Ian Moore
Wednesday, September 08, 2004
Artist: Ian Moore
Title: Luminaria
I gotta admit, I never connected with any of Moore’s earlier releases. It wasn’t due to a lack of trying. I listened ‘till my ears bleed and while the talent was evident I just never, ‘got it.’ Pte, the bass player of Indigenous, bleed, ‘Ian Moore’ from his pores one summer and was convinced that only Jimi Hendrix was better. Hmmm. I didn’t get it.
On his latest effort, Moore is clearly leaving behind his Austin Twang-bar king days and wagering his entire career on the ability to move into a new genre. In other words, when Moore tours back into Omaha on September 24th (Sokol Underground) do not expect to hear any blues whammy stuff.
Instead, The All New’ Moore will be performing some exceptionally well-written pop songs as heard on his latest album, Luminaira. But why pop music? I would guess the move is strategic. The blues-rock guitar playing monster category has been slipping further and further down in sales and popularity. While a ‘hot’ selling blues record may see as many as 30,000 units sold, a well done pop record should sell 3X that number or more: volume and money! Evidently at still a young age Moore had peaked and had started looking around for new mountains to climb. Good for him!
Like most ‘pop’ music, Moore’s latest sound is hard to categorize. That means you’re going to have to hear it to understand it. I would suggest taking the time to visit Moore’s website (www.IanMoore.com) to hear it. There is a Paul McCartney sense of arrangement to the sonic landscapes and shades that Moore’s creates with.
HEAR THIS; you are not going to listen to this disc one time and completely appreciate the depth and texture that is packed into this recording. As a matter of fact, if you can’t spend time with this recording you probably shouldn’t invest any time into the effort. On the other hand, and there’s always another hand, this is probably an album that, given time could quite possibly open up all new frontiers of interest. It’s a passionate recording that revels layer upon layer with repeated listening.
Friday, January 18, 2008
Album Review: Joe Bonamassa, Had to Cry Today
Thursday, August 26, 2004
Artist: Joe Bonamassa
Title: Had to Cry Today
The national success of Joe Bonamassa can, to some extent, be credited Eastern Nebraska’s growing presence on the national music scene. While much of our area’s acclaim can be attributed to Robb Nansel and the bands on the Saddle Creek Record label, the area’s commitment to live music, and specifically blues based music, is now beginning to bear fruit. True fans know this seed was planted in Lincoln’s Zoo Bar and has since flourished in Omaha.
The integral relationships of radio, print & retail intertwining with the avid fans in the Omaha Blues Society has created a scene that has a proven ability to catapult an artist onto the national stage. Certainly Omaha’s thrust is not self-sustaining but it sure can get some folks to pay attention.
Like Indigenous before him, Joe Bonamassa is the beneficiary of Omaha’s love affair with his Brit-based blistering electric blues. Regular readers of this column will note the Joe’s previous album was my ‘Blues Album of the Year’ in ’03. So it was with eager anticipation that I threw on his latest effort.
He’s clearly changed direction a bit; more rock and less blues. Within this genre I hear no player that supercedes Bonamassa’s ability to drive home a great electric riff striking to the heart of the sound without over-playing or being cliche. ‘Joemaha’ left the ego at the door to write a smattering of the songs that blend with songs written by others. To put a sharper point on it, this album is not a collection of songs strung together: instead it a one piece of art that is composed of eleven tracks, much the way I remember my favorite albums being done.
While "great" is few and far between, there are three, and you can quote me on this, GREAT songs on this incredibly strong album including the seventh track, When She Dances. A slow ballad that is virtually guitar free, Bonamassa’s ability to vocally emote an emotion in song is locked in here. Gregg Allman like in his delivery Joe should have a commercial hit here. (Will radio “get” it? Not unless they pay someone too much money to tell them it’s good.)
To my blues ear, the fourth track, Reconsider Baby, a cover of Lowell Fulsom, is the near perfect ‘sound’ that most modern electric blues fans crave; soaring solos in a minor key with extended vocal notes and very B. B. King like. ANY fan of the late Stevie Ray Vaughan will immediately get this song.
