Thursday, May 27, 2004
Artist: Thee Shams
Title: Please Yourself
Label: Fat Possum
This is the perfect "rock" record for a blues fan. If you're like me, as you got older your lack of interest in popular rock music grew with each birthday: there are still plenty of rock records you throw on but most of them were recorded before 1980. Thee Shams present THAT kind of blues fan with the perfect rock record.
Thee Shams, hailing form the Ohio Valley, have successfully captured the 'sound' of Sixties garage rock bands like, ? & the Mysterians (who performed 96 Tears). This album lives in a sonic cross between the Rolling Stones and the New York Dolls; or between Aerosmith and another fabulous Fat Possum label band The Black Keys. It's all that and a whole lot more.
The fact is this album has little to do with the blues other than copping the sound as so many great rock bands have before them. The second track, "If You Gotta Go" was written by Bob Dylan and later covered by Canadian Sue Foley. Like many rock bands (The Kinks, Oasis, BTO, Indigenous, Everly Brothers, The Black Crowes) Thee Shams are a four piece band centered around brothers - in this case Zachery and Andrew Gabbard. There must be something in the genes but this is an excellent record that I cannot quit playing. The fourth track, "Love Me All the Time" is a ballad consisting of a simplistic arrangement that so the words & tune are not cluttered by over production: BRILLIANT!
Well if the music does the talking this album speaks volumes about how cool rock could be if only commercial radio would let it!
Thursday, January 10, 2008
John & the Sisters (Kevin Breit)
It'll be TOO DAMN BAD if you miss this
Monday, May 10, 2004
Artist: John & the Sisters featuring Kevin Breit
Title: Domino Vacancy
Kevin Breit achieved "fame" for his songwriting with multi-Grammy winner Norah Jones, Cassandra Wilson, and to a much lesser extent for his work with the incredible Harry Manx (who is playing the Omaha Blues Society's Blues Cruise later this month). While not yet a household name, Breit's music has been heard at least once by every American (able to hear). It's no wonder; he's an incredible talent.
On his latest release, a solo effort disguised as 'John and the Sisters', Breit delivers a blues based album that older music fans will be able to sink their teeth into without having to be dumbed down for mass consumption. Inevitably we've all purchased an album that we adored upon initial listening and quickly never played again. The best albums are the records that unfold upon repeated listening. This album promises to be one that non-traditionalist blues fans are going to be playing repeatedly for decades. Breit bends and perverts musical boundaries to create songs that challenge the listener. The opening track, Too Damn Big, is a song that Aerosmith should have done on their latest album. Much like a Tyler/Perry composition, Too Damn Big, is a super funky blues number that cuts across genres with a Tom Waits sort of bite to it. By the time Breit reaches the track, Good Day, he's transmogrified into a tasty John Mellencamp sort of approach.
If you experiment with one "blues" album this year, this album is a five star gem that has that great 'FM blues based classic rock sound' we grew up on. What's better, the performances are exceptional and the songs are excellent. Yes, upon initial listening it's going to be coming at you from left field but it's quite good and worthy of your consideration.
Monday, May 10, 2004
Artist: John & the Sisters featuring Kevin Breit
Title: Domino Vacancy
Kevin Breit achieved "fame" for his songwriting with multi-Grammy winner Norah Jones, Cassandra Wilson, and to a much lesser extent for his work with the incredible Harry Manx (who is playing the Omaha Blues Society's Blues Cruise later this month). While not yet a household name, Breit's music has been heard at least once by every American (able to hear). It's no wonder; he's an incredible talent.
On his latest release, a solo effort disguised as 'John and the Sisters', Breit delivers a blues based album that older music fans will be able to sink their teeth into without having to be dumbed down for mass consumption. Inevitably we've all purchased an album that we adored upon initial listening and quickly never played again. The best albums are the records that unfold upon repeated listening. This album promises to be one that non-traditionalist blues fans are going to be playing repeatedly for decades. Breit bends and perverts musical boundaries to create songs that challenge the listener. The opening track, Too Damn Big, is a song that Aerosmith should have done on their latest album. Much like a Tyler/Perry composition, Too Damn Big, is a super funky blues number that cuts across genres with a Tom Waits sort of bite to it. By the time Breit reaches the track, Good Day, he's transmogrified into a tasty John Mellencamp sort of approach.
