Album Reviews

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Michael Fremer  |  Feb 01, 2012  |  1 comments

Cleaned up, hair cut, even shown bowling in the gatefold photo layout, James Taylor, many felt at the time, had clearly sold out to corporate America by signing with Columbia Records. By 1977 his long hair, hippie days were over and so were ours, but many diehards resented the slick shift and were appalled by the whole thing, starting with the cover photo.  

Michael Fremer  |  May 30, 2012  |  5 comments
Youngsters will find it hard to believe there was a time when legendary music existed for most only in whispers but that’s how it was in the late 1960s. We saw what they wanted us to see and heard what they wanted us to hear.
Michael Fremer  |  Apr 01, 2009  |  0 comments

I recently drove to Boston to visit three old friends I’d not seen for 30 years. I met them when I was in my mid-twenties and they were even younger. While most of my other friends and I sought shallow “hipness” through aggressively consuming what was new and avidly rejecting what was old, these guys didn’t filter their likes through time. They seemed to be as enthusiastic about Cab Calloway in 1972 as his fans must have been back in 1931 when he sold a million copies of “Minnie the Moocher.”

Michael Fremer  |  Mar 01, 2010  |  1 comments

Only in retrospect does the “high concept” of Marshall Crenshaw’s remarkable 1982 debut assert itself: marry infectious ‘50s and ‘60’s-like rock’n’roll tunes with the then modern chorus guitar effects popularized by The Police’s Andy Summers. Maybe that wasn’t the plan, but that’s sure what it sounds like! That, or what a vintage Seeburg or Wurlitzer juke box would sound like heard from outside of the malt shop teen hang out.

Michael Fremer  |  Jul 01, 2011  |  0 comments

No one before sang quite like Stevie Wonder  does on this groundbreaking album, but everyone did afterwards. Wonder's tonality and phrasing on Talking Book were breakthroughs in soul/pop vocalizing.

Michael Fremer  |  Jul 01, 2011  |  1 comments

The music made by the Australian group Dead Can Dance during their seventeen year existence resembled soundtracks to imaginary movies. The core duo of Brendan Perry and Lisa Gerrard, who were also an item at the time, moved to the U.K. a year after the group's founding in 1981. They issued their first album on 4AD in 1984. 

Michael Fremer  |  Feb 01, 2009  |  0 comments

The big problem with vinyl �greatest hits� compilations is that they are, of necessity, at least a generation down from the master tape. That�s because assembling the actual masters into a cutting reel usually isn�t allowed and even were a record label to allow it, levels, equalization and tape head azimuth issues make in nearly impossible to adjust between tracks as the tape reel rolls and the lacquer gets cut.

Michael Fremer  |  Sep 29, 2021  |  22 comments
The Yardbirds original "Shapes of Things" took the protest song—a surprising departure from the group's blues-based output— as a smartly rendered military march with mild middle eastern undertones. Jeff Beck played on the original but here for his first solo outing he led with a slinky, heavily syncopated version that presaged by a few years Led Zep's heaviest of metal. The song's conclusion, a rhythmic meltdown to a complete stop was something altogether new to rock fans. Needless to say, back in 1968 buyers of this record had minds blown, in part thanks to the great Ken Scott's impeccable engineering skills and of course by much of the world's first exposure to Rod Stewart.

Michael Fremer  |  Jan 01, 2011  |  2 comments

Dixie Chicken and Sailin' Shoes are the meat of the LIttle Feat catalog, with Dixie Chicken arguably being the group's finest studio effort.

Michael Fremer  |  Oct 17, 2013  |  30 comments
What would Mobile Fidelity do without a master tape? It doesn't exist. Or at least it can't be found. A Mo-Fi person asked me what I knew. I told them I knew the tape's been missing for years but that I'd check with the late Levon Helm's people to see what they might know. A search of Levon's tape library didn't produce it and a someone else I know checked with Robbie Robertson's people. No master.

Michael Fremer  |  Dec 01, 2011  |  1 comments

No one suggests this is among the "essential Blue Notes," especially since it really wasn't issued as an album when the session was first recorded. In fact, it sat on the shelf for 24 years, much to astonishment of annotator and distinguished jazz producer Michael Cuscuna. It wasn't issued until 1986.

Michael Fremer  |  Feb 01, 2012  |  0 comments

Do you need to add yet another Beethoven symphony cycle to your record collection? What's that you say, you don't have even one? That's not good. Every record collection should include at least one set of Beethoven symphonies even if you don't like classical music.

Michael Fremer  |  Jul 01, 2010  |  1 comments

Fifty four year old Thelonious Monk was considered “washed up” by many when this European session was recorded in 1971. He’d ended his association with Columbia Records and while he made some good records for the most commerical label with which he’d be associated, he’d not written much new material during that period.

Michael Fremer  |  Jun 22, 2003  |  0 comments

It is difficult to grasp the date this session was recorded: December of 1956. That makes it almost 50 years old. Yet the music is as utterly fresh and full of surprises and good humor as it was in 1956. And the sound remains vibrant and full bodied as well; the highs extended and crisp, the transients sharp and clean. In fact, this double 45rpm set positively kills the Riverside original in every way: I know, because I’ve owned a copy since the mid ‘60s. During my first year at Cornell in 1964, either Riverside was going out of business or needed some quick cash, because the book store had what seemed like the entire Riverside catalog on sale for $1.98. I bought as many as I could afford.

Malachi Lui  |  Aug 28, 2019  |  19 comments
Another IGOR review??? Yes.

My initial plan was to follow the original 3500-word review with a later update on the vinyl edition’s sound quality, but plans change. I got a bit of exclusive information from Jack White about “ARE WE STILL FRIENDS?”, which I reported on, but even more happened with this LP. As advance copies of IGOR’s CD edition circulated, word spread that Tyler quietly dropped a physical-only (vinyl, CD, and cassette) “bonus track” entitled “BOYFRIEND.”

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