Album Reviews

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Michael Fremer  |  Aug 08, 2014  |  20 comments
First released in "Living Stereo" way back in 1959, Belafonte at Carnegie Hall continues to captivate listeners, both audiophile and non. The question that needs asking is: Were this not such an astonishing recording, would it still hold interest?.

Michael Fremer  |  Apr 01, 2012  |  1 comments

Named for a now defunct Northern New Jersey, Route 23 lawn furniture emporium (bought my chaise lounges there!), Fountains of Wayne has been making consistently tuneful and erudite observations about just plain folks since 1996 when they released their eponymous first album on Atlantic Records. The core was then and is now, the delightfully bratty-voiced Chris Collingwood and his multi-instrumental partner Adam Schlesinger.

Michael Fremer  |  Jul 03, 2006  |  0 comments

True to the label’s intentions and name, Zane Musa is a muscular-toned, “straight ahead” alto sax bopper, accompanied on this superb sounding disc by like-minded Southern California jazz musicians on a set of well worn but always comfortable jazz standards.

Michael Fremer  |  Jan 01, 2005  |  1 comments

Wow! Leave it to Sundazed to pull off the ultimate Christmas gift for Byrdmaniax-not that any of them will wait until then to devour this quintuple 45rpm box set. All of these A and B sides were originally conceived of as the “next” Byrds single, but for one reason or another, were shelved. Now Sundazed has resurrected them with fabulous sound and impeccable, sumptuous packaging.

Michael Fremer  |  Aug 01, 2010  |  1 comments

Sea Change, Beck's late-afternoon, mid-tempo reverie of an album, harkens back to the great old days of painstaking production, carefully drawn arrangements, and a concern for—and love of—sound and musical textures for their own sakes. Tempi are languid, notes are caressed, and gaping atmospheric spaces welcome listeners willing to be drawn in.

Michael Fremer  |  Aug 01, 2011  |  1 comments

Truly, you can live without The Hollies' version of "That's How Strong My Love Is," compared to The Rolling Stones' white boy version, which you can also do without once you've heard Otis Redding do it. 

Michael Fremer  |  Dec 01, 2005  |  1 comments

A trademark dispute with National Periodic Publications (D.C. Comics) over the original cover art postponed the release of this record. Because Metropolis, Illinois is officially recognized by D.C. Comics as “the home of Superman,” Mr. Stevens references it in the lyrics and had the cover art show the man of steel flying in front of Chicago’s John Hancock Tower. D.C. Comics sued, in what definitely gets the company “dick move of the musical year” award from me. The legal problems delayed the release of the album. While it was originally in the November “In Heavy Rotation,” I’ve moved it here because of the delay.

Michael Fremer  |  Aug 01, 2007  |  0 comments

Smartly arranged and orchestrated, nicely recorded and beautifully packaged, Bright Eyes’s latest double LP set is a wistful set that begins oddly but effectively with a denouement of a song about the encroaching pincer forces of corporate, military and religious aggressors (“If you think that God is keeping score, hooray!”)

Michael Fremer  |  Apr 01, 2007  |  0 comments

Sundazed has just released the first five Byrds albums cut from the original mono master tapes, which didn't see that much action when new and haven't seen much since. Thus the sound on this first one has a chance of being positively stupendous and it is.

Michael Fremer  |  Nov 01, 2010  |  1 comments

Kitsch fans alert! This obscure 1960 oddity by composer/arranger Bob Thompson consists of a dozen short, lushly orchestrated impressions of various forms of transportation, each introduced with a stereo high-fidelity sound effect recording of a train, ocean liner, motor scooter, sports car, Intercontinental Ballistic Missile, or what have you.

Michael Fremer  |  Jan 01, 2006  |  0 comments

The release of “The Autobiography of Donovan, The Hurdy Gurdy Man,” last December, unleashed a publicity juggernaut that had the ‘60’s icon returning to the public eye with perhaps greater intensity than he experienced during the height of his original success (though without the #1 hits, of course).

Michael Fremer  |  Sep 01, 2010  |  1 comments

The forced revisiting of old, long neglected favorites is one of the great benefits of reviewing reissues. I hadn’t played this chestnut for years, maybe decades and never in the mono mix since by then stereo ruled—at least for me and a small minority of other kids.

Michael Fremer  |  Feb 01, 2012  |  2 comments

Let's divide the world into two groups: one that says "Gene who?" and the other that recognizes the late Gene Clark as one of the greats from the rock era. That's my side of the divide.

Michael Fremer  |  Jan 01, 2009  |  1 comments

There was a time when recordings studios were scenes, and the scenes produced great records, much like bar and club scenes produce great performers.

Michael Fremer  |  Aug 01, 2005  |  1 comments

Sundazed's Bob Irwin plays guitar and loves guitarists. In case you haven't noticed, go through the Sundazed catalog and you'll see. Hank Garland, best known as a Nashville session cat who played with Elvis, Eddy Arnold (in his touring band) and many, many others, was equally adept at playing electric jazz and this album on SESAC records issued in 1960 proved it. Adding to the interest here is the inclusion on the session of the very young vibraphonist Gary Burton.

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