If you experiment with one "blues" album this year, this album is a five star gem that has that great 'FM blues based classic rock sound' we grew up on. What's better, the performances are exceptional and the songs are excellent. Yes, upon initial listening it's going to be coming at you from left field but it's quite good and worthy of your consideration.
Rob Stone & the C Notes - album of the year?
Rob Stone & C Notes album is excellent
Friday, April 23, 2004
Artist: Rob Stone and the C Notes
Title: Just My Luck
The Chicago based Earwig label has struggled to sign an act of significance but they've signed a winner with Rob Stone and the C Notes. If you're one of those folks that immediately dismiss "white" blues artists you might as well stop reading now. Okay, now that we've gotten rid of the snobs let's talk about an excellent Modern-Acoustic-Blues album.
This band is comprised of three (white) guys that met as members in the band of former Howlin' Wolf & Paul Butterfield Blues Band drummer Sam Lay. With a background in the blues-rock genre Rob Stone is able to straddle the art of Post-War Chicago blues and a more commercial modern blues sound. So many times these stylings fall flat as imitations. Leaning heavily on Stone's ultra-smooth vocals (Harry Connick Jr.) and his in-sync harp playing the band swings hard against Sam Lay's solid drums. The late Dave Myers guests on this album.
As the blues art form continues to evolve Stone has been able to go one step further along the revivalists path cut by the likes of Sean Costello. Respectfully, I appreciate that this album lacks any whiff of Texas blues.
With only three covers this album's strength is its songwriting. The fifth song, Empty Room, is a marvelous slow burning track that defines how good this band really is. To my mind, considering past W.C. Handy award winning songs, Empty Room should be in the running as song of the year. There are plenty of other exceptional songs including; Too Late Honey, Playing Games, My Side of the Story, and Strange Blues. Track for track this is one of the finest revivalist blues albums I have ever heard and I've heard more than my share. Compared to the hooey-Blues we see and hear adnaseum, Rob Stone and the C Notes have re-sparked my admiration for non-electric blues.
For GREAT on-line Americana radio hit this link...http://www.kcuvradio.com/playa/index.asp?fname=http://azul.streamguys.com/kcuv
Friday, April 23, 2004
Artist: Rob Stone and the C Notes
Title: Just My Luck
The Chicago based Earwig label has struggled to sign an act of significance but they've signed a winner with Rob Stone and the C Notes. If you're one of those folks that immediately dismiss "white" blues artists you might as well stop reading now. Okay, now that we've gotten rid of the snobs let's talk about an excellent Modern-Acoustic-Blues album.
This band is comprised of three (white) guys that met as members in the band of former Howlin' Wolf & Paul Butterfield Blues Band drummer Sam Lay. With a background in the blues-rock genre Rob Stone is able to straddle the art of Post-War Chicago blues and a more commercial modern blues sound. So many times these stylings fall flat as imitations. Leaning heavily on Stone's ultra-smooth vocals (Harry Connick Jr.) and his in-sync harp playing the band swings hard against Sam Lay's solid drums. The late Dave Myers guests on this album.
As the blues art form continues to evolve Stone has been able to go one step further along the revivalists path cut by the likes of Sean Costello. Respectfully, I appreciate that this album lacks any whiff of Texas blues.
With only three covers this album's strength is its songwriting. The fifth song, Empty Room, is a marvelous slow burning track that defines how good this band really is. To my mind, considering past W.C. Handy award winning songs, Empty Room should be in the running as song of the year. There are plenty of other exceptional songs including; Too Late Honey, Playing Games, My Side of the Story, and Strange Blues. Track for track this is one of the finest revivalist blues albums I have ever heard and I've heard more than my share. Compared to the hooey-Blues we see and hear adnaseum, Rob Stone and the C Notes have re-sparked my admiration for non-electric blues.
For GREAT on-line Americana radio hit this link...http://www.kcuvradio.com/playa/index.asp?fname=http://azul.streamguys.com/kcuv
Aerosmith - Honkin' on Bobo
Aerosmith's 'Honkin On Bobo'
Thursday, April 01, 2004
Band: Aerosmith
Title: Honkin' on Bobo
About 90 days ago the, 'Year of the Blues' expired without much hoopla. Targeted to reinvigorate the wilting artform, some popsters including John Mellencamp jumped on board with an excellent album of blues orientated songs and covers. Absent an ocean of reissued archival blues recordings and a tepid Scorsee PBS special, to my mind, the industry failed miserably to embrace the 12 month Blues celebration and the listener responded in kind.
