Album Reviews

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Michael Fremer  |  Jul 01, 2004

I'm not sure how many Roy Orbison completists are out there. I know two: myself and my friend Frank Doris. Classic has issued Orbison's Crying in both mono and stereo and a good case can be made for either edition, once the case has been made for the music, which is a bit of a more difficult proposition.

Michael Fremer  |  Aug 01, 2004

If you search the musicangle data base for “Dolly Varden,” you'll find a review of Forgiven Now, also issued on Diverse Records 180g vinyl. The Dumbest Magnets is the group's previous album, not the follow up to Forgiven Now. Therefore it can't and doesn't demonstrate musical growth, or greater chance-taking. It does prove that the group's previous album is yet another exquisitely turned out pedal steel drenched acoustic/electric album of introspective country-rock.

Michael Fremer  |  Jul 01, 2004

Producer Norman Granz's “songbook” concept, made possible by the invention of the LP, proved to be one of his most popular and enduring ideas. Ella sang Rodgers and Hart, Cole Porter, and of course Gershwin, but this one, pairing two of the biggest names of the last musical century, with Ella performing with three ensembles, was perhaps Granz's most ambitious undertaking. Ella and the Duke were signed to different labels, and both had busy concert and recording schedules, but after Ella performed with Ellington at a Jazz at the Philharmonic date, Granz set about getting the two together in a recording studio for a songbook production.

Michael Fremer  |  Jul 01, 2004

With heartfelt help and support from his friends, Warren Zevon's musical sendoff is like a good funeral: a mixture of tears, laughter, fond remembrances, and in the end, a celebration of a life worth living, and one that obviously touched both those close at hand, and those seated in the audience.

Michael Fremer  |  Jan 01, 2005

Wow! Leave it to Sundazed to pull off the ultimate Christmas gift for Byrdmaniax-not that any of them will wait until then to devour this quintuple 45rpm box set. All of these A and B sides were originally conceived of as the “next” Byrds single, but for one reason or another, were shelved. Now Sundazed has resurrected them with fabulous sound and impeccable, sumptuous packaging.

Michael Fremer  |  Jul 01, 2004

One of the problems with 180g LPs is that they're usually expensive, so when something interesting, but minor gets released, like this recently discovered tape, buyers hesitate. Fortunately, Sundazed keeps their prices down to around CD level and below, so this previously undocumented live performance by the “classic” lineup, recorded sometime in July of 1964 becomes a feasible addition to one's Yardbirds/Clapton archives.

Michael Fremer  |  Dec 01, 2004

Usually an aggressive Irish folkie with a penchant for some mad strumming, Mr. Bloom delivers a real snoozer on this 9 song set. If it puts you to sleep Bloom will be happy, for that is his intent.

Michael Fremer  |  Sep 01, 2004

Dylan's Halloween '64 performance before an adoring Philharmonic Hall (currently Avery Fisher Hall) audience waited forty years for release but remarkably, here it is in the digital age, still available in the LP format, sumptuously packaged, mastered and pressed for Sony by Classic Records.

Michael Fremer  |  Sep 01, 2004

Grand Funk Railroad proclaimed itself “an American band,” but CCR was arguably, the American band of the late '60's early '70's rock era. Even if Fogerty and Co. was not your premier domestic purveyor of rock'n roll, the group's sound has stood the test of time and actually grown in stature. Dredged from blues, swamp, and rhythm and blues, and overlaid with a now-classic propulsive '60's rock sensibility, CCR today still sounds fresh and remarkably pure, even as so much of the music from back then sounds “of the time.”

Michael Fremer  |  Sep 01, 2004

Originally recorded for a King Biscuit Flower Hour radio show and taken from a decent stereo board mix, this set chronicles The Ramones at their peak before an adoring home audience. The group had just returned from a triumphant European tour during which It's Alive had been recorded at the Rainbow Theatre on New Year's Eve just a week before.

Michael Fremer  |  Sep 01, 2004

Mining America's musical blue highways is Sundazed's specialty. This collection of Wray's Swan singles, “A” and “B” is a perfect example of what the label does best. Best known for his classic hit, the trend-setting, iconic “Rumble,” the guitar twanger had a long, if not quite as successful recording career afterwards, specializing in rock'n'surf tinged, raunchy instrumentals. When he did sing, it was Elvis all the way-and a good Elvis it was, augmented by some hard-edged falsetto screaming.

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  |  Feb 01, 2005

LP mastering engineer Don Grossinger brought over two LP editions of Smile last week, test pressings from RTI used for the domestic Rhino release and a set from Pallas in Germany for the European market. Grossinger cut identical lacquers for both.

Michael Fremer  |  Dec 01, 2004

Englishman Dolby hit double paydirt with a catchy synth-novelty song and an accompanying video just as the pop-synth and music video/ MTV phenomena broke. However, “She Blinded Me With Science” was not his first song, nor does it really reflect what the guy's about. His first album, The Golden Age of Wireless (Harvest ST-12203), was originally issued without “She Blinded Me…”. When the song and video became popular, the album was reconfigured and reissued. Dolby was an instant celeb, and faded just as quickly, though his album Aliens Ate My Buick (EMI Manhattan E-148075) remains a cult fave for both music and sound. Come to think of it The Flat Earth was pretty good as well.

Michael Fremer  |  Jan 01, 2005

This 1978 set, featuring cornetist/arranger Bill Berry, backed by some of L.A.'s top jazz musicians, offers a time capsule into a not too distant past when both Pablo and Concord Records documented a still vital recording and gigging Southern California jazz scene that I'm not sure still exists. Players include many familiar jazz veterans such as Lew Tabackin (tenor sax/flutes), Bill Watrous (trombone), Dave Frishberg (piano), Monty Budwig (bass), and Frankie Capp (drums).

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