Archive for the ‘CLASSIC ALBUMS’ Category

Steven & Joe

Having lead the band Aerosmith since 1970, Steven Tyler has carved out a legacy as one of the most dynamic frontmen in the history of rock. Aerosmith is one of the only bands to have hit records in all five decades since the ’70s. Tyler along with guitarist Joe Perry, have penned nine number one hits and 22 top twenty singles on the American Charts. Heavily influenced by the blues, their debut contained the Rufus Thomas classic “Walkin’ the Dog” as well as bluesy originals like “Mama Kin,” “Movin’ Out” and “Make It.” Ironically, the only hit from the 1973 self-titled debut was the power ballad “Dream On” which has become a staple in classic rock. Steven is the preeminent frontman. Whip thin, he oozed sexuality and always had style as he strutted across the stage with his signature scarf-draped mic stand.

Throughout the ’70s the quintet put out monster albums such as Toys in the Attic, Rocks and Draw the Line. However, cocaine, heroin and alcohol were becoming more important to the band than the music, and in 1979, Joe Perry left to start his own group. Now alone, Tyler tried to keep the remaining members on his side and released the band’s dismal album, Rock In a Hard Place, but it was clear that his band had lost its spark. After a long addiction to heroin, Tyler entered treatment and emerged clean and sober in 1987, after which the rest of the band followed suit. Since sobriety, Tyler and company have released no less than seven albums. Tyler, now 66, still has the swagger as he started with in the ’70s. In 2001, Aerosmith was inducted into the Rock and Roll Hall of Fame, and the band still continues to tour arenas worldwide.

Drew Holcomb and The Neighbors - 'Medicine' - cover (300dpi)

Drew Holcomb’s last album Good Light was so good, it nearly knocked my sideways and after several sittings; trying to get my head around the change of pace on “Medicine” I think I feel exactly the same way about this offering. With no disrespect intended to the Neighbors; this album sounds less of a band offering and more a singer-songwriter coming of age; as the deep and slightly introspective songs

“Medicine” opens with the delightful “American Beauty” which combines some intricate guitar picking with Holcomb’s distinctive voice on a gorgeous love song that includes the line “Her kiss felt like a loaded gun;” . The singer’s delivery is always deceptively simple; but that only goes to mask some of the finest songwriting to come out of East Nashville in the last 10 years.

If you scratch away the veneer you will find some of the most romantic songs you’ve ever heard and on Shine Like Lightning Holcomb isn’t afraid to blast out a powerful chorus and the melodies on The Last Thing We Do and Ain’t Nobody Got It Easy are worthy of daytime radio anywhere in the world.

Holcomb’s duet and harmony’s with wife Ellie are well worth the wait; not only because it includes some amazing whistling;  All Said and Done; which closes the album is a raw love song that judiciously uses a pedal steel half way through to emphasise the pain in his voice; before a climax that easily pushes the likes of Ed Sheeran and Sam Smith into the shadows. Unlike some of his contemporaries, Drew Holcomb has been hawking his act around the pubs and clubs for 10 years now, serving an apprenticeship and honing his undoubted skilss; and hopefully Medicine just may be the vehicle to turn him into an overnight success.

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Irishman James Vincent McMorrow, who released a folk-ish album in 2011 called “Early in the Morning” that topped the charts in his home country. While the songwriting for this follow-up isn’t radically different from his debut’s slower moments, he’s flipped the script entirely in a stylistic sense, moving into a space somewhere between How to Dress Well’s falsetto choirs and the winter wonderlands of Bon Iver’s For “Emma, Forever Ago”.

The real magic is in his voice, or rather voices: Possessed of a sky-scraping falsetto that draws audible gasps from crowds at his shows, he often begins these songs quietly around gentle keyboard chords that build and grow as he piles on the harmonies, turning virtually whispered melodies into giant crescendos with lush, wordless backdrops sung by armies of overdubbed McMorrows. At no point does his voice drop anywhere near a standard male range. Both chilly and warm, soulful and soft, “Post Tropical” is an intricate ice sculpture of an album, and a fantasy come true for anyone who’s ever misted up over Maxwell’s version of “This Woman’s Work.”

