Weekend Music Roundup

 

It's the weekend...and it's a long weekend. For the holiday weekend, I've decided to make this list a jazz list. They say jazz is the only true American art form and as we take time over the next few days to think about the collision of east and west, it might be nice to celebrate something good that came out of that collision that had so many devastating effects on culture. But out of the melting pot that was created, jazz was born.

Stuff Smith - Sweet Swingin' Stuff: Over the past several years, Stuff has become one of my favorite jazz artists. A rare jazz artist whose instrument is violin, he plays it in a way unlike anyone else. He transforms this typically formal instrument in a tool to create swing music. Released in 1959, this album features a ton of Stuff vocals that are truly endearing. Of the four Stuff albums I own, this one is the most traditional. It's a wonderful example of swing jazz and is just super cool. 

Cannonball Adderly - Cannonball Enroute: One of four albums released by saxophonist in '61, and one of dozens released in the period that covered the seven year period at the height of his career. Hard Bop has always been my favorite jazz genre, though in the past few years, I've moved into exploring others, so when I do pick up a hard bop record, it always grabs me right way, pulling my back into that joyful space. Sam Jones on bass and Julian Mance on piano are pretty brilliant on here. "Lover Man (Oh Where Can You Be)" and "A Foggy Day" are mesmerizingly good.

 

Dizzy Gillespie and Django Reinhardt - Jazz from Paris: The Verve label split album was released in '56 and recorded in the early 50s. By this time Dizzy had already had a blistering career, playing with all the giants and having made a name for himself as trumpeter. He was already popular in Paris and he plays here with string accompaniment. It's mellow fairy tale recording and quite pretty, if not altogether essential. The Django Reinhardt side was an afterthought for me, but ended up being the star. The Gypsy guitarist totally swings on this eerie recording, which was done only months before he died. If Dizzy captures the romance of Paris, Django captures the underworld of Paris. 

Gerry Mulligan/Chet Baker - Timeless: Though not released until '63, these recordings were made between '52 and '54. There was a lot of improvisation going on in the quartet in those days, with the two legends of cool jazz playing off of each other and essentially inventing the genre. There's something magical in these recordings, like a soundtrack taken from a dreamworld. The version of "My Funny Valentine" on here is pretty mind-blowing.  

The Jonah Jones Quartet - Jumpin' With Jonah: Released in '58, this was the height of the swing jazz trumpeter's career. Having worked with Stuff Smith and Cab Calloway, Jonah was well versed and at the top of his game. Often referred to as King Louis II, Jones has that same riverboat style as Louis Armstrong, and spent a lot of his career unable to pull out of that shadow. But let's face it, there are worse shadows to have to live in, and this album proves to me that he deserved his own spotlight. 

Charlie Parker - Volume V: I've been coming across these Everest Records Archive of Folk and Jazz records in the cheap bins for years and always snatch them up. I already have Charlie Volume 3 and 4 so was pretty excited to add this one to the mix. Charlie is an icon for a reason. He is a master at the Bop and swing sound. This compilation features some great recordings, and like all albums in this series, I recommend picking them up if you come across them. 

Pretty Baby Original Motion Picture Soundtrack: I don't typically go for soundtracks, but this one is basically just a New Orleans jazz comp featuring some of the great players of the time doing some of the classic tunes from the earliest days of jazz. There was promotional copy in the $2 bin and I figured there was nothing loose. I was right, a pretty fantastic record that contains none of the usual soundtrack filler that turns me off.  

 

Weekend Music Roundup

 

 

It's the first weekend of Autumn, and autumn has always been my favorite season for music listening. It usually changes my choose in mood for records, so I'll be pulling out some fall favorites soon. This was a week spent between jobs, recharging the batteries for new challenges, and absorbing music all day long. This week is a list of some of those, along with other relatively recent listens. Enjoy.

Patti Dahlstrom - Patti Dahlstrom: The Texas native moved to L.A. in her twenties to pursue a music career, eventually landing a deal with the Uni label and releasing this debut in 1972. It's a singer songwriter album with folk and soul roots and reminds me of a more pop rock version of Sandy Hurvitz's work, somewhere between the debut and her incarnation as Essra Mohawk. There's a bit too much orchestration on here, designed to give it a more or a Carol King feel that it doesn't really need. It opens with the brilliant "Wait Like a Lady" and it grabbed me right away. "This Isn't An Ordinary Love Song," "I'm Letting Go," and "Ollabelle and Slim" are standouts on this great album.

