At a time when glam “hair bands” reigned, and “synth bands” waned, two guys named David and a producer named Davitt decided to make a grittier sound—a rock-roots kind of album—yet one that didn’t stray completely from the synth strains still permeating pop music.
Going from Soft Lights & Sweet Music is like going from the merely excellent to the spectacularly suave and sublime, both musically and especially sonically. Though not as “clean,” and not nearly as detailed and revealing as the newer recording, there’s a liquidity, transparency and timbral rightness about the older one that just puts your mind and emotional state in a different world. Nonetheless, the piano has that boxy ‘50s sound and the bass is a bit muffled. There’s something to be said for the newer recording in terms of reality but for magic, it’s the older one. Sort of like old movies versus new ones.
Villa-Lobos’s folk-oddity “The Little Train of the Caipira” from Bachianas Brasileiras No. 2 is a delightful, evocative piece of music, as colorful as the cover artwork and a sonic spectacular guaranteed to delight even the most classical music-averse audiophiles.
Ian Anderson himself may wonder why people are still interested in Aqualung thirty-six years after it was first released—or maybe not. Though almost comically simple, the opening riff to the title cut is one of rock�s most ingenious and indelible. The contemplative album is packed with memorable melodies expressing anger, nostalgia, pity, regret, tenderness and contempt.
Note: this is part 1 of a two part review. To access part 2, see "Recent Arrivals" on the musicangle.com home page
First, a few words for those who love the early Who but don’t know the complicated backstory. There is not and will probably never be a one-album Perfect Early-Who Best-Of.
Let’s get one thing straight here first. No reissue label and mean none goes to the trouble Classic does to get the packaging right. Get your hands on this Tommy reissue and compare it to the original UK Track edition and you will see that Classic has gone the extra 3000 miles to give you as close a facsimile of the original British pressing as is humanely possible.
Brian Eno's early influences include John Cage, Steve Reich and other minimalists. He was more art than rocker. In 1971 when he joined forces with Bryan Ferry's Roxy Music he was more a knob twiddler than a musician. He worked saxophonist Andy Mackay's VCS3 synthesizer and along with a pair of Revox A77s provided the electronic sounds and "tape treatments" that on the group's first two albums, helped create Roxy Music's unique sound.
Sounding more like the recording engineer accidentally fed only the reverb buss to the 2 channel master instead of the intended mix of "dry and wet", the Cocteau Twins' ethereal, reverb drenched Head Over Heels released in 1983 became a much imitated template for "wave", "shoe gazing" and other musical genres that followed in its wake.
Leonard Cohen, the enduring romantic, recorded his debut album appropriately enough, in the waning days of the “summer of love,” in August of 1967. By then he was in his 30’s and capable of expressing his views of love and intimacy in refreshingly sophisticated and sometimes indelibly bleak terms.
The challenge of writing a review about a band you are admittedly not intimate with — one that some interwebs sources consider to be “the most successful group of the 21st century,” having sold more than 100 million albums and counting — has upsides, as well as down. Such is the case with Coldplay’s new 140g LP Moon Music, which was released by Parlophone on October 4, 2024, on a new vinyl alternative called EcoRecord. Read Mark Smotroff’s review to see if the songs on Moon Music spoke to him, and how well the EcoRecord format got across the band’s intentions. . .
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.
Maybe the soundtrack to your life didn’t exist in 1969, or if you’re fortyish, was filtered through an amniotic sack. 1969 was an unsettling year. The fall was post-Woodstock and spelled the end of the ‘60s, though what we now think of as “the ‘60’s” arguably didn’t happen until the ‘70s. 
Little Feat was never an "album" band, even though they released many good records. They were low concept and high boogie. The groove was cerebral though, not the mindless "good time" endless fist pump variety mainly because of the playful and smart Lowell George. Lowell was from Baltimore,MD.
Elvis Costello took a quantum songwriting leap on his third album and with a generous six weeks in the studio following a world tour with new songs written, came up with intricate arrangements and sonically sophisticated production that while complex, was not detrimental to the intense propulsion of the music.
Joseph Henry Burnett III is not exactly a household name for most people these days, and that’s a shame. Under his T Bone Burnett sobriquet, he’s turned in a lifetime of work that has placed this legendary musician, composer, and producer in the crosshairs of the likes of Bob Dylan, Elvis Costello, Los Lobos, Robert Plant, and Alison Krauss (to name but a few). He’s also just released a new solo album, The Other Side, that’s one of the best LPs we’ve heard so far this year. Read Mark Smotroff’s review to see why both sides of The Other Side belong on your turntable. . .