AP, London - The rumors, it appears, are true. In a hastily called press conference this afternoon at Abbey Road Studios, Paul McCartney and Ringo Starr announced the holy grail of concert tours. This summer, in select cities across Europe and throughout the United State, The Beatles will reunite for one last time. Entrepreuneur Alki David and the surviving Beatles are planning a concert tour utilizing holograms of John Lennon and George Harrison culled from thousands of hours of existing video footage and the latest in real animation technology.
David made a splash earlier this year by announcing a posthumous world tour by the image of Amy Winehouse, and apparently has not stopped working behind the scenes to bring other artists back to life.
News of the Beatles announcement has been dogged by the fact that the press conference was held on April first, traditionally known as "April Fool's Day". Several major media outlets have refused to cover the story, but a press release from David's office counter signed by Sir Paul himself insists it's all true.
Dates and venues are currently being negotiated, but early word is that there will be approximately 10 dates across Europe and 25-30 across the United States and Canada.
Showing posts with label John Lennon. Show all posts
Showing posts with label John Lennon. Show all posts
Tuesday, April 1, 2014
Wednesday, November 10, 2010
Alex Hirsch - Naturally...
Alex Hirsch - Naturally...
1997/2006/2010, Key Wins Productions
You might say that Alex Hirsch was born with a silver spoon in his mouth, but all of the silver in the world can’t make up for talent. Hirsch has proven his talent over the years, collaborating with folks such as Elliot Randall, Ice-T, Bionik, Too Short and Griffen. Alex Hirsch is the son of actor Judd Hirsch (Taxi, Dear John, NUMB3RS) and has certainly benefited accordingly, but Alex’s approach to music has always had a DIY slant. A few years back Hirsch borrowed money from family members and started his own record label, Key Wins Productions, focusing on releasing albums made with real instruments by real people. Hirsch’s latest album, Naturally…, is steeped in highly original songwriting that blends progressive and classic rock styles with doses of 1960’s psychedelia and jazz.
Naturally… opens with “Martian Advance”, featuring churning guitars and an exotic progressive rock sound ala The Rheostatics. Lyrically the song is more of a riff than a complete idea, but the grand crests and theatric turns play like a film score element. “Naturally” is ethereal rock with a lot of open space in the arrangement all done up in reverb. It’s a love song full of sadness and memory; Hirsch’s lyrics are intelligent if a bit off the map for your typical love song. You might be forgiven for thinking this is geek rock with a refined touch, as Hirsch mixes a distinctive breed of intelligentsia with a charismatically finessed low-fi sound. Hirsch takes on pure jazz form with “Structure”, offering wicked guitar and bass solos and filling in on piano is subtle but tangible fashion. Rush fans may be reminded of the sort of structure and style displayed on their Gangster of the Boats Trilogy.
“I Speak The Truth” is an odd bit of atypical blues featuring simply Hirsch and his guitar. Sparsely arranged and intriguing, the song is like eavesdropping on someone’s internal dialogue. “Nova” is a dreamy ode detailing the moment of falling in love in graphic detail, reveling in the wake of the emotional explosion. “Christine” revisits a chance meeting at the wrong time, where possibility and romance churn against limited time and circumstance in a mix of hope and frustration. The chorus on this song is hauntingly familiar. “One Confession” is an angry emotional jam with minimal lyrics. Dark and vibrant, the song is full of anger and seeks an answer in no uncertain terms. “5755” is dreamy 1960’s folk/pop ala Crosby, Stills and Nash written with a 1970’s singer/songwriter pastiche. Well constructed, this tune is simply a pleasure to listen to.
“Jail” is a jazzified rock composition with theatrical elements. There’s a diffuse sense of humor running through this song that’s mildly entertaining as well. “Girlfriend” is full of reverence; intelligent and off-beat. Hirsch moons in a stream-of-conscious vamp in a blend of spacey rock, jazz and singer-songwriter styling. The solo version of “Christine” sounds to be recorded live in the studio and is a bit more affecting than the standard version. Hirsch manages to capture a live energy in this recording that casts the song in a better light. “The Day” is a diffuse, open arrangement; a memorialization in song dotted with Branford Marsalis-style saxophone fills and runs. “Time And Space” plays like two songs. The first half is a long instrumental jam. Once the vocals kick in Hirsch creates vocal triads that sound a great deal like early 1980’s Asia. “Time And Space” has a finding-our-way feel to it that’s communicated in both the lyrics and arrangement, in what may be the most dynamic and original songwriting in a highly original collection of songs. Natually… closes with “Lennon”, a tribute to the ex-Beatle that’s both musically and emotionally committed. It’s a well-written and well-executed closer.
Alex Hirsch hits all of the right notes on Naturally…, following his muse wherever it leads. Influences run through the album in veins, playing off of Hirsch’s natural musical proclivities and creating dynamic musical moments, helped along by highly intelligent lyrics and an intense creativity that seemingly never rests. Naturally… is an exciting listen; you never know what’s around the next musical turn, or what else Hirsch might have up his sleeve. Naturally… is an album that will keep you coming back.
Rating: 4 Stars (Out of 5)
You can learn more about Alex Hirsch at www.alexhirsch.com or www.myspace.com/alexhirschmusic. Naturally... is available from Amazon.com as a CD or Download
.
The album is also available digitally from iTunes.
. The album is also available digitally from iTunes.Wednesday, November 11, 2009
Review: Paul McCartney - Good Evening New York City
Paul McCartney - Good Evening New York City
2009, Hear Music/Concord Music Group
Between July 17th and July 21, 2009, Paul McCartney performed three shows at Citi Field in New York City, adjacent to the site of The Beatles first US concert (Shea Stadium). McCartney was inspired by the crowd, the location and the history; and all in attendance could hear him this time around. Folks who attended the show have acclaimed it one of his most brilliant solo performances, and the shows have taken on an almost legendary air. On November 17, 2009, Hear Music will be releasing the concert on CD/DVD in standard and deluxe editions as Good Evening New York City. The standard edition features 2 CDs plus a DVD of the show shot from 75 flip-cameras distributed throughout the crowd over 3 nights. The Deluxe edition features a second DVD of McCartney's July 15, 2009 performance on the Marquee of the Ed Sullivan Theatre (previously only available as a stream on David Letterman's website).