The third GREAT song on this album, The River, is not a Springsteen cover. Opening with National Steel guitar plucking, Bonamassa quickly winds this song into a fresh blast that harkens to the sound that made Brit-Rock in the late ‘60’s so cool.
What Bonamassa understands, and what separates him from other blues players, is pacing. His albums are jam packed with sonic texture and the listener is not subjected to the “same song” for thirty minutes. While Joe’s guitar playing is quite capable of ‘blowing the doors off any old jalopy’ instead he chooses to employ clever licks, breathing space, and good taste.
This is an excellent record that could very well break this artist onto the next stage that his career so richly deserves. WEAR YOUR LOCAL COLORS AND BUY IT TODAY!
Artist: Joe Bonamassa
Title: Had to Cry Today
The national success of Joe Bonamassa can, to some extent, be credited Eastern Nebraska’s growing presence on the national music scene. While much of our area’s acclaim can be attributed to Robb Nansel and the bands on the Saddle Creek Record label, the area’s commitment to live music, and specifically blues based music, is now beginning to bear fruit. True fans know this seed was planted in Lincoln’s Zoo Bar and has since flourished in Omaha.
The integral relationships of radio, print & retail intertwining with the avid fans in the Omaha Blues Society has created a scene that has a proven ability to catapult an artist onto the national stage. Certainly Omaha’s thrust is not self-sustaining but it sure can get some folks to pay attention.
Like Indigenous before him, Joe Bonamassa is the beneficiary of Omaha’s love affair with his Brit-based blistering electric blues. Regular readers of this column will note the Joe’s previous album was my ‘Blues Album of the Year’ in ’03. So it was with eager anticipation that I threw on his latest effort.
He’s clearly changed direction a bit; more rock and less blues. Within this genre I hear no player that supercedes Bonamassa’s ability to drive home a great electric riff striking to the heart of the sound without over-playing or being cliche. ‘Joemaha’ left the ego at the door to write a smattering of the songs that blend with songs written by others. To put a sharper point on it, this album is not a collection of songs strung together: instead it a one piece of art that is composed of eleven tracks, much the way I remember my favorite albums being done.
While "great" is few and far between, there are three, and you can quote me on this, GREAT songs on this incredibly strong album including the seventh track, When She Dances. A slow ballad that is virtually guitar free, Bonamassa’s ability to vocally emote an emotion in song is locked in here. Gregg Allman like in his delivery Joe should have a commercial hit here. (Will radio “get” it? Not unless they pay someone too much money to tell them it’s good.)
To my blues ear, the fourth track, Reconsider Baby, a cover of Lowell Fulsom, is the near perfect ‘sound’ that most modern electric blues fans crave; soaring solos in a minor key with extended vocal notes and very B. B. King like. ANY fan of the late Stevie Ray Vaughan will immediately get this song.
The third GREAT song on this album, The River, is not a Springsteen cover. Opening with National Steel guitar plucking, Bonamassa quickly winds this song into a fresh blast that harkens to the sound that made Brit-Rock in the late ‘60’s so cool.
What Bonamassa understands, and what separates him from other blues players, is pacing. His albums are jam packed with sonic texture and the listener is not subjected to the “same song” for thirty minutes. While Joe’s guitar playing is quite capable of ‘blowing the doors off any old jalopy’ instead he chooses to employ clever licks, breathing space, and good taste.
This is an excellent record that could very well break this artist onto the next stage that his career so richly deserves. WEAR YOUR LOCAL COLORS AND BUY IT TODAY!
RL Burnside - A Bothered Mind
Thursday, August 12, 2004
Artist: R. L. Burnside
Title: A Bothered Mind
This is an exceptionally interesting album. Harkening from the great South, Burnside once again blends his Mississippi delta blues with modern Electronica to create a special music that will make most Blues purists will cringe before capturing their imaginations. This experimental blend is not new: Moby has tried it in the past. Burnside’s adventurous blood is also apparent on his previous album ‘Ass Pocket of Whisky’ recorded with Indie Rocker’s Jon Spencer’s Blues Explosion.
