An Pierlé and White Velvet - Hinterland 2010

Another excellent album proposed by my good friend MFP aka LRR, so just enjoy!

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Maceo Parker - Southern Exposure 1993

Maceo Parker, best-known for his R&B recordings with and without James Brown, plays strictly jazz on his Novus CD and he is in peak form. Parker's alto sounds close to Hank Crawford at times but with a phrasing of his own. On this well-rounded and consistently memorable release, Parker sticks mostly to funky blues but is also impressive on a boppish version of "The Way You Look Tonight." He splits his time between fronting an organ combo, leading a reunion with fellow Brown alumni trombonist Fred Wesley and tenor-saxophonist Pee Wee Ellis, and on two songs he is joined by the enthuisastic Rebirth Brass Band. Parker only takes one vocal so the emphasis throughout is on his soulful alto, making this among his most rewarding jazz recordings. AMG.

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Jimi Hendrix - Eye's And Imagination 1994

Another release from Jimi, here we have an excellent collection of tracks. No need to say, a must for the really fans of Jimi.

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Mandingo - Watto Sitta 1985

Originally released on vinyl in the mid-'80s and reissued on CD in 1997, Watto Sitta finds kora masterFoday Musa Suso collaborating with Herbie Hancock, Aiyb Dieng, and Bill Laswell to produce an eclectic cross between Afropop and electronic dance music. AMG.

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The Lords of The New Church - The Lords of The New Church 1982

Although their roots were in punk rock, their debut album announced to the world that the Lords of the New Church were not your average punk band. They had ambitions: they would be the last beacon of truth in a world nearing its end. And while you can't call The Lords of the New Church entirely successful -- for every high point like "Open Your Eyes" or "Russian Roulette" there's a clunker like "Portobello" or "Eat Your Heart Out" -- you can't fault their effort. Guitarist Brian James and the Tregunna/Turner rhythm section provide a wide-screen setting, with guest musicians adding synths and horns to the guitar bass, and drums foundation. But the face, mouth, and heart of the Lords was Stiv Bators, who casts himself here in the role of rock & roll poet/preacher/prophet. He was no Bob Dylan, to be sure, but on The Lords of the New Church Bators demonstrates lyrical maturity surprising to anyone who ever heard Dead Boys songs like "I Need Lunch." Consider these few lines from "New Church," which may not be high art, but make their point and also serve as a neat summary of the Lords ethos: "Truth can't be found on the television/Throw away youth ya gotta take a stand/Music is your only weapon/Spanners in the works go start your gang...." Lords of the New Church is very much an artifact of the Reagan era and somewhat dated in its approach, but Bators' core message of personal freedom, and the fervor and sincerity with which he delivered it, have retained their resonance across the years. AMG.

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Joe Walsh - Analog Man 2012

So anachronistic is Joe Walsh that he not only celebrates how he's an "Analog Man in a digital world," he hires Jeff Lynne as his producer for his first solo album in 20 years. And, apart from the odd lyrical reference to an iPod or Walsh's ongoing recovery, Analog Man sounds like it could have come out in 1992 and that's all due to Lynne, a man who makes a record in one particular way: crisp, clean, hook-laden, and sequenced so tightly there's no room to breathe. With no apparently irony, it sounds digital, not analog -- there's nothing greasy, even the James Gang's "Funk #49" has been given an immaculate 21st Century Digital Makeover and is now called "Funk 50" -- but it's been so long since Walsh has worked with a conscientious producer (this may be his first time, actually), he winds up reaping some benefit from such a controlled setting. Analog Man isn't rock & roll, not by a long shot, but rather a gleaming pop album in the vein of Full Moon Fever, a sound that suits Walsh's new sobriety. Perhaps he hits his recovery theme a little too hard -- a criticism that could also be leveled toward his songs about being an old fart -- but he sounds comfortable where he is and Lynne presents him in a shining, flattering light. As comebacks go, he could do a lot worse than this. AMG.

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Keith Jarrett - Works 1985

One of the most significant pianists to emerge since the 1960s, Keith Jarrett maintained a career that went through several phases. He gained international fame for his solo concerts, which found him spontaneously improvising all of the music without any prior planning, but he also led a couple of dynamic quartets/quintets, performed classical music, and later played explorative versions of standards with his longtime trio. Although his tendency to "sing along" with his piano now and then is distracting, Jarrett continued to grow as a powerful improviser after decades of important accomplishments.

