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Where The Light Goes
Matchbox Twenty
Rock - Released May 26, 2023 | Atlantic Records
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Hell Freezes Over
Eagles
Rock - Released November 8, 1994 | Geffen
The Eagles' first newly recorded album in 14 years gets off to a good start with the rocker "Get Over It," a timely piece of advice about accepting responsibility, followed by the tender ballad "Love Will Keep Us Alive," the country-styled "The Girl from Yesterday," and "Learn to Be Still," one of Don Henley's more thoughtful statements. Unfortunately, that's the extent of the album's new material. Essentially, Hell Freezes Over contains an EP's worth of new material followed by a live album. The Eagles, known for meticulously re-creating their studio recordings in concert, nevertheless released an earlier concert recording, Eagles Live, in 1980. Six songs from that set reappear here, and only one is in a noticeably different arrangement, with "Hotel California" receiving the acoustic treatment. As was true on Eagles Live, the group remains most interested in their later material, redoing five songs from the Hotel California LP and two from its follow-up, The Long Run, but finding space for only three songs from their early days: "Tequila Sunrise," "Take It Easy," and "Desperado," the last two of which were also on Eagles Live. As such, Hell Freezes Over is hard to justify as anything other than a souvenir for the Eagles' reunion tour. That, however, did not keep it from topping the charts and selling in the millions.
© William Ruhlmann /TiVo
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Katy Lied
Steely Dan
Pop - Released March 1, 1975 | Geffen*
Building from the jazz fusion foundation of Pretzel Logic, Steely Dan created an alluringly sophisticated album of jazzy pop with Katy Lied. With this record, Walter Becker and Donald Fagen began relying solely on studio musicians, which is evident from the immaculate sound of the album. Usually, such a studied recording method would drain the life out of each song, but that's not the case with Katy Lied, which actually benefits from the duo's perfectionist tendencies. Each song is given a glossy sheen, one that accentuates not only the stronger pop hooks, but also the precise technical skill of the professional musicians drafted to play the solos. Essentially, Katy Lied is a smoother version of Pretzel Logic, featuring the same cross-section of jazz-pop and blues-rock. The lack of innovations doesn't hurt the record, since the songs are uniformly brilliant. Less overtly cynical than previous Dan albums, the album still has its share of lyrical stingers, but what's really notable are the melodies, from the seductive jazzy soul of "Doctor Wu" and the lazy blues of "Chain Lightning" to the terse "Black Friday" and mock calypso of "Everyone's Gone to the Movies." It's another excellent record in one of the most distinguished rock & roll catalogs of the '70s.© Stephen Thomas Erlewine /TiVo
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The Wild, the Innocent & The E Street Shuffle
Bruce Springsteen
Rock - Released September 11, 1973 | Columbia
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Bruce Springsteen expanded the folk-rock approach of his debut album, Greetings from Asbury Park, N.J., to strains of jazz, among other styles, on its ambitious follow-up, released only eight months later. His chief musical lieutenant was keyboard player David Sancious, who lived on the E Street that gave the album and Springsteen's backup group its name. With his help, Springsteen created a street-life mosaic of suburban society that owed much in its outlook to Van Morrison's romanticization of Belfast in Astral Weeks. Though Springsteen expressed endless affection and much nostalgia, his message was clear: this was a goodbye-to-all-that from a man who was moving on. The Wild, The Innocent & the E Street Shuffle represented an astonishing advance even from the remarkable promise of Greetings; the unbanded three-song second side in particular was a flawless piece of music. Musically and lyrically, Springsteen had brought an unruly muse under control and used it to make a mature statement that synthesized popular musical styles into complicated, well-executed arrangements and absorbing suites; it evoked a world precisely even as that world seemed to disappear. Following the personnel changes in the E Street Band in 1974, there is a conventional wisdom that this album is marred by production lapses and performance problems, specifically the drumming of Vini Lopez. None of that is true. Lopez's busy Keith Moon style is appropriate to the arrangements in a way his replacement, Max Weinberg, never could have been. The production is fine. And the album's songs contain the best realization of Springsteen's poetic vision, which soon enough would be tarnished by disillusionment. He would later make different albums, but he never made a better one. The truth is, The Wild, The Innocent & the E Street Shuffle is one of the greatest albums in the history of rock & roll.© William Ruhlmann /TiVo
