The almost apologetic liner notes let you know that the music on this album, and indeed Mr. Hawkins himself, was essentially out of favor, except as an exercise in nostalgia and that Prestige’s “Moodsville” series, if not meant as background “mood music,” could serve that purpose, though it was perfectly suited for actual listening should the buyer so desire. Montovani is even mentioned in the notes!
With the rhythm section of McCoy Tyner, Elvin Jones and Sonny Rollins’ bassist of choice Bob Cranshaw behind him, the long underappreciated Grant Green’s take on Rodgers and Hammerstein’s “My Favorite Things” superficially sounds like a transcript lifted from Coltrane’s 1961 Atlantic album of the same name from a few years earlier. It’s even taken in the same 6/8 time.
A collection of mostly 17th and 18th century music, much of which was written to alleviate a form of madness caused by a Tarantula bite might not sound like an enticing concept, but it is!
One might argue there have been enough Krauss vinyl reissues, what with two outstanding ones from Diverse Records, but give this two LP set a spin and end of argument-even if you have those two superb sounding sets.
In his first commercial release since 2005�s folk-laden Hotel ; Moby brings the eclectic Last Night . The album could be considered Moby�s return to the high-tempo dance music, which brought about his late 1990s fame. Whereas Hotel explored the synergy (and sometimes lack of) between guitar-strumming light rock and bass heavy electronica, Last Night is pure dance. Moby does not lend his voice to the double album�s 14 songs, but his cast of vocalists highlights his arranging skills.
This is not your typical Blue Note album. Sure, Oscar Pettiford and Ed Thigpen swing impeccably on bass and drums, but fronting baritone sax, trombone and guitar? Sounds more like a description of an oompah band than jazz, but honest, jazz it is.
Anthony Wilson, best known as a jazz guitarist, has released an organic, occasionally “noir-ish”, sounding album on which he sets up and sings within cinematic musical landscapes, proving himself to be an equally compelling story teller. "Frogtown" is an area of Los Angeles, whose official name is "Elysian Valley". People live there but other than a lush stretch of the L.A. riverbed, there's not much there, which is how the people like it. The same can't be said of this record, which will have you wondering from where came this Anthony Wilson?
One of the Anthony Wilson-shot photographs in the coffee table quality photobook housed within Songs and Photographs’s handsome, textured paper slipcase— along with the jacketed 180 gram LP (Goat Hill Recordings GHR-005)—is of a church’s red brick back wall, in front of which are three gravestones. The late afternoon sun casts against the wall three long offset shadows.
Elton John's second album was his first in America and it immediately established him as both a major talent and a star, even if it took a few more albums for him to achieve superstar status. Empty Sky the first album issued in the UK showed the talent but it was only a showcase.
For the first time in many decades, XTC’s October 1978 sophomore album Go 2 is available again on vinyl, this time as a limited-edition 200g 2LP set via Ape House that includes the ever-elusive companion Go+ EP of dub remixes on its own disc. Read Mark Smotroff’s review to see why this new, expanded edition of Go 2 is worth both the time and listening investment. . .
Between the excessive sprawl of 2013's James Murphy-produced
Reflektor and the failed experimentation of 2017's punchable
Everything Now, it might seem as if Arcade Fire spent the last
decade actively trying to lose people's interest. Now, however, they're
back; at least, that's what their Nigel Godrich-produced new LP
WE wants you to think. Split into more introspective "I" (A) and
outward-facing "WE" (B) sides, WE is a concise 40-minute
summation of the band's previous work. Every Arcade Fire record finds
them striving for epic heights and always falling short, though you
can't say they're not trying really hard.
It seems appropriate to review Rhino’s sumptuous 4 LP set Aretha Franklin’s Amazing Grace The Complete Recordings, her enduring gospel album recorded in a Los Angeles church and released in June of 1972 on Atlantic Records, two days after Kanye West’s Easter morning “gospel service” at the Coachella Valley Music and Arts Festival before 50,000 fans.
Aretha Franklin’s escape from the squares at Columbia Records to become the Queen of Soul on groovy Atlantic is one of the great legends of popular music.
Think about it: Aretha Franklin, John Hammond and Jerry Wexler three giants of music all converge in one story. But do the facts support the legend? This album certainly gives pause.
Spoken word or sung poetry? There’s plenty of both in the British Isles: the rolling, sprawling narratives of Kai Tempest; the angular Sinead O’Brien, smiling in Irish; the arch delivery of Dry Cleaning; the startling machine-gun rapping of Little Simz; a new collection on Decca by Cerys Mathews, the first in a series of “poem song” albums, pairing poets with musicians from Hidden Orchestra. From the defiant 70’s reggae of Linton Kwesi Johnson, to the many decades of the late Mark E. Smith, to the current dystopian punk barrage of Sleaford Mods, the British Isles has an abundance of musical poetry on record, joined now by Londoner Arlo Parks.