The CD recording of the show(s) is a testament to an unparalleled recording career. Highlights from the Beatles' catalogue include Let It Be, Drive My Car, Got To Get You Into My Life, Hey Jude and Blackbird. McCartney's version of Let It Be is particular inspired, and he and the band totally let go on a rocking version of Helter Skelter. McCartney's re-working of Something on a mandolin he was given by George Harrison is absolutely magical, giving a different flavor to the song without losing the spirit of the original. McCartney digs into Wings classics such as Band On The Run, Live And Let Die and Let Me Roll It. He also works in a tribute to John Lennon with a medley of A Day In The Life and Give Peace A Chance. Perhaps the most magical moment of the recording however is Here Today. You have to wonder about the ghosts and memories that stood beside McCartney throughout this moving number. The other highlight for me was Calico Skies, a McCartney song I had managed to miss before now.
The DVD covers all 33 tracks presented on the 2 CDs, running 2 hours and 40 minutes. The HD shot show features both stereo and 5.1 audio tracks, each produced by Paul Hicks. Because of the crowd-shot techniques used the DVD manages to accurately recreate the concert experience better than live-to-DVD releases.
There's little left to be said about Paul McCartney. What becomes more and more clear with time is how vital a creative force he's been, both with the Beatles and on his own in various forms. McCartney will never fade into the Rock N Roll limelight; his contributions and influence are so pervasive as to be iconic. Good Evening New York City is a testament to this fact. It's not just another a live album, but an exclamation point on a career that, amazingly, just keeps getting better.
Rating: 4.5 Stars (Out of 5)
You can learn more about Paul McCartney at http://www.paulmccartney.com/ or http://www.thebeatles.com/. Good Evening New York City drops on November 17, 2009. You can pre-order the standard edition from Amazon.com on CD, Vinyl or a Download. The Deluxe Edition with the Sullivan Theater performance will also be available. The CD will also be available in Starbucks stores in the US and Canada.
2009, Hear Music/Concord Music Group
Between July 17th and July 21, 2009, Paul McCartney performed three shows at Citi Field in New York City, adjacent to the site of The Beatles first US concert (Shea Stadium). McCartney was inspired by the crowd, the location and the history; and all in attendance could hear him this time around. Folks who attended the show have acclaimed it one of his most brilliant solo performances, and the shows have taken on an almost legendary air. On November 17, 2009, Hear Music will be releasing the concert on CD/DVD in standard and deluxe editions as Good Evening New York City. The standard edition features 2 CDs plus a DVD of the show shot from 75 flip-cameras distributed throughout the crowd over 3 nights. The Deluxe edition features a second DVD of McCartney's July 15, 2009 performance on the Marquee of the Ed Sullivan Theatre (previously only available as a stream on David Letterman's website).
The CD recording of the show(s) is a testament to an unparalleled recording career. Highlights from the Beatles' catalogue include Let It Be, Drive My Car, Got To Get You Into My Life, Hey Jude and Blackbird. McCartney's version of Let It Be is particular inspired, and he and the band totally let go on a rocking version of Helter Skelter. McCartney's re-working of Something on a mandolin he was given by George Harrison is absolutely magical, giving a different flavor to the song without losing the spirit of the original. McCartney digs into Wings classics such as Band On The Run, Live And Let Die and Let Me Roll It. He also works in a tribute to John Lennon with a medley of A Day In The Life and Give Peace A Chance. Perhaps the most magical moment of the recording however is Here Today. You have to wonder about the ghosts and memories that stood beside McCartney throughout this moving number. The other highlight for me was Calico Skies, a McCartney song I had managed to miss before now.
The DVD covers all 33 tracks presented on the 2 CDs, running 2 hours and 40 minutes. The HD shot show features both stereo and 5.1 audio tracks, each produced by Paul Hicks. Because of the crowd-shot techniques used the DVD manages to accurately recreate the concert experience better than live-to-DVD releases.
There's little left to be said about Paul McCartney. What becomes more and more clear with time is how vital a creative force he's been, both with the Beatles and on his own in various forms. McCartney will never fade into the Rock N Roll limelight; his contributions and influence are so pervasive as to be iconic. Good Evening New York City is a testament to this fact. It's not just another a live album, but an exclamation point on a career that, amazingly, just keeps getting better.
Rating: 4.5 Stars (Out of 5)
You can learn more about Paul McCartney at http://www.paulmccartney.com/ or http://www.thebeatles.com/. Good Evening New York City drops on November 17, 2009. You can pre-order the standard edition from Amazon.com on CD, Vinyl or a Download. The Deluxe Edition with the Sullivan Theater performance will also be available. The CD will also be available in Starbucks stores in the US and Canada.
Sunday, September 13, 2009
Review: Road - Long Player
Road - Long Player
2009, Brown Elephant Records
Road combines the edge of Modern Rock, the crunchy grit of a 1960's Garage Band and a bass player with Funk running in his veins. The Doylestown, Pennsylvania trio rock for all they're worth in their third album, Long Player. Paul Waters (vox, keys, guitar) sounds a bit like John Lennon at times, with J.D. "Jed" Schumann holding the line on drums, percussion and vox. Ben Cleal makes it all work in the middle with electrifying bass work. Long Player was mixed and mastered by Ted Richardson and Shelly Yakus (John Lennon, Tom Petty, U2) at Cedar Street Studios in Philadelphia, PA.
