Album Reviews

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Michael Fremer  |  Jun 01, 2005  |  0 comments

The nearly extinct art of the direct to disc recording got a small boost recently with two produced by Acoustic Sounds' (www.acousticsounds.com) Chad Kassem at his Salina, Kansas Blue Heaven Studios.

Michael Fremer  |  Jan 05, 2013  |  17 comments
Dear Diary:

Dirty Projectors has been around for a decade. This is the group's, what? sixth album? but only the first I've heard since becoming aware of it only a few month ago. How totally clueless have I become?

When I write about Swing Lo Magellan do I fake it and write as if I've known about the group for a decade? I can't do that. So I'll have to admit how unhip and out of the loop I've become.

I know! I'll blame The Beatles and all of the reissues I have to cover. Right!

Michael Fremer  |  Aug 01, 2004  |  1 comments

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  |  Dec 01, 2011  |  1 comments

Before there was Lady Ga-Ga, there was Bette.

Michael Fremer  |  Sep 01, 2006  |  0 comments

“She brushes off comparisons to Billie Holiday,” according to Mobile Fidelity’s online blurb. Why? That’s like denying the elephant in the room. Peyroux’s squooshy vibrato and top of the throat delivery produce sly vocal timbres that just about channel Billie Holiday between your speakers. Even the miking and equalization have been carefully chosen to sustain the Holiday allusion and almost mimic the mellow recording quality of the time, just as the inner gatefold photography and Peyroux’s outfits reprise the visuals of the ‘40s. It’s canny but I find it distracting and mannered.

Malachi Lui  |  Feb 25, 2022  |  4 comments
Four years after his addiction-and breakup-themed magnum opus Ladies And Gentlemen We Are Floating In Space, Spiritualized’s J Spaceman (Jason Pierce) reemerged with the band’s fourth album, 2001’s Let It Come Down. Greeted with high anticipation—and recently reissued as the final installment in Fat Possum’s Pierce-supervised Spaceman Reissue Program—Let It Come Down is now commonly seen as the moment when Spaceman lost the plot. “It all fell apart a little bit during this period,” he admits. Two decades later, Let It Come Down stands less as a great Spiritualized record and more as a product from the bygone era of expensive recording budgets and ample studio time.

Michael Fremer  |  Dec 01, 2007  |  0 comments

Good luck finding a copy. They're pretty much sold out and the price of used copies is only likely to rise for this iconic grunge-rock album with the "sell-out" cover.

Malachi Lui  |  Sep 07, 2018  |  3 comments
The National’s Boxer remains a great album eleven years after its release. With its basic, slightly Joy Division-esque stadium-filling musical arrangements and lyrical themes, two of which are relationships and aging, many of the songs remain fresh-sounding.

Michael Fremer  |  Jul 18, 2017  |  2 comments
España is Chasing the Dragon's latest and most ambitious Direct-to-Disc record. It's difficult enough to record Direct-to-Disc a string ensemble, or a big band or a big band with vocalist, all of which the label has done successfully managed.

Mark Smotroff  |  Feb 09, 2024  |  6 comments

In February 1977, Elektra released Marquee Moon, the debut LP by New York’s groundbreaking art rock group Television — but finding a good-sounding vinyl copy of such an acclaimed album has historically been a bit of a challenge. But now, the new AAA 180g 1LP Rhino High Fidelity (RHF) edition of Marquee Moon may have just changed that distinction forever. Read Mark Smotroff’s review to see if this RHF edition finally helps Marquee Moon achieve the untethered, uncompromised, and uncompressed all-analog glory it so richly deserves. . .

Malachi Lui  |  Aug 10, 2018  |  21 comments
(Mr. Lui's new Rega P3 has yet arrive following the family's west coast move so he was allowed to review the deluxe CD edition—Ed.)

One of the events covered most by the music press in the last few months has been that a “lost” John Coltrane album has been found and finally released. The original session tape vanished when Impulse moved from New York City to Los Angeles, the label having dumped many tapes of unreleased material in the process. The music was thought to be lost forever, but the family of Trane’s first wife, Naima, found the “take home” session copy in 2004. The story of its discovery is sure to captivate many fans, making it the perfect marketing tool for this new archival release.

Malachi Lui  |  May 01, 2022  |  94 comments
There’s plenty already said about the musical content of Marvin Gaye’s 1971 classic What’s Going On so I’ll avoid redundancy and just say that its scope—from the sociopolitically-minded lyrics to the carefully assembled song cycle structure and luscious musical arrangements—pushed the boundaries of what a Motown release could be, and truly stands the test of time. It’s an endlessly relevant record (decide yourself if that says more about the album’s excellence or society’s failures), and also one of the most exhaustively reissued: in the past 20 years, we’ve seen Universal’s 30th anniversary 2CD featuring the original Detroit mix, more alternate mixes, and a Kennedy Center live recording from 1972; Mobile Fidelity’s SACD and 33rpm single LP releases; UMG’s 40th anniversary “super deluxe” edition adding further session material and alternate versions; quite a few run-of-the-mill digitally-sourced vinyl reissues of the core album, done at United for the US and GZ for Europe; an Abbey Road half-speed 4LP mirroring the 2001 2CD; and MoFi’s 45rpm double LP UltraDisc One Step cut from tape. That’s not including the “Vinyl Lovers” Russian reissues of dubious legal origin cut and pressed at GZ, the 192kHz/24bit hi-res download, a Blu-ray Audio release (remember that format?), and the Japanese SACDs, CDs, and MQA-UHQCDs featuring a flat transfer of the original master tapes (yes, really!).
Michael Fremer  |  Dec 01, 2004  |  1 comments

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  |  May 01, 2008  |  0 comments

John Cale's guitar-fueled, angry yet nostalgic first Island release from 1974 is easily his finest solo effort in my book. It's certainly his most consistently well written and performed record.

Michael Fremer  |  Apr 01, 2004  |  0 comments

Recorded live in the studio in four days, this collaborative effort produced by singer/songwriter Joe Henry attempts to revive the career of one of the great, though under-appreciated ‘60s soul singers, who has spent the past few decades in church and in relative pop-music obscurity. Back in the 1960’s in the heyday of soul, Burke, who has always straddled the secular/sanctified line, had a series of big hits on Atlantic, including “Cry to Me,” and “Everybody Needs Somebody To Love,” (co-written by Burke and producer Bert Berns) both of which were covered by The Rolling Stones.

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