Album Reviews

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Michael Fremer  |  Mar 01, 2008  |  0 comments

In retrospect it’s easy to understand why these superstars would want to write and perform this codger-esque novelty stuff under assumed names. They must have figured that while writing and singing this lighthearted fare inspired by the music of their formative years was fun, they were hardly washed up artists and had more greatness within waiting to pour forth.

Wesley Norman  |  Feb 01, 2008  |  0 comments

Take Coheed and Cambria vocals (only far more harsh and severe), some of At the Drive-In’s experimental noise, and a bit of Rancid’s edgy speed and you’ll get an idea of what the Blood Brothers sound like.

Michael Fremer  |  Feb 01, 2008  |  0 comments

This set, recorded a few weeks shy of fifty years of when I’m writing this stars a 51 year old Hawkins leading a well- recorded session date featuring J.J. Johnson, Hank Jones, Ocar Pettiford, Jo Jones, Barry Galbraith (guitar) and Idrees Sulieman. I had no idea who Barry Galbraith was until I read the liner notes, so I’ve listed his instrument in case you’re unfamiliar as well. Perhaps I’m just showing my ignorance. If you don’t know the others and what they play, you’re showing yours, though trumpeter Idrees Sulieman is not exactly a household name now and wasn’t even one in 1957.

Brent Raynor  |  Feb 01, 2008  |  0 comments

Remember when music was fun? Like when you were in high school trying to get a band together so you could rock-out while pretending to be your favorite group, and maybe get a date or two out of it? For many of us that was long ago, but for Born Ruffians it was last week, and their debut EP is brimming with a cheeky exuberance that seems only to inhabit those still in teendom.

Here’s hoping they enjoy it, because being able to get away with completely copping every hook and every look from your favorite bands can only last so long and get you so far before people start calling you this decades Stone Temple Pilots. Not that that hasn’t already started to happen to Born Ruffians, who seem to be creating quite a backlash in certain circles. Give ‘em a Google and you’ll soon see a whole lot of words like “pretentious”, “contrived”, “derivative”, and “unoriginal” popping up. Best of all is that they’re saying it like it’s a bad thing.

Michael Fremer  |  Feb 01, 2008  |  2 comments

Bacharach and David walked a fine line between brilliance and kitsch during their collaborations with Dionne Warwick, creating for her a musical persona that was the original “desperate housewife,” though of a much more helpless and vulnerable variety.

Michael Fremer  |  Feb 01, 2008  |  0 comments

A young James Taylor arrived on the crowded late ‘60’s musical scene a mature, fully formed artist. His voice was unique, rich-sounding and immediately identifiable, as was his acoustic guitar playing. His songwriting was accomplished both lyrically and melodically well beyond his 20 years.

Michael Fremer  |  Feb 01, 2008  |  0 comments

The acclaimed violinist Salvatore Accardo commissioned arranger Francesco Fiore to re-imagine his dear friend Astor Piazzolla’s “Adios Nonino,” for, violin, piano and orchestra. Not a bandoneon can be heard on this lush, extraordinarily moving tribute to the great tango composer’s father, whose middle name was “Nonino.”

Michael Fremer  |  Feb 01, 2008  |  0 comments

Whether the release of this album or Dylan's "plugging in" at Newport in 1965 enraged fans more is debatable, but whichever way you see it, everyone agrees that this record was reviled when first released back in the Spring of 1969.

Michael Fremer  |  Feb 01, 2008  |  0 comments

Sonny Rollins sparring with Freddie Hubbard (title tune only) backed by the reunited Coltrane drum’n’bass section of Elvin Jones and Jimmy Garrison sounds like an enticing lineup for this May, 1966 session at Van Gelder’s and it is!

Michael Fremer  |  Jan 01, 2008  |  0 comments

Pete Townshend’s sprawling second rock opera, issued in the fall of 1973, uses the troubled teenaged character Jimmy to elucidate adolescent coming of age issues generally and those of post WWII English kids (like the four members of The Who) specifically.

Michael Fremer  |  Jan 01, 2008  |  0 comments

There’s nothing groundbreaking on this 1960 Parlan-lead session, but that’s okay. The lure here isn’t the musical construction, since it covers familiar grooves and doesn’t move jazz forward. In fact, you’ll hear familiar gestures, some gleaned from Miles’ modal Kind of Blue issued a few years earlier, others from common blues.

Michael Fremer  |  Dec 01, 2007  |  0 comments

They are expensive ($40.00), they are 200 grams thick, the titles are mostly inspired and as you might expect, the pressing and jacket quality are absolutely spectacular.

Michael Fremer  |  Dec 01, 2007  |  0 comments

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.

Michael Fremer  |  Dec 01, 2007  |  0 comments

If you buy only one LP this year on faith because of what you read on this website, please make it this one that comes from so far out in left field, it’s in the bleachers.

Michael Fremer  |  Dec 01, 2007  |  0 comments

Talk about throwing it back to the 1980s! These guys channel Manifestoera Roxy, Brit/Industrial (Joy Division) and even Haircut 100 on their latest double LP set (CD included for easy iTunes/iPod loading).

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