“Roots” music specialist Marley’s Ghost gets a turbo boost from producer Van Dyke Parks, who turns what could have been just another musical “Antiques Roadshow” into a truly special recorded event.
I am an not even remotely aware of the contemporary opera world. Until handed this disc, I was unaware of either 26 Russian-born soprano Anna Netrebko or 35 year old Mexican tenor Rolando Villazón. The foxy-looking Ms. Netrebko has been called “Audrey Hepburn with a voice,” while Mr. Villazón has not.
I'm not sure how many Roy Orbison completists are out there. I know two: myself and my friend Frank Doris. Classic has issued Orbison's Crying in both mono and stereo and a good case can be made for either edition, once the case has been made for the music, which is a bit of a more difficult proposition.
“Tastes good on th’ bun” are all the lyrics you get on “Tastes Good on th’ Bun,” the opening tune, of the Ween brothers’ new collection of closet clutterers and leftovers. There’s a tune called “Big Fat Fuck.” Can you guess the lyrics? Close. Add “Feelin’ like a” and you’ve got it.
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.
The very first London "Blueback" probably engineered by the great K.E. Wilkinson in London's superb sounding Kingsway Hall combines stunning sonics with an accessible, lyrical musical program. Mendelsohn wrote the Overture opus. 21 in 1826 when he was but 17 years old. The remainder was written almost two decades later, commissioned by Prussian King Frederick William IV as accompaniment to an 1843 performance of the play.
Long considered one of the great recordings of the early stereo era, España was originally issued in the UK on the British Decca label (SXL 2020) and on American subsidiary London (CS6006).
Jazz Fusion may have turned out to be a dead end genre exiled to The Weather Channel's 24 hour forecast, but at its inception arguably with the group Weather Report, the sun shone brightly on its possibilities. How ironic that the jazz offshoot took off with Weather Report and dead-ended on TWC!
Chronically undervalued and unappreciated in America, The Pretty Things, like The Kinks, The Rolling Stones and so many other British Invasion bands began life as a blues based rock outfit, churning out short, raunchy, Bo Diddley-influenced numbers as this American debut demonstrates, and later veering off into uncharted musical waters. In the case of The Pretty Things, even their name is Bo Diddley derived. Unlike some Brit bands, these guys were anything but pretty in the beginning. They got prettier as time passed.
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.
Oscar the entertainer, Oscar the speed demon, Oscar the classicist, Oscar the sensitive listener, Oscar the composer, Oscar the nimble improvisor. All the Oscars you know and love were onstage in Helsinki's Kulttuuritalo concert hall, November 17th, 1987 along with Joe Pass, Dave Young and Martin Drew for an evening of great entertainment and music making recorded by the Finnish Broadcasting Company.
This set, recorded May 1959 in Paris during a Jazz at the Philharmonic tour finds Sonny Stitt on the Oscar Peterson guest list mostly playing alto with some tenor thrown in for good measure.
Carla Thomas mocked Otis Redding as unsophisticated and “pure country” in their classic recorded duet “Tramp” and when Otis welcomes the “…ladies and gentlemens” to one of his Whisky A Go Go sets back in April of 1966 you get the picture.
I've always wondered whether Otis Redding's Live in Europe, newly reissued on vinyl by Sundazed, was actually recorded in Europe. Frankly, I doubt it. The liner notes quote Redding reviews from Paris and the various cities in the UK, but they also refer to a Stax-Volt review featuring many artists, none of whom were given an album's worth of stage time, that's a guarantee. The audience here sounds as if it is predominantly Southern black Americans, and it's not racist to say you can tell the race and nationality of the woman who screams at Otis, "Sing 'Good to Me,' baby!" And the opening announcer sounds generically white-bread American (Little Feat's announcer on Waiting For Columbus copped this dude's riff). Maybe he was part of Redding's traveling entourage, but I doubt that too. Not that it matters where this supercharged performance took place.
Dancing with dangerous abandon on a razor-sharp divide between classic country & western and trailer-park kitsch, Grey De Lisle's Home Wrecker offers a surprisingly wide palette of multi-dimensional musical pleasures, thanks to Marvin Etzioni's sly production and De Lisle's prodigious vocal prowess and songwriting grace.