In one week two major label releases have come out which could have propelled the Year of the Blues into more than a blip; Eric Clapton's, 'Me & Mr. Johnson' and Aerosmith's Honkin' On Bobo.' Both albums have gotten well above average reviews from major publications including Rolling Stone and Time magazines. As I listen to these releases I celebrate the vibrancy they could muster for the scene by bringing a vast audience back to the well. As the 'pie' grows larger the opportunity for the commercial success of other deserving acts increases.
It's self evident that both Clapton and Aerosmith have redefine avenues for the blues sound; however, both are equally too far removed from the grit & grind of the modern American Blues sound to offer more than a sanitary sound for mass consumption. Yeah, yeah, yeah, Steven Tyler is hot-stuff; an animated guru of words and stage antics but is that sufficient to pull off this latest caper? If you are 'heavily' into modern American blues you may, I said may, be able to dig into Aerosmith's album: 11 trad covers and one original. However it's more likely this disc is going to appeal most to folks that have fallen away from roots music and Aerosmith fans. So much of what separates a good blues album from a great recording is passion and conviction. 'Honkin' on Bobo' is a well recorded passable but unconvincing performance by America's premier rock band that is up to it's usual sthick. Hear it before you buy it and you'll thank me in the morning.
Okay, for those unwilling to read between the lines, it's a solid album by a great band pretending to be a blues band. Aerosmith shines best when they do their own thing: and they do it so well. The value of this album will be the interest 'Smith is able to generate in the blues and thereby help lesser known blues acts. It's entertaining and it's respectable but it's was never meant to be groundbreaking and consquently it's not.
Thursday, April 01, 2004
Band: Aerosmith
Title: Honkin' on Bobo
About 90 days ago the, 'Year of the Blues' expired without much hoopla. Targeted to reinvigorate the wilting artform, some popsters including John Mellencamp jumped on board with an excellent album of blues orientated songs and covers. Absent an ocean of reissued archival blues recordings and a tepid Scorsee PBS special, to my mind, the industry failed miserably to embrace the 12 month Blues celebration and the listener responded in kind.
In one week two major label releases have come out which could have propelled the Year of the Blues into more than a blip; Eric Clapton's, 'Me & Mr. Johnson' and Aerosmith's Honkin' On Bobo.' Both albums have gotten well above average reviews from major publications including Rolling Stone and Time magazines. As I listen to these releases I celebrate the vibrancy they could muster for the scene by bringing a vast audience back to the well. As the 'pie' grows larger the opportunity for the commercial success of other deserving acts increases.
It's self evident that both Clapton and Aerosmith have redefine avenues for the blues sound; however, both are equally too far removed from the grit & grind of the modern American Blues sound to offer more than a sanitary sound for mass consumption. Yeah, yeah, yeah, Steven Tyler is hot-stuff; an animated guru of words and stage antics but is that sufficient to pull off this latest caper? If you are 'heavily' into modern American blues you may, I said may, be able to dig into Aerosmith's album: 11 trad covers and one original. However it's more likely this disc is going to appeal most to folks that have fallen away from roots music and Aerosmith fans. So much of what separates a good blues album from a great recording is passion and conviction. 'Honkin' on Bobo' is a well recorded passable but unconvincing performance by America's premier rock band that is up to it's usual sthick. Hear it before you buy it and you'll thank me in the morning.
Okay, for those unwilling to read between the lines, it's a solid album by a great band pretending to be a blues band. Aerosmith shines best when they do their own thing: and they do it so well. The value of this album will be the interest 'Smith is able to generate in the blues and thereby help lesser known blues acts. It's entertaining and it's respectable but it's was never meant to be groundbreaking and consquently it's not.
Buddy Guy wins Grammy with Blues Singer (2004)
Tuesday, February 17, 2004
Artist: Buddy Guy
Album: Blues Singer
A college English professor once told a class of mine that our assignment was to write a paper at the college student level. To which the class clown replied, "Since we ARE college students so that'd include anything we wrote." I always loved that stupid answer: it seems to apply to so many predicaments.