Elevator to Hell - Eerieconsiliation: Released in '97, this was the fourth album from the Canadian lo-fi band, but their first on Sub-Pop. It was recently remastered and that's how I stumbled across it. I wasn't aware of this when it came out, probably because I was kind of exclusively listening to British music in '97, but I wish I'd heard this. It's a fantastic post-grunge psychedelic lo-fi record.  

Traffic - Shoot out at the fantasy factory: Released in '73, two years after Dave Mason final exit from the band after their previous album The Low Spark of High Heeled Boys. Yes, this is the sound of a band reaching their end, even the 3D album cover is an attempt to repeat past success. However, this is still a great album of blues inspired prog rock. You can hear the sound of the 70s really taking root on here, making it sound more like the Eagles than Mr. Fantasy. Even on the decline, this band is exceptional. 

Delta Spirit - What is There: Released last year, this is the fifth album from the Brooklyn (via California) indie band. This album has a folk pop feel to it, and reminds me of a ton of bands that makes this kind of music. This is pretty solid, though not anything that I haven't heard before. Still, this is a decent record and if indie folk is your thing, you can't really go wrong with giving this a listen. "Can You Ever Forgive Me," "Home Again," "Lover's Heart," and the title track are standouts. 

No Kill - Gold Chorus: The debut album from the Brooklyn indie duo was released this summer, though the band has been releasing singles in EPs for a decade. This is an interesting combination of psychedelic folk and dream pop that comes off sounding like one of those great summer day albums. "Hallelujah," "A Place," "Low Times," and the title track are personal favorites. 

The Ice Man's Band - Introducing The Ice Man's Band: The introduction turned out to also be the farewell for this soul band. This, their only album, was released in '72. They were Jerry Butler's, "The Ice Man", back up band and went out and made this little record. I found this album in a free bin, and the record was in good shape. I couldn't resist checking it out. It's a nice piece of mellow soul that certainly conjures that early 70s feeling. There's a great cover of "Come Together" and some other groovy gems.

 

 

Weekend Music Roundup

 

The weekend is here once again. I've been between jobs the few days, which has given me some time to catch up on some digital album listens as well as some recent vinyl pick-ups. It's another wide spanning of list of music from 60's through now, featuring mostly rock, but with some folk blues and indietronic thrown in. Happy exploring, everyone. Enjoy.

The Bevis Frond - Little Eden: Indie psych icon Nick Saloman's newest album. This guy has been making great records since the mid-80s, consistently great records that I've been listening to since the mid-90s. Over the past 35+ years, the sound hasn't changed much, lots of fuzzy guitar and apathetic vocals that feel very David Gilmour-esque.  This is another fine album in a rich catalog of fine albums. 

Blues Magoos - Never Going Back to Georgia: Formed in the early '60s in the Bronx, these guys started out as a psychedelic garage band. By 1969, and the release of this album, their fourth, they had developed into a blues rock band, much less garage and much less psychedelic. For that reason, a lot of people do not like this album, finding more generic than their earlier albums. I can respect that, but this is a solid blues rock album that feels more like The Doors than anything else. "The Hunter," and "Getting Off" are my personal favorites. 

 

Thou and Emma Ruth Rundle - The Helm of Sorrow: This 2021 EP is the second collaboration between the sludge metal band Thou and ERR (one of my favorite artists), following last years full length album. This EP contains three songs from the sessions that produced the album, and a cover of the Cranberries' "Hollywood". The combination of styles on these collaborations are pretty interesting. Emma's voice highlights the great guitar work and softens the growling vocals of Thou. A nice companion piece to the album. 

Half Moon Run - Inwards and Onwards: The newest EP from the Montreal indie band whose debut came out back in 2012. This is a mellow folk album that reminds me of New Bums though a bit less psychedelic inspired. "On and On," "It's True," and "Tiny" are my person favorites on this fine Sunday kind of album.

