LATEST ADDITIONS

Michael Fremer  |  Sep 01, 2011  |  2 comments

While American soul music— northern urban and southern rural—and UK-via-the-Caribbean-derived Ska course through the veins of the fourth Elvis Costello and the Attractions album,  the flesh thankfully remains white limey. 

Michael Fremer  |  Sep 01, 2011  |  1 comments

Anyone who thinks exploitation/commercialization is a recent development wasn’t around in the aftermath of George Harrison’s discovery of Indian music and his use of a sitar on “Norwegian Wood.”

Michael Fremer  |  Sep 01, 2011  |  0 comments

Mose Alison meets Steely Dan meets Gary Wilson is the best I can do to describe this hipster member of Hollywood's famous Dragon family's recent CD. 

Michael Fremer  |  Sep 01, 2011  |  0 comments

(Note: this review originally stated that the lacquer cut was from the 3 track master. That was incorrect. The master here was the two track original that hadn't been used since 1980. While the tape had some dropout and other issues, mastering engineer George Marino determined it still sounded superior to any of the copies used for subsequent reissues.)

Michael Fremer  |  Sep 01, 2011  |  1 comments

Don’t let the October 16th 1956 mono recording date fool you: this Jean-Baptiste “Illinois” Jacquet session was recorded in Los Angeles, probably at legendary Radio Recorders, and the sound will knock you down.

Michael Fremer  |  Sep 01, 2011  |  1 comments

Few jazz musicians attain pop star status while retaining credibility with their "base." Louis Armstrong managed and of course so did Miles Davis. Stan Getz was another.

Michael Fremer  |  Sep 01, 2011  |  1 comments

Still raw from 9/11? It's difficult to believe a decade has passed. So imagine this Louis Armstrong concert from 1956. For most of the audience, and for much of America, except for the "Baby Boomer" youngsters too young to remember, World War Two and the enormous human toll it took on families across the country was still a current event.

Michael Fremer  |  Sep 01, 2011  |  0 comments

After a series of albums that tried too hard to advance the cause and so seemed self-consciously so, Paul Simon has produced his best since Graceland. The album title explains how he's managed. It celebrates the significant but demolishes it at the same time.

Michael Fremer  |  Sep 01, 2011  |  0 comments

There's no mystery about why this seventh Foo Fighters album succeeds artistically and commercially. Dave Grohl tempers his scream fest tendencies with focus, clarity and discipline. Producer Butch Vig, who worked with Nirvana tightens it all up and doesn't leave any loose ends hanging in a recording done in Grohl's garage. Grohl brings back Nirvana and Germs guitarist Pat Smear as well as Krist Novoselic on bass and accordian on "I Should Have Known." It's almost a reunion.

Michael Fremer  |  Sep 01, 2011  |  1 comments

In 1975, with complete artistic control written into his new Columbia Records contract, Willie Nelson entered Autumn Sound, a small Garland, Texas studio, to record a sparely arranged concept album based upon the semi-obscure song "The Red Haired Stranger," written by Carl Stutz, a Richmond, Virginia based radio announcer  and Edith Lindeman Calisch, the amusement critic for the Richmond Times-Dispatch newspaper. The pair was best known for writing "Little Things Mean A Lot," which was a hit single for the pop star Kitty Kallen back in 1954 and featured on the wildly popular TV show "Your Hit Parade." Stutz went on to become a high-school math teacher.  

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