This is the best example to date of this effort to blend the old with the new. At this point I need to flop in the line, ‘Something old, something new, something borrowed and something blue.’ In this case this bromide applies totally!
Using Burnside’s John Lee Hooker style loose barchord style guitar playing over a traditional blues bass & drum line, this album jumps & jives with loops, repetitive phrases, and well placed electronic whirls and twirls to create a heady blues album that is immediately familiar and immediately strange. This is probably the hippest thing I’ve heard all year. However, if there were ever a situation where something is too cool for the room... this could be it!
Blossoming Detroit superstar Kid Rock ‘throws down’ on the track, My Name is Robert Too’ which relies heavily on vocal loops ala’ early 80’s King Crimson. (Seems you can't listen to an album these days without Kid ‘Robert’ Rock guesting on it!) The artist Born is also featured on two tracks on the album; Goin’ Down South, and Someday Baby.
The packaging on the album is a multi-fold album jacket with brightened colors of the artis on a delta gravel road: a depiction of the music inside… kinda old, kinda new, definitely borrowing a modern sound to lay over some very good blues. This album is exceptionally interesting but will probably not appeal to everyone. Check out Homer's in-store listening stations in the month of August ’04 as this disc is featured and worth checking out if only to let you know what CAN be done when a creative mind gets to work on it.
Artist: R. L. Burnside
Title: A Bothered Mind
This is an exceptionally interesting album. Harkening from the great South, Burnside once again blends his Mississippi delta blues with modern Electronica to create a special music that will make most Blues purists will cringe before capturing their imaginations. This experimental blend is not new: Moby has tried it in the past. Burnside’s adventurous blood is also apparent on his previous album ‘Ass Pocket of Whisky’ recorded with Indie Rocker’s Jon Spencer’s Blues Explosion.
This is the best example to date of this effort to blend the old with the new. At this point I need to flop in the line, ‘Something old, something new, something borrowed and something blue.’ In this case this bromide applies totally!
Using Burnside’s John Lee Hooker style loose barchord style guitar playing over a traditional blues bass & drum line, this album jumps & jives with loops, repetitive phrases, and well placed electronic whirls and twirls to create a heady blues album that is immediately familiar and immediately strange. This is probably the hippest thing I’ve heard all year. However, if there were ever a situation where something is too cool for the room... this could be it!
Blossoming Detroit superstar Kid Rock ‘throws down’ on the track, My Name is Robert Too’ which relies heavily on vocal loops ala’ early 80’s King Crimson. (Seems you can't listen to an album these days without Kid ‘Robert’ Rock guesting on it!) The artist Born is also featured on two tracks on the album; Goin’ Down South, and Someday Baby.
The packaging on the album is a multi-fold album jacket with brightened colors of the artis on a delta gravel road: a depiction of the music inside… kinda old, kinda new, definitely borrowing a modern sound to lay over some very good blues. This album is exceptionally interesting but will probably not appeal to everyone. Check out Homer's in-store listening stations in the month of August ’04 as this disc is featured and worth checking out if only to let you know what CAN be done when a creative mind gets to work on it.
The Pandora.coim website - simply fantastic!
Technology Column – Rick Galusha
With greater and greater rapidity the technological advances we see on computers are being applied to cellular telephones. Once ‘just a phone,’ the cell phone is now a music player, an on ramp to the internet, a credit card, a camera and video recorder, a planner, a calculator, a radio (including satellite), a video game, a tv (including cable) a key for real estate lockboxes, an audio/video GPS device and some allow editing on Excel or Word spreadsheets.
It doesn’t take much imagination to foresee that the advance of cellphones spells the death keel for iPods, PDA’s, GPS and other forms of technology. The move is afoot to condense numerous electronic gadgets into one and some advocate that it be the ever evolving cellular. The current cellphone networks play a trump card in the ensuing battle. In a recent product presentation for the Verizon ‘Juke’ phone it was said that Apple sold “one hundred million iPods” and that the Juke was being introduced in order to go after that market. The Motorola Q9 is already out and designed to hold a 32 gig chip for music and video – if you can find a chip that big. Clearly the audio/ visual assets of the new Q are also targeted after the successful iPod.
