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.
The Blakey was cut from 96/24 files according to Chris Bellman at BG Mastering for the surmised reason: the songs were on multiple tapes and the most expeditious way to produce cutting masters was to first digitize. The annotation wasn't clear but I don't think anyone was "trying to pull a fast one"._MF). It was Beatlemania when Art Blakey and the Jazz Messengers landed at Haneda Airport, New Year’s Day, 1961. Of course, The Beatles hadn’t yet happened, but neither had Blakey and his group ever been greeted in America with the rousing enthusiasm they encountered both upon landing and during the series of shows in which they performed in Japan that month.
Alto sax bop legend Art Pepper (1925-1982) had accrued a lot of mileage but few OnePass points when he blew into London with his trio in June of 1980 to play a fortnight gig at the famous Ronnie Scott’s Club.
I can’t get enough of these Candid reissues from Pure Pleasure. The original label was short-lived and the distribution limited. Candid was originally a subsidiary of Archie Bleyer’s Cadence Records (Bleyer had an unlikely ‘50’s hit single with “Hernando’s Hideaway” from the Broadway hit “Damn Yankees” and scored big with The Everly Brothers). The label was sold to pop crooner Andy Williams, a seemingly unlikely customer, who reissued some of both Cadence and Candid titles on his label Barnaby, distributed by Columbia Records.
The iconoclastic singer Harry Nilsson lived hard and mostly sang softly. His Los Angeles debauchery with his pal John Lennon and the resulting outcast behavior including being tossed with Lennon from The Troubadour for heckling The Smothers Brothers is well known, as are many of the songs he wrote, including "One" covered by Three Dog Night and "Cuddly Toy" covered by The Monkees.
In 1989 digital was all the rage. New vinyl records were on the verge of extinction. And Kate Bush remained silent - four years after her chart-topping album Hounds Of Love. Her famously loyal fans were literally chomping at the bit for the next release from the mystical chanteuse. The Sensual World was just around the corner. Would it be brilliant or bizarre?
The Blue Note reissue explosion continues with these attractively packaged XRCD24s from Audio Wave. We’ve got two current purveyors of Blue Notes: Music Matters and Analogue Productions, each having gained access to different catalog titles.
What better time than now for the all-analog resurrection of this Chesky classic? Easter is three weeks away (though “Oh Great Mystery” is really about Christmas) and home lock down in a dreary time is here now.
MP3s spread “virally.” Large corporate interests didn’t push them. Vinyl is resurgent for the same reason. It’s a ground up movement. Construct that way and you have a strong foundation for a long-lasting building. That’s what gives hope for vinyl’s long term growth and sustainability.
This is a weird, squooshy, watery record. The music is soft and squooshy, the lyrics are soft and squooshy. Songwriter Art Halperin’s voice is particularly squooshy, the background musicians play softly and squooshily, and even the veteran recording and mastering engineer Barry Diament has captured it squooshily in real stereo in a pleasingly reverberant church using a pair of carefully placed microphones.
When Buffalo Springfield broke up, Neil Young set about building his solo career. The high-production work with Jack Nitzsche that had created classics like “Expecting to Fly” and “Broken Arrow” brought Neil back to the producer/keyboardist/orchestrator, who gained fame working with Phil Spector but the results on Young’s eponymous debut album were not as memorable. In fact, many critics and fans alike back in 1969 considered the album a disappointment and a misstep.
Draw Me A Silence is the first long-player from Azu Tiwaline, a project of the electronic producer and DJ Loan, who has “origins which take root in the Sahara and El Djerid region in the south of Tunisia”. This new incarnation creates “a sound from the desert drawing on Berberian and Saharan trance music that connects human beings with Nature” according to her Bandcamp page.