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A Bit of Previous
Belle and Sebastian
Alternative & Indie - Released May 6, 2022 | Matador
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How do you age and grow old when you’ve so beautifully embodied youth? This is a question that arises for most rock musicians, but it feels particularly pertinent to Belle and Sebastian. At the end of 90s, this Scottish band (re)invented the holiday romance in song form; equal parts awkward and romantic. With a sound similar to the Beach Boys (if they were taken out of California) or perhaps The Smiths (if they had a shy, folksy sound), Belle and Sebastian became one of the largest small bands out there: a totem of indie music. A quarter of a century later, the band has lost a few fans (and almost as much hair). Their music hangs in a fragile balance, one that doesn’t entertain self-parody or excess. By going back to basics, the band has succeeded in making one of the best albums of their adult life. A Bit Of Previous was recorded at their home in Glasgow. Frontman Stuart Murdoch sings out of tune from the second track, If They’re Shooting At You, and that’s no bad thing. It’s a sign that the band is keeping things fresh, reclaiming that amateurism that the world initially fell in love with. They employ a fairly wide musical palette—from country to electro-pop to soul—and the band delivers its choruses as well as they always have; with an airy demeanour, softened edges and a slightly broken smile. This is a delicious pop album. © Stéphane Deschamps/Qobuz
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Sometime In New York City
John Lennon
Rock - Released January 1, 1972 | UMC (Universal Music Catalogue)
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While Lennon claimed to have always been politically minded, given his working-class upbringing in class-conscious England ("I've been satirizing the system since my childhood," he once mused), rock-pop sensibilities, clever wordplay, or matters of the heart usually took precedence in his musical output. But here Lennon and Yoko, accompanied by New York's Elephant's Memory, sing and scream freely against sexism in "Woman Is the Nigger Of The World" and "Sisters, O Sisters." They protest incarceration in "John Sinclair," "Attica State," and "Born In A Prison," colonialism in "Sunday Bloody Sunday" and "The Luck Of The Irish," and racism in "Angela." The richness of Phil Spector's production fills out the danceable grooves on nearly every track. Also featured is Lennon's paean to his adopted home, "New York City," with allusions to doping clerics and transsexual rockers as well as the highly quotable line, "What a bad-ass city!" On the bonus disc, Lennon and Ono get it on with Zappa and the Mothers in live sets from London and New York. Things heat up considerably with "Cold Turkey," freak out with "Don't Worry Kyoko," and veer into the ridiculous with audience participation on "Scumbag." SOMETIME IN NEW YORK CITY is some of the groovin'-est, most tuneful agit-prop ever committed to disc.© TiVo
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Strut
Lenny Kravitz
Rock - Released July 29, 2014 | Roxie Records, Inc.
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Stiff Upper Lip
AC/DC
Metal - Released February 28, 2000 | Columbia
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Sonic Temple
The Cult
Alternative & Indie - Released April 1, 1989 | Beggars Banquet
More varied than its predecessor, Electric, Sonic Temple finds the Cult trying several different metal styles, from crunchy Electric-era '70s grooves and the fuzzy, noisy psychedelia of Love, to mellow ballads and commercial '80s hard rock. Not all of the experiments work, as some of the songs lean toward ponderousness, but enough of them do to send Sonic Temple into the Billboard Top Ten, due to the exposure provided by the hit single "Fire Woman."