Jarrett started on the piano when he was three, and by the time he was seven he had already played a recital. A child prodigy, Jarrett was a professional while still in grade school. In 1962, he studied at Berklee, and then started working in the Boston area with his trio. He moved to New York in 1965, and spent four months with Art Blakey's Jazz Messengers. As a member of the very popular Charles Lloyd Quartet (1966-1969), Jarrett traveled the world and became well-known; he also began doubling occasionally on soprano (which he would utilize through the 1970s). During 1969-1971, he was with Miles Davis' fusion group, playing organ and electric keyboards; Chick Corea was also in the band for the first year. Jarrett can be heard "battling" Corea throughout Davis' Live at the Fillmore, but is in more creative form on Live/Evil.

Upon leaving Miles Davis, Jarrett permanently swore off electric keyboards. He had cut sessions as a leader for Vortex (1967-1969) and Atlantic (1971), but starting in November 1971, he recorded extensively for ECM (in addition to some sessions in the 1970s for ABC/Impulse), an association that continued into the 2000s. In the 1970s, Jarrett led two groups: an exciting unit with Dewey Redman, Charlie Haden, Paul Motian, and occasional percussionists (often Guilherme Franco); and a European band with Jan Garbarek, Palle Danielsson, and Jon Christensen that recorded the popular "My Song." In addition, starting in 1972 Jarrett began his famous series of improvised concerts that resulted in such popular recordings as Solo Concerts, Köln Concert, and the mammoth Sun Bear Concerts. By the 1980s, Jarrett was performing classical music as much as jazz, but in the 1990s he recorded extensively (including a six-CD live set) with his "standards trio," which included Gary Peacock and Jack DeJohnette. Although initially influenced by Bill Evans, Jarrett has had an original and influential style of his own since the early '70s, and remains a vital force in jazz. AMG.

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Joni Mitchell - Dog Eat Dog 1985

Joni Mitchell here turned to guests like Michael McDonald, Thomas Dolby, Don Henley, James Taylor, and Wayne Shorter, continuing to straddle the worlds of California folk/pop and jazz fusion. Musically, it worked, although as a lyricist, Mitchell again took off after abstractions (one song railed against "The three great stimulants of the exhausted ones/Artifice, brutality and innocence"), such that, even when you could figure out what she was talking about, you didn't care. AMG.

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Oingo Boingo - Only A Lad 1981

Only a Lad introduced the world to a man who would later become one of its most recognizable popular composers. Danny Elfman, later to write the score for The Simpsons as well as countless movie soundtracks, formed Oingo Boingo in 1977, but it wasn't until Only a Lad's 1981 release that they achieved national recognition. Only a Lad contains obvious new wave elements, but it doesn't stick to any one style long, undulating over a vast musical terrain. Ska, new wave, classical, heavy metal -- they all make at least cameo appearances. The band's musicianship, even at this relatively early stage, far exceeds most of their peers, and Elfman's deft songwriting ability offers a clear glimpse of what was to come. Elfman's voice fits perfectly within an '80s context, but otherwise, the album sounds far ahead of its time. As such, it should come as no surprise the album had more influence on musicians and artists than on the charts. It's probably a good thing that this particular Oingo Boingo collection never reached too high a level of prominence, though, because the lyrical content of Only a Lad could have landed them in serious hot water. Although never vulgar, the album brazenly shuffles through taboos without compunction, writing from a pedophile's point of view in "Little Girls," not-so-clandestinely discussing masturbation in "Nasty Habits," and generally adopting a socially whimsical and irreverent attitude. The lone track not written by Elfman is a stellar tribute to the Kinks' classic cut "You Really Got Me." Later cited as an influence by such diverse bands as Nirvana, Mr. Bungle, and Fishbone, this album stands up well to the test of multiple listens and would make a worthwhile addition to any album collection. AMG.

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Neil Young and The Crazy Horse - The Year of the Horse 1997

As Neil Young's second double live album of the '90s, Year of the Horse could seem a little redundant to anyone who isn't a die-hard fan. After all, Weld was useful since it appeared ten years after the release ofLive Rust, Young & Crazy Horse's first double live album, and it captured them at their peak. Year of the Horse, however, appeared merely five years after Weld, and in between those two records, Young had only released two albums' worth of material that suited these high-voltage, improvised performances. These factors didn't matter since Young decided to allow Jim Jarmusch to make a film documentary about his 1996 tour, and Year of the Horse is the album that was released to coincide with the movie. (It's not really a soundtrack, since these performances don't appear in the film.) It is true that there are many songs here that haven't made Young's previous live albums, but the performances themselves aren't particularly remarkable -- they sound like tired, meandering variations of Weld. There are enough strong moments to make Year of the Horse worthwhile for die-hard fans, but it's too predictable to appeal to anyone else. AMG.

