Music Reviews

Last year, Craft Recordings released Genesis Of Genius, a vinyl or CD box set of Ornette Coleman’s two albums for Contemporary Records. The box is now discounted at multiple outlets and since Craft’s Acoustic Sounds series is reissuing the LPs individually, it’s still worth reviewing.Ornette Coleman, born and raised in Fort Worth, was controversial from the start. A working saxophonist (tenor, then a plastic alto after three men smashed his tenor sax following a show)... Read More

Every few years, it seems, someone discovers another stack of long-lost tapes from a long-forgotten John Coltrane session and puts them out on CD, LP, or both. The resulting albums garner lavish praise and sell very well, but, really, they’re deep disappointments, textbook cases of hype—the allure of the new, the unknown, the never-before-heard-until-now! The first of the recent excavations, in 2018, was Both Directions at Once, a 1963 date at Rudy Van Gelder’s... Read More

After almost a decade under its belt, Bestial Mouths is still a shape-shifting collective. What started as a group with numerous lineup changes became a vehicle for vocalist Lynette Cerezo to express her lyrics of personal trauma and tribulations. Alongside instrumentalists Brant Showers and Matthew Tucker, Bestial Mouths displays a sound that brings together the gothic elements of post-punk giants Siouxsie and the Banshees, The Cure, and Depeche Mode with some... Read More

What is pop music? A never-ending cycle of repackaging the past? Or a portal to infinite possibilities? High art, or insipid, assembly-line bubblegum confections? What if it’s all of the above?Charli XCX’s 2017 mixtape Pop 2 decides that pop music can be anything and everything—or at least, that’s the meaning that many have assigned to it. After her prospective third studio album proved too much a logistical hurdle to release (only for all the tracks to leak), within... Read More

“Funky” is not a word routinely linked to the Art Ensemble of Chicago, the pioneering avant-garde jazz group of the mid-1960s and beyond whose music tends more toward the cryptic and tangled. But put the needle on “Theme de Yoyo,” the first track of their 1970 album, Les Stances à Sophie, and you’ll be dancing in your head and on your feet in no time.The album was produced as the soundtrack to a French film of that title, and “Theme de Yoyo”—which has vocals by the... Read More

Sparks, the duo of brothers Russell and Ron Mael is a true chameleons in the world of art-pop. Over decades, Sparks has musically shape-shifted through the realms of glam rock, disco, new wave, electronic music and chamber pop. Refusing to stick to one singular musical identity, Sparks kept a brave artistic face as music trends came and went. Thanks to Edgar Wright's documentary, a fresh demographic exposed to The Sparks Brothers are now beginning to appreciate... Read More

Back in June, Michael Fremer and I discussed my next Tracking Angle piece, and we agreed that I should do something I hadn’t done in a while and review a new album. I did some research and decided that Lucinda Williams’ Stories From A Rock n Roll Heart would be a good choice. Michael agreed, and so it was decided.I hadn’t heard the album, but I’d admired Williams’ music dating back to the time before her 1998 breakthrough Car Wheels on a Gravel Road. Her... Read More

In Chicago, February of 1959 while playing at The Sutherland Hotel as members of Miles Davis's now classic "Kind of Blue" sextet, the group, minus Miles assembled at Bill Putnam's Universal Recording Studio at 46 E. Walton Street and laid down this album led by Cannonball Adderley. It was only a month before "Kind of Blue" but there's nothing modal about this almost corny by comparison set of "chipper" tunes taken post-bop... Read More

Sonny Clark's 1958 Blue Note release "Cool Struttin'" (BLP-1588) is rightly a Blue Note classic that epitomizes the label's musical heritage and ethos. The mono original is among the most sought after, collectible and costly original Blue Notes—an original went for almost $4500 on Discogs— (but I think the sonic signature forced upon it—dynamic compression and low bass attenuation with mid-bass boost —so it would track the inexpensive... Read More

For many pioneers of electronic pop music, the 1990s presented an identity struggle beyond the usual midlife crisis. Synths and drum machines were now widely accessible and ubiquitous: your $4000 synth isn’t so special anymore, your $5000 sequencer that constantly broke down on stage is a relic of the distant past, and any Detroit techno producer, Manchester acid house enthusiast, or some smiling dude from Cornwall could render your entire career obsolete. Past... Read More

And so it starts again with a ballad. One that Damon Albarn started 20 years ago as, literally, “Half A Song,” finished at the urge of bodyguard Darren ‘Smoggy’ Evans and now the opening track on The Ballad Of Darren, Blur’s first album in eight years. Albarn has written many ballads, probably a few too many: about love, about sadness, about England. Yet “The Ballad” stands out in how defeated it is, especially as the opener for such an anticipated record. It signals... Read More

I know more about Klaus Barbie the war criminal than I do about Barbie the doll—or Barbie the movie—but having spent a few months pondering the meaning of the songs on Amy Ray's recent, politically tinged, geographically existential, lushly arranged solo album I was fascinated to find that Greta Gerwig's new "Barbie" movie uses in a crucial scene The Indigo Girls' classic "Closer to Fine" from their eponymous 1989 debut album. The... Read More

Imitation is - as you may have heard - the sincerest form of flattery. In the music world, however, it’s a slippery slope: the listener crosses his or her finger when a composer or performer attempts to pay homage to another style or genre hoping that the final result is a well-done and tasteful tribute. It’s not as though Andrew Gold needed to imitate anyone, but out of his love of 1960s psychedelic rock ‘n’ roll he devised a fictitious band (The Fraternal Order of... Read More

In March 1957, Sonny Rollins was 26 and one of the hot young tenor saxophone players (matched only by his friend John Coltrane) when he went out to L.A. with the Max Roach quartet and, one night, in his off hours, stepped into a warehouse that doubled as a studio for Contemporary Records and laid down the tracks of Way Out West. (I mean “off hours” literally; the only time he and his bandmates could get together, in between club gigs and other recording sessions, was... Read More

Many classic albums are lauded as “singular” and “groundbreaking,” but after a while don’t really sound like it, because everyone afterwards did it, or we realize that someone lesser-known did it six months earlier. Yet 52 years later, Sly & The Family Stone’s There’s A Riot Goin’ On remains as singular and confounding as ever; nothing remotely like it existed before, and nothing since has done exactly what it does. It remains impenetrable and unique: while its elements have scattered throughout popular and underground music since, Sly Stone's early 1970s work operates in a manner that’s impossible to plagiarize because exactly what makes it work is much harder to pinpoint.

A perfect black and white frozen New York City cover for an album released February of 1974 when winters there were still really cold and "pretzles" (sic) were 15 cents. The master tape images in the fold out containing Donald Fagen's notes show that the mixes were finalized on February 5th, lacquers cut at The Mastering Lab on the 6th and the record released for sale on the 20th. That's a pretty fast turnaround! Speaking of fast, compared to the... Read More