Manuel Galban starred in Buena Vista Social Club 1998, Ry Cooder's movie and recording collaboration with some of the stars of Cuban music's glorious past. I liked Buena Vista Social Club enough, but this 2001 follow-up collaboration is even better. Galban's technique, thick with effects, melodic and sneakily jazz-pop, is unique in all of guitar stylists. He's really like nothing you've ever heard. Lind of like Duane Eddy grew up in Cuba playing in jazz bands. The record is all instrumental except for one song, and the freedom of this small combo allows some of the most beautiful guitar interplay to unfold naturally and gracefully. Cooder is a consummate duet partner, and Galban, well, we're just lucky to have this document of his fascinating approach to the instrument.
Ry Cooder himself probably said it best when he said "Galbán and I felt that there was a sound that had not been explored, a
Cuban electric-guitar band that could re-interpret the atmosphere of the
1950s with beauty, agility, and simplicity. We decided on two
electrics, two drum sets, congas and bass: a sexteto that could swing
like a big band and penetrate the mysteries of the classic tunes. This
music is powerful, lyrical, and funny; what more could you ask?"
There are plenty of reasons you haven't heard this LP, but that doesn't make it a forgettable record. No, far from it. One reason might be that the record came out within a year of Abbey Road itself, which didn't (initially) give one time to appreciate the new perspective Benson brings to this now-classic material. Another reason was that Benson was not yet the household name he would become in the mid-seventies as an early progenitor of smooth jazz. And I suppose the necessity of a jazz interpretation of the songs from Abbey Road seemed every bit as essential then as it does now. But now we have time, history, and perspective to clarify our insight into this rare jewel.
Side one opens with harpsichord-accompanied string quartet on Golden Slumbers/You Never Give Me Your Money, a recurring motif throughout the record, which encompasses big-band arrangements, small combo jazz, and the aforementioned Baroque jazz, with Benson's mellifluous baritone vocal stylings. Because/Come Together is funk all the way from the Hubert Laws flute to Benson's guitar and the magnificent horns, topped by a a fine sax solo. And all bookended by the string quartet. Oh! Darling wraps side one with Benson singing it to the ground, and then ripping a sweet guitar break. Inspired.
The string quartet/piano/vocal combo opens side two with Here Comes The Sun, and it's fine. Then I Want You (She's So Heavy) becomes a sly, funky, riff-rocker until Benson just shreds blues to close it down. Something returns once more with the string quartet, with fine supplemental guitar and flute. The guitar-led big band of Octopus' Garden may be the set's best surprise, and then The End is played as a fast-paced big band arrangement with fiery percussion and smoking guitar.
The horn charts throughout are glorious. The cast of musicians is top drawer, with Hubert Laws, Freddie Hubbard, Herbie Hancock, Bob James, Ron Carter, and many more. It may all be a bit too much "of it's time", but it still sounds fresh today, especially if you happen to be hearing it for the first time (or the first time in a long while).
Well, Calexico is on a roll. This one continues the development pattern of Algiers, and ups the game even from that fine work, with perhaps a tad more energy, and again with the great songs.
The driving Tex-Mex-Jayhawks of Falling From The Sky kicks it off in fine style. The spooky minor key melody of Bullets and Rocks follows with excellent harmonies. Lost love features in the ballads When Angels Played and Moon Never Rises, and the later includes a fine female vocal duet with Carla Morrison. More of the moody Southwestern thing they do so well is on display on Tapping On The Line, World Undone, and Follow The River. Miles From The Sea has a fine string arrangement and Baroque-pop sound. Their love of Ennio Moricone is fully expressed in the cinematic instrumental Cayoacan. Cumbia de Donde has a Spanish-trance groove that sucks you in, and the uptempo Beneath The City Of Dreams enhances its dark story with super horn charts. The piano-driven country ballad Woodshed Waltz swings its sadness to the title dance beat.