I’m no tech guru – I’m probably more like you, stumbling across things that friends recommend. Recently a fantastic music related website came to my attention; Pandora.Com. This is a music intense website that allows the listener to steer what’s played on the streaming musical broadcast. What’s more, you can influence the stream by choosing more than one ‘core’ artist to help Pandora’s algorithms pick more songs that may, or may not, appeal to you. As the songs play the listeners is invited to give a ‘thumbs up’ or ‘thumbs down’ vote on a song/ artist. Two thumbs down on an artist and, unless you’ve picked them as a core artist, their music is banned permentatly from the station. So the ability to have some influence over what’s being played makes this site delicious. What adds to the flavor is that the site will inevitably play bands you’ve never heard of and suddenly you’re off on a new musical exploration. Listeners are invited to have numerous ‘radio stations’ on the site (up to 100), for multiple genres of interest, and you’re encouraged to share “your superior station” with that friend whose musical taste simply can’t hold a candle to yours.
Like a lot of websites, Pandora.com does have a mobile-phone aspect to it so, at least theoretically, you could stream it on your phone and then Bluetooth it over to your car or home stereo. So unlike a lot of music websites, Pandroa.com has a limited aspect of mobility to the website too. Currently Pandora works on only select phones on the AT&T and Sprint networks. At the bottom of the homepage is the ‘mobile’ tab. Also, you can subscribe to Pandora. I can’t imagine this website being around for long enough – it really is wonderful and the perfect at work audio companion – but I wonder how the income stream can support the Ivy League educated executives the website lists.
Under the “Pandora Presents” tab is an educational adjunct to the site. Created by serious musicologists, Pandora.com includes a series of podcasts that range from ‘what’s a trip hop beat’ to ‘the blues scale’ to ‘word choices in lyrics.’ So musicians as well as curiosity seekers can learn more about the ‘how’s’ and ‘why’s’ of how music is really made. These are near college level lectures filled with information and they can be automatically downloaded to your computer.
With greater and greater rapidity the technological advances we see on computers are being applied to cellular telephones. Once ‘just a phone,’ the cell phone is now a music player, an on ramp to the internet, a credit card, a camera and video recorder, a planner, a calculator, a radio (including satellite), a video game, a tv (including cable) a key for real estate lockboxes, an audio/video GPS device and some allow editing on Excel or Word spreadsheets.
It doesn’t take much imagination to foresee that the advance of cellphones spells the death keel for iPods, PDA’s, GPS and other forms of technology. The move is afoot to condense numerous electronic gadgets into one and some advocate that it be the ever evolving cellular. The current cellphone networks play a trump card in the ensuing battle. In a recent product presentation for the Verizon ‘Juke’ phone it was said that Apple sold “one hundred million iPods” and that the Juke was being introduced in order to go after that market. The Motorola Q9 is already out and designed to hold a 32 gig chip for music and video – if you can find a chip that big. Clearly the audio/ visual assets of the new Q are also targeted after the successful iPod.
I’m no tech guru – I’m probably more like you, stumbling across things that friends recommend. Recently a fantastic music related website came to my attention; Pandora.Com. This is a music intense website that allows the listener to steer what’s played on the streaming musical broadcast. What’s more, you can influence the stream by choosing more than one ‘core’ artist to help Pandora’s algorithms pick more songs that may, or may not, appeal to you. As the songs play the listeners is invited to give a ‘thumbs up’ or ‘thumbs down’ vote on a song/ artist. Two thumbs down on an artist and, unless you’ve picked them as a core artist, their music is banned permentatly from the station. So the ability to have some influence over what’s being played makes this site delicious. What adds to the flavor is that the site will inevitably play bands you’ve never heard of and suddenly you’re off on a new musical exploration. Listeners are invited to have numerous ‘radio stations’ on the site (up to 100), for multiple genres of interest, and you’re encouraged to share “your superior station” with that friend whose musical taste simply can’t hold a candle to yours.
