Laughing Clowns - Law of Nature 1984

Ed Kuepper's Laughing Clowns were a bit more off the beaten path than the Saints, the infamous Australian punk band Kuepper played guitar for during the '70s. Integrating jazz influences into their unique take on post-punk, the Laughing Clowns released several records between 1980 and 1985, before Kuepper began his solo career. They made their debut in 1980 with a self-titled, six-song EP on Aussie independent Missing Link. At the time of its recording, the band was Kuepper on vocals and guitar, Ben Wallace-Crabbe on bass, Dan Wallace-Crabbe on piano, Jeffrey Wegener on drums, and Bob Farrell on saxophone. In 1982, after the release of a clutch of singles and a compilation of old material, called Reign of Terror/Throne of Blood, the group relocated to London and underwent some major lineup shuffling. Only Kuepper and Wegener remained on board, with bassist Leslie Millar, saxophonist Louise Elliot, and trumpet player Peter Doyle filling out the lineup. After another single, they released their 1982 debut LP, Mr. Uddich Schmuddich Goes to Town, on the Prince Melon label. Confusingly, another self-titled release was in Australian record shop bins by the end of the year, which extended the reach of Reign of Terror. An album of new material, Everything That Flies, was also issued by the end of 1982, but it only received distribution in Germany through Rough Trade (in another perplexing move, a truncated version of the record was later released in the U.K. under the title Laughter Around the Table). The Law of Nature studio LP was released in 1984 through Australia's Hot label, followed closely by History of Rock N' Roll, Vol. 1, a best-of package. The band's final studio LP, Ghosts of an Ideal Wife, was released in 1985. After breaking up, Kuepper flew solo and also formed the Aints. In 1995, the repackaged/recycle-happy Hot label released Golden Days: When Giants Walked the Earth, a -- you guessed it -- highlights compilation of Laughing Clowns favorites. AMG.

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Matt Butler - The Redwood Project 2005

Drummer Matt Butler brings together some Bay Area friends for this enticing trip into music inspired by the earth. Though countless New Age albums are named after natural elements, The Redwood Project actually uses acoustic instruments rather than caked electronics to create lush grooves and a warm, reposed beauty. This refreshing music creates a relaxing, organic ambience.

Butler is able to create through music the sounds that emanate from the vast vegetation of the coastal redwoods. This is a miracle to hear and proof of its accomplishment is in how well the music seeps into the mind.

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Bitterati - Moebius 2013

The Bitterati formed by The Doozer MC, DJ Specifik and Singer Crystal Carter. New album, Moebius, includes guest spots from some of the UK's finest DJs including DJ Roast Beatz, Jabbathakut and DJ Xrated, with a special appearance by Bitter-breda Project Cee.

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Bill Wyman's Rhythm Kings - Groovin' 2000

As a member of the Rolling Stones for three decades, Bill Wyman established himself among the greatest bassists in rock & roll history; in tandem with drummer Charlie Watts, he belonged to one of the most stalwart rhythm sections in popular music, perfectly complementing the theatrics of Mick Jagger and the gritty guitar leads of Keith Richards. Born William Perks in London on October 24, 1936, Wyman was playing in a group called the Cliftons when he was asked to join the Stones in mid-1962, replacing bassist (and future Pretty Things member) Dick Taylor. Reportedly asked to join the group mainly because he had his own amplifier, he was, at age 25, by several years the oldest member of the group. Regardless, his chemistry with the other bandmembers was immediate, and with the subsequent arrival of Watts, the classic Rolling Stones lineup was soon cemented.
The rest, of course, is history, and before too long the Stoneswere widely recognized as the World's Greatest Rock & Roll Band. In 1974, Wyman became the first from their ranks to record a solo LP, the all-star Monkey Grip; two years later, he repeated the trick with Stone Alone. In 1981, Wyman scored a solo hit single with the witty dance tune "(Si Si) Je Suis un Rock Star," a song Wyman had originally written for Ian Dury; the song also appeared on his self-titled third solo album, released in 1982. Wyman's next major side project was the 1985 cover band Willie and the Poor Boys; specializing in vintage rock & roll and rhythm & blues, the combo also included Watts, Ron Wood, Jimmy Page, and Paul Rodgers. The project only spawned one studio album, but a live album from the group appeared in 1994. While rarely the recipient of the kind of media attention given his more notorious bandmates, Wyman found himself at the center of scandal in 1989 when he married 19-year-old model Mandy Smith, whom he'd begun dating when she was just 13 years old; they divorced in 1991. In the wake of the scandal, Wyman released a solo album in 1992,Stuff, which was only distributed in Japan and Argentina.
In January 1993, Wyman confirmed long-simmering rumors when he publicly announced his departure from the Stones, and revealed plans to publish an autobiography, Stone Alone, which arrived in book shops in in 1997. Also in 1997,Wyman formed a new band, the Rhythm Kings, a project similar to Willie and the Poor Boys devoted to classic R&B, which featured guitarists Peter Frampton and Albert Lee as well former Procol Harum keyboardist Gary Brooker. The group debuted with the LP Struttin' Our Stuff, followed in 1999 by Anyway the Wind Blows. Wyman greeted the new century with a string of albums including Groovin' (2000),Double Bill (2001), Just for a Thrill (2005), and numerous live recordings and compilations. In 2007,Wyman and the Rhythm Kings were the opening act for Led Zeppelin's wildly anticipated reunion concert at London's O2 Arena. In 2015, Wyman announced he was releasing a new studio album,Back to Basics, his first collection of original songs in over two decades, in June 2015. AMG.