It may be telling that the band listed on the sleeve includes eight members as opposed to just Burns and Convertino. It is their usual convention for just the two of them to be separated from the rest of the players by at least an empty line. Additionally, Sergio Mendoza (multiple instruments, vocals) assists with songwriting and production, and that may have helped to keep things fresh and new. Mostly, though, it sounds like the work of a band, and not just two guys with help. They're touring as a seven-piece, and the early results should make you want to catch the tour when they come your way.
Besides being an amazing photo shoot of a cover, Julia Fordham's Porcelain is a breathtakingly lovely recording, jam packed with great songs. I was looking for something I hadn't heard in a while, and stumbled upon this sumptuous record. Fordham writes these lovelorn melodies and sings these intimate lyrics with her crystalline voice. They are near perfect sophisticated pop-rock gems. The songs and arraignments are splendid, really.
Her early records into the nineties all contained a few great songs each. And the rest of the material was hardly slouch, but Porcelain holds up pretty much in it's entirety. So does The Julia Fordham Collection 1998, an unassailable best-of disc with the cream of the crop of her first five releases.
From 1966 to 1969, Fleetwood Mac was a blues-based rock band headed by Peter Green on guitar and vocals with Jeremy Spencer, also guitar and vocals, Mick Fleetwood's drums and John McVie on bass. Danny Kirwin's guitar and vocals were added to the line-up for their third LP Then Play On in 1968. Green left the group he founded in 1969. Between Green's departure and the 1975 arrival of Lindsey Buckingham and Stevie Nicks, Fleetwood Mac went through multiple line-up changes, with different personnel on all but two of the six records they released during this middle period.
Kiln House 1970 was recorded by Kirwin, Spencer, Fleetwood and McVie, with an uncredited Christine Perfect/McVie on keyboards and vocals. Jeremy Spencer left after Kiln House, to be replaced by American Bob Welsh, and Christine McVie became an official member. Future Games 1971 introduced Welsh's spacey, mystical rock songs, and also premiered Christine McVie's romantic balladry, which would become a stable for the band, with Show Me A Smile. The record garnered Fleetwood Mac a fair amount of FM radio play in America, even while the English reaction to their new distance from the blues was not well received .
The same line-up completed Bare Trees 1972, and again the record was neglected in the UK, and made it's way into the top 100 in the US. Strong songs from all three writers (Welsh, Kirwin, McVie) help fortify the record. Future Games and Bare Trees both benefit from the guitar interplay between Kirwin and Welsh, some fine jamming and riffing going on.
1973 saw two relatively unfocused releases from the band in a period of transition. Kirwin was dismissed during the tour in support of Bare Trees, and for Penguin,
Bob Weston on guitar and Dave Walker (ex Savoy Brown vocalist) were
added to the line-up. Penquin is probably their weakest outing since the
band's inception, and is only saved by two of Christine McVie's better
love songs, Remember Me and Dissatisfied. After Dave Walker left, the remaining five made Mystery To Me, and it's another weaker one, but not without redeeming moments in Welsh's Somebody and Hypnotized (which got considerable FM radio play) and McVie's Believe Me.
Heroes Are Hard To Find 1974 was made by the quartet of Welsh, McVie, Fleetwood and McVie, and was their first record to break into the top 40 Billboard album charts. The album holds up pretty well even today, and is clearly the precursor to the so-cal rock lite classics that are right around the corner. Welsh and McVie each contribute strong material, and a successful tour helped sell the record more than any before it. The title track and Welsh's Silver Heels are standouts, as is Come A Little Bit Closer by Christine McVie.
We all know what happened next. Welsh quit, and very shortly after, Lindsey Buckingham and Stevie Nicks were added to the line-up. That band made two classic rock FM radio staples, Fleetwood Mac 1975 and Rumours 1977. The five are back together and touring again in 2015. Other than those classics from 1975 and 1977, their recorded output has been a mixed bag, with Buckingham, McVie, and Nicks each out of the picture at various times. In fact, these records from 1970-1974, especially Kiln House, Future Games, Bare Trees, and Heroes Are Hard To Find, are in my view much more interesting than any of their post 1977 output.