George "Buddy" Guy won a Grammy this year for his acoustic blues album, "Blues Singer" on the Silvertone recording label (which he shares with Indigenous). Clearly whatever Buddy Guy records is going to fall into the blues category and since the recordings are primarily Buddy on an acoustic guitar, well, it's an acoustic blues album. And since he won the prestigious Grammy Award you can figure it's probably pretty good.
What the award doesn't tell you is that Blues Singer is a collection of cover songs written by great blues artists that probably figured in Guy's historic past. Guy dedicated the album to the late John Lee Hooker. Hook's passing was literally the death of the first generation of famed electric blues players: now the torch has passed to Guy and his generation.
The man once described by Eric Clapton as the greatest guitar player he'd ever seen, and we can assume Clapton's seen all the greats, reinvigorated his career back in the early 90's with the release of hard rocking, guitar driven , blues based album, 'Damn Right I've Got the Blues.' Since then Guy's albums have stood toe-to-toe with all of the bluesenvogue twang-bar kings. Suddenly Guy takes a pause to record an acoustic album as if in acknowledgment of his new found position in the blues world.
'Blues Singer' is a well heeled effort for Guy to show his fretboard skills in a low volume forum. Exceptionally well played and searingly honest, Blues Singer, reminds me of Guy's work with the late Junior Wells.
As the king of Chicago Blues in the 1950's Muddy Waters, with the help of Willie Dixon, culled together a stable of blues artists for the Chess Record label which has yet to be matched, in terms of talent, by any label before or since (although Atlantic certainly gave'em a run for their money in the '70's). One of their earliest talent acquisitions, fresh off the Greyhound and unfed for three days, was George 'Buddy' Guy. In many ways Guy's latest effort is heartfelt "thanks" to those that made his career possible.
Artist: Buddy Guy
Album: Blues Singer
A college English professor once told a class of mine that our assignment was to write a paper at the college student level. To which the class clown replied, "Since we ARE college students so that'd include anything we wrote." I always loved that stupid answer: it seems to apply to so many predicaments.
George "Buddy" Guy won a Grammy this year for his acoustic blues album, "Blues Singer" on the Silvertone recording label (which he shares with Indigenous). Clearly whatever Buddy Guy records is going to fall into the blues category and since the recordings are primarily Buddy on an acoustic guitar, well, it's an acoustic blues album. And since he won the prestigious Grammy Award you can figure it's probably pretty good.
What the award doesn't tell you is that Blues Singer is a collection of cover songs written by great blues artists that probably figured in Guy's historic past. Guy dedicated the album to the late John Lee Hooker. Hook's passing was literally the death of the first generation of famed electric blues players: now the torch has passed to Guy and his generation.
The man once described by Eric Clapton as the greatest guitar player he'd ever seen, and we can assume Clapton's seen all the greats, reinvigorated his career back in the early 90's with the release of hard rocking, guitar driven , blues based album, 'Damn Right I've Got the Blues.' Since then Guy's albums have stood toe-to-toe with all of the bluesenvogue twang-bar kings. Suddenly Guy takes a pause to record an acoustic album as if in acknowledgment of his new found position in the blues world.
'Blues Singer' is a well heeled effort for Guy to show his fretboard skills in a low volume forum. Exceptionally well played and searingly honest, Blues Singer, reminds me of Guy's work with the late Junior Wells.
As the king of Chicago Blues in the 1950's Muddy Waters, with the help of Willie Dixon, culled together a stable of blues artists for the Chess Record label which has yet to be matched, in terms of talent, by any label before or since (although Atlantic certainly gave'em a run for their money in the '70's). One of their earliest talent acquisitions, fresh off the Greyhound and unfed for three days, was George 'Buddy' Guy. In many ways Guy's latest effort is heartfelt "thanks" to those that made his career possible.
That Good old Soul Music still harkens
Saturday, January 31, 2004
Various Soul Reissues
In the early days of the recording music's weekly news source, Billboard Magazine, popular recordings by black Americans were charted as 'race records.' That's modified over the years to include terms like Soul, R-n-B, and now the generic catch all, 'hip hop.'
When I think of soul music, like most white middle class Americans, I think of Aretha Franklin and Otis Redding. When I listen to today's "hip hop" I wonder what happen to those great heartfelt melody lines? Because of its reliance on rhythm today's "rap" music is a much closer cousin to the blues than most would care to admit. Interestingly, like generations before us, parental whites are rejecting the rap culture much like our grandparents probably rejected blues and soul music to our parents and our older siblings. Interesting how the wheel turns.