Like a lot of websites, Pandora.com does have a mobile-phone aspect to it so, at least theoretically, you could stream it on your phone and then Bluetooth it over to your car or home stereo. So unlike a lot of music websites, Pandroa.com has a limited aspect of mobility to the website too. Currently Pandora works on only select phones on the AT&T and Sprint networks. At the bottom of the homepage is the ‘mobile’ tab. Also, you can subscribe to Pandora. I can’t imagine this website being around for long enough – it really is wonderful and the perfect at work audio companion – but I wonder how the income stream can support the Ivy League educated executives the website lists.
Under the “Pandora Presents” tab is an educational adjunct to the site. Created by serious musicologists, Pandora.com includes a series of podcasts that range from ‘what’s a trip hop beat’ to ‘the blues scale’ to ‘word choices in lyrics.’ So musicians as well as curiosity seekers can learn more about the ‘how’s’ and ‘why’s’ of how music is really made. These are near college level lectures filled with information and they can be automatically downloaded to your computer.
KCVU radio
Thursday, August 12, 2004
And now for something completely different…
Artist: KCUV.com
Rating: GREAT
The music industry has always been a strange beast. I can’t think of any other industry where it’s the norm to low ball it’s new releases and then makes margin on older products. It’s also unique in that so many people; be it label, band, retail or radio, want to get into the “music industry” that they bid their own wages below market value in order to do so. It’s just nuts and you have to be nuts to pursue it!
As we have all seen over the past decade or so, radio has become incredibly competitive. Formats change on a dime, literally, and on-air personalities have become highly disposable. There is an echelon of talent that is well compensated but to describe radio as a cut throat industry is to describe Iraq as a sketchy: quite an understatement.
With the need to drive advertising dollars through their airwaves most commercial radio stations have adopted a format approach that, in my opinion, taken the wonder and magic out of radio and replaced it with a completely predictable, follow-the-leader approach implementing the McDonalds hamburger approach: it’s ain’t exciting but you know what you’re going to get every time you go there. Now don’t get me wrong, generally those folks make a lot more money than I do, and money is the barometer of a successful business; however, that doesn’t endear my ears… especially if I have to listen to BAD/ uncreative commercials.
With that diatribe in mind, as we have found in the retail industry, the true music fan is going to find a method to get exposure to the music they love. As broadcast radio is on the verge of having to deal with satellite and internet radio have the potential to become a force to be reckoned with. They say competition is good for the consumer: we’ll see. I think we can all see what Cable has done for television (I’ll leave that one up to you to decide – HBO serials versus the Game Channel). Anyway, I recently found an on-line radio station that thrills my musical taste buds. Certainly it’s not as good as KIWR’s PS Blues (yes, I am the host) but it’s darn close kids. WWW.KCUV.com is a Denver based AM radio station that also broadcasts over the internet. Full of vim & vigor KCUV plays an endless stream of “GREAT” music with few repetitions and plenty o’taste. Yes, there are songs and artists the average music fan is not going to be familiar with but this station is clearly programmed to NOT be too cool for the room. Judging from their playlist, which is rotated on the screen while you listen, this station targets 30+ heavy / hip music fans with a massively large cornucopia of artists & songs. Focused on the wide spectrum of artists between bluesman Muddy Waters to Lyle Lovett, Dave Alvin, and older fifties artists.
If you’re like me, pulling your own tongue out with rusty pliers is almost more pleasant than saying anything positive about the state to our West (thanks to the obnoxious Colorado University fans that have yet to learn how to lose with grace) however, someone over there where the air is thin has finally gotten it together and created a path back to great radio, great music, and hip on-air talent. See, the Lord does answer prayers!
http://www.kcuvradio.com
And now for something completely different…
Artist: KCUV.com
Rating: GREAT
The music industry has always been a strange beast. I can’t think of any other industry where it’s the norm to low ball it’s new releases and then makes margin on older products. It’s also unique in that so many people; be it label, band, retail or radio, want to get into the “music industry” that they bid their own wages below market value in order to do so. It’s just nuts and you have to be nuts to pursue it!
