“Summertime Blues” is originally a 1958 song recorded by Eddie Cochran. Blue Cheer recorded it for their debut album “Vincebus Eruptum” in 1968.
Bat For Lashes’ “Two Suns” is immediate confirmation that Natasha Khan is not simply a costumes-and-theatrics heir to Kate Bush. Khan’s exoticism is backed up by rich, sumptuous songcraft on this sophomore collection, fulfilling the promise of 2006′s “Fur and Gold” and its great Goth-pop single, “What’s a Girl to Do?” And while comparisons to Bush might be inescapable for Khan at the moment, they have never been more apt: the first single, “Daniel,” is Khan’s “Running Up That Hill,” a haunting percussion-and-viola fueled ballad whose chorus contains possibly the most penetrating musical hook of 2009.
Though the soaked acoustics are pleasant enough, Bat for Lashes’s true message seems more ably expressed by “Glass.” Steamy and mystical, the song is to Two Suns what “The Wizard” was to Fur and Gold, a defining piece that builds and crashes in marvelous tides. As “Glass” escalates and ricochets, listeners will realize that no matter the melancholy antics and nightmarish landscapes, Khan is carrying a hopeful torch throughout. Thus, Two Suns is a shared journey for artist and audience, where both tread through the darkness and into a musical promised land. For Khan or any comparable artist, there can be no greater accomplishment.
If the Butterfield Blues Band’s groundbreaking debut earned the respect of the group’s elder influences, this one won over (and guided) the blues boys’ psychedelic peers. Highlighted by the 13-minute-plus title track (an Eastern-influenced jam cowritten by guitarist Mike Bloomfield), East-West stretches the boundaries of the blues. It would prod many lesser groups to explore, with generally dreary results, interminable free-flight explorations. But while East-West and a cover of jazzman Cannonball Adderly’s “Work Song” ventured in new directions, Paul Butterfield and company remained rooted in solid Chicago blues. East West presents the best of both worlds.
The LP is very sixties, with a conceptual edge that reminds one of early Van Morrison, or Santana, or the Beach Boys’ Pet Sounds, or, oddly enough, Frank Zappa (think Hot Rats). The groovy front cover, complete with bubble writing and a twee photo of band members with matching ventriloquist dummies, makes the point at the outset. But the album has more lasting importance than that: It provides a kind of precursor for albums like Chicago Transit Authority and Chicago II, which feature the prominent horn section that BS&T later accentuated in their albums. In Steely Dan albums, particularly those of the seventies, one can hear echoes of BS&T’s maiden effort.
1. “Overture” (Kooper) – 1:32
2. “I Love You More Than You’ll Ever Know” (Kooper) – 5:57
3. “Morning Glory” (Larry Beckett, Tim Buckley) – 4:16
4. “My Days Are Numbered” (Kooper) – 3:19
5. “Without Her” (Harry Nilsson) – 2:41
6. “Just One Smile” (Randy Newman) – 4:38
7. “I Can’t Quit Her” (Kooper, I. Levine) – 3:38
8. “Meagan’s Gypsy Eyes” (Steve Katz) – 3:24
9. “Somethin’ Goin’ On” (Kooper) – 8:00
10. “House in the Country” (Kooper) – 3:04
11. “The Modern Adventures of Plato, Diogenes and Freud” (Kooper) – 4:12
12. “So Much Love/Underture” (Gerry Goffin, Carole King) – 4:47
It’s been a hugely successful year for Michael Kiwanuka. The British singer-songwriter, who just turned 25, has been voted the BBC Sound of 2012, and was picked to tour with Adele. His debut album, Home Again, has received much praise from music critics, who have compared him to the likes of Bill Withers, Van Morrison and Marvin Gaye.
Home Again was released in March in the UK to great acclaim, debuting as a Top 5 best seller, and with Q Magazine calling it a “life-affirming…accomplished work of depth and distinction.”
Unlike the UK release, which included ten songs, the US version features 11, with the addition being the Dan Auerbach-produced “Lasan.” Of the song, Rolling Stone said “it’s [Michael’s] rich, ragged voice that pulls you in. He sounds like his own man, not an imitator.”
Side 1: (The Black)
The Red & The Black
O.D’d On Life Itself
Hot Rails To Hell
7 Screaming Diz-Busters
Side 2: (The Red)
Baby Ice Dog
Wings Wetted Down
Mistress of The Salmon
Salt (Quicklime Girl)
Released in 1973 on Columbia Records (AL 32017). Tyranny and Mutation is the second album from Blue Oyster Cult.
This is a great disc — two of BOC’s best albums in the best sound they’ve ever had.
Some of the reviewers below have complained about Columbia’s CDs of these albums. The thing to understand about those discs is that they were mastered back in the mid-80s when the hype about CDs was mostly oriented around the excellent signal-to-noise ratio of digital audio. Because of this, the record companies felt that it was of primary importance that CDs should have no noise (hiss) whatsoever. Consequently, CD mastering engineers would filter out frequencies in which noise was found in a recording. In the case of BOC’s first album (a rather hissy set of tapes, as this new Mobile Fidelity disc shows), this resulted in a very dull, muffled-sounding CD. Columbia’s engineers, to reduce noise, had filtered the treble frequencies so severely that the music sounded as if it were coming through a wall.
The new release from Interpol singer Paul Banks is an amazing 5 song EP with an album cover that conveys the emotions contained within.
Summertime is Coming sounds like a…uh…anthem for Summertime. I suppose if the perfect summertime anthem features emotional singing, a funeral vibe with an undercurrent of hopefulness, that is. This track sounds the most like Interpol which is not a bad thing. Acoustic guitar before the band kicks in with a mid tempo rock song. This is the most straightforward song on the EP with a haunting and deeply affecting chorus that explodes with Paul Banks singing his heart out. A true post punk summertime anthem for 2012. Stunning. Key lyrics:
Summertime is calling for you child (yeah, yeah)
To give you a sense of reliance to feel at
Home in a crowd (yeah, yeah)
The season the season is calling calling
And all of it breathes into one day
Wish i could have heard about this song before summer..not the end of it..but better late then never.
Evolving out of the San Francisco rock scene of the 1960s, Big Brother was in the forefront of the psychedelic music movement.
The band was formed by Peter Albin, Sam Andrew, James Gurley and Chuck Jones in San Francisco, in a Victorian mansion/boarding house owned by Peter’s uncle at 1090 Page Street in the Haight-Ashbury. That house became the site of Wednesday night jam sessions which were organized by Chet Helms who was the real “Big Brother,” naming the band, bringing James Gurley into the fold and later seeing that his old friend Janis Joplin came to sing with them.The first official Big Brother gig was at the Open Theater in Berkeley, January 1966. Within a short time they became the house band for Chet at the Avalon Ballroom and began to develop a loyal following, largely due to the charismatic, pioneering guitarwork of James Gurley. The band had what Sam Andrew callled a “progressive-regressive hurricane blues style,” playing such tunes as Hall of the Mountain King, Coo Coo, That’s How Strong My Love Is, and Down On Me.
|Artist:||Big Brother And The Holding Company|
Liverpool native, Dan Croll has been getting more and more attention as of late. Croll has supported such well known acts as Michael Kiwanuka, James Vincent McMorrow, and Benjamin Francis Leftwich. At the beginning of the year Q magazine proclaimed that Croll had the “essential” download of 2012. Not a bad start for someone recording in an abandoned primary school gym in Toxeth. The unique studio is equipped with an old badminton court and climbing ropes. Dan is continuing to work on his debut album aiming for a release in 2013. “From Nowhere” is the first release off of that album.