LATEST ADDITIONS

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Michael Fremer Posted: Feb 01, 2009 0 comments

The big problem with vinyl �greatest hits� compilations is that they are, of necessity, at least a generation down from the master tape. That�s because assembling the actual masters into a cutting reel usually isn�t allowed and even were a record label to allow it, levels, equalization and tape head azimuth issues make in nearly impossible to adjust between tracks as the tape reel rolls and the lacquer gets cut.

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Michael Fremer Posted: Feb 01, 2009 0 comments

Of Montreal’s Kevin Barnes makes Freddie Mercury, Prince and David Bowie sound positively macho. His whiney vocalizing and gay shrieking makes glam-rock sound like Led Zeppelin. And while a Mercury song like “We Are the Champions” has become a ball game anthem, nothing in the Barnes oeuvre could possibly crossover&#151unless a day comes when what sound like gay diary entries become the favorite half-time sing alongs.

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Michael Fremer Posted: Feb 01, 2009 0 comments

Before there was an Internet, before cell-phones but after smoke signals, news of this remarkable Leo Kottke album with the black and white armadillo cover spread throughout the “underground” almost immediately upon its release in 1969 on John Fahey’s Takoma Records label.

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Michael Fremer Posted: Feb 01, 2009 0 comments

Note: After this the posting of this review, Sundazed's Bob Irwin sent a correction. I've chose to leave the original review intact, prefaced by Irwin's comment:

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Michael Fremer Posted: Feb 01, 2009 0 comments

You can bet this blistering, groundbreaking jazz-rock fusion album from 1971 spun Jeff Beck’s head around big time, turning him from heavy metalist-rocker (his version of The Yardbirds’ “Shape of the Things to Come” on the Jeff Beck Group’s album Truth is arguably the first “heavy metal” rock arrangement) to the jazz-fusionist he became on Blow By Blow. Others followed too, of course.

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Michael Fremer Posted: Feb 01, 2009 1 comments

Elvis Costello “borrowed” the cover of this album for his Almost Blue (F-Beat XXLP13) but there the resemblance ends, not only between Costello’s countrified Nashville tribute and this one, but between this one and the usual Blue Note fare.

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Michael Fremer Posted: Feb 01, 2009 1 comments

The difference between brilliance and cocktail lounge music is measured out in tiny gestures audible as finger dance moves around a predictable melody.

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Michael Fremer Posted: Feb 01, 2009 0 comments

The contrast between this Sam Cooke playing a tiny Miami stop on the Chitlin circuit and the one who showed up at New York�s Copacabana the next year couldn�t put the singer�s flip sides into greater relief.

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Michael Fremer Posted: Feb 01, 2009 0 comments

Looking at the sepia toned cover photo, listening to the Civil War era Americana-themed lyrics and unraveling the thick, dark, tuba-tinged instrumental atmospherics, you might easily imagine the recording venue to have been a log cabin in the woods.

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