Friday, April 20, 2018
Truth is produced by no less than Erin Costelo, the Halifax songwriter/producer currently making waves in the U.S. The pair met up to try a little co-writing, and that took off to this album partnership, with Costelo also handling the keyboards and guiding the way to that gentle groove and big-hearted sound at which she excels. Besler meanwhile had a set of lyrics coming from that same source, all truth and heart. A little bit jazzy, another part Bill Withers, and some nice modern touches like the drums-forward verses and high harmonies on first single Never Learn, this is pure class. Hey, there will be more shows, and meanwhile just get the album.
Thursday, April 19, 2018
The blues, and a bit more actually. His last album, the award-winning For Pops, was a straight tribute to his father, but this has more of the soul feel that he grew up admiring in the '70's on several tracks. Cheatin' Is Cheatin' is smooth as silk, a fine ballad with horn accents, and Who's Fooling Who? is funky stuff. But Howling Wolf is definitely gritty Chess stuff, of course, and Mud has no problem looking back. He's the main writer on most of the cuts, and makes sure we know he's keen on moving the music forward. There's lots of fine playing throughout, especially from harp ace Studebaker John, and if you took away the famous name, there's no question this would still be a strong new blues album, from an especially fine singer and writer.
Wednesday, April 18, 2018
While Aladdin Sane never gets the acclaim given to its predecessor Ziggy Stardust and the Spiders From Mars, it really has to be considered part two of those heady days, coming just 10 months after. The album is just as consistent, is better produced, and has more tremendous performances from the Spiders. The only thing that keeps this set a notch below is the sequencing, with too many of the very best cuts on side two, and less than satisfying opener in Watch That Man. Along the way, it includes the immortal The Jean Genie, the claustrophobic Panic In Detroit, and his inspired cover of Let's Spend The Night Together, which led to the next record, the all-covers Pin Ups.
Audio-wise, this uses the same brilliant remaster as the 2015 vinyl version, which is a revelation for any fan more used to the old '70's album. During the quick pauses in Time, there's a rich echo unheard before. The delightful horns on The Prettiest Star now stand out, and the mandolin and piano on Lady Grinning Soul have a shinning quality. It's a great album that doesn't always get its due, and now it's silver.
Tuesday, April 17, 2018
Sometimes they do a better version in fact. Listen to LaVette dig into Don't Fall Apart On Me Tonight, not the most inspired Dylan performance, but she finds an emotional reading the composer only hinted at. And what LaVette does for the vocals, producer Steve Jordan does for the arrangements. A song that's a real clunker from the '80's, Seeing The Real You At Last, is now slinky and funky. Lavette gives it an update too, with new lyrics. Instead of referring to Annie Oakley and Belle Starr, she's rewrites it as "You could sing like Otis Redding/You Could Dance like Bruno Mars." And it works great, you purists.
Sometimes it's pretty much just awesome singing from LaVette. Mama, You Been On My Mind has spare backing, and a heartfelt and sentimental treatment that will have you reaching for the Kleenex box. Where Dylan was singing about a lover, LaVette sings it to her own mother. Ain't Talkin', one that Dylan himself does a mighty job singing, here gets an eerie and subtle arrangement with a string quartet. Others have a grade-A cast to catch a great groove. Jordan handles drums and some guitar, long-time Dylan guitar player Larry Campbell is all over the record, Leon Pendarvis (James Brown, SNL Band, etc.) handles keys and Pino Palladino (The Who) covers bass. Guests include Trombone Shorty, Ivan Neville, and one Keith Richards on a couple of tracks. Honestly, the arrangements and playing are so fresh, it would be worth hearing these reinterpretations of the Dylan material with almost any vocalist, they are that good. But it's all sublime with LaVette's passion leading the way.
Saturday, April 14, 2018
From the lighter, happy style of the '64 era (Thank You, Be My Baby), which echo early Beatles/Dave Clark Five singles, to the more mature pop for Falling For You, to the adventurous opener Deity, echoing those Procol Harum/Moodies productions, everything on this album is familiar, fun and fresh at the same time. Rick and Gailie don't recreate, instead they are inspired by this beloved era, and create new works that sit perfectly in that style. Don't Take Time is a great piece of early rock 'n' roll, but as heard through British ears and then sent back to North America, the same way those '60's bands were interpreting Buddy Holly, Eddie Cochran, etc.
When Rick and Gailie do get a bit more modern, such as on Faster, it's the same way it happened in the early '70's, when pop bands heavily influenced by The Beatles et al, like Badfinger, sharpened up the sound. The production here is crisp and new as well, there's nothing screaming 'vintage' but rather it's all refreshing, for folks with an ear to those proven qualities. Worth a trip to Peterborough, huh? Well, that and the wings.
Thursday, April 12, 2018
Produced by the drummer here Charlie Drayton, who Keith Richards uses for his solo work, this is multi-genre, all-class. There's a bit of country-shuffle (Dream Of You And Me), some gospel, and the lovely, indescribable sound of Driving Back From Three Rivers, a late-night drive at a slow pace, Officer caressing each low note. Where Has This Come From reminds me a bit of J.J. Cale, a little more uptempo, but that same ease, at least until he knocks off a twangy solo. Meanwhile Drayton is equally subtle, lots of snare, stick work on the rims, no big booms, and bassist Zev Katz, the only other player here, is tasty but never overpowering, filling that crucial bottom.
As much as I love the fact the songs travel so easily among the various styles, there's a particular magic Officer brings to the more blues-based numbers here. He's Got It All is one of the most spectacular new blues numbers I've heard in years, very simple in structure, but sung and played with so much feel. His guitar work and tone is almost shocking, sure to light up the face of any fan. I can't throw enough accolades at this collection.
Wednesday, April 11, 2018
Each track on the original album has been covered by one of the groups or solo artists, either in loving recreation, or with a new and novel arrangement. The known names here include Imelda May, who puts her tremendous vocal talents into a spare version of I Still Haven't Found What I'm Looking For, slower and dominated by her mighty pipes. The only other act I'm familiar with is The Strypes, youngsters who weren't even born until almost a decade after Joshua Tree's initial release, who put their considerable energy into a far-more rocking take of Trip Through Your Wires. That's the main flip-flip for cuts here, the bigger songs are done slower, and the moody ones toughened up.
Gavin James, a star singer-songwriter at home who has been making waves here on TV shows and opening up for Ed Sheeran, will probably be a well-known name soon, gets the honour of doing Where The Streets Have No Name, a more thoughtful cover certainly. The Academic, the current hottest band in the country, who went to number one with their debut album, put a sharper edge (pun intended) in In God's Country. It's actually an interesting way to be introduced to a bunch of new groups.
And what of the superstars originally responsible? Well, they are always charity-minded and nationally-focused as well, and go above and beyond for the cause. The compilers here make note of the fact the band and their publishing company are donating all the publishing royalties from the sales and airplay, plus they show up too, with the final cut. It's a live version of Red Hill Mining Town, recorded on their anniversary tour last year for the album. This set is win-win for everybody.