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The debut album in 2011 was titled “Mikal Cronin“. Then his excellent follow-up of course was  MCII. Now the man is back  and naturally, the new one is called suprisingly  MCIII. It will be available not until May 5th on Merge Records, and it features the above track, “Made My Mind Up”. Mikal Cronin back! The melodious Cali garage-rocker and Ty Segall Band member will follow 2013′s great MCIIwith the aptly titled MCIII. Cronin played everything on the album and he arranged the strings. Judging from the tracklist, the entire second half is a six-part suite. Lead single “Made My Mind Up” is as endlessly likable as anything he’s ever done, a smartly assembled and briskly executed blast of guitar-pop goodness.

According to the album’s press release, Mikal Cronin played nearly everything on the record himself (including tzouras, French horn, saxophone, and trumpet). He also arranged parts for a string quartet.

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Parquet Courts have set a “live” album for release in March 2015 which was recorded at Jack White‘s Third Man studios in Nashville.
With a title designed to allay any confusion Parquet Courts: Live at Third Man Records the album will be released on March 3rd and features audio recorded at Jack White’s batcave in June 2014. We were witness to Parquet Courts live when the band played UK festival slots last year, with the album to be one of our essential listening albums of 2014 and superb live sets made them one of the best guitar bands around.

“For most bands the rules of playing live are quite simple: 1. Turn up 2. Play 3. Run for the exit. Admittedly some also find time to thank the crowd. But then for most bands music is written, not created. And what is exciting about them comes from practice and planning, not experimentation and actual excitement.”

“So the excitement of the crowd is palpable when Parquet Courts take to the stage, for it’s not very clear to anyone what is about to happen, but something is definitely about to happen.
Parquet Courts brought a sweltering performance to the hallowed grounds of Third Man’s Blue Room on June 5th of last year and very fortunately, Third Man Records were able to lovingly capture it with their one-of-a-kind, direct-to-acetate recording process. The set included a dynanmic selection of songs from last year’s critically acclaimed album Sunbathing Animal, as well as the 2013 EP, Tally All The Things That You Broke.

You can’t accuse Los Angeles quartet Allah-Las of not doing its homework. Three of the four members met while working at one of the country’s great record stores, Amoeba on Sunset Boulevard, where they spent countless hours studying up on the vintage sounds that compose their affectingly melancholy self-titled debut. The band formed in 2008, and worked for several years painstakingly assembling the songs on Allah-Las, first releasing the vinyl single, “Catamaran”/”Long Journey”, in 2011 and following up with two singles in 2012. All of these songs, plus the eight other tracks that make up Allah-Las, were produced by Nick Waterhouse, a fine L.A. singer-songwriter whose 2012 LP Time’s All Gone is a spirited and record-geek friendly collection of raucous 50s-style R&B thrashers.Innovative Leisure, PRES RECORD Co.

Sometimes a hushed near-whisper and sometimes anything but, with What Is This Heart? Tom Krell makes the move from indie R&B to pop. A little glitchiness and experimentation make their way into the album, but overall, it retains a spacious, emotional quietness. The higher production value is evident in the crispness of the instrumentation lending a cinematic quality to the larger pop tunes. His confessional and candid vocals take front and center on each track, usually in a sweeping, floating falsetto that lends to the feeling of Krell baring his naked soul to the listener.

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sylvan-esso

Mountain Man’s Amelia Meath and Megafaun/Made of Oak’s Nick Sanborn represent a study of contrasts. Together as Sylvan Esso, they create synthy pop songs falling somewhere between Poliça, tUnE-yArDs and Autre Ne Veut.