© Steve Huey /TiVo
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New York City
Jones, Norah, Peter Malick Group Featuring
Pop/Rock - Released July 8, 2003 | eOne Music
The story goes that, in 2000, while pianist/vocalist Norah Jones was playing regularly at the Living Room in New York's Lower East Side and well before she earned eight Grammys, she received an invitation to sing some blues with guitarist Peter Malick and his band. Reluctantly, Jones admitted to a paucity of blues-singing experience. Thankfully, Malick was persistent. Listening to the rootsy, organic beauty evidenced on New York City, you'd never know Jones hadn't ever sung the blues. Inspired by the classic work of artists such as Ray Charles and Billie Holiday, New York City is a kind of singer/songwriter blues album featuring Jones' particularly haunting vocal style. It's more mainstream than Come Away With Me, but fans of that album should cotton easily to Jones' work here. Conceptualized around the post-9/11 title track, most of Malick's songs are contemporary blues reminiscent of the work of Bonnie Raitt and Eric Clapton. Notably, "Strange Transmissions," a melancholy and atmospheric profession of a love that just can't be denied, showcases Jones as mellow blues diva, while "Heart of Mine" finds the pianist's breathy style perfectly suited to the Bob Dylan nugget. As for leader Malick, he takes the vocal duties on "Things You Don't Have to Do" and graces most of the tracks with his thoughtful and tempered guitar sound.
© Matt Collar /TiVo
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Take The Heat Off Me
Boney M.
Disco - Released June 1, 1976 | MCI
Take the Heat Off Me marked the album debut of one of the world's most successful disco groups, Boney M. Although they never found much success in the United States, they were a phenomenon overseas during the late '70s and this album makes it easy to understand why. They were the right group at the right time -- their unique combination of rocksteady disco rhythms and infectious bubblegum pop hooks created a sound that anyone in any country could easily grasp and find appealing. Some may find the Boney M. sound to be too sweet, but the group's soulful vocals subtly add a little grit into the mix to keep the music from drifting off into the ether. The big hits from this album were "Sunny," a pulsating, string-drenched update of Bobby Hebb's pop-soul classic, and "Daddy Cool," a relentless groove that combines staccato violin stabs, mariachi horns, and an aggressive drum attack to create an irresistibly catchy dance-pop ditty. The other tracks offer a similar mix of poppy originals and odd covers: "Got a Man on My Mind" combines reggae rhythms and choral vocals to great effect and Boney M.'s cover of Bob Marley's "No Woman, No Cry" may seem preposterous in concept but works thanks to its effective combination of soulful vocals and slick instrumentation. "Baby Do You Wanna Bump," the only song that strays from the pop song format, drags noticeably, but the high quality of the surrounding tunes makes up for this flaw. Take the Heat Off Me won't win any new fans to the disco cause, but it remains an effective and likable slice of Euro-disco at its most effervescent.© Donald A. Guarisco /TiVo
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The Singles - Volume 01
The Strokes
Alternative & Indie - Released February 24, 2023 | Legacy Recordings
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Live From New York City, 1967
Simon & Garfunkel
Folk/Americana - Released July 16, 2002 | Columbia - Legacy
Recorded on January 22, 1967, at Lincoln Center in New York, four of these 19 songs were on the 1997 Old Friends box set, but the rest were unissued until the 2002 appearance of this release. The duo performs acoustically, without accompanists (as was usually the case in their concerts), on a fine-sounding and well-delivered set that doesn't contain any revelations, but is nonetheless an excellent document of their live work as they reached their prime. Certainly a Simon & Garfunkel fan could have hardly wished for a better song selection, as it features all the major hits and most of the best album tracks that the pair had recorded prior to 1967: "The Sound of Silence," "I Am a Rock," "Homeward Bound," "The 59th Street Bridge Song (Feelin' Groovy)," "Richard Cory," "A Hazy Shade of Winter," "The Dangling Conversation," "Anji," and "For Emily, Whenever I May Find Her." Some of the more offbeat moments, however, lie in less-celebrated songs like "Leaves That Are Green," "Benedictus," and "He Was My Brother." Only two of the cuts, though, would qualify as relatively seldom-heard tunes: "A Church Is Burning," which Paul Simon put on his 1965 U.K.-only solo album but was not recorded for release by Simon & Garfunkel, and the uncommonly tough-minded "You Don't Know Where Your Interest Lies," which would be a 1967 non-LP B-side (of "Fakin' It"). Numerous live Simon & Garfunkel bootlegs had circulated before this release, so the pair's concert sound will not come as a shock to hardcore fans, but it's great to have a classy, above-board document of their live presence.© Richie Unterberger /TiVo