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Locomotive - We Are Everything You See 1970

Locomotive were one of the finest bands to inhabit the West Midlands music scene of the later 1960s. Fronted by keyboardist Norman Haines (previously of the Brum Beats) Locomotive recorded a handful of great singles and one acclaimed (though largely ignored) album before disbanding in 1970. The group was managed by local jazz trumpet player Jim Simpson who was also part of the original line-up. He managed a number of other local groups as well - most notably Black Sabbath. Eclectic Discs, a great new label conceived by re-issue consultant Mark Powell, have now re-issued Locomotive's album We Are Everything You See and have included some rare bonus tracks not previously available on CD. Though recorded at the end of 1968, the album was not released until more than a year later by which time the pop music scene had undergone some heavy changes.

The Eclectic Discs re-issue is packaged with the fully-restored original artwork and liner notes. Audio quality of the CD is excellent as the tracks have been digitally re-mastered from the original master tapes. Recorded at the end of 1968 (although not released until a year later) Locomotive's We Are Everything You See was produced at the famous Abbey Road Studios by the late Gus Dudgeon who also produced Brum band Tea & Symphony. He later went on to produce Elton John. Several tracks on the album were co-written with Nigel Phillips from Tea & Symphony - a band also managed by Jim Simpson.

For those not familiar with this album, We Are Everything You See is a wonderful mix of late 1960s British psychedelia and early progressive rock with some tracks having heavy jazz overtones. The material is light-years removed from Locomotive's previous singles that were Jamaican ska-based and included the band's only chart hit Rudi's In Love. The instrumentation on the album is second to none featuring the group's regular line up of Norman Haines (lead vocal & keyboards), Mick Hincks (bass & vocal), and Bob Lamb (drums & percussion). The sessions featured an impressive brass section consisting of tenor saxes Bill Madge, Dick Heckstall-Smith, Chris Mercer and Lynn Dobson along with trumpet players Mick Taylor and Henry Lowther.

The first track Overture is a fine instrumental piece as performed by a classical string quartette. It gives way to the thundering hammond organ-driven Mr. Armageddon, probably one of the most amazing examples of late 1960s psychedelia ever recorded by a British band. The heavy Hammond workout combined with the booming brass chorus of saxophone and trumpet is far removed from any of the band's previously released material (and no Hammond organs were harmed during the recording of this track - we hope!) Unfortunately, Mr. Armageddon was too much for many record buyers of that time who were expecting more dance-oriented material along the same lines as Rudi's In Love.


The next album track Now Is The End - The End Is When was composed by trumpet player Mick Taylor. The jazzy intro soon gives way to a foreboding vocal against a pounding instrumental backdrop. The obscure lyrics proclaim - eyes paint their own illusion... now is the end, the end is when. - fascinating stuff once you get into it! The next song, the Norman Haines composed Lay Me Down Gently, shifts tempo such as a car shifts gears up and down a challenging race track. Few tracks on this CD would be appreciated on the dance floor, but headphones-only fanatics won't be disappointed!

The Haines/Phillips composed Nobody Asked You To Come rates amongst my favourites on the album. Hammond-driven and featuring a wonderful hypnotic fade-out at the end - if only it could go on forever! You Must Be Joking also appeared as the b-side to one of the band's singles - sounding almost like the sequel to Mr. Armageddon along with its catchy chorus. The lyrics are just as dark too and are apparently about committing suicide - not a good track for those who are clinically depressed! Day In Shining Armour unites the Hammond with the wonderful Mellotron to produce some great sounds interspersed with heavy bass - and drum solos??

The Loves Of Augustus Abbey Part One features a church service intro complete with ethereal vocal and then goes straight into the next title Rain on which Mick Hinks sings the lead. It's a great track that wouldn't have seemed out of place on Genesis' Trespass album. The Loves Of Augustus Abbey Part Two (complete with a hooting owl fade-out) is followed by Coming Down/Love Song For The Dead Che which features a very Gary Numan-like vocal and probably the only track on the album that approaches conventional rock - obviously a strong number if it was ever performed live by the band. The song was actually a cover of the U.S. psychedelic group United States Of America - a band known as pioneers of experimental music.

A final rendition of The Loves Of Augustus Abbey (Part Three), takes us to the final track on the original album which is titled Time Of Light And Darkness. The song features a jazzy mid-section but by far its most distinct feature is the sound of the Mellotron which provides a suitable out-of-this world atmosphere - and what a strange trip it has been! All a nice change too from the guitar-heavy material that characterised many of the records from that era.

As well as Locomotive's album, the Eclectic Discs re-issue includes a generous selection of bonus tracks starting with the single (mono) version of Mr. Armageddon that has a different intro from the album version. There's Got To Be A Way - the original b-side of the single, is also included and what a great track it is (you can almost dance to this one!). Lots of great Hammond with horns, and some high range Queen-like vocals. I'm Never Gonna Let You Go (apparently a cover of a Question Mark and The Mysterians song) is probably the closest on the CD to a real commercial pop record. Released in 1969, the song should have made the charts but at least it gets a well deserved opportunity to be heard once more on this re-issue.

