The opening solo piano strains of “Last Waltz,” the opening track on Dave Brubeck’s 1966 LP Time In are lovely enough. But they suggest that the album is going to be a somewhat staid, fussy and classically-leaning collection of songs. Certainly, there’s nothing wrong with that; Brubeck has always been a master of many styles.
These quick reviews cover an assorted lot: two compilations, a reissue and a 45rpm single all in needle-hits-groove physical format. Warren Zevon – My Ride’s Here If you only know a few things about Zevon, it’s that he did “Werewolves of London,” that he had a celebrated sardonic sense of humor (imagine a rock-oriented Randy
Today’s three are all new, indie releases. David Duchovny – Every Third Thought A confession, right up front: when this album landed on my desk, my first thought was, “Uh-oh. Another vanity project from an actor who maybe played some guitar back in college.” A bit of belated investigation demonstrated that my attitude was wholly
These three are reissues. Hank Jones – Arigato Jones’ recording career as a jazz pianist began in 1947 and continued until age 91 with the aptly-named Last Recording in 2010. Recipient of numerous accolades (NEA Jazz Masters, ASCAP Jazz Living Legend Award, etc.), Jones was a prolific musician; he released some five dozen albums under
There was a time – a pretty long time, actually – during which R.E.M. was among the most popular groups on the planet. Without being pretentious or self-important (I’m lookin’ at you, U2), the foursome from Athens, Georgia did things its own way, uncompromisingly. Over the course of the band’s history – 1983 to 2011
Though exploitation knows no era, the 1960s was truly the decade of the cash-in. Americans of a certain age recall that in the wake of the Beatles’ initial stateside success (beginning with a filmed show in Washington D.C. and a series of broadcasts on The Ed Sullivan Show), countless ripoff albums seemed magically to appear.
The Fall were never most people’s idea of a commercial group. They didn’t have the jangling melodicism of the Smiths, nor the sophisticated funk groove of Gang of Four. But the British postpunk band did have Brix Smith. She was Mark E. Smith’s wife and lead guitarist, and her influence moved the band in its
Whether it was an association they originally wished for or not, the Orb were pegged early on as a sort of modern-day answer to Pink Floyd. Though the project (Alex Paterson and collaborators) has always been about more than ambient, dance-oriented space music — hey, they’ve worked extensively with reggae icon Lee” Scratch” Perry —
I think the publicist – however well-meaning he may be – was having a bit of fun when writing the one-sheet that accompanies promo copies of The Tables Turn Too Often. Sure, it’s useful to provide potential reviewers with some musical signposts, occasionally dropping of names in a RIYL (“promo-speak for “review if you like…”)
If I told you that a key inspiration for the slice-of-street hip-hop of Ice-T was an earlier recording artist going by the name of Iceberg Slim, you’d likely develop some immediate preconceptions as to what the earlier iceman sounded like. But I’m here to tell you that you’d probably be way off base. Iceberg Slim