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Belafonte: At Carnegie Hall
Harry Belafonte
Pop - Released July 1, 1959 | RCA - Legacy
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Free At Last
Mal Waldron Trio
Jazz - Released November 24, 1969 | ECM
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The very first ECM release (which has been reissued on CD), this trio set features pianist Mal Waldron, bassist Isla Eckinger and drummer Clarence Becton improvising quite freely on five of Waldron's compositions plus "Willow Weep For Me." The music overall is not that memorable or unique but it does have its unpredictable moments and finds Waldron really stretching himself.© Scott Yanow /TiVo
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Peepshow
Siouxsie & The Banshees
Rock - Released September 5, 1988 | UMC (Universal Music Catalogue)
The switch to Yet Another Banshees Guitarist in Specimen vet Jon Klein might have been seen as a cue for a time of tentative rebuilding -- the more so because another new member, cellist Martin McCarrick, was recruited at the same time. Anything but -- heralded by the spectacular "Peek-A-Boo," interpolating what sounded like the Charleston into hip-hop rhythms with a brilliant, choppy arrangement, Peepshow proved the band's best album in years. Once again showcasing the band's ace in the hole -- the ability to always provide an accomplished variety of sound and approach while still recognizably maintaining a uniquely Banshees style -- Peepshow is the sound of a band reenergized. Siouxsie's thrilling call and response with herself on "Peek-A-Boo" really can't be beat, but her star turns throughout the album all deserve notice, especially with the bravura one-two conclusion of the stately "The Last Beat of My Heart" and the dramatic, lives-up-to-the-title "Rhapsody." McCarrick's cello work is excellently integrated into the music, adding a purring extra bite on songs like the pummeling "The Killing Jar," while both Steven Severin and Budgie acquit themselves well as always. If their moments of total flash are subsumed for the overall arrangements, it's to the benefit of the songs, overseen with another fine production job from semi-regular Banshees studio cohort Mike Hedges. The band's knack for a combination of title, lyric, and atmosphere remains strong -- "Carousel" sounds indeed like a slightly demented version of such a thing, while "Rawhead and Bloodybones," appropriately for two English bogeyman characters, is quiet, creepy, and very much sneaking-up-on-you-in-the-night. "Scarecrow" is a secret highlight, ominous guitar and bass tones and swirling arrangements supporting a great Siouxsie turn, while the hints of flamenco on "Turn to Stone" perhaps inadvertently suggest where the Creatures would end up with their next album two years later.© Ned Raggett /TiVo
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Like It's The Last One Left
Uncle Lucius
Country - Released December 8, 2023 | Boo Clap
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#1's
Destiny's Child
Pop - Released October 25, 2005 | Sony Urban Music - Columbia
An honest title for this disc would be Several #1's, a Bunch of Top Tens, and a Couple New Songs, but #1's obviously has a greater -- if false -- ring to it. #1's isn't formatted any differently than scores of other anthologies packaged in time for the holiday shopping season, but it's also timely in that it comes after four Destiny's Child albums, all of which produced a handful of hits and roughly twice as much filler. Few problems could be had with the track selection. Containing each of Destiny's Child's charting singles, with the exception of "Brown Eyes" and the inconsequential "8 Days of Christmas," the disc reaffirms that Destiny's Child released some of the biggest R&B singles of the late '90s and early 2000s. For instance, you didn't have to be a fan of R&B, or even music, to cross paths with the likes of "Survivor" -- an overblown song with a form of success that had more to do with its mega-anthem quality and opportunistic title (the show of the same title was extremely popular at the time). As strategic as Destiny's Child were, they still have enough substance in their discography to place them as one of the best R&B groups of the '90s and early 2000s. Though they didn't follow the previous top female R&B group, TLC, with nearly as much brilliance or finesse, they've left behind several singles that will be remembered for something other than their mainstream success.© Andy Kellman /TiVo
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Do You Like My Tight Sweater?
