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Red Rose Speedway
Paul McCartney & Wings
Rock - Released December 7, 2018 | Paul McCartney Catalog
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Both the public and the press are still getting over Wild Life, the first album that Paul McCartney released with his new group Wings in December 1971. The record was roasted for being very inconsistent... Two years later, Macca released Red Rose Speedway, a piece of work that was considerably more impressive and outgoing to the point that it took him back to the top of the charts, mainly thanks to the single My Love. Like on Wild Life, the singer/bassist is accompanied here by his wife Linda on keyboard, ex Moody Blues guitarist Denny Laine and drummer Denny Seiwell. The group is also joined by Henry McCullough, the ex Spooky Tooth guitarist. Even if certain critics still reproached Paul McCartney for the album being too lightweight, not engaged enough and above all well below the standard of his past compositions, we should appreciate the finesse of some of these melodies and Macca's ability to write catchy choruses. Once again, the eclecticism of the repertoire is sometimes confusing, making it difficult to consider Red Rose Speedway as a real artistic entity. However, some of these compositions are really touching like Little Lamb Dragonfly and Single Pigeon. This remastered deluxe edition, which includes a number of bonus tracks, is an opportunity to rediscover an extra piece of the big Paul McCartney puzzle. © Marc Zisman/Qobuz
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The Dock of the Bay
Otis Redding
Soul - Released February 1, 1968 | Rhino Atlantic
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The Dock of the Bay
Otis Redding
Soul - Released February 1, 1968 | Rhino Atlantic
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It was never supposed to be like this: "(Sittin' On) The Dock of the Bay" was supposed to mark the beginning of a new phase in Otis Redding's career, not an ending. Producer/guitarist Steve Cropper had a difficult task to perform in pulling together this album, the first of several posthumous releases issued by Stax/Volt in the wake of Redding's death. What could have been a cash-in effort or a grim memorial album instead became a vivid, exciting presentation of some key aspects of the talent that was lost when Redding died. Dock of the Bay is, indeed, a mixed bag of singles and B-sides going back to July of 1965, one hit duet with Carla Thomas, and two, previously unissued tracks from 1966 and 1967. There's little cohesion, stylistic or otherwise, in the songs, especially when the title track is taken into consideration -- nothing else here resembles it, for the obvious reason that Redding never had a chance to follow it up. Despite the mix-and-match nature of the album, however, this is an impossible record not to love. Cropper chose his tracks well, selecting some of the strongest and most unusual among the late singer's orphaned songs: "I Love You More Than Words Can Say" is one of Redding's most passionate performances; "Let Me Come on Home" presents an ebullient Redding accompanied by some sharp playing, and "Don't Mess with Cupid" begins with a gorgeous guitar flourish and blooms into an intense, pounding, soaring showcase for singer and band alike. No one could complain about the album then, and it still holds more than four decades later.© Bruce Eder /TiVo
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Liberté
The Doobie Brothers
Rock - Released October 1, 2021 | Island Records (The Island Def Jam Music Group / Universal Music)
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Out on the road in the 2020s, the Doobie Brothers feature Michael McDonald, but when it comes time for the group to cut a record, the band whittles down to the trio of Tom Johnston, Patrick Simmons, and John McFee. Naturally, this means Liberté -- the Doobies' first album of new original material since 2010's World Gone Crazy -- sounds closer to a refurbished version of Toulouse Street or The Captain and Me than Takin' It to the Streets; there's no funky soft rock or smooth blue-eyed soul, just a lot of straight-ahead rock & roll. While Liberté may be old-fashioned in its aesthetic, this trio of Doobies take pains to make the album sound contemporary, dressing it in glassy production, generously adding electronic rhythms, and vaguely addressing the turmoil in the modern world. All this flair may announce Liberté as a 2021 album, but the record works because the Doobies remain dedicated to the rocking boogie they've been playing for 50 years.