Road opens with Long Player (Jackie's Ruse), sounding a bit like the Beatles jamming with the Knickerbockers. The song itself is very catchy, and Cleal adds an incredible amount of texture to the song with a bass line that erupts all over the place. Come Back Home has a sounds like early Who. If this song were released 40 years ago it would have been the biggest thing on radio. Little Guatemala takes on a heavier sound, digging into a serious garage realm with a fun tune about a relationship gone sour told from the third person. This is all done with a deft storytellers touch, big rock hooks and a melody that sticks around once the song is done. Don't Know Why is the song that will put Road on the map; a catchy, funky rocker with real potential for college radio and beyond. This is great pop songwriting all around.
There's a definite Beatles vibe on Count The Stars, right down to the "perfect pop song" style arrangement. You'll want to dance and sing along. The same goes for Even Real, with its funk-laden bass line and energetic interplay between the three members of Road. For pure dance-ability this the primo pick of the litter. The Sunday Song (Jackie's Demise) is a strong mix of modern sound with a 1960's Garage aesthetic. Cleal and Schumann provide a funky backbeat and bass line to drive Walters' smooth to smiteful vocal line. This is yet another great tune that would have ruled the airwaves had it been released in the late 60's or early 70's. Road closes out with Six Bottles Of Beer, a paean to the weekend and what it takes to find companionship sometimes. This one is very tongue-in-cheek and provides a good chuckle to say goodnight.
Road is one highly entertaining band; they certainly haven't forgotten the roots of Rock N Roll on Long Player. Boomers will think they've found a fountain of musical youth here, but Road keeps things fresh enough to interest younger rock fans. These are guys I'd definitely go see live, as the show would be a hoot. There's an inherent sense of humor running deep below the melody, like the band is sharing a joke that's passed back and forth between the instruments. The humor breaks loose on the final song, but that spark of mischievous wit is always there. Long Player might not be gourmet music; it's more like comfort food. You'll keep coming back.
Rating: 3.5 Stars (Out of 5)
You can learn more about Road at www.myspace.com/roadstuff or http://www.brownelephantrecords.com/. You can purchase Long Player through CDBaby.com or as a download via iTunes. If you're the brick and mortar type, Long Player is being distributed through Independent Record Stores across the US.
2009, Brown Elephant Records
Road combines the edge of Modern Rock, the crunchy grit of a 1960's Garage Band and a bass player with Funk running in his veins. The Doylestown, Pennsylvania trio rock for all they're worth in their third album, Long Player. Paul Waters (vox, keys, guitar) sounds a bit like John Lennon at times, with J.D. "Jed" Schumann holding the line on drums, percussion and vox. Ben Cleal makes it all work in the middle with electrifying bass work. Long Player was mixed and mastered by Ted Richardson and Shelly Yakus (John Lennon, Tom Petty, U2) at Cedar Street Studios in Philadelphia, PA.
Road opens with Long Player (Jackie's Ruse), sounding a bit like the Beatles jamming with the Knickerbockers. The song itself is very catchy, and Cleal adds an incredible amount of texture to the song with a bass line that erupts all over the place. Come Back Home has a sounds like early Who. If this song were released 40 years ago it would have been the biggest thing on radio. Little Guatemala takes on a heavier sound, digging into a serious garage realm with a fun tune about a relationship gone sour told from the third person. This is all done with a deft storytellers touch, big rock hooks and a melody that sticks around once the song is done. Don't Know Why is the song that will put Road on the map; a catchy, funky rocker with real potential for college radio and beyond. This is great pop songwriting all around.
There's a definite Beatles vibe on Count The Stars, right down to the "perfect pop song" style arrangement. You'll want to dance and sing along. The same goes for Even Real, with its funk-laden bass line and energetic interplay between the three members of Road. For pure dance-ability this the primo pick of the litter. The Sunday Song (Jackie's Demise) is a strong mix of modern sound with a 1960's Garage aesthetic. Cleal and Schumann provide a funky backbeat and bass line to drive Walters' smooth to smiteful vocal line. This is yet another great tune that would have ruled the airwaves had it been released in the late 60's or early 70's. Road closes out with Six Bottles Of Beer, a paean to the weekend and what it takes to find companionship sometimes. This one is very tongue-in-cheek and provides a good chuckle to say goodnight.
Road is one highly entertaining band; they certainly haven't forgotten the roots of Rock N Roll on Long Player. Boomers will think they've found a fountain of musical youth here, but Road keeps things fresh enough to interest younger rock fans. These are guys I'd definitely go see live, as the show would be a hoot. There's an inherent sense of humor running deep below the melody, like the band is sharing a joke that's passed back and forth between the instruments. The humor breaks loose on the final song, but that spark of mischievous wit is always there. Long Player might not be gourmet music; it's more like comfort food. You'll keep coming back.
Rating: 3.5 Stars (Out of 5)
You can learn more about Road at www.myspace.com/roadstuff or http://www.brownelephantrecords.com/. You can purchase Long Player through CDBaby.com or as a download via iTunes. If you're the brick and mortar type, Long Player is being distributed through Independent Record Stores across the US.
Wednesday, September 9, 2009
Why I love the Beatles, and why I won't be buying the box set.
When I four or five years old, my Aunt gave me a gift certificate from Record Town (now known as FYE). Record Town still sold primarily vinyl albums back then (1975 or 1976), but also sold cassettes. My parents took me to the store thinking to find something for me and asked what would be a good album for a little kid like me. The clerk there at the time recommend The Beatles Yellow Submarine. We took it home and I hated it. It was tossed unceremoniously in a cardboard box and forgotten for eight or nine years.
