Album Reviews

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Michael Fremer  |  Nov 04, 2015
The Bowie dress cover did not make the American cut when the album was first released in America in the Fall of 1970.
Michael Fremer  |  Nov 12, 2015
The golden gatefold cover art of Samantha Crain's Under Branch & Thorn & Tree makes clear that this is not a collection of "good times" tunes, but one is still left unprepared for the relentlessly bleak stories of betrayal, despair and desolation Crain delivers in an often pain-wracked voice that's somehow wrapped in a soothing, mesmerizing balm.

Michael Fremer  |  Nov 21, 2015
"Jenny Sings Lenny" as Mr. Cohen playfully referenced this album in a cartoon included in the original release's liner notes but for some reason omitted here, both technically and musically has never sounded better.

 |  Dec 02, 2015
At the top of the Costello album heap (not there alone, though), Trust issued in 1981 is Elvis Costello peaking in anger and disillusionment and coupling his discontent to wiry melodic constructions riding atop tautly tensioned rhythms. The album title is obviously ironic.

Michael Fremer  |  Dec 02, 2015
No doubt Elvis Costello knew he was no George Jones or Merle Haggard when, in the spring of 1981 he stepped before the microphone in CBS's Studio A in Nashville under the direction of veteran producer Billy Sherill (who passed away this past August), but he wanted to record an album of country covers in Nashville and following the cleansing craziness of the Trust sessions, this probably seemed like the right time.

Michael Fremer  |  Dec 12, 2015
Of course the only "ultimate" Sinatra collection for fans is having a huge collection of his albums on Columbia, Capitol and Reprise—the label he started—plus some of the original 78s from the late '30's up until the era of the long playing record.

Michael Fremer  |  Dec 15, 2015
Chad Kassem's got a vinyl selling website, a reissue label, a pressing plant and well-oiled licensing deals so what's left to do but a self-produced double vinyl Christmas compilation pressed on red and green?

Michael Fremer  |  Dec 17, 2015
One of the greatest Broadway shows ever was also one of the great recordings of the dawning stereo era. Just reissued by Razor & Tie imprint Analog Spark and sourced using the original 3 track analog master tape, the music leaps from the speakers with new found conviction intensity and astonishing transparency.

Michael Fremer  |  Dec 30, 2015
Recorded music comes to us pressed in plastic and frozen in time. The work leading up to the master often gets lost, tossed or erased and recorded over without a thought that it might be of interest to anyone. That’s most often true. Alternate takes, when they do surface, usually make clear why they were passed over in favor of the one programmed into your brain, though there are exceptions.

Michael Fremer  |  Jan 01, 2016
A description of this record in Twitter-like brevity: "Sandy Bull meets Michael Hedges in a church."

Of course that short-changes everyone involved, especially the only living artist among the three: guitarist Patrick Higgins.

Michael Fremer  |  Jan 04, 2016
Lyn Stanley’s third effort had better not be more of the same I told her, but only because she asked. Otherwise, it’s really none of my business, especially since I would be reviewing it.

Michael Fremer  |  Jan 26, 2016
Music re-mixes may not be as complicated or as critical as brain surgery but when it comes to The Beatles, you could make the case.
Michael Fremer  |  Jan 29, 2016
Paul Kantner RIP. When is this parade of dead rock icons going to end? Can we at least have a short break?
Michael Fremer  |  Feb 11, 2016
“Too expensive to record to analog tape” we often hear from major label representatives, from producers and from artists. And there are those who don’t think the sonics are better or as good as ProTools.

Michael Fremer  |  Apr 01, 2016
On August 28,1962 Dave Brubeck's "classic" quartet and Tony Bennett backed by The Ralph Sharon Trio performed separately on the stage of the Sylvan Amphitheater at the base of the Washington Monument and then in an act of daring spontaneity, Brubeck and company backed Bennett on four unrehearsed tunes, all of which was captured to tape by. Columbia Records' remote recording team.

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