Album Reviews

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Michael Fremer  |  Sep 01, 2005  |  0 comments

American Decca's inept handling of The Who (and to a lesser degree the band's inability to produce frothy pop fare) prevented The Who from breaking in the Unites States until Tommy --and even then it was the pure force of the music and the nascent FM “underground radio” scene that spelled success, with little help from the label.

Michael Fremer  |  Dec 01, 2005  |  1 comments

Brooklyn Dodger fans weren't the only ones heartbroken when their beloved bums moved to Los Angeles. An entire L.A. neighborhood, Chávez Ravine, had to be sacrificed to make way for the new Dodger stadium. Despite the album title, Ry Cooder's Cinemascopic new album is as much about a lost time-the 1950's-as it is about a lost Mexican-American neighborhood known as Chávez Ravine.

Michael Fremer  |  Oct 01, 2005  |  0 comments

As with William Shatner's infamous cover of “Lucy in the Sky With Diamonds,” Paul Anka's big band cover of Nirvana's “Smells Like Teen Spirit” was not meant to be a goof. However, unlike Shatner's mangling, Anka pulls it off brilliantly, thanks in part to the suave, sensitive arrangements, but mostly because the Vegas veteran clearly takes the tunes seriously and sees their intrinsic musical and lyrical merit. Whoever did the A&R work made inspired choices as the mix of tunes is eclectic and sometimes daring.

Michael Fremer  |  Sep 01, 2005  |  0 comments

There's an outlaw tune, a tough-chick-struts-her-stuff tune, one about breakup and regret and other familiar subjects, and Kathleen Edwards and her band express it with edgy, pedal steel drenched country roots-rock that has probably already worn familiar pathways through the musical synapses of your mind, but on her sophomore effort, Kathleen Edwards proves she's got the goods to go for the long haul.

Michael Fremer  |  Sep 01, 2005  |  0 comments

“The greatest LP ever recorded in England” gushed The Lama Review (http://www.lysergia.com/LamaReviews/lamaMain.htm) a website dedicated to psychedelic music. “…the best middle Eastern acid folk album ever recorded,” sayeth MOJO. “An oblique masterpiece…” according to Record Collector.

Michael Fremer  |  Sep 01, 2005  |  1 comments

Abbey Lincoln:
In the upside down year of 1961 (not until 6009 will that happen again), the Kennedy era began, Washington D.C. residents finally got the right to vote in presidential elections thanks to the 23rd amendment to the constitution, and the civil rights movement was in its most activist period, with sit-ins staged throughout the south at public places and freedom riders traveling on buses to force the de-segregation of bus terminals as mandated by federal law.

Michael Fremer  |  Sep 01, 2005  |  1 comments

Alec “Rice” Miller isn't the real Sonny Boy Williamson, but whatever, when the original “One Way Out” (later covered by The Allman Brothers) screams from your mono system (okay, your stereo system in mono) you'll know he's real whatever his name is.

Michael Fremer  |  Oct 01, 2005  |  2 comments

By the time Mind Games was issued in December of 1973, John Lennon had lost all semblance of musical and personal balance. Sad, but true. The looming Yoko on the horizon cover said it all. Yet the stunning title tune, with its wistful melody and “summing it all up” lyrics led many fans to believe the revolutionary Beatle had returned to greatness after the formless debacle that was Sometime in New York City, but alas, they were mostly wrong.

Michael Fremer  |  Sep 01, 2005  |  1 comments

The idea of this 1956 session was for everyone involved to have a chance to blow the roof off Van Gelder's home recording studio. And why not when you have trumpeter Donald Byrd and trombonist Curtis Fuller joining the alto sax player's group for this session, with Sonny Clark on piano backed by drummer Art Taylor and George Joyner on bass?

Michael Fremer  |  Sep 01, 2005  |  1 comments

Today, Houston, Texas seems like one of the last places on earth a bluesman would want to call home (send those emails!), but Sam “Lightnin' “ Hopkins called it home, once he left his small town birthplace, nearby Centerville (population under 1000). His first Houston foray, sometime in the late 1930's, where he accompanied his cousin, the blues singer Alger Alexander, was a bust, so after working on a railroad and singing in the streets he returned home to Centerville.

Michael Fremer  |  Oct 01, 2005  |  1 comments

Does American music get much better than this? No. Cash's twangy Sun sides represent the purist distillation of his art: the mournful, unadorned nasally voice bathed in perfectly timed tape delay backed by the “Tennessee Two.” Could there be a White Stripes without Johnny Cash? Not likely. His influence was enormous, yet no one dared to imitate Johnny Cash, so singular was his musical persona.

Michael Fremer  |  Oct 01, 2005  |  1 comments

I don't have kids. Didn't happen. We've dealt with it. They say if you play Mozart for your kid in the womb it's good for his or her development. I wouldn't know.

Michael Fremer  |  Oct 01, 2005  |  1 comments

I turned 50 when the car manufacturer Saab turned 50, so I celebrated my half century, by treating myself to a day at the Skip Barber racing school held in conjunction with Saab's 50th anniversary celebration/annual Saab club convention, which took place that summer (1997) at the beautiful Waterville Valley Ski Resort-no dogs allowed.

Michael Fremer  |  Oct 01, 2005  |  1 comments

Long considered to be one of the best sounding RCA “Living Stereo” recordings, this Classic Records 45rpm single sided edition takes getting it into your home to new extremes. The flat “other side” means better disc to platter coupling, as does the Quiex SV-P 200 profile, which gives your platter no lip. At 45rpm, the wavelengths get elongated and thus are easier to track-especially at the inner groove area as the spiral gets tighter and tighter.

Michael Fremer  |  Oct 01, 2005  |  2 comments

The title track is not twice as good as Desmond's surprise jazz “hit” “Take Five,” immortalized on the Time Out album recorded with his regular band mates in the Brubeck quartet, but it has its own serpentine charm, and having Jim Hall comping on guitar instead of Brubeck on piano gives the track a far different, more delicate texture.

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