Moloko
Pop - Released September 1, 1995 | Echo
I Am Not a Doctor could have been called Moloko 2.0. A better integration of tech appeal and sex appeal than the group's debut, Do You Like My Tight Sweater?, Moloko's singing, writing, and musical reach are all upgraded on I Am Not a Doctor. The result is a more entertaining and less self-conscious album. Songs like "The Flipside," "Blink," and "Pretty Bridges" offer a stylized pop take on jungle, while the ballads "Downsized," "Caught in a Whisper," and "Should've Been Could've Been" mix pathos with the band's dry wit. The deadpan new wave of "Sorry," the cyberfunky "The Id," and the techno torch song "Sing It Back" show off Moloko's expanded range. Musically and vocally, Roisin Murphy and Mark Brydon blend their talents more smoothly on I Am Not a Doctor. Murphy's voice melds with the horns, strings, and keyboards backing her, while real and electronic drums punctuate each song expressively. A balance of contradictions, Moloko keep inventiveness and listenability high on their second album.© Heather Phares /TiVo
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Keep On With Falling
The Boo Radleys
Alternative & Indie - Released January 13, 2023 | Boostr
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Ella Mai
Ella Mai
R&B - Released October 12, 2018 | 10 Summers - Interscope PS
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The self-titled debut album from British R&B artist Ella Mai follows a slew of singles. Featuring production from the likes of DJ Mustard, Kosine, Lido, and H*Money, the album sees Mai deliver a collection of contemporary R&B tracks while taking inspiration from the sounds of early-'90s R&B and pop.© Rich Wilson /TiVo
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The Complete Decca Recordings
Count Basie
Jazz - Released January 1, 1992 | Verve Reissues
This magnificent three-disc set has the first 63 recordings by Count Basie's Orchestra, all of his Deccas. The consistency is remarkable (with not more than two or three turkeys) and the music is the epitome of swing. With such soloists as Lester Young and Herschel Evans on tenors, trumpeters Buck Clayton and Harry "Sweets" Edison, the great blues singer Jimmy Rushing, and that brilliant rhythm section of Basie, guitarist Freddie Green, bassist Walter Page, and drummer Jo Jones, the music is timeless. It's all here: "One O'Clock Jump," "Sent for You Yesterday," "Blue and Sentimental," "Jumpin' at the Woodside," "Jive at Five," and many others. This is the first Count Basie collection to acquire and should be in every jazz collection.
© Scott Yanow /TiVo
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Talkin' Verve
Les McCann
Jazz - Released January 1, 1998 | Verve
Talkin' Verve collects 16 of the funkiest tracks Les McCann recorded for Verve. Of course, funky can be a relative term -- McCann was the coolest pianist this side of Horace Silver, and his laid-back style may not sit well with the hipsters who are this disc's intended audience. If they keep in mind that the pianist never led a small organ combo, they'll be pleased by this swinging soul-jazz and its warm, friendly atmosphere. Some of the songs are a little slight, but even those are given appealing, coolly funky arrangements that are quite engaging, and that's what makes this a welcome sampler.© Stephen Thomas Erlewine /TiVo
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Back For Everything
Kodak Black
Hip-Hop/Rap - Released February 25, 2022 | Atlantic Records
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Florida rap star Kodak Black's Auto-Tuned flows and occasional witty punchlines are on equal footing with the beat selection throughout fourth studio album Back for Everything, a lengthy collection that often shows more personality with its instrumentals than Kodak's rapping does. The synth-heavy production is engaging and often explores unexpected textures. "Love & War" blurs summery swells of guitar with a looping steel drum melody before a booming trap rhythm and Kodak's devilish, throaty vocals come in. During moments like this, the Lil Durk-assisted "Take You Back" (the album's only song with a featured guest), the druggy synth pop of "Hitting Houses," and the eerie, certified platinum hit "Super Gremlin," Kodak sounds activated by the exciting instrumental backing. Elsewhere, his performances tend toward the generic, stumbling through by-the-numbers bragging about his wealth or forgettable tales of struggles and hardship coming up. Though Back for Everything is still enjoyable as a nearly hour-long project, Kodak Black's performances run out of inspiration long before the production, and the entire album could benefit from an edit that cuts out roughly under half of the inferior tracks to let the stronger ones shine.© TiVo Staff /TiVo
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Calypso - Is Like So...!
