Album Reviews

Sort By:  Post Date TitlePublish Date
Michael Fremer  |  Mar 01, 2012  |  1 comments

Dad did love his work, more than his family and marriage to Carly Simon, or more accurately put,  forced to choose between the two by Simon, he chose the road and his career.

Michael Fremer  |  Mar 01, 2012  |  0 comments

This performance and recording with Eiji Oue conducting the Minnesota Orchestra emphasizes the "symphonic" while downplaying the "dance" aspects of Rachmaninoff's composition.

Michael Fremer  |  Mar 01, 2012  |  1 comments

First of all the back cover photo doesn't include Brian Wilson! What's that all about?

Michael Fremer  |  Mar 01, 2012  |  3 comments

Does it have to sound this bad fellas? We all love your brand of fist pumping, T-Rex boogie, rhythm guitar riffing rock.

Michael Fremer  |  Mar 01, 2012  |  1 comments

I’ve heard and read complaints about the unadventurous reissues coming from Analogue Productions, especially now that the parent company Acoustic Sounds owns its own pressing plant, Quality Record Pressing.

Michael Fremer  |  Feb 01, 2012  |  0 comments

A funny thing happens as you age: time compresses. When I was 20, music from the 1940s seemed old. Robert Johnson was positively pre-historic, and to my ears the sound was equally cobwebbed. Oh, like everyone else, I bought CL 1654 after seeing it on the cover of Bringing It All Back Home and reading one of the breathless cover dissections in a magazine. Back then every cover prop "meant" something. 

Michael Fremer  |  Feb 01, 2012  |  2 comments

Patricia Barber's café blue remains a musically and sonically stunning set seventeen years after its initial release on CD and later on a truncated vinyl edition. It's set in a dark, atmospheric musical space that recording engineer Jim Anderson captured perfectly, bathing Barber's sultry voice in a mysterious shroud of reverb created not by artificial means as was common at the time, but by establishing an improvised chamber under some stairs at CRC (Chicago Recording Company) where the record was produced.

Michael Fremer  |  Feb 01, 2012  |  1 comments

"My girlfriend loves everything at the beach except the sand, the surf and the sun."  That lyric pretty much sums up the playful, sensous, and dangerous kitsch-world of this exotic six person  L.A. group fronted by the black widow spider persona of the sexy Cambodian pop chantreuse Chhom Nimol whose fixation with '60s Cambodian pop fuels the music. 

Michael Fremer  |  Feb 01, 2012  |  2 comments

Let's divide the world into two groups: one that says "Gene who?" and the other that recognizes the late Gene Clark as one of the greats from the rock era. That's my side of the divide.

Michael Fremer  |  Feb 01, 2012  |  0 comments

Cleaned up, hair cut, even shown bowling in the gatefold photo layout, James Taylor, many felt at the time, had clearly sold out to corporate America by signing with Columbia Records. By 1977 his long hair, hippie days were over and so were ours, but many diehards resented the slick shift and were appalled by the whole thing, starting with the cover photo.  

Michael Fremer  |  Feb 01, 2012  |  2 comments

Note: the review below was written and posted before we received a technical note that was supposed to have been included in the review LP. The note from Reference Vice President Marcia Martin says there were both analog and digital masters of this production. When the analog tape is still in good condition it will be used as the source for these new Reference Mastercut LPs. In this case and for From the Age of Swing the analog tapes were transferred to 176.4kHz/24 bit digital and the file was used to cut the lacquer. This is safer, Ms. Martin says, when dealing with older tapes.

Michael Fremer  |  Feb 01, 2012  |  0 comments

Do you need to add yet another Beethoven symphony cycle to your record collection? What's that you say, you don't have even one? That's not good. Every record collection should include at least one set of Beethoven symphonies even if you don't like classical music.

Michael Fremer  |  Feb 01, 2012  |  2 comments

The very first London "Blueback" probably engineered by the great K.E. Wilkinson in London's superb sounding Kingsway Hall combines stunning sonics with an accessible, lyrical musical program. Mendelsohn wrote the Overture opus. 21 in 1826 when he was but 17 years old. The remainder was written almost two decades later, commissioned by Prussian King Frederick William IV as accompaniment to an 1843 performance of the play.

Michael Fremer  |  Feb 01, 2012  |  1 comments

Pure Pleasure’s musical archeological digs have managed to find some interesting obscurities, this Gil Evans session from 1959 being one of them. It certainly deserves to be brought to your attention. However, its appeal will be limited to aficionados of Evans’ arranging excellence than for any other reason, though many fine players are involved, particularly and obviously trumpeter Johnny Coles as well as Steve Lacey, among others.

Michael Fremer  |  Feb 01, 2012  |  1 comments

Johnny Cash's third album and his major label debut  recorded in 1958 and issued in early 1959 doesn't mess much with the Sun era shuffle-and-twang musical formula. Luther Perkins does the twanging as he did as a member of The Tennessee Three, Cash's backing group but the overall sound is somewhat watered down.

Pages

X