One of her most overlooked ’60s albums, on which she presented some of her jazziest material, despite the title. None of these cuts were significant hits, and none were Aretha originals; she displayed her characteristically eclectic taste in the choice of cover material, handling compositions by Percy Mayfield, Sam Cooke, Smokey Robinson, and, at the most pop-oriented end of her spectrum, John Hartford’s “Gentle on My Mind” and Bob Lind’s “Elusive Butterfly.”
Her vocals are consistently passionate and first-rate, though, as is the musicianship; besides contributions from the Muscle Shoals Rhythm Section, session players include respected jazzmen Kenny Burrell, Ron Carter, Grady Tate, David Newman, and Joe Zawinul.
– Richie Unterberger (allmusic) Continue reading “January 17: Aretha Franklin released Soul ’69 in 1969”→
“This boy has a lot more of the Dylan spirit than John Prine. His songs are filled with the absurdist energy and heart on sleeve pretension that made Dylan a genius instead of a talent.”
– Robert Christgau, Creem magazine
Greetings from Asbury Park NJ is the first studio album by Bruce Springsteen, released in 1973. It only sold about 25,000 copies in the first year of its release, but had significant critical impact. It was ranked at #379 by Rolling Stone on its list of 500 greatest albums of all time. The album also hit the number sixty stop on the Billboard 200 albums listing.
The re-release that is part of the box-set (released autumn 2014) sounds amazing!
An explosive debut, and the hardest mod pop recorded by anyone. At the time of its release, it also had the most ferociously powerful guitars and drums yet captured on a rock record. Pete Townshend’s exhilarating chord crunches and guitar distortions threaten to leap off the grooves on “My Generation” and “Out in the Street”; Keith Moon attacks the drums with a lightning, ruthless finesse throughout.
~Richie Unterberger (allmusic.com)
What is it about this album?
Why is it so important in the americana /country/gospel music canon?
Satan Is Real is a gospel album by American country music duo The Louvin Brothers.
Released
November 16, 1959
Recorded
August 8–10, 1958
Genre
Country, Gospel
Length
31:54
Label
Capitol
Producer
Ken Nelson, John Johnson (Reissue)
The gospel/country duo Charlie and Ira Louvin was born and grew up in the Sand Mountain region of Alabama, they lived on a cotton farm south of the Appalachian Mountains, that’s where they developed their distinct harmony style in the deep Sacred Harp tradition of the Baptist church.
Ira Louvin died in a car wreck in 1965. Charlie Louvin died two years ago at 83 just a few months after publishing his story about The Louvin brothers.
In The recently published book, Satan is Real, the ballad of the Louvin Brothers, Charlie talks about their singing style.This is not a straight quote, but it goes something like this:
…people who saw the Louvin Brothers perform were mystified by the experience. Ira was a full head taller than me, he played the mandolin like Bill Monroe and sang in an impossibly high, tense, quivering tenor. I(Charlie) strummed a guitar, grinned like a vaudevillian and handled the bottom register. But every so often, in the middle of a song, some hidden signal flashed and we switched places — with Ira swooping down from the heights, and me angling upward — and even the most careful listeners would lose track of which man was carrying the lead. This was more than close-harmony singing; each instance was an act of transubstantiation.
I could not find any live footage from Satan is real, but this clip of them singing, I don’t belive you’ve met my baby is a fine showcase for their intricate singing style:
“It baffled a lot of people,” Charlie Louvin explains in his fantastic memoir. “We could change in the middle of a word. Part of the reason we could do that was that we’d learned to have a good ear for other people’s voices when we sang Sacred Harp. But the other part is that we were brothers.”
Bad Reputation is Thin Lizzy’s eighth studio album, released in 1977. As the front cover suggests, most of the tracks feature only three-quarters of the band, with guitarist Brian Robertson only credited on three tracks. He had missed most of their earlier tour, following an injury sustained in a brawl, and this album turned out to be his last studio effort with Thin Lizzy.
“Teaming up with legendary producer Tony Visconti, Thin Lizzy managed to pull off a nifty trick of sounding leaner and tougher than they did on Johnny, yet they also had a broader sonic palette. Much of this is due, of course, to Visconti, who always had a flair for subtle dramatics that never called attention to themselves, and he puts this to use in dramatic effect here, to the extent that Lizzy sound stripped down to their bare bones, even when they have horns pushing them forward on “Dancing in the Moonlight” or when overdubbed vocals pile up on the title track. Of course, they were stripped down to a trio for most of this record: guitarist Brian Robertson (who’d injured his hand) had to sit out on most of the recording, but Scott Gorham’s double duty makes his absence unnoticeable. Plus, this is pure visceral rock & roll, the hardest and heaviest that Thin Lizzy ever made, living up to the promise of the title track. And, as always, a lot of this has to do with Phil Lynott’s writing, which is in top form whether he’s romanticizing “Soldiers of Fortune” or heading down the “Opium Trail.” It adds up to an album that rivals Jailbreak as their best studio album.”
My three favorite Lizzy albums are:
1. Bad Reputation
2. Johnny The Fox
3. Jailbreak
It is strange to listen to these albums now, they are so mellow and soulful. We regarded them as hard rock records in the late 70s, but now I will describe them as Hard-rock/soul albums. And how great is Phil Lynott’s singing, he’s a great soul singer!
Dancing In The Moonlight (Live and Dangerous, DVD):
Johnny Cash at Madison Square Garden is an album by Johnny Cash that was recorded in December 1969 at Madison Square Garden in New York City, but which was not released until 2002 (making it his 86th album overall).
The album was recorded just 4 months after Cash’s seminal At San Quentin was released, which is probably why it was not released soon after its recording. As with all Cash live shows of this period, he was backed up by the Tennessee Three, which consisted of W.S. Holland, Marshall Grant and Bob Wooton. After the first 11 songs, Johnny Cash took a short break and the guests stepped up to the plate with their current hits. As if Johnny wasn’t enough, we get Carl Perkins and The Statler Brothers in tremendous form. The Carter Family was a standard part of the Johnny Cash Show, and it is a real treat hearing Mother Maybelle with her daughters. They also performs back up vocals on many of the songs.
As with most Cash shows, the genres covered ran the gamut from country music to rockabilly to even some folk rock. Similarly to “Johnny Cash At San Quentin”, Johnny Cash at Madison Square Garden includes numbers performed by Perkins, the Statlers and the Carters while Johnny was offstage.
It is an absolute must have for any Johnny Cash fan. I still wonder why Sony took 33 years to release this gem.
