A Ken Burns ten part PBS special will project itself onto your inner movie screen as Pat Conte plays on 19th century fiddle and banjo and occasionally vocalizes a set of old American tunes the accompanying press release describes as "old-time, primitive blues and archaic songs...".
This review was but a few words from being finished and a fumbling finger destroyed the whole thing. I hate when that happens! I'm not going to try to reproduce it. Too painful. So let me summarize what I'd written: yes The Four Tops and the other Motown acts were slick and aimed at white America, and the Chess stuff was much hipper, but this was great pop stuff nonetheless.
The prolific, smoky-voiced Irish folk/rock singer Eleanor McEvoy has had an almost twenty year recording career, first on major labels, where she enjoyed mainstream success but after getting caught in an excess of red tape, she extricated herself and began recording for independents.
When Frank left Capitol to start his own Reprise label, his old label made a push to reap the old catalogue's financial benefits. Frank fought back by recording in April of 1963 this album of big Capitol hits with arrangements by Nelson Riddle. Sinatra knew the tunes well, laying them all down live with orchestra in two days.
As the liner notes point out, there’s nothing inauthentic about a Swiss composer conducting a Swiss orchestra performing a ballet written by a Spaniard.
This mostly introspective, Jackie McLean led session featuring trombonist Grachan Moncur III (who contributes three of the four compositions), Roy Haynes, bassist Larry Ridley and Bobby Hutcherson, whose vibraphone add an otherworldly element to the mix, sounds more like something from an eerie “Twilight Zone” episode than what one normally expects or gets from the Blue Note franchise.
Talk about a confusing pedigree: though the jacket reproduces an "electronically reprocessed for stereo" edition of this album, the tape used is mono, thank goodness.
To those of us at a certain age and religious persuasion, there's something bizarre about Iggy and the Stooges playing Kutsher's Country Club, once one of the Borscht Belt's premiere venues. Of course Kutsher's and the Borscht Belt aren't what they used to be but Iggy and the Stooges still are!
Neil Young's 1980's country music phase wasn't appreciated by his record label at the time but the fans accepted it, certainly more than they did what came previously: dips into computer music (Trans) and Rockabilly (Everybody's Rockin'), which was digitally recorded. Somehow digital recording and Rockabilly don't go together but it took Neil a while to figure that out. And that Rockabilly record had Neil in an odd mood. Read his biography "Shakey" and it was clearly a difficult time in his life.