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God Street Wine - $1.99 Romances 1993

God Street Wine, a New York-based jam band in the tradition of the Spin Doctors and Blues Traveler, blend funk, reggae, folk-rock, post-punk, pop/rock, and blues-rock into a cohesive whole that is unique and original. God Street Wine formed in New York City in the late '80s and lived there until they moved to Westchester County, NY, in 1991. Comprised of Lo Faber on guitar and lead vocals, Aaron Maxwellon guitar and lead vocals, Dan Pifer on bass guitar and vocals, Jon Bevo on piano, organ, and vocals, and Tomo (or John Thomas Osander) on drums, God Street Wine played their first show on December 13, 1988, at the Nightingale Bar in New York City.

They became legendary for putting on shows in excess of three hours, and with their two guitarists and reliance on improvisation, began to draw comparisons to another great twin-guitar band, the Allman Brothers. Even though God Street Wine's sound was considerably less bluesy, the band wasn't afraid to take chances in front of a live audience, not unlike the Spin Doctors or Blues Traveler. They maintained a large mailing list, in excess of 15,000 names, and continued developing a dedicated fan base often referred to as "Winos." It was this grassroots following that attracted the attention of record executives, not unlike the way Phish took off up in that band's home state of Vermont.

God Street Wine's first album, Bag, a self-produced affair, was released in 1992. They followed it up with a live compilation, Who's Driving?, in October 1993 on the Ripe and Ready label. After attracting the attention of Geffen Records executives and a management company, McGhee Entertainment, they signed with Geffen in January 1994 and released $1.99 Romances in September on a label co-venture between Geffen and McGhee. Since no one at Geffen knew the band, there was little promotion or advertising of the record. They signed with Mercury Records in 1995 after an executive there caught them at the Beacon Theater in New York. The partnership produced Red the following year and the eponymous God Street Wine in 1997. The group continued to tour until 1999 and disbanded the following year. They released Good to the Last Drop, a collection of highlights from their farewell tour, in July of 2000. AMG.

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Ângela Ro Ro - Acertei no Milénio 2005

Ângela Ro Ro studied classical piano from an early age. Her nickname Ro Ro is derived from her rough and low voice. She began to play around the Carioca neighborhood of Ipanema, and soon, influenced by her idol Ella Fitzgerald (along with Maysa and Jacques Brel), she moved to London during the military regimen, where she survived upon small jobs while performing around the city. Returning to Brazil in 1979, she was hired by Polygram, recording her first album in that year, Ângela Ro Ro, which had the hits "Amor, Meu Grande Amor," "A Mim e a Mais Ninguém," and "Tola Foi Você." Always faithful to her dramatic, irreverent, sexually unconventional, and explosive character, Ro Ro followed her career, recording in 1980 the LP Só Nos Resta Viver, which had a great success with the title track; "Tango da Bronquite" also was a hit. "Escândalo," by Caetano Veloso, is from the 1981 LP of the same name, and made reference to the headlines accounting the explosive rupture of her affair with singer Zizi Possi. In 1982, she had another hit with "Simples Carinho" (João Donato/Abel Silva), included in the 1983 same-titled LP. Maria Bethânia, who had recorded "Gota de Sangue" in her Mel LP (1979), re-recorded "Fogueira" (1983), which was recorded by Ângela Ro Ro in the same year for the Simples Carinho LP. A Vida é Mesmo Assim (1984) had success with the title track. Besides her participation in the Songbook series (Lumiar), she recorded the following solo LPs/CDs: Eu Desatino (1985), Prova de Amor (1988), Nosso Amor ao Armagedon (Ao Vivo) (1993), and Acertei no Milênio (2000). In 1996, Barão Vermelho had a hit with the re-recording of "Amor, Meu Grande Amor." In the same year, Polygram reissued in CD the 1982 LP Simples Carinho. In 1997, Eldorado reissued in CD the 1988 LP Prova de Amor. AMG.

