Album Reviews

This month, AnalogPlanet launches The Rear View Mirror, an ongoing series extensively reviewing notable albums from the past. Entries, which will be posted at least once a month, are limited to one album per artist per year. And what better way to launch it than with a 50th anniversary review of Yoko Ono’s Fly?

In December 1965, Sam Charters (1929-2015) went to Chicago to record Blues musicians who were playing in the clubs of the Black neighborhoods on the south and west sides. Charters, a white man, had written "The Country Blues" published in 1959. It was the first book about rural blues and while it contained many factual inaccuracies, it was entertaining romantic storytelling and helped foster the interest of young White folk fans in acoustic Blues. The glaring failing of "The Country Blues" was Charters’ insistence that “real blues” was dead, that Lightnin’ Hopkins was the last living blues singer (!), that postwar electric Blues was diluted, crude, loud, monotonous and that, “The blues have almost been pushed out of the picture and the singers who have survived at all have had to change their style until they sound enough like rock and roll performers to pass with the teenage audience.” Opinionated, though he may have been, Charters remained open minded and observant and within a few years, realized that the music being played in the small bars in the Black neighborhoods of Chicago was an urban, modernized version of the rural southern blues he admired so much and served the same social purpose for its audience. 

The Enigmatic Foe’s new album The Original Plan (S/R) offers up contemporary rock and roll in the vein of Real Estate with other jangle pop influences, including distant echoes of primordial U2 with some mid-80s leanings via occasional electronic drums and synth-pop production. Tight, yet airy, the band creates a satisfactory wall of sound - mostly via the shimmering guitars of Josh Dooley (Map, Fine China) and Jared Colinger. Colinger - writer, guitarist and vocalist of the group - explains the topical nature of his tunes, “Sometimes we go to great lengths to be miserable and stay miserable. I once heard a story about a musician who purposely created strife with their spouse to have song fodder. I certainly thrive on creating songs out of misery. Anything else outside that topic seems a novelty.” Colinger, however, camouflages these sorrows with chipper, sparkly production and plenty of guitar chime. Frank Lenz’s (Headphones, Richard Swift) drumming provides a tight, propulsive groove to the whole affair.

Mungo’s Hi Fi is Glasgow’s biggest reggae sound system and named after the city’s patron saint. You may not be expecting such a thing in the rainswept streets of Scotland’s biggest city, but since 2001 Mungo’s Hi Fi has been producing reggae music, putting out over 90 releases on its own Scotch Bonnet record label, building a sound system and running numerous club nights. They have collaborated with some of reggae’s biggest vocalists, including Sugar Minott and Cornell Campbell, as well as current voices such as Soom T, Eva Lazarus, and Charlie P. This latest release from September 2020 brings to the mic Italian vocalist and songwriter Marina P.

This July, Billie Eilish released her highly anticipated second LP, Happier Than Ever. After some contention as to who would review this release, AnalogPlanet editor Michael Fremer and contributing editor Malachi Lui agreed to both comment on it. Below is their conversation about the record.

When George Harrison, the youngest Beatle, passed away November 30th, 2001 at age 58, Allan Kozinn’s front page New York Times obituary referred to him as “the quiet Beatle”, which during the group’s touring years, is what the self-effacing youngest member of group was often called.

Zappa ’88: The Last U.S. Show contains mostly unreleased material capturing Frank’s full Nassau Coliseum Long Island, NY performance plus additional tracks from MD and RI shows. The ’88 band, a well-oiled machine intended to be Frank’s Fox television show “house band”, included some of the finest musicians that had ever worked with him. Naturally, Frank was to have complete show control including guest selection. He intended to choose people with wildly different backgrounds and viewpoints, but at the last minute, Fox pulled the plug.