As noted in earlier writings, the Fuel 2000 record label is, hands down, the most exciting re-issuer of great music from the past including their razor sharp focus on the blues genre.
Artist: Otis Clay
Title: Testify
If one mentions soul music and Otis is the same breath the legendary Otis Redding comes to mind immediately; but wait, there was another. One of the recent nuggets thrust back into the market is a twenty-two track compact disc by soul music's "Other Otis", Otis Clay. Like so many great soul singers of the 50's & 60's (Redding, Franklin, Cooke, Rawls), Clay came to popular music through the church. On this release, 'Testify, Clay binds his Chicago blues roots & gospel to Southern soul and the result is some fantastic archival soul. Heavy on the horns and thick with great heartfelt melodies, this is a Soul Music fan's diamond in the rough. Clay continues to record and tour with recent albums on Rounder and Echo records.
Artist: Candi Staton
Title: Candi Station
Another reissue gem is the Astralwerks over seas licensing of a self titled compilation release by Candi Staton. Born in Alabama and raised in the church Staton was touring as a professional singer while still in school backing up Aretha Franklin, Mahalia Jackson, The Staple Singers and the Soul Stirrers. Eventually Staton would meet and marry noted blues man Clarence 'Strokin' Carter. Working with the FAME record label at the legendary Muscle Shoals studio, Staton recorded some genre defining music. If you're like me and have already assimilated the music of Aretha Franklin, Otis Redding, Sam & Dave, and the Stax label and still want more, Candi Staton could very well be the cure for what ails ya.
Some other quality soul reissues & compliations are;
Aretha Franklin, The Queen in Waiting, Four Stars
The Cream of Vintage Soul Volume 1 Three+ Stars (3 discs for $9.99)
The Cream of Northern Soul Volume 1 Three+ Stars (3 discs for $9.99)
Various Soul Reissues
In the early days of the recording music's weekly news source, Billboard Magazine, popular recordings by black Americans were charted as 'race records.' That's modified over the years to include terms like Soul, R-n-B, and now the generic catch all, 'hip hop.'
When I think of soul music, like most white middle class Americans, I think of Aretha Franklin and Otis Redding. When I listen to today's "hip hop" I wonder what happen to those great heartfelt melody lines? Because of its reliance on rhythm today's "rap" music is a much closer cousin to the blues than most would care to admit. Interestingly, like generations before us, parental whites are rejecting the rap culture much like our grandparents probably rejected blues and soul music to our parents and our older siblings. Interesting how the wheel turns.
As noted in earlier writings, the Fuel 2000 record label is, hands down, the most exciting re-issuer of great music from the past including their razor sharp focus on the blues genre.
Artist: Otis Clay
Title: Testify
If one mentions soul music and Otis is the same breath the legendary Otis Redding comes to mind immediately; but wait, there was another. One of the recent nuggets thrust back into the market is a twenty-two track compact disc by soul music's "Other Otis", Otis Clay. Like so many great soul singers of the 50's & 60's (Redding, Franklin, Cooke, Rawls), Clay came to popular music through the church. On this release, 'Testify, Clay binds his Chicago blues roots & gospel to Southern soul and the result is some fantastic archival soul. Heavy on the horns and thick with great heartfelt melodies, this is a Soul Music fan's diamond in the rough. Clay continues to record and tour with recent albums on Rounder and Echo records.
Artist: Candi Staton
Title: Candi Station
Another reissue gem is the Astralwerks over seas licensing of a self titled compilation release by Candi Staton. Born in Alabama and raised in the church Staton was touring as a professional singer while still in school backing up Aretha Franklin, Mahalia Jackson, The Staple Singers and the Soul Stirrers. Eventually Staton would meet and marry noted blues man Clarence 'Strokin' Carter. Working with the FAME record label at the legendary Muscle Shoals studio, Staton recorded some genre defining music. If you're like me and have already assimilated the music of Aretha Franklin, Otis Redding, Sam & Dave, and the Stax label and still want more, Candi Staton could very well be the cure for what ails ya.
