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Guardians of the Galaxy Vol. 3
John Murphy
Film Soundtracks - Released May 3, 2023 | Hollywood Records
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Blind Rage
Accept
Hard Rock - Released August 15, 2014 | Nuclear Blast
Booklet
Although modern metal is built on a foundation of daring experimentation and technicality, the old gods of the genre worked in more intangible ways, building their sound on attitude and swagger. On their 14th studio album (the third since the band re-formed with new vocalist Mark Tornillo at the helm in 2009), the seeming unkillable Accept return to take listeners back to the tough old days of metal with Blind Rage. While the album's title evokes the idea of an uncontrollable beast wildly lashing out at anything nearby, the music contained within paints a different picture. Like a snarling guard dog on a leash that's just a little too short, the album feels restrained, but still dangerous, as if at any moment things could break bad and spin out of control. Seething and snarling, the album shows that the band still know how to pull the listener's strings. On track after track, Blind Rage dishes out aggression with an even hand, keeping the listener right at the edge of catharsis without whipping them into a frenzy. As many old-school metal revivalists have proven time and again, this trait is one that can only be learned with experience, something Accept have picked up plenty of over the last few decades. And even with Tornillo on vocals, Accept still sound the way you remember them sounding when they were at the height of their power, so even the lapsed, Balls to the Wall-era metalheads out there will feel as though they're picking up with the band right where they left off.© Gregory Heaney /TiVo
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Going Blank Again
Ride
Rock - Released March 1, 1992 | Rhino - Warner Records
From the sounds of the cloistered, chaotic opener, "Leave Them All Behind," Going Blank Again sounds like it could be headed down the same Nowhere path. Guitars as far as the ear can hear -- not much different from the effect gained after riding a sit-and-spin for eight straight minutes -- are just as dizzying as the prior record's opener. But rather than sink into a thick underbelly of melancholy, Going Blank Again offers sunshiney melodies and gleaming, bold production. All the band's elements are more pliable, and overall it's pretty cheery. In fact, some of the album could be loosely classified as power pop. Bouncy tunes like "Twisterella," "Not Fazed," "Mouse Trap," and "Time of Her Time" each share more than a thing or two in common with the likes of Teenage Fanclub, but with more layered vocals and less-cutting guitars. Though Ride's guitars don't bite as much, there are loads of them everywhere; the band doesn't completely sacrifice their love of reverberating noise, but it's more done in the name of pop than to merely cause a blistering racket. Though the lyrics often read as overtly simple or obtuse (a common Ride foible), Mark Gardener's and Andy Bell's voices are too pretty to let this shortcoming mar things. They create enough of a mood with their proper instruments, and their sighing and random vocal intonations are undeniably lovely. No longer do they hide shortcomings with sheets of distortion, and there's a lot more focus and confidence on display throughout. Don't let a Ride fan tell you otherwise: Going Blank Again is anything but empty.© Andy Kellman /TiVo
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Monolith of Inhumanity
Cattle Decapitation
Metal - Released May 4, 2012 | Metal Blade Records
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Stampede
The Doobie Brothers
Pop - Released December 11, 1974 | Rhino - Warner Records
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Buffalo Gals Stampede
Malcolm McLaren
Dance - Released January 1, 1998 | UMC (Universal Music Catalogue)
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Dead Slow Stampede
Richard Bargel
Blues - Released December 9, 2022 | Clementine Music
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Essential Artist Collection: The Skatalites
The Skatalites
Reggae - Released January 20, 2023 | Trojan Records
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Hollywood Stampede
Coleman Hawkins
Jazz - Released November 30, 2018 | Blue Note Records
Hawkins led one of his finest bands in 1945, a sextet with the fiery trumpeter Howard McGhee that fell somewhere between small-group swing and bebop. This CD contains all of that group's 12 recordings, including memorable versions of "Rifftide" and "Stuffy"; trombonist Vic Dickenson guests on four tracks. This CD concludes with one of Hawkins' rarest sessions, an Aladdin date from 1947 that finds the veteran tenor leading a septet that includes 20-year-old trumpeter Miles Davis.