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Jose James - The Dreamer 2008

On the debut album from New York New School vocalist Jose James, he makes a move toward a new era of jazz vocals. While jazz elements have been making their way into underground hip-hop for years, James turns the other direction. He sings contemporary jazz with a strong sense of respect for the classics, but quietly puts hip-hop instrumentation behind his vocals, and multi-tracks himself for accentuation. James is in the midst of creating an entirely modern approach to jazz singing here over a set of originals with a few covers thrown in (the highlight being Rahsaan Roland Kirk's "Spirits Up Above"). [A Japanese release adds the classics "Body and Soul" and "Moanin'."] AMG.

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Chuck E. Weiss - 23rd & Stout 2006

After more than 30 years in the music biz, Chuck E. Weiss is still best known (a) as one of Tom Waits' best friends, and (b) for being the subject of Rickie Lee Jones' hit "Chuck E.'s in Love." The latter distinction hasn't done much for him lately, but he seems to be counting on the former to draw interest in his fourth album, 23rd & Stout. Most of 23rd & Stout sounds like some unreleased Tom Waitsalbum that walks in a Twilight Zone between the Beefheart-influenced throb of Swordfishtrombonesand the laid-back beatnik vibe of Blue Valentine. While it's entirely possible that Waits has borrowed a bit of his buddy Weiss' schtick over the years, there's also little argument that Waits is far better at it, and it doesn't help that Weiss' band here (headlined by Tony Gilkyson on guitar and Don Heffingtonon drums) isn't able to deliver the gloriously strange groove of Waits' more recent work, though the group sounds great on the jazz-leaning material. When Weiss goes into a shaggy-dog story like the title cut or a lurching stomp such as "Prince Minsky's Lament," it's all but impossible not to compare him to Waits, but in all fairness Weiss is a better than average songwriter, and when he lets his funny side take over (like he does on "Half Off at the Rebop Shop," "Sho Is Cold," or "Piccolo Pete"), he's an enjoyable and absorbing performer. (His sly interpretation of "Primrose Lane" also suggests he could deliver a fine set of standards if he were so inclined.) Too much of 23rd & Stout makes Chuck E. Weiss sound like the Baja Marimba Band to Tom Waits' Tijuana Brass, and the shame of that is he's clearly talented enough establish a more distinctive creative identity by now, as the best moments of this album confirm. AMG. 

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John Hiatt - Dirty Jeans And Mudslide Hymns 2011

Since John Hiatt and the major labels decided to go their separate ways around the turn of the century, his approach to record making has been direct and organic; most of his albums have sounded as ifHiatt and his sidemen put them together without a lot of fuss, placing the emphasis squarely on Hiatt's dependably strong material and tough, flinty vocal style. But 2011's Dirty Jeans and Mudslide Hymnsis a more polished and ambitious affair than Hiatt has delivered in years. The sessions were produced by Kevin Shirley, who has previously worked with Aerosmith, the Black Crowes, Dream Theater, and Journey, and though his approach isn't especially intrusive, the sound of this record is certainly more luxurious, with the guitars sounding bigger, the drums booming a bit louder, and strings and keyboards decorating several tracks and the arrangements, gaining a greater sense of drama along the way. The latter is fitting, since the songs on Dirty Jeans have a more melodramatic tone than most of Hiatt's recent work, particularly "Damn This Town"'s tale of a shattered family, the romantic lament of "Don't Want to Leave You Now," "Down Around My Place"'s elegy to a world gone to seed, and Hiatt's belated meditation on 9/11, "When New York Had Her Heart Broke." While Hiatt's accompanists play in a strong, confident manner (especially guitarist Doug Lancio, drummer Kenneth Blevins, and Russ Pahl on pedal steel), Shirley's production tries to build atmosphere and dramatic tension out of echo and reverb, and sometimes his artful approach is a bit much, particularly since most of these numbers would certainly sound powerful with a more Spartan approach. But this delivers another 11 songs from one of America's best working tunesmiths, no small thing, and it shows Hiatt's craft is still potent, while his singing hasn't been this effective in years. In many respects, Dirty Jeans and Mudslide Hymnsshows that John Hiatt is well served by a more hands-on production, though one might also imagineKevin Shirley isn't necessarily the best person to do the job. AMG.