When I was thirteen I was bitten by the Rock N Roll bug. I was on a church choir retreat (where flashing the female head chorister and the playing of kissing games all occurred) and was introduced to three albums by a guy named Aaron Richmond. The first was a comedy album by Eddie Murphy entitled Comedian. To a thirteen year old kid the F-Bomb is just about the funniest thing in the world. But more degradation at the hands of the Episcopal Church aside, Aaron also let me hear The Police's Synchronicity and Styx' Kilroy Was Here. My life-long fan-hood of Styx was born, as was my lifelong fan-hood of Sting and the Police. Perhaps more importantly, these introductions opened my ears to a wider world of music than I'd paid attention to before. (Up until then I had listened to Yankees baseball and Adirondack Red Wings Hockey, and when I couldn't find that I'd listen to Bill Miller on WGY out of Albany, NY.
Not long afterward I came across the Yellow Submarine cassette bought so many years before, dusted it off and popped it into my GE Cassette player. Even in tinny mono I was floored. What the heck were they doing? This was amazing stuff! It wasn't long before I found a copy of Abbey Road and simply devoured that. The Beatles haven't always been an integral part of my musical life, but they've always been there somewhere, from bopping along to Sgt. Pepper's Lonely Hearts Club Band on trips to Choral Competitions in Montreal to singing a solo of Yesterday in 10th Grade to the way they keep popping up at odd times at significant points in my life. The Beatles wrote music that was silly, essential and nearly timeless (and occasionally quite weird: Number nine, anyone?)
If you are young enough to not really know the Beatles you probably can't read this yet, but if I'm talking to you, go find out where most of today's edgy music originated. There isn't an artist in mainstream rock who isn't either directly influenced by the Beatles or isn't influenced by someone who is. Today, September 9, 2009, Capitol/EMI releases remastered versions of all the Beatles Albums, culminating in two box sets (Stereo and Mono). The box sets are pricey and out of the price range of most people in difficult economic times. Still, there will be a strong contingent of Beatles fans who will lay their money down, particularly for the Mono box set, which is a limited edition.
Each individual album is also available in a remastered edition. This is the first time these albums have been re-mastered since the late 1980's when they were first carried over to CD. (I believe remasters were done in the mid-90's, but I don't count those as the technology wasn't radically different and there is little or no sound difference.
I personally won't be buying them. I have five Beatles albums currently, and am sentimental about the ones I have. The sonic difference between the old and new editions won't make that much difference to me because I don't have good enough equipment to make a difference at this point (and I can't afford them anyway!). It would be fun, though, to unwrap the mono box set and hear the songs as The Beatles originally wanted them heard. I have provided links below to all the releases out today if you're interested, using Amazon.com as the destination. Be sure to check around for price variations (particularly on the box sets). I suspect these will be hot sellers this holiday season.
If you'd like to learn more about the Beatles, check out http://www.thebeatles.com/.
Out today:
Monday, July 27, 2009
Review: Original Motion Picture Soundtrack - Funny People
Original Motion Picture Soundtrack - Funny People
2009, Concord Records
On July 28, 2009, Concord Records releases the soundtrack to the newest Judd Apatow flick, Funny People. The film, starring Adam Sandler, Seth Rogan And Leslie Mann, is Apatow’s third (The 40-Year-Old Virgin and Knocked Up), and is all about his days rooming with Adam Sandler when they were struggling comedians. The soundtrack features a selection of deep cuts and first takes from big name artists primarily from the 1970’s, with exclusive live cuts from James Taylor and Wilco.
Funny People opens with Paul McCartney on Great Day, a bluesy acoustic piece built from guitar, hand rhythms and voice. McCartney digs into the gorgeous melody line with everything he has for a highly enjoyable experience. Robert Plant's turn on All The King's Horses is thrilling; you almost wouldn't know this was the former Led Zeppelin front man. Two songs from Warren Zevon make the cut; Keep Me In Your Heart and Numb As A Statue, showing some of the range of his songwriting talent. Neil Diamond's We is presented here in an early form and may just be better than the recorded work most are familiar with. The star of the disc is John Lennon on an acoustic version of Watching The Wheels. The coffee-house feel to this cut just adds to the charm of a vastly under-appreciated song. James Taylor runs a close second with a live version of Carolina In My Mind.
Adam Sandler gets in two performances of his own, but these probably would have been left to the movie and omitted from the soundtrack. His cover of John Lennon's Real Love finds Sandler overmatched vocally and in the production booth. Already week vocals are overpowered at the end of the verse. George Simmons Soon Will Be Gone is a performance piece from the movie that disappoints on several levels. This is closer to the Sandler you might have heard during his SNL days, but humor is pushed aside in favor of jocularity and shock value. For a movie entitled Funny Men, it seemed to miss the point.
As soundtracks go this one is fairly typical. There are some brilliant performances (McCartney, Lennon, Neil Diamond), some so-so ones (Wilco and Andrew Bird, Ringo Starr) and some truly puzzling ones (Adam Sandler, Coconut Records). The inclusion of McCartney and Lennon will ensure some decent sales of this disc (or at least downloads of those songs), but one is left with the impression that some of the song selections were settled by a randy game of Rock, Scissors, Paper, Lizard, Spock.
Rating: 3 Stars (Out of 5)
You can learn more about Funny People at http://www.funnypeoplemovie.com/. You can purchase the Funny People soundtrack at Amazon.com or as a download through Amazon MP3.
2009, Concord Records
On July 28, 2009, Concord Records releases the soundtrack to the newest Judd Apatow flick, Funny People. The film, starring Adam Sandler, Seth Rogan And Leslie Mann, is Apatow’s third (The 40-Year-Old Virgin and Knocked Up), and is all about his days rooming with Adam Sandler when they were struggling comedians. The soundtrack features a selection of deep cuts and first takes from big name artists primarily from the 1970’s, with exclusive live cuts from James Taylor and Wilco.