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you ruined new york city for me
Fletcher
Pop - Released August 16, 2019 | Capitol Records
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God Willin' & The Creek Don't Rise
Ray LaMontagne
Rock - Released August 13, 2010 | RCA Records Label
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Sélection Les Inrocks
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Gipsy Trio
Biréli Lagrène
Jazz - Released August 24, 2009 | Dreyfus Jazz
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Bireli Lagrene's long and outstanding career as a Django Reinhardt disciple has been reinforced time and time again, while he also makes inroads to extend and expand the tradition of gypsy jazz. While his acoustic guitar wizardry is unquestioned, his sincerity in keeping the hot swing of Reinhardt alive has been adopted by others, but not like Lagrene is capable of playing it. This drummerless trio with veteran bassist Diego Imbert and rhythm guitarist Hono Winterstein -- heard in recent times with the Dorado Schmitt family band -- is an exciting, tasteful, and skilled combo that takes liberties in this kind of vintage jazz without stressing it out. Many of these tracks are familiar old favorites, but a few have new twists, not to mention energy to burn. A version of Ahmad Jamal's "Poinciana" in particular has never really been done with a Parisian flair, and it's a nice change-up. "Limehouse Blues" is another chestnut given new incentive to swing with Imbert's bowed lines and rhythm churning more that normal. Most delightful is "Singing in the Rain," already joyful but here happy, over the top with an additionally whistled refrain. And "Tiger Rag" is about as playful, fun, and vigorous as it gets. One might wonder what George Harrison would think of a take on his pensive classic tune "Something," done in easy swing mode, or see George Shearing listening to a chunky, stride-filled version of "Lullaby of Birdland." Of the originals, "New York City" is a fast-paced metropolitan subway jam, "Sir F.D." for label honcho Francis Dreyfus has Lagrene in a languid solo repast, and "Made in France" has a choppy, 6/8 romp. There are some patient tunes indeed, but Lagrene is at heart a speed demon, ripping up the lesser-known Reinhardt tune "Micro" as if he's playing it in a vat of lit sterno. This is yet another in the long line of fine recordings the virtuoso Lagrene has offered to the world, and comes easily recommended.© Michael G. Nastos /TiVo
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Summer Days (And Summer Nights)
The Beach Boys
Pop - Released January 1, 1965 | Capitol Records
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Live in New York City
Bruce Springsteen
Rock - Released March 27, 2001 | Columbia - Legacy
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The Complete 'Round About Midnight At The Cafe Bohemia
Kenny Dorham
Jazz - Released January 1, 2002 | Blue Note Records
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During the spring and summer of 1956, trumpeter Kenny Dorham recorded two studio albums with his Jazz Prophets, a small hard bop band involving tenor saxophonist J.R. Monterose and a rhythm section of pianist Dick Katz, bassist Sam Jones and drummer Arthur Edgehill. On May 31 of that year, Dorham's group performed live at the Café Bohemia with Bobby Timmons at the piano and guitarist Kenny Burrell sitting in on all but the first of four sets. Originally engineered by Rudy Van Gelder and remastered by him in 2001, Blue Note's 2002 double-disc "Complete" Dorham Café Bohemia edition combines every usable track taped during this exceptionally fine evening of live jazz. The word "understated" has sometimes been used to describe the music played by Dorham's band on this night in 1956; this is only appropriate if Dorham is compared with intense individuals like Fats Navarro or Dizzy Gillespie. Dorham's jazz was perhaps more intimate and accessible precisely because his horn had an earthier tone, almost like that of a cornet. Sometimes compared with Ted Curson, Richard Williams or Freddie Hubbard, Dorham sounded a lot like the profoundly gifted and vastly underappreciated Johnny Coles, particularly during ballads like "Autumn in New York" and "Round Midnight." There are also intimations of Miles Davis, Nat Adderley and even young Don Cherry. This music is designed for relaxing and grooving out. It will greatly assist anyone who is traveling by night or trying to make it through to the end of another day.© arwulf arwulf /TiVo
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Pure Jerry: Lunt-Fontanne, New York City, The Best of the Rest, October 15-30, 1987
Jerry Garcia Band
Rock - Released November 1, 2004 | Round Records
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