By J Howell
It’s a rare thing when a band comes along whose music is an instant game-changer, the kind of band that’s simultaneously comfortable but complex; easily understandable but somehow nearly indescribable, like an old friend. The Middle East is just that. (Well, was . . . more on that in a moment.)
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By Danny R. Phillips
NRBQ is the beast that refuses to die. Formed in the ’60s by Terry Adams, the band has been making good ol’ bar party music ever since, despite numerous lineup changes, a bout with throat cancer, changing times, and changing flavors. With Keep This Love Goin’ NRBQ are back doing the same as they always have, and that’s just fine.
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By Paul Casey
“For my money, Tony Bennett is the best singer in the business. He excites me when I watch him. He moves me. He’s the singer who gets across what the composer has in mind, and probably a little more. There’s a feeling in back of it.”
—Frank Sinatra in Life magazine, 1965
By Paul Casey
Explorations was Bill Evans‘ second album with his most famous trio. It was recorded in one day, on February 2, 1961, in between recording Know What I Mean? with Cannonball Adderley. Explorations was a follow-up to the seminal Portrait in Jazz, Evans’ vision of a three piece that spoke as if with one voice. This was also the last studio recording to feature Scott LaFaro as bassist, as he died tragically in a car crash in the summer of ’61. He was 25.
By Paul Casey
Cannonball Adderley and Bill Evans worked together on Miles Davis’s Kind of Blue. That should be enough of a reason for you to seek out and listen to Know What I Mean? As the cover reminds us, Bill Evans accompanies that fearsomely moustachioed fellow, Cannonball Adderley, who first transfixed me with his earlier Somethin’ Else album.
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By Danny R. Phillips
Elvis Costello has been good at many things throughout his career as a musician. From the snot-nosed, pissed off, former IBM employee who gave us “Accidents Will Happen,” “Alison,” “New Lace Sleeves,” and “Radio, Radio” to the still-much-loved, still-bitchy-at-times entertainer that he is today, his career has run the gamut. But it seems that some of his most curious work has been as host of the love fest known as Spectacle: Elvis Costello with . . .
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By Paul Casey
I was drawn to Chet Baker in the same way as so many others: By his voice. A copy of the essential compilation, The Best of Chet Baker Sings, was my companion on the kinds of nights where only a special performer can turn solipsism into artful indulgence. It was not a long haul until his instrumentals joined his whisper voice and became the backdrop to these low and human moments.
Based on “Undercover”—the first song I heard by The Chain Gang Of 1974—I was excited, fully expecting the album Wayward Fire to be crammed with lush, moody, ’80s-influenced synthy dance pop. (Even the cover art reminds me of Echo and The Bunnymen’s Songs To Learn And Sing.) Since my teen years were spent listening to the original incarnation of that style of music, I’m glad that so many bands are redefining the sound as a genre of its own, not just some passing fad. Yet, Wayward Fire is not what I expected.
Iceage is the kind of band that music critics slobber all over (and if you read music blogs, you’ll have heard about them already). This probably sounds like I’m insulting Iceage and music critics in one hastily written sentence, but be patient with me; I had to put that out there to get it out of the way.
Hearing “White Rune” for the first time was invigorating, to say the least. And to be fair to music critics, in part because I am one, there’s an awful lot of crappy music out there, so any hint of potential non-crap is pretty damn exciting to us.
By Ann Clarke
I was quite fond of last year’s release by Wild Beasts—Two Dancers—so I was quite surprised that they had a brand new album out so quickly thereafter. So does Smother hold up to its predecessor? The short response is: Yes, it does!
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