Funny People opens with Paul McCartney on Great Day, a bluesy acoustic piece built from guitar, hand rhythms and voice. McCartney digs into the gorgeous melody line with everything he has for a highly enjoyable experience. Robert Plant's turn on All The King's Horses is thrilling; you almost wouldn't know this was the former Led Zeppelin front man. Two songs from Warren Zevon make the cut; Keep Me In Your Heart and Numb As A Statue, showing some of the range of his songwriting talent. Neil Diamond's We is presented here in an early form and may just be better than the recorded work most are familiar with. The star of the disc is John Lennon on an acoustic version of Watching The Wheels. The coffee-house feel to this cut just adds to the charm of a vastly under-appreciated song. James Taylor runs a close second with a live version of Carolina In My Mind.
Adam Sandler gets in two performances of his own, but these probably would have been left to the movie and omitted from the soundtrack. His cover of John Lennon's Real Love finds Sandler overmatched vocally and in the production booth. Already week vocals are overpowered at the end of the verse. George Simmons Soon Will Be Gone is a performance piece from the movie that disappoints on several levels. This is closer to the Sandler you might have heard during his SNL days, but humor is pushed aside in favor of jocularity and shock value. For a movie entitled Funny Men, it seemed to miss the point.
As soundtracks go this one is fairly typical. There are some brilliant performances (McCartney, Lennon, Neil Diamond), some so-so ones (Wilco and Andrew Bird, Ringo Starr) and some truly puzzling ones (Adam Sandler, Coconut Records). The inclusion of McCartney and Lennon will ensure some decent sales of this disc (or at least downloads of those songs), but one is left with the impression that some of the song selections were settled by a randy game of Rock, Scissors, Paper, Lizard, Spock.
Rating: 3 Stars (Out of 5)
You can learn more about Funny People at http://www.funnypeoplemovie.com/. You can purchase the Funny People soundtrack at Amazon.com or as a download through Amazon MP3.
Friday, May 29, 2009
Review: Kat Edmonson - Take To The Sky
Kat Edmonson - Take To The Sky
2009, Convivium Records
Austin, Texas-based Jazz siren Kat Edmonson makes an exciting debut with Take To The Sky, an album of 9 reinterpretations of jazz standards and pop hits. Released digitally earlier this year, the album is available on CD for the first time on June 2, 2009. Mixed by super Engineer Al Schmitt (19 Grammy’s), Edmonson has an extremely talented band to back her up. Drummer J.J. Johnson (John Mayer, Charlie Sexton); bassist Eric Revis (Branford Marsalis Quartet) and pianist Kevin Lovejoy (Spoon, John Mayer) are joined by guests John Ellis (Charlie Hunter) and Ron Westray (Wynton Marsalis) in providing a tight and original tapestry in support of Edmonson's stunning vocals. Engineer Schmitt, who's worked with the likes of Frank Sinatra, Barbra Streisand and Sam Cooke, describes Edmonson as "the best new jazz singer I have heard in years".
Kat Edmonson is a once-in-a-generation voice. With a sound reminiscent of the great female jazz vocalists of the 1920’s and 1930’s, Edmonson is a treat for traditionalists, yet has just enough quirky pop sensibility to traverse the generations in between. Take To The Sky opens with Gershwin’s Summertime. The arrangement here is unusually dark, allowing Edmonson to be the only light you hear for the first two minutes of the song; she shines in a gritty and nuanced performance. The Cure’s Just Like Heaven gets a jazz/samba treatment here. I have to admit it took a few listens for me to really get this song, but it’s probably one of the finest covers I’ve heard. Edmonson is seraphic on Cole Porter’s Night And Day and turns in an incredible performance on Henry Mancini’s Charade.
Edmonson plays chameleon on the Cardigans’ Love Fool, sounding so much like Nina Persson that even fans of the band may be fooled. Edmonson projects a steely vulnerability on this song that is engaging. Angel Eyes (Brent/Dennis) is a popular selection that’s been covered by the likes of Sinatra, Duke Ellington, Ella Fitzgerald, Willie Nelson and Ray Charles and even Sting. Edmonson gives it all she’s got and comes up with a terrific reading of the song. My personal favorite song on the disc is Cole Porter’s Just One Of Those Things. If Porter were able, he would give Edmonson a standing ovation for a modern reading that never loses sight of the spirit of the original. Carole King’s One Fine Day becomes a slinky, taunting song much more fitting to the song’s intent than the bouncy Chiffons version. The album closes out with John Lennon’s (Just Like) Starting Over. Edmonson has recreated the song as a contemplative love song; a true jazz standard. It’s so good you’ll wonder how you ever heard it differently.
Kat Edmonson has a passion for Jazz, and the sort of vocal talent that would rise to the top of most any set of contemporaries of any era since Jazz music was born. The ironically quirky nature of her sound also practically guarantees that if Edmonson ever crosses over to the Rock and Pop worlds she’ll have success as well. The pure creativity and vision on Take To The Sky is stunning; its one thing to be able to cover songs well without sounding like a karaoke performer, but it’s something else again to be able to recreate well known songs in a way that makes them your own without losing connection to the spirit of the original. Kat Edmonson is a vital talent, and Take To The Sky is a Wildy’s World Certified Desert Island Disc.
Rating: 5 Stars (Out of 5)
You can learn more about Kat Edmonson at http://www.katedmonson.com/ or www.myspace.com/katedmonson. You can purchase a copy of Take To The Sky at Waterloo Records or as a download on iTunes.
2009, Convivium Records
Austin, Texas-based Jazz siren Kat Edmonson makes an exciting debut with Take To The Sky, an album of 9 reinterpretations of jazz standards and pop hits. Released digitally earlier this year, the album is available on CD for the first time on June 2, 2009. Mixed by super Engineer Al Schmitt (19 Grammy’s), Edmonson has an extremely talented band to back her up. Drummer J.J. Johnson (John Mayer, Charlie Sexton); bassist Eric Revis (Branford Marsalis Quartet) and pianist Kevin Lovejoy (Spoon, John Mayer) are joined by guests John Ellis (Charlie Hunter) and Ron Westray (Wynton Marsalis) in providing a tight and original tapestry in support of Edmonson's stunning vocals. Engineer Schmitt, who's worked with the likes of Frank Sinatra, Barbra Streisand and Sam Cooke, describes Edmonson as "the best new jazz singer I have heard in years".
