Album Reviews

When Aaron Copland titled his Abraham Lincoln musical tribute “A Lincoln Portrait,” he was using the word “portrait” figuratively.

There were good reasons British blues musicians like the original Peter Green led Fleetwood Mac or blues influenced ones like The Rolling Stones wanted to record in Chess's legendary Ter-Mar Studios in Chicago. One, of course, was the possibility of jamming with blues legends like Willie Dixon, Otis Spann, Muddy Waters, Howlin' Wolk and, well, you can run down the names yourself, including “Guitar Buddy,” what Buddy Guy had to be called due to contractual obligations. The other reason is to get that fabulous Ter-Mar Sound, which The Stones managed to do on some of their earlier albums.

(Laura Nyro was nominated to the Rock and Roll Hall of Fame December, 2011)

"Why buy vinyl cut from a file when you can buy the file itself?". That's easy! If you've worked to get your analog front end to sound glorious, magical and the way you want your records to sound and it sounds better to you than your unyielding, unadjustable digital box, you might have the answer.

Only in retrospect do you realize how much The Guess Who’s sound drew from Creedence Clearwater Revival. That’s fine, because only in retrospect do you realize how much of what sounded new and unique when you were immersed in it, was really formulaic and sometimes trite.

Here's one you might have missed along the way: an authentic, late-70s, unsung heavy-hitter of rock and roll medley in the Memphis vein of Big Star and Ardent studios. What if I said that this musician was in fact a peer of Big Star and even briefly had his own group with Chris Bell and Jody Stephens? What if I could characterize the music as a hybrid of Big Star, Emmitt Rhodes and Todd Rundgren, yet also have its own unique sonic quality? Sound too good to be true? Keep reading, it gets even better.