Some other quality soul reissues & compliations are;
Aretha Franklin, The Queen in Waiting, Four Stars
The Cream of Vintage Soul Volume 1 Three+ Stars (3 discs for $9.99)
The Cream of Northern Soul Volume 1 Three+ Stars (3 discs for $9.99)
PBS Blues, Heather Myles, reissued Who album
Tuesday, November 25, 2003
I was recently invited to write about albums that I thought were, "great."
Here are three examples of albums I really enjoy.
----------------------------------------------------
Marty Scorsese's seven part Blues series on Public Broadcasting (reason alone to support PBS) has resulted in a flood of blues compilations CDs. Instead of starring at Homer's massive blues CD selection with glassy eyes and a furrored brow, start your search for the perfect introductory blues album with the 21 track album, 'Martin Scorsese Presents The Best of the Blues.'
Begining with a recording by the legendary King of the Delta Blues, Robert Johnson (Cross Road Blues: later covered by Cream), this album weaves it way chronologically through the history of this great American artform. This album is uniquely intelligent in that it includes pivitol tracks which document the various "schools" of blues or "mark" the four basic "waves" of each period of blues; early recordings, Chicago & electric, the British hand it back to Rock, and the SRV-impact.
From the delta, the album travels north on the Blue Highway to Chicago: Howlin Wolf (Evil) and Muddy Waters (Hoochie Coochie Man). The album includes the foundation of Britian's blues revival with the recording of "All Your Love" by John Mayall and the Bluesbreakers featuring Eric Clapton. The '60's embrace of the blues in a rock context is shown with tracks by Janis Joplin (One Good Man) Jimi Hendrix Experience (Red House), and southern blues with the Allman Brother's, "One Way Out" (live). Along the way you hear music by Ray Charles, Skip James, John Lee Hooker, Etta James, and the mandatory, "The Thrill is Gone" by B. B. King.
Passing from ancient history io the modern era this album kicks off the fourth era of blues with the modern mastery of Stevie Ray Vaughan. The CD makes a critical statement by including tracks by Keb Mo', Los Lobos, Susan Tedeschi, and a duet by Shemekia Copeland with Robert Cray.
All in all this is an excellent blues CD that can easily supplement a fine collection or serve as the foundation to help someone you love and care about (Rap-Victim).
------------------------------------------------------
At some point in their lives music fans come to a realization that there are only two kinds of music: good music and bad music. When this epiphany strikes vast catalogues and hidden genres open. In the mid-80's, with the seemingly simultaneous debut releases by Dwight Yoakum, Randy Travis and Steve Earle, I began to discover country music.
Before we get too carried away I feel the need to distance "good" country music from the pig-noise feeding the death knell of today's country radio music. In the remarkable but unheard category of great country artists are Kim Richey and Heather Myles.
While her third (though first nationally distributed) album, Highways & Honky Tonks, was stunning, 'Sweet Talk and Good Lies' by Heather Myles (2000) is destine to become a classic country album: a defining moment in the course of country music's future.
Duets with Merle Haggard and Dwight Yoakum stamp "approved" on Myle's. Her covers of "By the Time I Get to Phoenix," "Cry Me a River," and "Chapel of Love" allow first time listeners easy access to Myles recordings, but it is her own songs that exemplify how significant this relative unknown will be. As is required of any pertinent female country music singer, Myles is easy on the eyes but this time it's her music that draws you in and keeps you reaching for her music.
Rolling Stone writer Chet Flippo wrote, "Myles has more brass than a hardware store." Myles is a musical force that will continue to attract attention and move the course of country music.
------------------------------------------------------
When people flippantly say an album is, "great" I immediately whip out the musical yardstick: "Do you mean it's as good as The Who's, 'Who's Next' ?" Usually not.
When Townshend and band scrapped the multi-disc Lifehouse project in 1971 and culled the recordings down to one disc, the album was named 'Who's Next.' Thirty-one years later the label released a remixed, remastered two CD version of Who's Next Deluxe Edition which includes live cuts as well as other tracks not included on the maiden release but recorded as a part of the Lifehouse project.
Packed with rock anthems (Baba O'Riley / Won't Get Fooled Again) and tasty ballads (Bargain / Behind Blue Eyes); while the Beatles were the first significant group for a generation, and the Rolling Stones remain rock music's greatest live band (still !), Who's Next is the definitive rock album by which all "great" rock albums should be measured.
