Why listen to "purist" British blues bands recreating what they've heard on record or in clubs, when you can hear the real thing? That's how I've always felt about it. This album by the British blues band Ten Years After is something else and perhaps in retrospect it's unfair to tag TYA as a "purist blues band."
All of Fiona Apple's albums have been been personal and confessional (some might say "self absorbed") but this one is really personal and confessional and attractively self-absorbed too.
The Grateful Dead's "Touch of Grey" was a spirited 1987 marching order to an aging Baby Boomer generation to "get by" and its assuring affirmation that "we will survive" was a stroke of timing and musical genius. The song became an unlikely hit for a group that didn't have or need hits and helped propel the band to further heights of both popularity and creativity.
Over the past few years, jazz fans have been treated to some astonishing, heretofore unreleased treasures. Unlike in the rock world, where such finds, along with “bonus tracks” usually tell you why they weren’t released in the first place (with Bob Dylan being a notable exception), these jazz releases have felt like un-mined diamonds, only occasionally in the rough.
We like promoting independent vinyl projects so when Nova Social’s Thom Soriano contacted Analogplanet about a review of their new album For Any Inconvenience we bit.
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.
Watching the aged PBS fund raising audience creep ever closer to my demographic has been a thirty year creepy creep. First it was fund raising aimed at the WWII big band consuming generation.
Dr. and Mrs' J.C. Willke's double LP set "How to Teach Children The Wonder of Sex" is taken from a videotape of a lecture given by the couple to the faculty and staff of the University of Kentucky Medical Center back in 1966.
Mrs. Willke does not perform the first version of "#9" on the second album of the two LP set How To Teach Children The Wonder of Sex. However, both she and Dr. Willke make a lot of sense on the second album of this two LP set.
The fourth Doors album was not particularly well-received when first issued in 1969. The inclusion of horns and strings was for many a deal breaker, but what really made more pull back was the sense of a less than fully integrated ensemble appearing to come apart at the seams.
The great Mexican-American roots-rocker Alejandro Escovedo is back with yet another great, hard rocking yet deeply thoughtful album, his second with veteran producer Tony Visconti. Visconti goes all the way back to David Bowie's epic The Man Who Sold the World and if you hear echoes of that album on some tracks here, like the haunting background voices on "Sally Was a Cop", the album's most powerful song, it's not a coincidence.
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.
Bob Dylan cracks himself up performing some of these songs. Producer Tom Wilson must have gotten it, but recording engineers Roy Halee and Fred Catero might have been ready to stop the tape. After all, this was staid, but still pre-corporate Columbia Records. It was “straight” and at that point Halee was more experienced recording Percy Faith than Bob.
Does it matter that the rattle and phlegm in Bob Dylan's voice makes it sound as if your midrange driver has blown? No. Hell no. In fact, despite the ragged vocals and 50 years since his debut, this is Dylan's best album in quite some time.
Imagine a hard bop jam session featuring three tenor sax greats: Johnny Griffin, Hank Mobley and John Coltrane. Add Lee Morgan on trumpet and propel them with the rhythm section of Wynton Kelly on piano, Paul Chambers on bas and Art Blakey on drums.