Kat Edmonson is a once-in-a-generation voice. With a sound reminiscent of the great female jazz vocalists of the 1920’s and 1930’s, Edmonson is a treat for traditionalists, yet has just enough quirky pop sensibility to traverse the generations in between. Take To The Sky opens with Gershwin’s Summertime. The arrangement here is unusually dark, allowing Edmonson to be the only light you hear for the first two minutes of the song; she shines in a gritty and nuanced performance. The Cure’s Just Like Heaven gets a jazz/samba treatment here. I have to admit it took a few listens for me to really get this song, but it’s probably one of the finest covers I’ve heard. Edmonson is seraphic on Cole Porter’s Night And Day and turns in an incredible performance on Henry Mancini’s Charade.
Edmonson plays chameleon on the Cardigans’ Love Fool, sounding so much like Nina Persson that even fans of the band may be fooled. Edmonson projects a steely vulnerability on this song that is engaging. Angel Eyes (Brent/Dennis) is a popular selection that’s been covered by the likes of Sinatra, Duke Ellington, Ella Fitzgerald, Willie Nelson and Ray Charles and even Sting. Edmonson gives it all she’s got and comes up with a terrific reading of the song. My personal favorite song on the disc is Cole Porter’s Just One Of Those Things. If Porter were able, he would give Edmonson a standing ovation for a modern reading that never loses sight of the spirit of the original. Carole King’s One Fine Day becomes a slinky, taunting song much more fitting to the song’s intent than the bouncy Chiffons version. The album closes out with John Lennon’s (Just Like) Starting Over. Edmonson has recreated the song as a contemplative love song; a true jazz standard. It’s so good you’ll wonder how you ever heard it differently.
Kat Edmonson has a passion for Jazz, and the sort of vocal talent that would rise to the top of most any set of contemporaries of any era since Jazz music was born. The ironically quirky nature of her sound also practically guarantees that if Edmonson ever crosses over to the Rock and Pop worlds she’ll have success as well. The pure creativity and vision on Take To The Sky is stunning; its one thing to be able to cover songs well without sounding like a karaoke performer, but it’s something else again to be able to recreate well known songs in a way that makes them your own without losing connection to the spirit of the original. Kat Edmonson is a vital talent, and Take To The Sky is a Wildy’s World Certified Desert Island Disc.
Rating: 5 Stars (Out of 5)
You can learn more about Kat Edmonson at http://www.katedmonson.com/ or www.myspace.com/katedmonson. You can purchase a copy of Take To The Sky at Waterloo Records or as a download on iTunes.
Tuesday, May 19, 2009
Review: Heaven And Hell - The Devil You Know
Heaven & Hell - The Devil You Know
2009, Rhino Records
Heaven & Hell just might be the ultimate 1970’s Metal supergroup. Lead vocalist Ronnie James Dio has a long and storied career starting out with Elf, then Rainbow, Black Sabbath and as a solo artist. Guitarist Tommy Iommi is the axe wizard behind Black Sabbath’s distinctive sound. Bassman Geezer Butler was also a part of the juggernaut that was/is Black Sabbath. Drummer Vinny Appice has played with Sabbath, Dio, WWIII, Rick Derringer and John Lennon, among others. Together they’ve found a mutual musical space that is familiar enough to fans of individual members while becoming something distinctive. Heaven & Hell’s latest CD, The Devil You Know, trods upon these almost familiar sands while finding something new in the sound.
The Devil You Know opens with Atom & Evil, a dark and heavily lumbering rocker. The song features some tremendous progressive guitar work and Dio hasn't lost a note. Bible Black is big guitar work at it's finest and even features a lyric prologue. This is Ronnie James Dio in his wheelhouse, pushing the sound he's been creating since the 1970's. Double The Pain is a surprisingly hooky bit of early prog-metal and sounds classic Sabbath at their most inspired. Dio and Iommi really rev it up on Eating The Cannibals with this highly melodic and driven prog-metal song. Both are at their best here. Follow The Tears is an interesting change of pace and sound: a martial horror movie in song. Angry, swelling guitars fold into ambient and ethereal synths, dark, minor keyes and Dio's iconoclastic voice for one of the most memorable hard rock songs of the year. Heaven & Hell kick the whole project up another notch with Neverwhere, a classic guitar rocker you won't soon forget. The album closes out with Breaking Into Heaven, a slow and plodding guitar metal song that hopefully finds more life live than it did here.
2009, Rhino Records
Heaven & Hell just might be the ultimate 1970’s Metal supergroup. Lead vocalist Ronnie James Dio has a long and storied career starting out with Elf, then Rainbow, Black Sabbath and as a solo artist. Guitarist Tommy Iommi is the axe wizard behind Black Sabbath’s distinctive sound. Bassman Geezer Butler was also a part of the juggernaut that was/is Black Sabbath. Drummer Vinny Appice has played with Sabbath, Dio, WWIII, Rick Derringer and John Lennon, among others. Together they’ve found a mutual musical space that is familiar enough to fans of individual members while becoming something distinctive. Heaven & Hell’s latest CD, The Devil You Know, trods upon these almost familiar sands while finding something new in the sound.
