Album Reviews

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Michael Fremer  |  Jan 01, 2011

This is not Sam Beam's (A/K/A Iron and Wine) latest album. It dates from 2007. His first release, The Creek Drank the Cradle, was released back in 2002. Somehow that one, this one, his newest and all of his work escaped my attention until last year's AXPONA audio show in Jacksonville Florida where I saw the collected works in the bins of a Florida audio store owner who had a room at the show. I asked to hear something and he played a cut from this introspective, atmospheric and sonically enticing and well-produced album. I was hooked.

Michael Fremer  |  Jan 01, 2011

Dixie Chicken and Sailin' Shoes are the meat of the LIttle Feat catalog, with Dixie Chicken arguably being the group's finest studio effort.

Michael Fremer  |  Jan 01, 2011

Keb' Mo's mellow protest album recycles classics from the '60s and '70s, recasting them for the 2004 mindset witnessing the greatest strategic foreign policy mistake in American history. 

Michael Fremer  |  Jan 01, 2011

One of the fascinating aspects of collecting records, particularly if you're willing to haunt Goodwills and hit garage sales, are the variations you often find of the same record. 

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.

Michael Fremer  |  Jan 01, 2011

The only original copy of this album that I ever saw was in The Library of Congress's record collection. It features great period cover art that Green Day lifted for their Foxboro Hot Tub album and a live performance from guitar legend Dick Dale. 

Michael Fremer  |  Jan 01, 2011

This 1973 release, minus saxophonist Phil Shulman who had left the group (leaving but two Shulmans),  was rejected by Columbia Records for being "un-commercial" yet it became one of the band's most popular releases. It was available only as an import in America.

Michael Fremer  |  Apr 01, 2011

Little Feat was never an "album" band, even though they released many good records. They were low concept and high boogie. The groove was cerebral though, not the mindless "good time" endless fist pump variety mainly because of the playful and smart Lowell George. Lowell was from Baltimore,MD.

Michael Fremer  |  Apr 01, 2012

Long considered one of the great recordings of the early stereo era, España was originally issued in the UK on the British Decca label (SXL 2020) and on American subsidiary London (CS6006).

Michael Fremer  |  Oct 01, 2010

Well this is embarrassing: I've played often and enjoyed this excellent sounding reissue featuring L.A. based anglophile singer/songwriter Emitt Rhodes in preparation for this write-up but the record has gotten lost here somewhere.

Michael Fremer  |  Jul 01, 2011

The music made by the Australian group Dead Can Dance during their seventeen year existence resembled soundtracks to imaginary movies. The core duo of Brendan Perry and Lisa Gerrard, who were also an item at the time, moved to the U.K. a year after the group's founding in 1981. They issued their first album on 4AD in 1984. 

Michael Fremer  |  Jul 01, 2011

The iconoclastic singer Harry Nilsson lived hard and mostly sang softly. His Los Angeles debauchery with his pal John Lennon and the resulting outcast behavior including being tossed with Lennon from The Troubadour for heckling The Smothers Brothers is well known, as are many of the songs he wrote, including "One" covered by  Three Dog Night and "Cuddly Toy" covered by The Monkees.

Michael Fremer  |  Oct 01, 2010

Recorded in glorious mono in 1956 and issued first in 1957, this set of small combo standards with Cole both singing and playing the piano remains as fresh and vital as it did when originally released. 

Michael Fremer  |  Oct 01, 2010

In an indie-rock era saturated with smirky, slacker irony, the roots-rocker Ray La Montagne comes across as downright solemn. He and his group execute cleanly and almost reverentially, funk, blues, jazz and country, which La Montagne sings in a honey coated gruff voice that veers between Joe Cocker and Tim Hardin. The man is sincere and like Tim Hardin, he knows how to move three chord rounds. 

Michael Fremer  |  Oct 01, 2010

Trumpeter Kenny Dorham brought Joe Henderson to Blue Note and on the late tenor saxophonist's second lead album gives him strong support as the two chase each other through some zig-zag bop thickets. "Teeter Totter," the fast-paced Henderson-penned opener alone is worth the price of admission but the other tracks simmer with equal intensity.

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