Townshend uses the rock format to discuss pertinent political, social, and hormonal themes. Unlike so many of it's contemporary albums, after 33 years, 'Who's Next' remains fresh and exciting.
I was recently invited to write about albums that I thought were, "great."
Here are three examples of albums I really enjoy.
----------------------------------------------------
Marty Scorsese's seven part Blues series on Public Broadcasting (reason alone to support PBS) has resulted in a flood of blues compilations CDs. Instead of starring at Homer's massive blues CD selection with glassy eyes and a furrored brow, start your search for the perfect introductory blues album with the 21 track album, 'Martin Scorsese Presents The Best of the Blues.'
Begining with a recording by the legendary King of the Delta Blues, Robert Johnson (Cross Road Blues: later covered by Cream), this album weaves it way chronologically through the history of this great American artform. This album is uniquely intelligent in that it includes pivitol tracks which document the various "schools" of blues or "mark" the four basic "waves" of each period of blues; early recordings, Chicago & electric, the British hand it back to Rock, and the SRV-impact.
From the delta, the album travels north on the Blue Highway to Chicago: Howlin Wolf (Evil) and Muddy Waters (Hoochie Coochie Man). The album includes the foundation of Britian's blues revival with the recording of "All Your Love" by John Mayall and the Bluesbreakers featuring Eric Clapton. The '60's embrace of the blues in a rock context is shown with tracks by Janis Joplin (One Good Man) Jimi Hendrix Experience (Red House), and southern blues with the Allman Brother's, "One Way Out" (live). Along the way you hear music by Ray Charles, Skip James, John Lee Hooker, Etta James, and the mandatory, "The Thrill is Gone" by B. B. King.
Passing from ancient history io the modern era this album kicks off the fourth era of blues with the modern mastery of Stevie Ray Vaughan. The CD makes a critical statement by including tracks by Keb Mo', Los Lobos, Susan Tedeschi, and a duet by Shemekia Copeland with Robert Cray.
All in all this is an excellent blues CD that can easily supplement a fine collection or serve as the foundation to help someone you love and care about (Rap-Victim).
------------------------------------------------------
At some point in their lives music fans come to a realization that there are only two kinds of music: good music and bad music. When this epiphany strikes vast catalogues and hidden genres open. In the mid-80's, with the seemingly simultaneous debut releases by Dwight Yoakum, Randy Travis and Steve Earle, I began to discover country music.
Before we get too carried away I feel the need to distance "good" country music from the pig-noise feeding the death knell of today's country radio music. In the remarkable but unheard category of great country artists are Kim Richey and Heather Myles.
While her third (though first nationally distributed) album, Highways & Honky Tonks, was stunning, 'Sweet Talk and Good Lies' by Heather Myles (2000) is destine to become a classic country album: a defining moment in the course of country music's future.
Duets with Merle Haggard and Dwight Yoakum stamp "approved" on Myle's. Her covers of "By the Time I Get to Phoenix," "Cry Me a River," and "Chapel of Love" allow first time listeners easy access to Myles recordings, but it is her own songs that exemplify how significant this relative unknown will be. As is required of any pertinent female country music singer, Myles is easy on the eyes but this time it's her music that draws you in and keeps you reaching for her music.
Rolling Stone writer Chet Flippo wrote, "Myles has more brass than a hardware store." Myles is a musical force that will continue to attract attention and move the course of country music.
------------------------------------------------------
When people flippantly say an album is, "great" I immediately whip out the musical yardstick: "Do you mean it's as good as The Who's, 'Who's Next' ?" Usually not.
When Townshend and band scrapped the multi-disc Lifehouse project in 1971 and culled the recordings down to one disc, the album was named 'Who's Next.' Thirty-one years later the label released a remixed, remastered two CD version of Who's Next Deluxe Edition which includes live cuts as well as other tracks not included on the maiden release but recorded as a part of the Lifehouse project.
Packed with rock anthems (Baba O'Riley / Won't Get Fooled Again) and tasty ballads (Bargain / Behind Blue Eyes); while the Beatles were the first significant group for a generation, and the Rolling Stones remain rock music's greatest live band (still !), Who's Next is the definitive rock album by which all "great" rock albums should be measured.
Townshend uses the rock format to discuss pertinent political, social, and hormonal themes. Unlike so many of it's contemporary albums, after 33 years, 'Who's Next' remains fresh and exciting.
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