album or that artist. I don’t mean to insult anyone but the audiophile “pop charts” are depressingly mundane and predictable.
Foné records’ Giulio Cesare Ricci is easily one of the most charming, entertaining and eccentric people I have ever encountered in an industry packed with such people. I spent some quality time with him and his lovely wife Paola Maria, who works in the fashion industry in Milan, during last fall’s Top Audio show there.
EC has always been a fine interpreter of American soul music as his much maligned but dependable and surprisingly durable and jumpy set Get Happy proves. Though only two songs were not written by Costello ("I Can't Stand Up For Falling Down" and "I Stand Accused") much of the album feelsAmerican-sourced, whether country ("Motel Matches") or ghetto. By the way, try to find a UK F-Beat original. Even though it packs 10 short songs per side, it still sounds more dynamic and punchy than Rhino's last CD version and it wallops the flaccid American Columbia LP original. The "ringwear" on the jacket is part of the artwork, though some twit at Columbia removed it fearing you'd be too stupid to get the joke.
So closely does the cover vibe provided by Ted Croner’s iconic cover photo “Taxi, New York at Night” mirror the music on the album, you have wonder if the cover choice was inspired by the music, or vice-versa.
This live set pressed as two picture discs is little more than a souvenir "audio tour book" from a band to its loyal fans. Picture discs don't usually sound good and this one is no exception, though the records are quieter than some normal black ones I've bought lately.
“Roots” music specialist Marley’s Ghost gets a turbo boost from producer Van Dyke Parks, who turns what could have been just another musical “Antiques Roadshow” into a truly special recorded event.
The merger of Sony Music and BMG combined two of the world’s great film music catalogs, offering the potential for a truly exceptional film score compilation. This isn’t it. Instead this piece of shit excuse for an “essential” film score package is indicative of everything that’s wrong with the music business today. It lists for $25.00.
This superbly recorded, meticulously produced collaboration reminds me of an expanded version of Roy Rogers’ and Dale Evans’ “Happy Trails.” It’s packed with nostalgia and exudes a wistful, “see you around” vibe that at times gets downright suffocating.
Johnny Cash’s final album is a tender and moving tribute to the resilience of the human spirit. The power and fascination of folk music is that the story is in the telling not in the technique.
Subtlety was not in Neil Young’s game plan when he sat down to write the tunes here, probably in a burst of creative energy born of frustration with the war in Iraq and other Bush administration activities over the past few years. Young’s moved quite a ways since his romance with the Reagan administration.
Decide for yourself whether The Lovin’ Spoonful took their name from Mississippi John Hurt’s “Coffee Blues” (not to mention the tune for “Darlin’ Companion”) but fans of Taj Mahal will have no doubts about this gentle soul’s influence on Taj when you hear this earlier take on “Corrina, Corrina” and compare it to Taj’s on The Natch’l Blues (CS9698).
Bongos and an A-bomb sound effect commence “No Man Can Find The War,” the dramatic opening tune on Tim Buckley’s second Elektra LP, recorded in Los Angeles, June of 1967 as the war in Vietnam burned itself into the American psyche. An anti-war song, like so many others of the time, it speaks to the futility of war and look where we are almost forty years hence.
Twelve Broadway chestnuts from the days when Broadway shows were produced for New York sensibilities instead of for the midwest bus-hoards. Nothing poisonal, mind you, but Broadway today is aimed at tourists, not New Yawkers.
If you’re one of those who doesn’t “get” Brothers In Arms, originally issued in 1985, Robert Sandell’s liner notes accompanying this meticulously produced double 180g LP reissue provide a plausible, if not entirely believable explanation for its original and continued popularity.
If there’s to be a second blues revival after the first one in the early ‘60s that led to the “rediscovery” of neglected artists like Son House and even Robert Johnson, the first great analog revival occurring right now will lead the way.