As we have all seen over the past decade or so, radio has become incredibly competitive. Formats change on a dime, literally, and on-air personalities have become highly disposable. There is an echelon of talent that is well compensated but to describe radio as a cut throat industry is to describe Iraq as a sketchy: quite an understatement.
With the need to drive advertising dollars through their airwaves most commercial radio stations have adopted a format approach that, in my opinion, taken the wonder and magic out of radio and replaced it with a completely predictable, follow-the-leader approach implementing the McDonalds hamburger approach: it’s ain’t exciting but you know what you’re going to get every time you go there. Now don’t get me wrong, generally those folks make a lot more money than I do, and money is the barometer of a successful business; however, that doesn’t endear my ears… especially if I have to listen to BAD/ uncreative commercials.
With that diatribe in mind, as we have found in the retail industry, the true music fan is going to find a method to get exposure to the music they love. As broadcast radio is on the verge of having to deal with satellite and internet radio have the potential to become a force to be reckoned with. They say competition is good for the consumer: we’ll see. I think we can all see what Cable has done for television (I’ll leave that one up to you to decide – HBO serials versus the Game Channel). Anyway, I recently found an on-line radio station that thrills my musical taste buds. Certainly it’s not as good as KIWR’s PS Blues (yes, I am the host) but it’s darn close kids. WWW.KCUV.com is a Denver based AM radio station that also broadcasts over the internet. Full of vim & vigor KCUV plays an endless stream of “GREAT” music with few repetitions and plenty o’taste. Yes, there are songs and artists the average music fan is not going to be familiar with but this station is clearly programmed to NOT be too cool for the room. Judging from their playlist, which is rotated on the screen while you listen, this station targets 30+ heavy / hip music fans with a massively large cornucopia of artists & songs. Focused on the wide spectrum of artists between bluesman Muddy Waters to Lyle Lovett, Dave Alvin, and older fifties artists.
If you’re like me, pulling your own tongue out with rusty pliers is almost more pleasant than saying anything positive about the state to our West (thanks to the obnoxious Colorado University fans that have yet to learn how to lose with grace) however, someone over there where the air is thin has finally gotten it together and created a path back to great radio, great music, and hip on-air talent. See, the Lord does answer prayers!
http://www.kcuvradio.com
Spirit - Peter Buffet's native American epitina
Wednesday, July 28, 2004
Peter Buffet’s, Spirit – the Seventh Fire
Award winning musician Peter Buffett’s “Spirit” presentation is a mix of Bowie-esque multi-media stage extravaganza, Chip Davis’ Fresh Aire, and a Native American version of Riverdance. Staged in a huge (air conditioned) tent with tiered seating, located on the banks of the Missouri River, Spirit tells the story of a young professional Native man that is drawn back to his native roots and culture in a spiritual awakening.
While the story line is cliché Buffett’s use and setting of Native culture adds a beautiful and unique twist to the story. Admittedly I am a neophyte stage critic and am unable to distinguish kitsch from class; however, Buffett’s use of dance, music, film and setting combine to draw the audience into the experience completely. Since the performance includes members of numerous tribes the audience is treated to a wide variety of Native culture costume and dance. The beauty is in the admiration of the culture.
Buffett’s music is a rock-based presentation with a heavy (Native)use of drumming (*). There are times when the entire band participates in mixture of chant and rhythm with spoken word over the top. All in all this is a bountiful experience and I would encourage readers to check out, ‘Spirit – the Seventh Fire.
-----------------------------------
It was during Buffett's performance that I connected the heavy use of drums within Native culture and role of former Indigenous Conga player Horse; who was a second percussionist in a four piece band. Like an epiphany, I realized that Horse's role within the band was based upon their cultural experience. Sadly Horse's substance abuse became a full time occupation and he is no longer with the band.
-----------------------------------On a happier note, Mato's third child was born this week. -----------------------------------
Peter Buffet’s, Spirit – the Seventh Fire
Award winning musician Peter Buffett’s “Spirit” presentation is a mix of Bowie-esque multi-media stage extravaganza, Chip Davis’ Fresh Aire, and a Native American version of Riverdance. Staged in a huge (air conditioned) tent with tiered seating, located on the banks of the Missouri River, Spirit tells the story of a young professional Native man that is drawn back to his native roots and culture in a spiritual awakening.