The Devil You Know opens with Atom & Evil, a dark and heavily lumbering rocker. The song features some tremendous progressive guitar work and Dio hasn't lost a note. Bible Black is big guitar work at it's finest and even features a lyric prologue. This is Ronnie James Dio in his wheelhouse, pushing the sound he's been creating since the 1970's. Double The Pain is a surprisingly hooky bit of early prog-metal and sounds classic Sabbath at their most inspired. Dio and Iommi really rev it up on Eating The Cannibals with this highly melodic and driven prog-metal song. Both are at their best here. Follow The Tears is an interesting change of pace and sound: a martial horror movie in song. Angry, swelling guitars fold into ambient and ethereal synths, dark, minor keyes and Dio's iconoclastic voice for one of the most memorable hard rock songs of the year. Heaven & Hell kick the whole project up another notch with Neverwhere, a classic guitar rocker you won't soon forget. The album closes out with Breaking Into Heaven, a slow and plodding guitar metal song that hopefully finds more life live than it did here.
Heaven & Hell is a dream come true for some fans. Folks who have followed Dio or Black Sabbath will love The Devil You Know. If you're unfamiliar with the names and want to know how metal sounded back in the 1970's and early 80', then this disc is for you.
Rating: 3.5 Stars (Out of 5)
You can learn more about Heaven & Hell at http://www.heavenandhelllive.com/ or www.myspace.com/heavenandhelllive. You can pick up a copy of The Devil You Know at Amazon.com, or as a download through iTunes.
You can learn more about Heaven & Hell at http://www.heavenandhelllive.com/ or www.myspace.com/heavenandhelllive. You can pick up a copy of The Devil You Know at Amazon.com, or as a download through iTunes.
Tuesday, March 10, 2009
Review: The McKrells - Traveling Man
The McKrells – Traveling Man
2008, Thorntree Music
The McKrells are legends in Upstate New York, as well as being highly respected internationally in the Celtic music scene (Not to mention they are Wildy's World's Artist Of The Month for March of 2009). The band created a hybrid of Celtic and bluegrass sounds that earned them the appreciation of every crowd they played in, whether in a small pub in Ireland, their home base of The Parting Glass in Saratoga Springs, NY or even Carnegie Hall. The last few years have seen major changes in personnel and sound, but the heart of The McKrells; Kevin McKrell’s songwriting and voice, remains. Their latest CD, Traveling Man, was released in 2008 on Thorntree Music. It’s a change for longtime fans, but not necessarily an unwelcome one.
Traveling Man opens with the title track, a light and airy bit of Celtic influenced pop that will get your feet moving. This leads into the Bold Fenian Men, offered here as a low-key Celtic rocker. Kevin McKrell is in fine voice here, and harmonies from daughter Kate McKrell complete the aesthetic. McKrell offers up a primo performance on Shores Of America. Kevin McKrell’s voice has an iconic quality to it that is unforgettable, and Shores is the perfect opportunity to hear why.
Christmas Day is performed in the style of classic American Folk music by Kevin McKrell on guitar and vocals with harmonies from daughter Kate McKrell. It is a hopeful tune that strives for light at Christmas in darker times and is quite apropos amidst current events. One of two personal favorites on the disc is Two Peas In A Pod, a wonderful “silly little love song” that you’ll have on continuous replay. It’s a cute little mix-tape candidate that’s highly infectious and unforgettable. McKrell works in a glory days song on Ronnie’s Golden Mustang; if you’re a child of the late 1960’s or early 1970’s then this song will hit home (particularly with the Creedence Clearwater Revival, Grand Funk Railroad, John Lennon/Yoko and Lynyrd Skynyrd references), but every generation expresses these sentiments sooner or later.
My other personal favorite is The Motel de Marquis Lafayette. With clear roots in the Celtic and American Folk traditions, this is a virally infectious tune that will get stuck in your head for days, perhaps weeks. Traveling Man closes out with Tunnel Tigers in a bit of Celtic Funk/Rock (listen to the bass) that’s highly enjoyable.
There’s no doubt there’s been a big change in the sound of The McKrells. The strong Bluegrass element of their sound has departed, but it has turned the remaining McKrells back to their Celtic roots. The resultant CD, Traveling Man, is refreshing and immensely enjoyable album. As a writer and arranger, they don’t get much more talented than Kevin McKrell, and the rest of the band is top notch. Do yourself a favor and put this at the top of your listening list for St. Patrick’s Day. You won’t be disappointed.
Rating: 4.5 Stars (Out of 5)
You can learn more about Kevin McKrell and The McKrells at http://www.kmckrell.com/. You can purchase a copy of Traveling Man at www.cdbaby.com/cd/mckrells8.
2008, Thorntree Music
The McKrells are legends in Upstate New York, as well as being highly respected internationally in the Celtic music scene (Not to mention they are Wildy's World's Artist Of The Month for March of 2009). The band created a hybrid of Celtic and bluegrass sounds that earned them the appreciation of every crowd they played in, whether in a small pub in Ireland, their home base of The Parting Glass in Saratoga Springs, NY or even Carnegie Hall. The last few years have seen major changes in personnel and sound, but the heart of The McKrells; Kevin McKrell’s songwriting and voice, remains. Their latest CD, Traveling Man, was released in 2008 on Thorntree Music. It’s a change for longtime fans, but not necessarily an unwelcome one.
Traveling Man opens with the title track, a light and airy bit of Celtic influenced pop that will get your feet moving. This leads into the Bold Fenian Men, offered here as a low-key Celtic rocker. Kevin McKrell is in fine voice here, and harmonies from daughter Kate McKrell complete the aesthetic. McKrell offers up a primo performance on Shores Of America. Kevin McKrell’s voice has an iconic quality to it that is unforgettable, and Shores is the perfect opportunity to hear why.
Christmas Day is performed in the style of classic American Folk music by Kevin McKrell on guitar and vocals with harmonies from daughter Kate McKrell. It is a hopeful tune that strives for light at Christmas in darker times and is quite apropos amidst current events. One of two personal favorites on the disc is Two Peas In A Pod, a wonderful “silly little love song” that you’ll have on continuous replay. It’s a cute little mix-tape candidate that’s highly infectious and unforgettable. McKrell works in a glory days song on Ronnie’s Golden Mustang; if you’re a child of the late 1960’s or early 1970’s then this song will hit home (particularly with the Creedence Clearwater Revival, Grand Funk Railroad, John Lennon/Yoko and Lynyrd Skynyrd references), but every generation expresses these sentiments sooner or later.
