LATEST ADDITIONS

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.  

Michael Fremer  |  Sep 01, 2011  |  1 comments

Paul Simon can't go back to his folk-rock roots. It's too late for him to turn around, but a younger generation surely can use the hybrid genre as a start-up base of operations. The first and second Fleet Fox albums demonstrate that. 

Michael Fremer  |  Sep 01, 2011  |  2 comments

Knowing Bernie Grundman, there’s something amusing about thinking of him cutting the lacquers for this ORG reissue of Nirvana’s “cull” album of demos, outtakes and radio broadcasts.

Michael Fremer  |  Sep 01, 2011  |  0 comments

No one has ever claimed PJ Harvey creates music made for easy, or even pleasant listening. Much of it is dark and painful, but even at its weakest, Harvey's music is provocative and worthwhile.

Michael Fremer  |  Aug 15, 2011  |  First Published: Dec 31, 1969  |  0 comments
Michael Fremer  |  Aug 09, 2011  |  First Published: Dec 31, 1969  |  0 comments
Michael Fremer  |  Aug 08, 2011  |  First Published: Dec 31, 1969  |  0 comments
Michael Fremer  |  Aug 08, 2011  |  First Published: Dec 31, 1969  |  0 comments
Michael Fremer  |  Aug 01, 2011  |  0 comments

Poor misunderstood Steven Demetre Georgiou/Cat Stevens/Yusef Islam. Like Bob Marley or Barack Obama, he’s a “hybrid” and subject to misinterpretation and fear-mongering.

Michael Fremer  |  Aug 01, 2011  |  0 comments

This impeccably produced (by Norman Granz, who literall built Verve Records and later Pablo around her), career summing concert takes Ella from her beginnings with the Chick Webb Orchestra to her then current quartet featuring Tommy Flanagan, Keeter Betts, Joe Pass and Freddie Waits, all brilliantly choreographed by master showman/producer/record executive Norman Granz along with Newport producer George Wein. 

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