I just stumbled on a document I wrote in 2007. I believe I wrote it in response to a challenge put forth by one of the magazines I was reading to name the 12 best records to encapsulate American music. I went with a contemporary approach. Marti JonesLive At Spirit Square
Maybe the single
best live pop record ever. Great songs, great band, great recording.
Marti’s lovely alto, producer-husband Don Dixon on bass and songwriting.
Jaime Hoover proves himself to be one of the most remarkably skilled
Spirit The Twelve Dreams of Dr. Sardonicus
A wonderful summation of the west coast psychedelic sound, with Beatles woven throughout.
Swan Dive Swan Dive
What do you get when you combine the pop of Bacharach, the girl group sound of the sixties, and contemporary production values?
NRBQ At Yankee Stadium
The single best studio recording from
America’s answer to whatever question you had in mind, and the most fun
you’ll ever have seeing a live band.
Latin, jazz-rock fusion, southern California style. All of the first four are classics, but no one else ever made a record quite like this one. Cassandra WilsonBlue Light ‘Til Dawn
The bayou, native influences, the blues, jazz, and the sultry tones of one of today’s finest voices in jazz, even if she’s not the flavor of the month right now. Jackson BrowneJackson Browne (Saturate Before Using)
There are lots of good examples of the perfect singer-songwriter record. This one’s mine.
James Brown Star Time
Ok, it’s four CDs, but it’s also the only perfect James Brown purchase available. Absolutely essential all the way through, and (almost) everything you need. Also stands out as the best single-artist four CD set ever, by a pretty fair margin.
Marcia Ball, Erma Thomas, Tracy Nelson Sing It
What can I say about this record? A little blues, a little soul, a little R&B, and a rollicking party tune or two. Three great women more people should have heard a long time ago.
The Neville Brothers Neville-ization
Never able to capture it all in the studio, these two nights at Tipitina’s are what the Neville Brothers are all about. Smokin’ hot band at the top of their form for the hometown crowd. Frank SinatraClassic Sinatra
Ah, Sinatra’s thirties during our perfect 1950s. Lots of hits, nicely mastered to CD. Sinatra is in peak form, still with the power of a young man, but having learned just exactly how much of it to use at any one time. Bill FrisellGood Dog, Happy Man
What can you say about country-bluegrass-jazz fusion? Lots of things of course, but for sure it’s American.
The search for the holy grail of the Birth of Rock and Roll will take you to early sides by Elvis Presley, Johnny Cash, Carl Perkins, and Jerry Lee Lewis. Going further back pulls in The 5 Royals, Jackie Brenston and his Delta Cats, Arthur “Big Boy” Crudup, and a host of others. But no one should give you any grief for including Little Richard's Tutti Frutti in the mix. And many other tracks from this fine debut long player from Little Richard, including True Fine Mama, Ready Teddy, Long Tall Sally, Rip It Up, and She's Got It.
Little Richard Penniman recorded a few sides in 1952 and 1953, but the bulk of his rock and roll fame was produced for Specialty records from 1955-1957. And everything he recorded for Specialty was released as singles. This collection of A and B sides recorded in 55 and 56, and released while Richard was still recording for the company, is as good as early rock and roll gets, and Richard is completely on fire. Known for his wild performances, you get the idea loud and clear on these studio tracks. Specialty released two other LPs, both after Pennimen left the company, and the rest of his early hits are included on those LPs, Little Richard 1958 and The Fabulous Little Richard 1959.
There's many CD compilations for Little Richard, but the Specialty recordings are really the crux of the matter. So much so that he re-recorded much of this material at least twice later in his career (those recordings are bested by the originals, even if they offer improved- and stereo- sound). Little Richard had a long and strange career, bouncing back and forth between gospel and rock and roll, with one comeback after another, but it was always his seminal fifties sides that made him awe-inspiring. This one (or a compilation of his Specialty hits) and his outstanding 1970 comeback, The Rill Thing, are some of his finest moments.