Robert Mitchum
Pop - Released January 1, 1957 | Caroline Records
Distinctions
The Qobuz Ideal Discography
More hip than Don Johnson's Heartbeat, not as camp as William Shatner's The Transformed Man, and equally as kitsch as, well, most everything else from the '50s, Robert Mitchum's Calypso -- Is Like So will win you over. Recorded in 1957, the idea for the album must have been hatched in a rum fervor. While filming in Trinidad, Mitchum began soaking up some of the local musical talent, such as Lord Melody and Mighty Sparrow. The result is an album of neither watered down nor truly authentic calypso. Included are the requisite steel drums, congas, and backing horns and many traditional Caribbean songs, yet, a few are obvious rockers á la Elvis Presley. His voice sounds something like Bing Crosby crossed with Dean Martin and Merle Haggard, and his insistence of affecting the broken English of many of the real calypso artists -- this is "dis," "the" is often dropped -- may smack some as distasteful. Nonetheless, it is great to hear such an icon of Hollywood cool having so much kooky fun at his own expense. And the album is not bereft of musical merit. One of the most interesting elements is the use of a banjo instead of guitar as a single line instrument for solos, prefiguring the instrument's use in many contemporary bluegrass and avant-jazz outfits. Also included as a bonus are two rockabilly tracks the artist recorded for his 1958 bootleg. Noir flick Thunder Road, of which the title track "The Ballad of Thunder Road" was a moderately successful pop hit.© Matt Collar /TiVo
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Giant Steps
The Boo Radleys
Pop/Rock - Released August 16, 1993 | Creation Records
Distinctions
The Qobuz Ideal Discography
Titling an album after John Coltrane's masterpiece may well seem the height of pretension, but heck, it never stopped the Replacements from a similar move vis-a-vis the Beatles. As it is, the title is perfectly justified -- guitarist/songwriter Martin Carr, a Coltrane aficionado among many other things, here finally leads his band from the promising to the truly inspired. With the inventive, groundbreaking Lazarus EP as a touchstone (the title track is included here in an unfortunately abbreviated form), the Boos self-produce themselves to new heights. The genius of the Boos definitely lies in their ability to adapt many a different touch and make it their own, taking what are often straightforward, hooky pop songs and turning them into something more, an ability Giant Steps shows in spades. The old fuzz blast is here, but less beholden to the likes of My Bloody Valentine, instead drawing on Carr's wide-ranging tastes (Beach Boys, psych-pop, Human League/New Order-inspired arrangements) to reach different, individual conclusions. From the near free-noise wash of "Run My Way Runway" to the soaring pop blast of "Barney (...and Me)," a poignant, nostalgiac lyric backed by a thrilling overall performance, the band does little wrong. Brown and Cjeka effectively incorporate dub/reggae rhythms, as "Lazarus" itself showed they could do, blending in loping, funky skank to "Upon 7th and Fairchild" and the fantastic "Butterfly McQueen." Carr's guitar work is much more distinctly his own throughout the album, with often volcanic, inspired soloing adding a huge, echoed sound to many of the songs. A number of guest performers help, notably Steve Kitchen on brass; his trumpet and flugelhorn parts and flourishes add jazzy touches throughout, at times reminiscent of Miles Davis' work on Sketches of Spain.© Ned Raggett /TiVo
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Laurel Aitken: Original Jamaican Reggae & Ska
Laurel Aitken
Reggae - Released September 3, 2012 | Pressure Drop
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Are You Hep To The Jive?
Cab Calloway
Pop/Rock - Released August 9, 1994 | Legacy - Columbia
Cab Calloway was a gloriously outsized manifestation of all that was frantic in the first full flowering of prohibition-era jazz. Dressed with all the flash of a brand new Cadillac, leading a crack band who could swing and sway with both abandon and precision, and spinning demi-monde tales of wild good times complete with illegal party favors, Calloway was a joyous personification of America's id at a time when such celebrations were hardly the stuff of common currency. Calloway's most popular music was recorded during the early to mid-'30s, but when more polished swing sounds supplanted his earlier style, Cab wasn't afraid to move with the times and led a top-notch big band capable of playing more contemporary music while still delivering the free-wheeling punch Calloway's personality demanded. Are You Hep to the Jive? is a great compilation from Columbia's Legacy series that brings together 22 sides Calloway waxed for Vocalion, Okeh, and Columbia between 1939 and 1947, and shows beyond a doubt Cab's muse was still in fine fettle at this point in his career. Calloway's band was filled with first-class talent, and the likes of Dizzy Gillespie, Chu Berry, Milt Hinton, and Jonah Jones can be heard on the selections included here, but as great as the band is (and they swing with potent, joyous force throughout this disc), it's Calloway's 100-proof charisma, his unabridged lexicon of jive speak and his top-shelf scatting skills that bring this collection to life, and the fine madness of "Are You All Reet?," "A Chicken Ain't Nothin' But a Bird," "Tarzan of Harlem," and "Who's Yehoodi?" is as satisfying as a cold drink on a warm day. If this isn't quite the definitive Cab Calloway disc, Are You Hep to the Jive? is an excellent overview of his work in the '40s, and it's solid fun from first note to last.© Mark Deming /TiVo
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The Rubinoos
The Rubinoos
Alternative & Indie - Released January 1, 1977 | Yep Roc Records
Suppose you have a more precise idea of what you want. If you are searching for the album "Bad" by Michael Jackson, type michael jackson bad. The album in question will be displayed at the top, as it is the most relevant.
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