Album Reviews

The poet/singer Gil Scott-Heron struck a raw nerve in the early '70s  with "The Revolution Will Not be Televised," a sarcastic, simmering three minute taunt set to a flute, drum and bass soaked jazz backing track that  sounds today more like Beatnik parody than jazz.

Tom Petty and The Heartbreakers’ November 1982 LP Long After Dark was not exactly everyone’s immediate favorite back in the day, for various reasons. Thankfully, a newly expanded 180g 2LP set dubbed Long After Dark – Deluxe Edition goes a long way to improve on the core album as a listening experience, start to finish, with powerful bonus tracks and more sympathetic mastering. Read Mark Smotroff’s review to see why this new Long After Dark – Deluxe Edition has reignited our passion for this album, especially in its newly expanded form. . .

Who producer Kit Lambert flew to New York Spring of 1969 to supervise the mastering of Tommy for American Decca’s 2 LP release (Decca 7205). With the lacquers cut, Lambert declared the results a “masterpiece” and celebrated by incinerating the tapes. So the oft-repeated story goes. Fortunately, it’s not a true story, for during the tape research for this special edition, the original 2 track master tape was discovered in a storage vault. That leads one to wonder what Mobile Fidelity used a few years ago for its “Original Master Recording” gold CD issue, but why cry over spilt polycarbonate and gold sputtering when this superb edition is now available?

If you buy this and just hear some moldy old monophonic Dixieland you deserve to spend the rest of your life listening to Aqualung and Patricia Barber, not that there’s anything wrong with either that album or that artist. I don’t mean to insult anyone but the audiophile “pop charts” are depressingly mundane and predictable.

Duke Ellington in a hard charging trio session may surprise some listeners expecting the Duke's usual light touch. Spurred on by Charles Mingus's angry plucks and Max Roach's polyrhythms, Ellington hits the keyboard harder than usual, punctuating his flourishes with greater dynamic gusto than one hears on his big band recordings.

While two of the three previous jazz records guitarist/arranger Anthony Wilson made with producer Joe Harley were guitar/drum/organ sessions, this one also featuring those instruments is much different.