Styrofoam - Nothing's Lost: The forth album from the inditeronica band from Belgium came out in 2004 and features members of Notwist, Death Cab for Cutie, and others. This is one of super chill-out albums that borders on ambient and shoegaze, and is totally something I would have been jamming to in college. It reminds me a bit of Slowdive meets Boards of Canada, which is a pretty great combination. "Couches in Alleys" is my personal favorite. 

Dave Van Ronk - Sings the Blues: Originally released in '61 as Dave Van Ronk Sings Volume 2, this Verve edition was released in '65. I also have Volume 1 as a re-issue titled Gambler's Blues. Van Ronk is one of my favorite '60s Village folk singers because he mixes folk and blues into something spiritual. Along with Jackson C. Frank, Dave is one of the best, most honestly pained voices in the 60s folk scene. So glad I was able to pick this up...and for free, no less. 

 

 

 

Weekend Music Roundup

 

The weekend has returned. The weather is turning fall-ish and my mood is turning happy-ish. I've put together a a list of albums here that I've acquired in the past several weeks. It's a pretty wide ranging list of time period and musical styles, so there's bound to be something here worth checking out. Enjoy.

Billie Eilish - Happier Than Ever: Two years after the smashing success of her debut, the wunderkind teen returns with a follow-up. I admit to be being very weary of a sophomore slump, feeling it to be almost unavoidable when your first album is so well-loved. Well, I should have had more faith! Billie doesn't attempt to remake the last album, instead she embraces the brokenhearted undertones of her debut and expands on the jazz club trip-hop vibe and emerges as a complex figure. It's a trajectory Lana Del Rey had made brilliantly, and Eilish seems poised to follow. 

Swans - Leaving Meaning: Released in the Fall of 2019, the 17th album from the NYC post-rock band is their most current release. Though I've appreciated this band for years, it's one of several bands that I came to absolutely love during the pandemic. This album, like all of their 21st century records is atmospheric and dark, and seems to illustrate those corridors of thought that have always existed in my mind. Some music hits you physically, some plugs right into you mind. This is Swans music does for me, and this album does as well. 

Jeff Beck - Truth: The '68 debut solo album from the British Guitarist's post-Yardbirds band featured an up and coming singer named Rod Stewart and pre-Rolling Stones Ron Wood. This is one of those records that it amazes me had never crossed my path before. Sure, I'd seen it everywhere and knew that it was one of those albums that everyone loved. And yes, I have been a big fan of British Blues since my college days, but it took my recent interest in Rod the Mod to get me to pick this one up and I'm glad I did. Beck's guitar work is fantastic, and Rod is brilliant. One year later, Led Zeppelin would release their debut album, it seems fairly clear to me that this was one of the records that paved the way for their success.

 

Jackson 5ive - Maybe Tomorrow: Released in '71, this is the iconic Mowtown group's fifth album, just three years from their debut. Fresh off their hit parade of early singles, this album's biggest hit is "Never Can Say Goodbye" which is true gem. Michael still has his childish voice on here, but the older Jacksons balance it well. Pure soulful pop that still sounds good on a sunny day.

 

Elmore James / John Brim - Whose Muddy Shoes: Recorded between '53 and '60, this is a split album released on Chess in '69 and has tracks by both Chicago blues artists. Elmore James is the bigger of the two names, but the talents of both are very comparable and blend nicely. The Chicago blues was a little more jiving than southern blues and there's clear elements of proto-rock on here. "I See My Baby," "You Got Me," 

Arthur Lee - Vindicator: Released in '72, two years after Love took a break, this is Lee's first solo album and is very much a blues rock album. There's definitely hints of Hendrix on here, with a little of the whimsy of Love added to it. There's lots of great tunes on this, including "Sad Song," "Love Jumped Through the Window," and "He Knows a Lot of Good Women." Certainly not an essential album of the period, but still a good one and well worth the listen.

 

 

 

Weekend Music Roundup

 

The last weekend of summer is upon us which means that my musical tastes will start settling into the Fall stylings. With the summer having been so busy, the Roundup has been sparsely released, leading to quite a backlog of albums to ramble about. Here are a few things that I discovered or listened to over the summer months. A little bit of everything, so hopefully there's something you'll want to check out. Enjoy.

