This limited to 1000 copies lavishly packaged "one-step" edition of John Coltrane's Lush Life sold out shortly after it was announced. Did you miss anything? If it's a favorite, probably. I hesitated to review it, much like I don't review The Electric Recording Company's limited editions that almost immediately sell out upon release announcement, but given Craft's uneven release history (unlike that of ERC), a review seems appropriate.
Memories can play nasty tricks on the mind. Events long since past that once seemed sublime can turn out to be anything but when the time machine slides them into the present.
Yes, Clapton, Bruce and Baker have gotten older. Face it, they’ve gotten old as have those of us who’ve been Cream fans since they were called “The Cream” on the first album jacket. And face it, youth be served, they haven’t the raw power they once had.
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.”
Look: if you don’t like The Sweet, Humble Pie, Deep Purple, Neil and Crazy Horse, T-Rex and of course Led Zep and boogie rock generally, Jack White’s brand of retro-crunchrock isn’t going to be to your liking, but if that kind of stuff appeals to you and considerations of modernity don’t apply to your musical meanderings, this record will hit the spot. And how long has it been since that spot’s been hit?
The Cuban born, classically trained jazz pianist Elio Villafranca plays in a lyrical, yet not quite florid style that moves from Latin style fiery and dramatic one moment to deeply introspective and abstract the next.
Like Marshall Crenshaw’s debut, Cyndi Lauper’s first album would be difficult to top and neither she nor Crenshaw managed to do it. Better to peak early than not peak at all—not that either of them didn’t release some very good follow-ups.
Squishy, sticky, elastic beats, some so slow and off-kilter that they threaten to fall apart, ghostly falsetto harmonies, cavernous empty spaces between the rhythmic wah-wah pulses and a distant, almost other-worldly sonic perspective announce D’Angelo’s singular sinewy yet gentle vision.
Escaping The Doors' "Light My Fire" was impossible throughout 1967's "Summer of Love". Likewise, unless you shuttered yourself indoors throughout this year's "Summer of Blah" you simply couldn't avoid Daft Punk's break out hit "Get Lucky" culled from the unlikely number eight spot in the album's thirteen song sequence.
What do I mean by "Summer of Blah"? Is this not the most, compliant, passive, drippy, "blah" generation to come down the pike in decades?
Originally released in June of 1972, Bowie's "rock concept album" broke the then still obscure musician and changed the face of rock'n'roll forever—and that ain't hyperbole. If this wasn't the album that gave Freddie Mercury his dream, I can't imagine what was.
David Bowie fans who lost the thread around his Tin Machine days or who meandered mystified or perhaps less than fully satisfied through his end of century output and beyond need to return for The Next Day his first album in a decade, following his 2004 heart attack and major surgery. Not that Heathens wasn’t a good outing
There's something deeply offensive to me about picking apart the sound on the David Bowie [Five Years 1969-1973] box set. The guy is gone, the sadness lingers and maybe it's time to just enjoy and celebrate the music.
David Bowie’s October 1973 covers album, Pin Ups, was actually somewhat of a placeholder, made with the intention to fulfill contractual requirements for his then-label, RCA Records — but it actually became a smash hit. To celebrate the album’s 50th anniversary, Parlophone is releasing a 180g 1LP half-speed-mastered edition on October 20. Read Mark Smotroff’s review to see if the new Parlophone Pin Ups is a worthy addition to your LP listening queue. . .
David Byrne’s The Catherine Wheel has long been a favorite release amongst his fervent fanbase, dating back to the album’s first, albeit abbreviated appearance on vinyl in December 1981. Finally, The Complete Score From the Broadway Production of “The Catherine Wheel” gets its full due on 2LP black vinyl, thanks to its Record Store Day 2023 release in a run of 6,500 copies. Read Mark Smotroff’s review to see if this expanded edition should become an essential part of your own Catherine Wheel listening experience. . .
The three new Chesky works on this stupendous-sounding disc are easily his boldest, most ingenuous and fully realized compositions yet. One needn't be a classical music critic-and I've never claimed to be one-or even an experienced classical music listener (a claim I can make), to immediately grasp and appreciate both the conceptual audacity of the music, which melds traditional classical motifs with flamenco accents, South American folk music and contemporary jazz, and the skill displayed by the composer in weaving the thread of his concept throughout the three pieces. If you want a high-concept one line “treatment,” how about “Chesky and Stravinsky Joyride South of the Border and Return to New York to write up the trip?”