© Scott Yanow /TiVo
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Stampede
Dimitri Vegas & Like Mike
Electronic - Released November 3, 2013 | Spinnin' Records
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Stampede
The Doobie Brothers
Rock - Released December 11, 1974 | Warner Records
Talk about greatness -- the Doobie Brothers, with Jeff "Skunk" Baxter added to their lineup, delivered their best album to date helped by a fairly big hit, though "Take Me in Your Arms" never did anything close to its predecessors despite some chords and modulations that recalled "Black Water" ever so slightly. Stampede's virtue was its musicianship, which, in addition to new member Baxter, was also showcased in the guises of some impressive guests. The Doobie Brothers' rootsiest album to date, Stampede was virtuoso soulful countrified rock of a gritty nature, crossing over into blues as well as reaching back to a raw, traditional rock & roll sound that wouldn't have sounded too out of place 20 years earlier. That was the opener, the searing "Sweet Maxine," which just might've made a good single with an edit or two to bring it down to three and a half minutes; the record gets better with the bouncing "Neal's Fandango," which is highlighted by lyrical as well as instrumental acrobatics on the verses and a delicious guitar and piano break. "Texas Lullaby" is one of the prettiest pieces of country rock (though it's a little more "Western rock") to come out of the genre since the Byrds and the Beau Brummels had treaded into it eight years earlier, and gets a magnificently soulful performance from Tom Johnston. And speaking of soul, Curtis Mayfield is the arranger on Johnston's hard-driving "Music Man." The group strips down to its acoustic basics for "Slat Key Soquel Rag," which could have been an outtake from the group's self-titled debut album; Maria Muldaur is the guest vocalist on "I Cheat the Hangman," representing Patrick Simmons' songwriting at its most ethereal. Baxter's "Précis" was the group's nod to classical and Spanish guitar technique, and "Rainy Day Crossroad Blues" provides guest artist Ry Cooder with a gorgeous canvas on which to paint his slide guitar licks. And the album lands with its feet firmly in 1970s-style roots rock on "I've Been Workin' on You" and "Double Dealin' Four Flusher."© Bruce Eder /TiVo
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The Jungle Book - Le Livre de la Jungle (Jon Favreau - 2016)
John Debney
Film Soundtracks - Released April 15, 2016 | Walt Disney Records
His fifth feature collaboration with film director Jon Favreau, John Debney's score for the 2016 retelling of Rudyard Kipling's classic tale The Jungle Book incorporates songs from the 1967 Disney animated version. Leading off the soundtrack is Dr. John & the Night Trippers' celebratory New Orleans take on "The Bare Necessities." The same song is performed by Bill Murray (as Baloo) and Kermit Ruffins to close the recording. The songs "I Wan'na Be Like You" and "Trust in Me" also appear on the soundtrack, sung by Christopher Walken and Scarlett Johansson, respectively. The rest of the soundtrack consists of Debney's graceful, often exhilarating symphonic score, as during the dissonant brass and racing drums of "Shere Khan Attacks - Stampede" and the horn-, harp-, and choir-fortified "Cold Lair Chase." Trivia of note: the composer's father, Louis Debney, began working with Walt Disney in 1934 and went on to produce television series such as Zorro and Mickey Mouse Club, and Favreau plays the ukulele on "I Wan'na Be Like You."
© Marcy Donelson /TiVo
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The Drifter
Marty Robbins
Country - Released January 1, 1966 | Legacy Recordings
Distinctions
The Qobuz Ideal Discography
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Stampede
The Shootouts
Country - Released February 24, 2023 | The Shootouts
While Akron, Ohio's Shootouts say they relate to local bands like The Pretenders, The Black Keys and Devo(!), they also refer to themselves as "steeped in all things country music." Whatever their genre, this is also a band with ambition and drive, and here on their third album in five years, they show their savvy by collaborating with producer Ray Benson (Asleep at the Wheel) and loading the deck with an Americana who's who that includes Raul Malo (The Mavericks), Marty Stuart, Buddy Miller, and Jim Lauderdale, all of whom recorded their parts elsewhere. Recorded in northeast Ohio at Son of Moondog Studios, engineered by Sam Seifert, and mixed by Mike Poole, Stampede mixes a Bakersfield-styled twang with a definite awareness of the Americana world, tapping into the style of forefathers like The Mavericks and the Desert Rose Band. Benson puts his stamp on "One Step Forward," singing a verse and styling the production like an Asleep at the Wheel swing number. Oddly enough, the players on horns, pedal steel, and fiddle, who presumably are part of Benson's band, are not credited in the album's notes. The Shootouts' greatest strength is the vocal blend of backing vocalist Emily Bates and lead singer/guitarist Ryan Humbert, though the latter's nasal voice can lapse from singing into talk. Lead guitarist Brian Poston is a quality picker and bassist Kevin McManus—joined by guest drummer Dylan Gomez—are solid rhythm players. With songwriting an issue given the band's meteoric rise, guest performers guitarist Alan Moss and bassist Ryan McDermott contribute seven of Stampede's twelve tracks. Moss's jaunty "Tomorrows Knockin'," with Lauderdale singing harmony on the choruses, is high energy modern honky tonk. The all-instrumental title track is a fast-paced romp. And despite the sappy title, "Angel's Work" is a tuneful ballad. But it's the cover of "I'll Never Need Anyone More," written by fellow Ohioan Michael Stanley, that's the album's highpoint. Both a tribute to Stanley who died in 2021 and a salute to their homeland, this track is cleverly arranged and forcefully performed. Another convincing set from a band on a relentless run. © Robert Baird/Qobuz
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