While the story line is cliché Buffett’s use and setting of Native culture adds a beautiful and unique twist to the story. Admittedly I am a neophyte stage critic and am unable to distinguish kitsch from class; however, Buffett’s use of dance, music, film and setting combine to draw the audience into the experience completely. Since the performance includes members of numerous tribes the audience is treated to a wide variety of Native culture costume and dance. The beauty is in the admiration of the culture.
Buffett’s music is a rock-based presentation with a heavy (Native)use of drumming (*). There are times when the entire band participates in mixture of chant and rhythm with spoken word over the top. All in all this is a bountiful experience and I would encourage readers to check out, ‘Spirit – the Seventh Fire.
-----------------------------------
It was during Buffett's performance that I connected the heavy use of drums within Native culture and role of former Indigenous Conga player Horse; who was a second percussionist in a four piece band. Like an epiphany, I realized that Horse's role within the band was based upon their cultural experience. Sadly Horse's substance abuse became a full time occupation and he is no longer with the band.
-----------------------------------On a happier note, Mato's third child was born this week. -----------------------------------
Jamie Cullum Twentysomething
Friday, July 16, 2004
Artist: Jamie Cullum
Title: Twentysomething
The only difference between this being a very good album and a great album is time.
Many times the mark of a great album is if it is still being listened to years later. I have no doubt this album will become a long term staple for any true fan of great music.
On all fronts this mildly jazz, pop vocal performance is a brilliant release showing a perfect balance between talent, creative vision, performance, and songwriting.
Another appealing aspect of Cullum’s debut album are his tasteful nods to the foundation of great music with his covers of Cole Porter’s, “I Get A Kick Out Of You’ or his cover of Jimi Hendrix’s, “The Wind Cries Mary” or the cover of, “Lover, You Should’ve Come Over” by the late Jeff Buckley. Clearly Cullum is a fan of music with an in-depth knowledge of popular music’s history. As the President of Homer’s Music Stores I am often dismayed at the lack of knowledge by contemporary musicians have of what came before "their" sound.
At the ’04 South By Southwest Music Festival (SXSW) in Austin, Texas, we had the opportunity to see Cullum perform. It was terrific. I don’t think it’s any leap of faith to say the Cullum is easily the one of the two most exhilarating piano playing performers since Elton John’s string of hits in the mid ‘70’s (the other was Ben Folds).
All in all this kid appears to have a great future in front of him and I encourage you, with every shred of influence I can muster, to check out this wonderful young talent and get on board the Peace Train before it leaves the station!
Artist: Jamie Cullum
Title: Twentysomething
The only difference between this being a very good album and a great album is time.
Many times the mark of a great album is if it is still being listened to years later. I have no doubt this album will become a long term staple for any true fan of great music.
On all fronts this mildly jazz, pop vocal performance is a brilliant release showing a perfect balance between talent, creative vision, performance, and songwriting.
Another appealing aspect of Cullum’s debut album are his tasteful nods to the foundation of great music with his covers of Cole Porter’s, “I Get A Kick Out Of You’ or his cover of Jimi Hendrix’s, “The Wind Cries Mary” or the cover of, “Lover, You Should’ve Come Over” by the late Jeff Buckley. Clearly Cullum is a fan of music with an in-depth knowledge of popular music’s history. As the President of Homer’s Music Stores I am often dismayed at the lack of knowledge by contemporary musicians have of what came before "their" sound.
At the ’04 South By Southwest Music Festival (SXSW) in Austin, Texas, we had the opportunity to see Cullum perform. It was terrific. I don’t think it’s any leap of faith to say the Cullum is easily the one of the two most exhilarating piano playing performers since Elton John’s string of hits in the mid ‘70’s (the other was Ben Folds).
All in all this kid appears to have a great future in front of him and I encourage you, with every shred of influence I can muster, to check out this wonderful young talent and get on board the Peace Train before it leaves the station!
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