My other personal favorite is The Motel de Marquis Lafayette. With clear roots in the Celtic and American Folk traditions, this is a virally infectious tune that will get stuck in your head for days, perhaps weeks. Traveling Man closes out with Tunnel Tigers in a bit of Celtic Funk/Rock (listen to the bass) that’s highly enjoyable.
There’s no doubt there’s been a big change in the sound of The McKrells. The strong Bluegrass element of their sound has departed, but it has turned the remaining McKrells back to their Celtic roots. The resultant CD, Traveling Man, is refreshing and immensely enjoyable album. As a writer and arranger, they don’t get much more talented than Kevin McKrell, and the rest of the band is top notch. Do yourself a favor and put this at the top of your listening list for St. Patrick’s Day. You won’t be disappointed.
Rating: 4.5 Stars (Out of 5)
You can learn more about Kevin McKrell and The McKrells at http://www.kmckrell.com/. You can purchase a copy of Traveling Man at www.cdbaby.com/cd/mckrells8.
Monday, March 9, 2009
Review: True Nature - Feels Like Centuries
True Nature – Feels Like Centuries
2009, True Nature
True Nature is the latest musical project from New York City's own Lou Barlow. Barlow is also a prior recipient of New York University’s Composer Of The Year Award, and a bright and rising star in the Indie Rock movemnt. In April of 2009, True Nature will release their second EP, Feels Like Centuries into a market starving for something new. Barlow delivers with help from the likes of Tony Levin (John Lennon, Peter Gabriel); Aaron Comess (The Spin Doctors) and Gerry Leonard (David Bowie, Rufus Wainwright).
The five-track EP opens with Truth I Have To Steel (Simple Heart) a moderately upbeat song by someone who sees Alice’s Looking Glass for what it really is; a soul frustrated by the blindness of those around them. It also draws on the classical ideal as simplicity as a means of understanding. Barlow is succinct and artful in delivering a declaration of intent to protect the world from itself. Up next is The Color Of Daylight, a joyous, angst-filled romp about coming to terms with oneself. My Freedom Lies Beyond The Sun is a brooding, angry song about having your blinders stripped away and seeing the world as it is: a dangerous place. Barlow finds freedom in something he can’t see, whether you want to call this spirituality or faith, and in what, is left up the listener to decide. This is an incredibly powerful song.
Woman is an artful and poetic take on the concept that “behind every good man is a good woman”. The title is adapted from the John Lennon classic and recognizes the balance and strength that feminine influence can bring to the male mind. Beyond the subject matter, Barlow has created a lush and deeply organic musical composition that breathes with its own vigor and vitality. Feels Like Centuries closes with Too Close To See Who We Are, a sociological treatise on our narcissistic and short-sighted culture that sounds like a paean to love lost. Again, Barlow paints in broad, lush musical strokes a sonic picture that is lovely and distinct.
Lou Barlow has talent for writing songs that could fit easily into popular styles but with an edge that sets them apart. The songs presented on Feels Like Centuries are gorgeous constructions against which Barlow’s set his esoteric and thoughtful lyrics. In other words, he’s outdone himself here. True Nature has a hit on its hands. This one’s a no-brainer; don’t miss it!
Rating: 5 Stars (Out of 5)
You can learn more about True Nature at http://www.truenatureband.com/. You can purchase a copy of Feels Like Centuries at www.cdbaby.com/cd/truenature2.
2009, True Nature
True Nature is the latest musical project from New York City's own Lou Barlow. Barlow is also a prior recipient of New York University’s Composer Of The Year Award, and a bright and rising star in the Indie Rock movemnt. In April of 2009, True Nature will release their second EP, Feels Like Centuries into a market starving for something new. Barlow delivers with help from the likes of Tony Levin (John Lennon, Peter Gabriel); Aaron Comess (The Spin Doctors) and Gerry Leonard (David Bowie, Rufus Wainwright).
The five-track EP opens with Truth I Have To Steel (Simple Heart) a moderately upbeat song by someone who sees Alice’s Looking Glass for what it really is; a soul frustrated by the blindness of those around them. It also draws on the classical ideal as simplicity as a means of understanding. Barlow is succinct and artful in delivering a declaration of intent to protect the world from itself. Up next is The Color Of Daylight, a joyous, angst-filled romp about coming to terms with oneself. My Freedom Lies Beyond The Sun is a brooding, angry song about having your blinders stripped away and seeing the world as it is: a dangerous place. Barlow finds freedom in something he can’t see, whether you want to call this spirituality or faith, and in what, is left up the listener to decide. This is an incredibly powerful song.
Woman is an artful and poetic take on the concept that “behind every good man is a good woman”. The title is adapted from the John Lennon classic and recognizes the balance and strength that feminine influence can bring to the male mind. Beyond the subject matter, Barlow has created a lush and deeply organic musical composition that breathes with its own vigor and vitality. Feels Like Centuries closes with Too Close To See Who We Are, a sociological treatise on our narcissistic and short-sighted culture that sounds like a paean to love lost. Again, Barlow paints in broad, lush musical strokes a sonic picture that is lovely and distinct.
Lou Barlow has talent for writing songs that could fit easily into popular styles but with an edge that sets them apart. The songs presented on Feels Like Centuries are gorgeous constructions against which Barlow’s set his esoteric and thoughtful lyrics. In other words, he’s outdone himself here. True Nature has a hit on its hands. This one’s a no-brainer; don’t miss it!
Rating: 5 Stars (Out of 5)
You can learn more about True Nature at http://www.truenatureband.com/. You can purchase a copy of Feels Like Centuries at www.cdbaby.com/cd/truenature2.
Subscribe to:
Posts (Atom)
Posts
