Showing posts with label browse essentials. Show all posts
Showing posts with label browse essentials. Show all posts

Tim Review

Tim
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Tim ReviewIt may have a rather modest title, but "Tim" is one monster of an album, easily deserving of the considerable praise it's earned over the years since its release. Led by the impassioned howl of Paul Westerberg and the incendiary guitars of Bob Stinson, the Replacements here cranked out a memorable collection of rousing anthems and brash rockers, with a few curveballs throw in just for good measure. Westerberg's lyrics told tales of hopes, dreams, fears, and disappointments in a way that just anyone can relate to, without pandering to the lowest common denominator like so many of the lousy "look at me; I'm so angst-ridden" alterna-lite bands crowding the airwaves nowadays. The result is a collection of stories that's alternately cocky, poignant, and upbeat, and always insightful. The album's finest cut, "Bastards of Young," a Springsteenesque tale of the struggles of the working class, especially deserves to be quoted at length:
"The ones that love us best
Are the ones we'll lay to rest
And visit their graves on holidays at best
And the ones that love us least
Are the ones we'll try to please
If it's any consolation, I don't begin to understand."
There are a few other classics to be found here as well. There's the twangy foot-stomper "I'll Buy;" the yearning "Kiss Me on the Bus;" the raucous "Dose of Thunder;" the swinging, ultra-catchy "Waitress in the Sky;" and the heart-rending domestic woe of "Little Mascara." And it's all topped off with "Here Comes a Regular," an acoustic ballad about the bonds between drinking buddies that somehow manages to be both depressing and uplifting at the same time. It takes a truly gifted composer to pull off such a song, but fortunately Westerberg is more than up to the task, as he more than amply proves on this album. Vocally, musically, and lyrically, "Tim" is a classic album that belongs in any good music collection. Period.Tim OverviewUS LP 180-gram vinyl pressing. Rhino. 2008.--This text refers to the Vinyl edition.

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Live at the Regal Review

Live at the Regal
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Live at the Regal ReviewAs has been noted, this is one of the essential albums, one of the records that everyone is supposed to have like John Coltrane and Johnny Hartman, like Robert Johnson, like the music Billie Holiday made with Lester Young for Columbia, like Louis's Hot 5s and Hot 7s, like Elvis's Sun Sessions.
Beyond that, this is something that has become increasingly rare, a live blues recording where the music is played for blues people, African American working class and middle class blues people in an urban center. This all about singing and swinging and jiving and talking to the audience and the audience talking back.
When I was in Mississippi in the mid 1960s doing civil rights work, I met Blues People who loved BB King who didn't know that he played the guitar. The expression always was and still is 'BLUES SINGER," not blues guitarist. He sang the blues the way they needed to listen to and in a Blues People venue the folks will talk back to him too.
My favorite, classic moment of the blues dialog here is in "It's my own fault baby" where Riley sings "I gave you seven children, and now you want to give 'em back." All the sistas in the audience scream. Gruffer sounds came from the men.
What is essential to blues performance for BLUES PEOPLE is the constant dialog between the singer and the audience that is the heart of the native blues experience. The dialog isn't about the impeccable guitar playing on this record, or the totally righteous playing of the band, or even the fine voice of Riley B. King here, but it is about what the words the lyrics speak to the lives of the audience, and what the audience responds to the singer. That's the center of blues, not heavy guitar licks that the post-folk-post rock blues fan thinks is the essence of heavy blues.
It's a shame the audience for the blues has almost disappeared, that blues stars no longer play in big "Chitlin' Circuit" theaters like the Regal, the Apollo, the Howard, the old non hippie Fillmore, or that you can't see Riley or Bobby Blue Bland in smoky little night clubs in the ghetto.
Perhaps, I am showing my age here, because time has to roll on. I am sure that night at the Regal there was someone who could remember when the sistas and their men would be shouting back at things Bessie Smith, or Big Maceo and Tampa Read, Lonnie Johnson, or Memphis Minnie had sung to them from that same stage without the electric instruments.
The real Black blues when it was based among us, was about singing, about commentary. For even the greatest guitarists like Riley, Lonnie Johnson, T-Bone Walker, Johnny Lee Hooker, Guitar Slim, the guitar playing and the band were just ways to emphasize how the to talk to audience. This brings to mind that great Betty Carter Album, "The Audience and Betty Carter." This is the Blues People and Riley King talking to each other. That's priceless, get it, and listen to it.Live at the Regal OverviewThe recording of B.B.'s 1964 performance at the Regal was hailed as an instant classic upon its release, and it's still often named as the best live blues album ever . It's been remastered from the original tapes and includes both the original and updated liner notes. Songs include Please Love Me; You Upset Me Baby; Woke Up This Mornin'; Every Day I Have the Blues; It's My Own Fault , and more from the King of the Blues.

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Train a Comin Review

Train a Comin
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Train a Comin ReviewSteve Earl opens the album by declaring: "This here's the 'Hometown Blues' with apologies to Thomas Wolfe and Doc Watson," and then presents the listener with the warmest and perhaps most personal album of this country renegade's career. It had been four years since his last studio album, 1991's The Hard Way, and almost a decade since his 1986 debut Guitar Town. For this comeback effort, Earle strips things down to the roots. The band consists of a Who's Who of country, folk and bluegrass musicians: Norman Blake (guitar, Dobro, fiddle, mandolin and Hawaiian guitar), Peter Rowan (mandolin, mandola, gut string guitar and vocals), Roy Husky (accoustic bass) and Emmylou Harris (vocals). The album is a mixture of originals like "Mercenary Song" and "Ben McCulloch," and covers like Townes Van Zandt's "Tecumseh Valley" and a wonderful version of the Beatles' "I'm Looking Through You." If you enjoyed Earle's 1999 collaberation with the Del McCoury Band on The Mountain, you'll love Train a Comin'. In 1986 three artists released their debuts: Dwight Yoakam, Randy Travis and Steve Earle. I thought they would save country music. If they haven't succeeded, they at least have helped preserve its integrity. HIGHLY RECOMMENDEDTrain a Comin OverviewWarner Brothers has re-released this 1995 acoustic gem by Steve Earle, originally released on the Winter Harvest label. Included are covers of "Tecumseh Valley" and the Beatles's "I'm Looking Through You" as well as such Earle classics as "Sometimes SheForgets."No Track Information AvailableMedia Type: CDArtist: EARLE,STEVETitle: TRAIN A COMIN'Street Release Date: 01/28/1997

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