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<\/center>\nAnalog Son \u2013 <\/strong>Analog Son<\/strong><\/em>
\nThe name might conjure mental visions of a synthesizer outfit, but the sounds that this duo-plus-friends (guitarist Jordan Linit<\/strong> and Josh Fairman<\/strong> on bass) produces is some fresh and uptempo funk. Seven of the ten tracks are instrumentals that satisfy on multiple levels: there’s plenty of hot soloing and musical interplay, but both groove and melody are deftly woven into the mix. The studio guest list includes members of The New Mastersounds<\/strong> and Dumpstaphunk<\/strong> among others, but Analog Son<\/em> never sounds like a jam. Linit wrote or co-wrote all the tunes, and was involved in the horn arrangements as well.<\/p>\n
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<\/center>\nWishone Ash \u2013 <\/strong>Blue Horizon<\/strong><\/em>
\nWishbone Ash<\/strong> are one of those hard-working second-string bands who never quite hit the big time. Enjoying some chart success in the early 1970s, the band has gone through myriad lineups \u2013 both John Wetton<\/strong> (King Crimson<\/strong>, Asia<\/strong>, UK<\/strong>) and Trevor Bolder<\/strong> (David Bowie’s Spiders From Mars<\/strong>) have passed through the band’s ranks. Today only Andy Powell<\/strong> (guitarist on the group’s more than two dozen albums) remains. The group’s sound is radio-ready, making their lack of high profile success more perplexing. Fans of melodic meat’n’potatoes rock with hooks, appealing vocals and twin lead guitars shouldn’t let Blue Horizon<\/em> go unheard.<\/p>\n
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<\/center>\nFocus \u2013 <\/strong>Golden Oldies<\/strong><\/em>
\nOn one hand, it’s mystifying that a band that’s been around forever would record new versions of their best material: aren’t the originals still available? (Yes.) Do the arrangements differ wildly from those originals? (No.) But considering that the 2014 lineup of Focus<\/strong> features only two members of the classic lineup \u2013 leader and multi-instrumentalist Thijs van Leer<\/strong> and drummer Pierre van der Linden<\/strong> \u2013 it makes some sense to show that a band now fitted with a pair of young axemen can still play the intricate, jazzy, loopy prog that has always been the band’s trademark. Surprisingly, refreshingly fun.<\/p>\n
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<\/center>\nThe Bamboo Trading Company \u2013 <\/strong>From Kitty Hawk to Surf City<\/strong><\/em>
\nA breezy, laid back and highly polished sound reminiscent of early 70s Beach Boys<\/strong> is the chosen style of this aggregation. And in fact Beach Boys connections abound on this song cycle about a cross-country biplane journey: Matt Jardine<\/strong> (son of Al<\/strong>) is one of the vocalists; Mark Linett<\/strong> mastered the recording; Randell Kirsch<\/strong> and Gary Griffin<\/strong> used to back Jan & Dean<\/strong>. And Dean Torrence<\/strong> himself guests on the so-odd-you-gotta-hear \u201cShrewd Awakening.\u201d The production and arrangements are intricate but not overly fussy, reminiscent of that other former Beach Boy, the one who had a sandbox in his living room.<\/p>\n
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<\/center>\nMarshall Crenshaw \u2013 <\/strong>Red Wine<\/strong><\/em>
\nThe fourth in Crenshaw’s excellent series of EP releases follows the same format as the previous three. As his website succinctly describes it, Red Wine<\/em> \u201cfeatures a new song (‘Red Wine’), a cover (James McMurtry<\/strong>\u2019s ‘Right Here Now’), and a new take on an old Marshall classic (‘Hey Delilah’).\u201d The title track features a spare arrangement in support of Crenshaw’s characteristically evocative vocals. The reverb on those vocals here and there will transport listeners back to Crenshaw’s self-titled 1982 debut. Electric sitar on \u201cRight Here Now\u201d is a delight; the stripped-down reading of early 90s \u201cHey Delilah\u201d is ace too.<\/p>\n
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