Starting off as part of the Appalachian-inspired trio Mountain Man, Meath brings a strong folk influence to Sylvan Esso. Her melodies are unwavering; she conjures a new one in each song using her soft and soothing voice against Sanborn’s beats and production. And Sanborn, who played bass with Megafaun and recently started experimenting with electronic music and producing under the name Made of Oak, juxtaposes her vocal purity with deep dubstep, jarring counter-rhythms and the kind of buzzing that household electronic devices seem to emit before they explode and sizzle in defeat. Under Sanborn’s direction, her voice becomes malleable—sometimes an echo of itself and other times a wordless source of harmonic veneer.

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As a result, Sylvan Esso’s self-titled debut is as cerebral as it is sexy. “H.S.K.T.,” the most uptempo on the record, works equally well in a club as it does through headphones. The opening “Hey Mami” serves as commentary on neighborhood catcalling; each time Meath adds another verse or repeats a chorus, Sanborn layers on another bubbling rumpus beneath her clear soprano. “Could I Be,” with Meath’s delay-pedal addled voice creating triplets against itself, coyly alternates between soft subtlety and bold advances.

Sylvan Esso set themselves apart from the synth-pop crowd with their unique take on the style, blending components of folk and electro-pop in a way that works. The duo’s piercing beats and swirling synth melodies serve to both highlight and obscure Amelia Meath’s voice within layers of electronic lushness that gives the album a warm and inviting touch And so the whole album feels like jigsaw puzzle of disparate genres fitting together in strange and lovely ways. In fact, it might just be the greatest crossover sleeper success of the year.

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It’s of no shock that A Million Billion Dying Suns come from San Francisco, home to the Summer of Love and Haight-Ashbury. While I wouldn’t go so far as to say that the group is psychedelic necessarily, there’s a certain fuzzy interstellar overdrive groove to this material – think of the Flaming Lips if they were floating in space – that some may consider to be such. I wouldn’t be surprised at all if the experience of listening to the group’s new album is heightened by ingesting a handful of magic mushrooms before putting this one on the turntable.

First song and promotional track “The Garden” blazes a trail through the atmosphere and rocks out in a distorted fashion. “Real Life”, meanwhile, is what you’d get if T. Rex slashed their speakers. “Afterall” has a baroque style with an introductory harpsichord figure and reverby guitars that bring the song right into the soft rock ‘70s. Basically, what you get with AMBDS is a musical adventure, a trip into the heavens and the inner mind. Even when it doesn’t quite gel, the sheer scope and ambition of this album raises it a notch or two above the standard garage rock or psych rock fare. Smash your heads on the psychedelic rock to this, my friends. A Million Billion Dying Suns are out to expand your consciousness.

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Justin Townes Earle: Single Mothers

For his fifth full-length album, Justin Townes Earle doubled down on the more laid-back, R&B-influenced sound he carved out on his previous 2012 record. On “Single Mothers”, the Tennessee songwriter plays the role of soul crooner (“White Gardenias”), roadhouse bluesman (“My Baby Drives”), and high-lonesome balladeer (“Pictures in a Drawer”) with equal grace. The claustrophobic, burnt-out blues of “Today and Lonely Night” is the real highpoint, a vintage Earle tune that climaxes when the singer gives his excuse to stay in on a Friday night in New York: “Darling, I just don’t feel much like going to Brooklyn tonight,” he moans, possessed with the voice of someone who’s seen far too much and needs to say nothing more. That same sort of sinister subtext can be found on “My Baby Drives,” where the narrator who’s all-too happy to be riding shotgun refuses to reveal why he’s been unable, lately, to take the wheel. “Single Mothers” may trick you into thinking its a simple record, but it just may be Earle’s darkest.

Single Mothers was released on September 9, 2014 via Vagrant Records and is available now . Combined with Absent Fathers, the double album perfectly showcases exactly why Justin Townes Earle is considered a forefather of Contemporary Americana. Hailed as an album that’s “showing the world that alt-country can be pretty dope,” (Noisey/Vice), “Single Mothers” has had great radio success,