The final rare Locomotive single (issued early in 1970) is also included on this CD. Roll Over Mary backed with Movin' Down The Line have none of the jazz influences of the earlier material and are very much typical of the period as done in a heavy rock style. Not surprising really as Norman Haines had left the band before it was recorded with the remaining members soon re-emerging as the progressive rock outfit The Dog That Bit People.

In all, Eclectic Discs' Locomotive re-issue more than does justice to the band's recordings. It stands up to repeated listenings and provides a fine slice of late 1960s psychedelic rock - well recommended!

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Little Steven and the Disciples of Soul - Men Without Women 1982

Anyone who has ever saw Bruce Springsteen and the E Street Band between 1975 and 1981 knows one of the reasons they were among the best live bands in America is they had three members with the power and charisma to make great frontmen -- Springsteen, Clarence Clemons, and "Miami Steve" Van Zandt. In 1982, while Springsteen was laboring over Born in the U.S.A., Van Zandt -- who'd already proved his considerable chops as a producer, songwriter, and arranger working with Southside Johnny and the Asbury Jukes and Gary U.S. Bonds -- stepped away from the E Street Band to launch a solo project, Little Steven & the Disciples of Soul, and in many ways the first Little Steven album, Men Without Women, is the finest album the Asbury Jukes never made. Like the Jukes best work, Men Without Women blends the muscle and swagger of Jersey shore rock & roll with the horn-fueled heart and soul of classic R&B, and here Van Zandt was willing to push himself further in both directions at once. With a five-piece horn section blazing throughout (featuring Richie "La Bamba" Rosenberg leading a crew of former Jukes brass players) and former Rascals Dino Danelli and Felix Cavaliere on hand, this album's blue-eyed soul credentials are unimpeachable, but Van Zandt's guitar (and Jean Beauvior's bass) speak with the sound and fury of a true roots rock rebel. While Van Zandt's songwriting was always impressive,Men Without Women's best moments expressed a degree of passion, vulnerability, and determined fervor he hadn't quite permitted himself in the past (he also began to express the political concerns that would dominate his later work on "Under the Gun"), and if Van Zandt was a less precise vocalist than "Southside" Johnny Lyon, the gritty sincerity and emotional force of his performances more than made up for it. On Men Without Women, Little Steven & the Disciples merged the brassy swing of a classic Motown side with the sweaty blare of a amped-up garage band, and if that sounds like an odd combination, in both soul and garage rock, commitment is what counts, and Little Steven had that to spare -- along with a set of really great songs. AMG.

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Neil Young - Freedom 1989

Neil Young is famous for scrapping completed albums and substituting hastily recorded ones in radically different styles. Freedom, which was a major critical and commercial comeback after a decade that had confused reviewers and fans, seemed to be a selection of the best tracks from several different unissuedYoung projects. First and foremost was a hard rock album like the material heard on Young's recent EP,Eldorado (released only in the Far East), several of whose tracks were repeated on Freedom. On these songs -- especially "Don't Cry," which sounded like a song about divorce, and a cover of the old Driftershit "On Broadway" that he concluded by raving about crack -- Young played distorted electric guitar over a rhythm section in an even more raucous fashion than that heard on his Crazy Horse records. Second was a follow-up to Young's previous album, This Note's for You, which had featured a six-piece horn section. They were back on "Crime in the City" and "Someday," though these lengthy songs, each of which contained a series of seemingly unrelated, mood-setting verses, were more reminiscent of songs like Bob Dylan's "All Along the Watchtower" than of the soul standards that inspired the earlier album. Third, there were tracks that harked back to acoustic-based, country-tinged albums like Harvest andComes a Time, including "Hangin' on a Limb" and "The Ways of Love," two songs on which Youngdueted with Linda Ronstadt. There was even a trunk (or, more precisely, a drunk) song, "Too Far Gone," which dated from Young's inebriated Stars 'n Bars period in the '70s. While one might argue that this variety meant few Young fans would be completely pleased with the album, what made it all work was that Young had once again written a great bunch of songs. The romantic numbers were carefully and sincerely written. The long imagistic songs were evocative without being obvious. And bookending the album were acoustic and electric versions of one of Young's great anthems, "Rockin' in the Free World," a song that went a long way toward restoring his political reputation (which had been badly damaged when he praised President Reagan's foreign policy) by taking on hopelessness with a sense of moral outrage and explicitly condemning President Bush's domestic policy. Freedom was the album Neil Youngfans knew he was capable of making, but feared he would never make again. AMG.

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