Manic Street Preachers - The Ultra Vivid Lament: The Welsh band's first album in three years is one of the albums I've been most looking forward to this year. Having been a favorite band of mine for years, each new album is an event for me. This one came out on Friday and these are my thoughts upon the first listen. It opens with the moody "Still Snowing in Sapporo" and continues on much in the fashion of their recent work, but there's something softer and more internal about this album which feels a little inspired by David Gilmour. "Into the Waves," "Diapause," and "Blank Diary Entry" are my personal favorites on another beautiful album. Though their sound has softened, they still speak honesty.  

 

Bang - Bang: The 1971 debut from the heavy psych band out of Philly is an album I'd been hunting for some time. It's terribly rare in the sense that it's silly expensive, but it's just not one of the albums you see in the wild. I was first tuned into this Sabbath sounding band a few years back when I picked up their second album. They are one of the best heavy psych bands out of America from the time of the genre's infancy. I found a copy in the local shop recently and it did not disappoint my expectations, which were high given the genius of the next album.

 

Josh White - The Josh White Stories Vol II: Released in '58, this compilation collects work from the soulful southern blues artists who hit his stride in the 40s. This is different than a lot of southern blues singers that I've heard before. There is a clear rhythm and blues sound to his voice and melodies, something that would certain influence the music of 50s, which is probably why this record was released when it was, in order to reach the Elvis fans. 

Hank Williams Jr. - Habits Old and New: This 1980 album was one that I acquired for free and for a free album, it's pretty damned solid. This is 70's outlaw country at it's finest. While country music isn't my first choice in genre, when I do listen to it, I like that old style country. The modern boring FM rock with a twang in the singer's voice is NOT country, it's just poor rock with a southern accent. Country music to me is the kind you drown your tears in at a honky tonk. I prefer Waylon, but Hank Jr. is undeniably an icon of the genre. 

 

Becca Mancari - Juniata: The newly released EP from the Nashville via NYC singer songwriter. Only four songs, but still such a powerful listen. Primarily acoustic, these songs showcase her amazing voice and the heartfelt lyrics. I've been listening to this a lot while working in the art studio and it's been very inspiring. She has two full length albums that I'm hoping to check out. 

 

Richard Swift - Even Your Drums Will Die: This live album was recorded in 2011 and released at the end of last year. In the first decade of the 2000s, Swift released some of the best singer songwriter albums, like The Novelist and Dressed Up for the Let Down. I was excited to hear this live album of material from that time period. One of the truly honest voices of the 21st century and fans will enjoy these renditions. He passed away a few years ago, and he is missed.

 

 

Weekend Music Roundup

 

The weekend is here, and the Roundup finally returns! It's been a few weeks since I've posted. The summer just sort of got away from me, the way summer's often do. But the music keeps on playing even if I haven't written about it. This is a bit of an eclectic list, which means there some things to perk some interest. Happy listening. Enjoy.

Current Joy - Voyager: The newest album from the indie artist on one of my favorite labels (Secretly Canadian) is bit of a 80s inspired pop rock, a kind of Ryan Adams record but with fits of chaotic energy that make it unpredictable and enjoyable throughout. "Breaking the Waves," "American Honey," "Amateur," and "Voyager Pt 2" are personal favorites on this solid record. 

 

Elton John - Victim of Love: By '79, Elton was awash in drugs and this disco effort is a prime example of a coked-up odyssey. If it wasn't clear by the cover, it instantly becomes clear with the opening track, possibly the longest version of Johnny B. Goode ever made. Though pretty much panned when it came out, and still one his most un-loved albums, it's actually pretty enjoyable and one of those albums that bridges the blues based nature of 70s pop rock and the slicker style of 80s pop rock. 

 

Rod Stewart - Every Picture Tells a Story: After leaving the Jeff Beck Group and joining the Faces, Rod also embarked on his solo career in the early 70s. Released in 1971, the same year the Faces' "A Nod is as Good as Wink...", this is probably Rod's most beloved solo record and features "Maggie May" as the opener for Side B. As followers of the Roundup may have noticed, I've been really into Rod these days and consider him one of the best true barroom vocalists. There's a grittiness to his voice that is so soothing and catchy. You can usually find a copy of this in the cheap bin, and it will always be worth the few dollars you pay. 

