Album Reviews

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Michael Fremer  |  Nov 01, 2005

For some reason, audio enthusiasts have a need to latch onto female vocalists with a passion that borders on the fanatical. Once they find her, they never let go. The careers of Amanda McBroom, Jennifer Warnes, Diana Krall and Janis Ian have all benefited from this compulsive/obsessive behavior. I have nothing against it. I just find it fascinating.

Michael Fremer  |  Jan 03, 2018
Step away from your predictable audiophile fare and consider this double 45rpm LP set from the U.K.'s Gearbox Records of artists you've mostly never heard of playing music you've probably never heard either.

Andy Goldenberg  |  Jan 01, 2005

A nice return to form has been achieved. While I thought their last album, Hello Nasty, was lacking compared to the groundbreaking holy trinity of Paul's Boutique, Check Your Head and Ill Communication, To the 5 Boroughs brings back some tasty examples of why the boys will go down in musical history as Rap-Rock trailblazers.

Michael Fremer  |  Oct 28, 2021
(photo: Jeremy Neech)
The blank white The Beatles double LP gatefold jacket intended to show the world that the group was finished with busy, production heavy studio creations that relied for completion upon production tricks and gimmickry. Instead, the group wanted to emphasize musicianship and “live play”.

Never mind that the songs sometimes ended up being more individual than group efforts and that squabbling and disagreement led to acrimony as well as long time engineer Geoff Emerick exiting, producer George Martin going on holiday and even Ringo Starr walking out for a few weeks.

Michael Fremer  |  Feb 17, 2003

Sea Change, Beck's late-afternoon, mid-tempo reverie of an album, harkens back to the great old days of painstaking production, carefully drawn arrangements, and a concern for--and love of--sound and musical textures for their own sakes. Tempi are languid, notes are caressed, and gaping atmospheric spaces welcome listeners willing to be drawn in.

Michael Fremer  |  Jun 01, 2005

Having licked his wounds and moped us into a melancholic swoon on the sumptuous sounding break-up album Sea Change, Beck casts off his blues and self absorbed ballads, puts his ears to the ground and, reunited with Mike Simpson and John King (a/k/a The Dust Brothers), comes up with an Odelay style, beat based musical mélange sure to please fans.

Michael Fremer  |  Mar 08, 2014
The opening wash of gorgeously recorded massed strings might just paralyze you. "Who arranged those? " you might say to yourself but before you could scour the liner notes you hear familiar Sea Change-like guitar strums and you melt.

Michael Fremer  |  Jan 01, 2011

Clearly a fan, producer Steve Lipson places Jeff Beck's guitar in a distant reverberant  space that decreases its solidity but increases both its size and its mystery, evoking a God-like presence hovering above a lush, string-drenched orchestra. Or you could see Beck playing perched on a craggy, windswept rock surrounded by white-capped water. The album very much has a Pacific Ocean vibe.

Mark Smotroff, Mike Mettler  |  Mar 06, 2026

Fans of Beck David Hansen know that this multitalented singer/songwriter, producer/performer is something of a musical chameleon who delivers his music cross-pollinated in rock, folk, Latin, hip-hop, and even symphonic sounds. This all made his triple-Grammy-winning February 2014 Capitol LP Morning Phase all the more of a surprise, as it was a lush slow-moving, ambient-flavored, acoustic-driven masterpiece that commands rapt attention from listeners. The new Definitive Sound Series (DSS) reissue of Morning Phase from Fonograf/Capitol now makes it easier than ever to kick back and just float upstream with Beck’s music. Read Mark Smotroff’s review to see all the reasons why the DSS edition of Morning Phase is a must-have. . .

Michael Fremer  |  Nov 16, 2019
How the original single LP of cellist Fournier and pianist Gulda performing Beethoven’s Cello Sonata in D (Deutsche Gramophon SLPM 138 083) ended up in my collection isn’t clear to me but I can narrow it down to either my college Beethoven symphony music appreciation class professor, or to Duane, the classical music expert at Minuteman Records in Harvard Square.

Michael Fremer  |  Feb 22, 2014
The first stereo release from The Electric Recording Company is a reissue of Columbia SAX 2386 first released in 1959 . It is a much sought after record as the used prices for clean copies are nothing short of astronomical— $3000 and up. Kogan was born in the Ukraine in 1924 and died of a heart attack in 1982 at age 58 a few days after playing this piece in Vienna. His western discography isn't extensive and the few he recorded for the Columbia division of EMI are the most collectible.

Michael Fremer  |  Jan 01, 2009

Before there was Norah, Diana, Patricia, or even Jacintha, there was Julie London. Just as audiophiles today seem to gravitate towards sexy, breathy singers, audiophiles in the mid-fifties found themselves inextricably connected to Ms. London, thanks in great part to the Liberty Records original ((LRP-3006), issued December, 1955.

Mark Smotroff  |  Jan 20, 2024

Musician, composer, singer, and producer Zach Condon has somehow found a way to mesh the sounds of pump organs, real acoustic horn sections, ukuleles, drum machines, world-beat oriented percussion, and synthesizers into a distinctive blend that is immediately identifiable as the group called Beirut — a sound that bears a genuinely international flair processed through adventuresome recording situations. Read on to find out why ace reviewer Mark Smotroff feels Beirut’s new album Hadsel may be Condon’s most complete statement to date and why it’s so well-suited to spinning it again and again on vinyl. . .

Michael Fremer  |  Jan 01, 2010

In his annotation, jazz critic/social commentator Nat Hentoff writes about this 1959 meeting between tenor sax legend Ben Webster and baritone sax smooth talker Gerry Mulligan: “It seems to me that even the most rash liner note writer has to pause before predicting the longevity of the session he’s assigned to introduce, but it requires neither courage nor obtuseness to underline the obvious likelihood that this one will be listened to as long as anyone cares about jazz.”

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