© Stephen Thomas Erlewine /TiVo
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Down Where the Spirit Meets the Bone
Lucinda Williams
Country - Released September 29, 2014 | Highway 20 Records
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Dancin' Party: The Chubby Checker Collection (1960-1966)
Chubby Checker
R&B - Released June 19, 2020 | ABKCO Music & Records
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St. Jude
Courteeners
Alternative & Indie - Released April 7, 2008 | UMC (Universal Music Catalogue)
The long-awaited debut by neo-Brit-pop quartet the Courteeners fits neatly into the continuum of big brash guitar bands from Manchester, with hints of the Smiths (including a typically fine production job by Stephen Street), the Stone Roses (occasional flirtations both with '60s-style jangle pop and psychedelia), and Oasis (frontman Liam Fray's big mouth and apparent lack of internal censor, both of which have already made him a popular interview subject for the U.K. music press) coloring these 12 songs. Now, Fray is not the equal of those bands as either a distinctive frontman or as an instantly memorable songwriter, but the best parts of St. Jude are at least superior to, say, Menswear or Cast. Tracks like the singles "What Took You So Long?" and "Not Nineteen Forever" fairly leap out of the gate, all jangly guitar lines and galloping rhythm sections, topped with Fray's endearingly yobbish vocals and unabashed sentimental lyrical streak, and the more measured material throws enough changeups to keep the album from getting tiring. Time will tell whether the Courteeners have more than one good album in them, but there is always room for this spirited take on British indie rock.© Stewart Mason /TiVo
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The Dock of the Bay
Otis Redding
Soul - Released February 1, 1968 | Rhino Atlantic
It was never supposed to be like this: "(Sittin' On) The Dock of the Bay" was supposed to mark the beginning of a new phase in Otis Redding's career, not an ending. Producer/guitarist Steve Cropper had a difficult task to perform in pulling together this album, the first of several posthumous releases issued by Stax/Volt in the wake of Redding's death. What could have been a cash-in effort or a grim memorial album instead became a vivid, exciting presentation of some key aspects of the talent that was lost when Redding died. Dock of the Bay is, indeed, a mixed bag of singles and B-sides going back to July of 1965, one hit duet with Carla Thomas, and two, previously unissued tracks from 1966 and 1967. There's little cohesion, stylistic or otherwise, in the songs, especially when the title track is taken into consideration -- nothing else here resembles it, for the obvious reason that Redding never had a chance to follow it up. Despite the mix-and-match nature of the album, however, this is an impossible record not to love. Cropper chose his tracks well, selecting some of the strongest and most unusual among the late singer's orphaned songs: "I Love You More Than Words Can Say" is one of Redding's most passionate performances; "Let Me Come on Home" presents an ebullient Redding accompanied by some sharp playing, and "Don't Mess with Cupid" begins with a gorgeous guitar flourish and blooms into an intense, pounding, soaring showcase for singer and band alike. No one could complain about the album then, and it still holds more than four decades later.© Bruce Eder /TiVo
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The Dock Of The Bay
Otis Redding
Soul - Released February 1, 1968 | Elektra Records
It was never supposed to be like this: "(Sittin' On) The Dock of the Bay" was supposed to mark the beginning of a new phase in Otis Redding's career, not an ending. Producer/guitarist Steve Cropper had a difficult task to perform in pulling together this album, the first of several posthumous releases issued by Stax/Volt in the wake of Redding's death. What could have been a cash-in effort or a grim memorial album instead became a vivid, exciting presentation of some key aspects of the talent that was lost when Redding died. Dock of the Bay is, indeed, a mixed bag of singles and B-sides going back to July of 1965, one hit duet with Carla Thomas, and two, previously unissued tracks from 1966 and 1967. There's little cohesion, stylistic or otherwise, in the songs, especially when the title track is taken into consideration -- nothing else here resembles it, for the obvious reason that Redding never had a chance to follow it up. Despite the mix-and-match nature of the album, however, this is an impossible record not to love. Cropper chose his tracks well, selecting some of the strongest and most unusual among the late singer's orphaned songs: "I Love You More Than Words Can Say" is one of Redding's most passionate performances; "Let Me Come on Home" presents an ebullient Redding accompanied by some sharp playing, and "Don't Mess with Cupid" begins with a gorgeous guitar flourish and blooms into an intense, pounding, soaring showcase for singer and band alike. No one could complain about the album then, and it still holds more than four decades later.© Bruce Eder /TiVo
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Practice What You Preach
The Poets Of Rhythm
Funk - Released January 1, 1993 | Daptone Records
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The Anthology 1992-2003
The Poets Of Rhythm
Soul - Released October 1, 2013 | Daptone Records
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It'll Take More Than A Weekend Away To Fix This Mess
Courteeners
Alternative & Indie - Released September 7, 2022 | UMC (Universal Music Catalogue)
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If Not Tomorrow / I Was More of a Mess Then...
Comet Gain
Alternative & Indie - Released October 5, 2018 | Tapete Records
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I Ain't Gonna Drink No More: Not Much
Dewey Corley
Blues - Released November 18, 2006 | Big Legal Mess Records
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More Than a Mess
Starfire
Rock - Released November 4, 2011 | Grounded Groove Records
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