 

Royal Trux - Pound for Pound: Released in 2000, twelve years after the Chicago noise rock band's debut. This is one of those bands that's listened to on and off for a good two decades, but never found an album that I really connected to. This one, I did. It's a little more garage rock than some of the albums that came before it, a little easier to get into. I will definitely go back and explore their CDs that I have in my collection. I often find that once I connect with something a band does, I can connect with other albums that I may not have connected with before.  

 

Big Mama Thornton - Stronger Than Dirt: Released in '69, almost 20 years into the southern blues singer's career, this album is a powerhouse of soulful blues. There are many classic songs on here, each of them transformed by her captivating voice. This was one of those albums I picked up for a few dollars and instantly felt that it was worth 10x what I paid. 

The Cult - Electric: The third album from the London band was their released in '87 and sees them move away from their gothic roots and establish themselves as a hard rock band. Ian Astbury does his best Jim Morrison on here, oozing an electric vibe over grinding guitar riffs. It was the album that came after this, Sonic Temple that hooked me when I was a tween, with the powerhouse "Fire Woman". What I didn't know at the time is that this album is filled with "Fire Woman" type tracks and a much more solid album. Great late 80s hard rock that fits in with the sound coming out of L.A. at the time.

 

 

Weekend Music Roundup

 

Well, another week has passed where I didn't post anything between Roundups, but that's not going to keep me from posting another roundup. This is a pretty random collection of stuff that I've been jamming to recently. It includes a couple of Record Store Day releases, one from each of the two drops. There's some new, some old, and whatever I've been exploring. Keep exploring, that's my motto. Enjoy.

Czarface - Czar Noir: These days Record Store Day releases are typically repackaged and re-issued albums and it's rare that an artist releases new material on that day anymore. Well, not these guys. The NYC outfit led by Wu's Inspectah Deck released a new album along with a comic book. This is an instrumental record with super groovy and interesting beats meant to go along with the comic, which is also a fun read. This is really something for collectors more than for casual music listeners.

Comet Gain - Magnetic Poetry: The second full length album from the 90s Oxford indie band was released in 1997. It was a little odd for an indie band during that time to blend so many varying influences. Generally a lo-fi garage band, clearly inspired by The Jam, as well as northern jangle pop, though far more punk inspired than the more mainstream contemporaries. I really wish I had been clued in to this when it came out, it would have been right up my alley. Still quite enjoyable.  

 

Todd Rundgren - Todd: By the mid-70s, Rundgren had established himself as one of the leading progressive psychedelic pop artists with his solo work and with Nazz. This album was released in '74, a year after his legendary "A Wizard, a True Star" record. Like that album, he continues to explore experimental rock on this double album. This takes some solid listening time to truly see how brilliant it is. It's definitely quirky and surreal, and has flashes of the kind of Blue-Eyed soul and classic rock sounds that always creep into his work. I picked up this double LP for a few dollars to continue my exploration of his work. . "The Last Ride," "Everybody's Going to Heaven," "Number 1 Lowest Common Denominator," "Izzat Love," and "Heavy Metal Kids" are standouts.

 

Andy Bell - All on You EP: Released in June, this EP follows the BritPop icon's debut solo album from last year. Andy has been a member of Ride, Hurricane #1, Beady Eye and Oasis and has been on the forefront of Britpop and British psychedelic pop since the late 80s. This acoustic EP is more toned back than a lot of his more recent projects, but falls in line with some dreamy Ride stuff, though far more lo-fi. Very enjoyable and something long time fans like me can appreciate. 

 

 

Richard Hell and the Voidoids - Destiny Street Demos: A Record Store Day release this year, these are the demos for the NYC punk icons' 1982 follow-up to their '77 debut, Blank Generation. They have moved into the art punk on here, but the demos are still a little rougher and have that Television edge to them. By this time, the music world was moving beyond punk and this album fell between the cracks and is one of the last true NYC punk albums from the first wave of punk. 

 

Grim Reaper - See You in Hell: The second album from the UK band came out in '83, right at the peak of the NWOBHM movement dominated by Iron Maiden, Def Leppard, Saxon, and Judas Priest. These guys made their biggest impact with this album which is a blistering example of the genre. Shredding guitars, falsetto vocals, and songs about hell being a winning formula. Certainly not essential, but a nice addition to the collection from one of the better second tier bands.