Watching the aged PBS fund raising audience creep ever closer to my demographic has been a thirty year creepy creep. First it was fund raising aimed at the WWII big band consuming generation.
Canada-born pianist Oscar Peterson was among jazz's most popular performers. HIs lyrical appeal crossed musical boundaries so that many people who didn't consider themselves jazz fans were fans of Oscar's.
We like promoting independent vinyl projects so when Nova Social’s Thom Soriano contacted Analogplanet about a review of their new album For Any Inconvenience we bit.
Over the past few years, jazz fans have been treated to some astonishing, heretofore unreleased treasures. Unlike in the rock world, where such finds, along with “bonus tracks” usually tell you why they weren’t released in the first place (with Bob Dylan being a notable exception), these jazz releases have felt like un-mined diamonds, only occasionally in the rough.
The Grateful Dead's "Touch of Grey" was a spirited 1987 marching order to an aging Baby Boomer generation to "get by" and its assuring affirmation that "we will survive" was a stroke of timing and musical genius. The song became an unlikely hit for a group that didn't have or need hits and helped propel the band to further heights of both popularity and creativity.
All of Fiona Apple's albums have been been personal and confessional (some might say "self absorbed") but this one is really personal and confessional and attractively self-absorbed too.
Why listen to "purist" British blues bands recreating what they've heard on record or in clubs, when you can hear the real thing? That's how I've always felt about it. This album by the British blues band Ten Years After is something else and perhaps in retrospect it's unfair to tag TYA as a "purist blues band."
This is the third album from Brooklyn based Clare and the Reasons and its first to be issued on vinyl. Movie, the group's 2007 debut features Van Dyke Parks and Sufjan Stevens to give you an idea of what's going on here.
Starting in 1954 the late veteran DJ William B. Williams hosted a long-running radio show on WNEW-AM called "Make Believe Ballroom" (a name, coincidentally, we also used at summer camp for kids who prematurely wore jock straps before they really had a need to).
“Strange Days” was the perfect album for its time. For music lovers at a time when records were the main means by which a generation communicated with its culture, the title, cover art, music and sound resonated with the meaning of the fall of 1967 (even though the album was recorded the previous spring at L.A.’s Sunset Sound).
There was no "sophomore slump" for Bob Dylan. Quite the contrary. His first album brought promise, but it was an album of covers with but two originals and it hardly sold. Some at Columbia called signing Dylan "Hammond's Folly," and the lackluster sales for Dylan's debut seemed to back them up.
Originally released in June of 1972, Bowie's "rock concept album" broke the then still obscure musician and changed the face of rock'n'roll forever—and that ain't hyperbole. If this wasn't the album that gave Freddie Mercury his dream, I can't imagine what was.
Do you really need a musical discussion at this point in time? All I can say is that in the "Summer of Love" of 1967, all you could hear coming from car radios, and open windows was the edited version of "Light My Fire." It defined that summer for most of my peers and was the perfect calling card with which to beg for some action from a date. Hard to believe that was 45 years ago.
You can tell me yours, but my first encounter with Thelonious Monk was the 1963 Columbia album Criss-Cross(CS 8838). I'd given up on rock'n'roll, which had become all Fabian and Frankie Avalon-ed out and new musical adventures of a more adult nature were in order for this high-schooler.
It's a bit late in the day to write a review of the music on this album, which concerns itself mostly with how the music business chews up musicians with dreams and spits them out—not that Syd Barrett, the subject of "Shine On You Crazy Diamond" was done in by the business.