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Ben Harper - Diamonds On The Inside 2003

Ben Harper is a musical preacher of sorts, never one to be shy in speaking his mind about social conformity. If his first two albums -- Welcome to the Cruel World and Fight for Your Mind -- didn't clue you in, Diamonds on the Inside will definitely do so. Diamonds on the Inside marks Harper's fifth studio effort and this time he's emotionally in touch with what makes his heart burst. This is a passionate album, no doubt. His signature Weissenborn guitar joins him once more and Harper's classic groovy funk is heavy; however, Harper adds worldbeat to his musical plank. From the Marley-esque vibe of "With My Own Two Hands" to the African soundscapes of Ladysmith Black Mambazo on "Picture of Jesus," Harper's purist presentation is smooth. "When It's Good" gives a little country blues twang, while "Touch From You Lust" is a sexy haze of writhing riffs. "Temporary Remedy" follows the funk Lenny Kravitz-style, and Harper's a bit campy. It's a noticeable change from his typically serious stature and a nice shift in personality, too. Diamonds on the Inside is another stunning effort from one of rock's underground heroes. Harper has consistently worked with what appeals to him musically for nearly a decade, ignoring what fits the mainstream. Diamonds on the Inside is Harper's sixth chapter of truth and just one listen to the electric blaze of "Everything" will convince you. AMG.

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Charles Lloyd - Jumping the Creek 2005

Since making a middle-of-life comeback in the 1990s, saxophonist, composer, and bandleaderCharles Lloyd has continually issued fascinating recordings. While some of them contain missteps, it's not for lack of ambition. For one of jazz's elder statesmen, Lloyd pushes his envelope of ideas about improvisation, rhythm and harmony, often to the breaking point. He is a player who sets sometimes impossibly high goals for himself, but in so doing, gives listeners something to really hold on to when encountering one of his albums or seeing him live. Jumping the Creek, which continues his association with ECM Records, is another compelling affair. The band -- pianist Geri Allen, bassistRobert Hurst and drummer Eric Harland -- is simply outstanding. Allen, particularly, hasn't shined on a record like this thus far this decade. Lloyd's compositional ideas here come from rhythmic phrases, small harmonic vamps and emotional thematics. Lloyd engages his quartet in various ways, sometimes in duets, sometimes trios, sometimes as a full band, often during the same composition. The whole quartet does engage fully on the 13-plus-minute opener "Ne Me Quitte Pas," with skeletal phrases becoming larger, striated harmonic statements as Allen uses both modal and post-bop concerns to flesh out the body of the tune. The saxophone/drums duet in "Ken Katta Ma Om," is an utterly lovely change-up that follows. The rest of the band doesn't even enter until halfway through. And Allen does this as a way of introducing a contrapuntal solo that touches upon both Andrew Hill and Lennie Tristano. The title track uses trio and quartet settings to explore the various tensions in melody. Lloyd is a master of moving from gorgeous, gently swinging balladry to blues-drenched free blowing, on a dime. "The Sufi's Tears" features Lloyd on taragato -- a soprano saxophone-like instrument used in Middle Eastern and Indian music. Accompanied only by Hurst's bowed bass, the mournful melody slips off into ether as improvisation wanders into the heart of the frame and remains. It's exotic and tight. "Georgia Bright Smile," is another long work in which the band changes configurations repeatedly in the course of its execution, winding around Lloyd's themes and Allen's painterly pianism. Hurst is particularly impressive here as he trades fours with Allen in his solo. Ultimately however, this, like Lloyd's other recordings on ECM is about emotion, feeling, and a sense of peace and serenity. Lloyd uses the rough places in his improvisations, to be sure, but it is only to make the rough places plain, limpid, utterly integrated in a serene whole. On Jumping the Creek he succeeds seamlessly and ups his own artistic ante. AMG.

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