STEVIE RAY VAUGHAN & DOUBLE TROUBLE
TEXAS FLOOD
1983-EPIC
Produced By STEVIE RAY VAUGHAN & DOUBLE TROUBLE & RICHARD MULLEN
1. Love Struck Baby
2. Pride And Joy
3. Texas Flood
4. Tell Me
5. Testify
6. Rude Mood
7. Mary Had A Little Lamb
8. Dirty Pool
9. I’m Cryin’
10. Lenny
The days of the great blues rock guitar player that had reached its peak with layers like Clapton, Beck, Page, Allman and Hendrix was over, and blues as a sellable musical format was giving way to tappers and squealers in aquanet and spandex when Stevie Ray Vaughan, who had just finished making David Bowie’s last gasp as a musical force (Let’s Dance) an exciting album, burst onto the scene and made the blues viable again. In the 80’s, Vaughan was approached (vaguely) as a guitar force only by Robert Cray, and maybe by his own brother Jimmie. Texas Flood was the first album by his band, Double Trouble, and the first real glimpse of what an absolute powerhouse of a player this guy really was. His talent was scary, and his sound was more immediately identifiable than any other blues player before or since. He was also the last of his kind: a wizard of a blues player who captured the attention of the world and made it his playground. Stevie Ray Vaughan was the last real true master of the guitar: no one since has that amazing ability that made Vaughan such an amazing figure.
Texas Flood showcases all of Vaughan’s low down blues talents to the hilt, making up for what is very much a so-so collection of songs. But the songs on this album are not (nor were they ever) really the point of it all. Texas Flood contains the most blistering shuffle you’ll ever hear (“Pride And Joy”), some of the best slow blues playing you’ll ever hear (“Texas Flood”), and literally expert guitar workouts, one after the other. Vaughan is an unremarkable singer…which, again, doesn’t really matter much. If you’re a fan of guitar, there are a few albums that you must have. Anything recorded during Vaughan’s short career (he died in 1990) falls into that category. And even though Texas Flood has a few flaws, you can’t deny the excellence of his playing. Vaughan was the last of his kind, one of the greatest who ever lived, and his albums have value for that alone.
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FischmanRockMonster, JazzMeister, Bluesboy,ClassicalMasterProfile Land of Enchantment
STEVIE RAY VAUGHAN & DOUBLE TROUBLE
TEXAS FLOOD
1983-EPIC
Produced By STEVIE RAY VAUGHAN & DOUBLE TROUBLE & RICHARD MULLEN
1. Love Struck Baby
2. Pride And Joy
3. Texas Flood
4. Tell Me
5. Testify
6. Rude Mood
7. Mary Had A Little Lamb
8. Dirty Pool
9. I’m Cryin’
10. Lenny
The days of the great blues rock guitar player that had reached its peak with layers like Clapton, Beck, Page, Allman and Hendrix was over, and blues as a sellable musical format was giving way to tappers and squealers in aquanet and spandex when Stevie Ray Vaughan, who had just finished making David Bowie’s last gasp as a musical force (Let’s Dance) an exciting album, burst onto the scene and made the blues viable again. In the 80’s, Vaughan was approached (vaguely) as a guitar force only by Robert Cray, and maybe by his own brother Jimmie. Texas Flood was the first album by his band, Double Trouble, and the first real glimpse of what an absolute powerhouse of a player this guy really was. His talent was scary, and his sound was more immediately identifiable than any other blues player before or since. He was also the last of his kind: a wizard of a blues player who captured the attention of the world and made it his playground. Stevie Ray Vaughan was the last real true master of the guitar: no one since has that amazing ability that made Vaughan such an amazing figure.
Texas Flood showcases all of Vaughan’s low down blues talents to the hilt, making up for what is very much a so-so collection of songs. But the songs on this album are not (nor were they ever) really the point of it all. Texas Flood contains the most blistering shuffle you’ll ever hear (“Pride And Joy”), some of the best slow blues playing you’ll ever hear (“Texas Flood”), and literally expert guitar workouts, one after the other. Vaughan is an unremarkable singer…which, again, doesn’t really matter much. If you’re a fan of guitar, there are a few albums that you must have. Anything recorded during Vaughan’s short career (he died in 1990) falls into that category. And even though Texas Flood has a few flaws, you can’t deny the excellence of his playing. Vaughan was the last of his kind, one of the greatest who ever lived, and his albums have value for that alone.
I had the good fortune to catch the as yet little known SRV live as an opening act right after this album's release/just before he took off.
As evident as his amazing technique and absolute fire are on this album, it's doubly moreso in concert! I had heard Pride and Joy a couple times on the radio, but that could hardly prepare me for this show! Dude was a genuine force of nature. His loss was especially tragic considering he had recently conquered his demons and brought us a very mature but still fiery, and outstanding comeback album with "In Step."
STEVIE RAY VAUGHAN & DOUBLE TROUBLE
TEXAS FLOOD
1983-EPIC
Produced By STEVIE RAY VAUGHAN & DOUBLE TROUBLE & RICHARD MULLEN
1. Love Struck Baby
2. Pride And Joy
3. Texas Flood
4. Tell Me
5. Testify
6. Rude Mood
7. Mary Had A Little Lamb
8. Dirty Pool
9. I’m Cryin’
10. Lenny
The days of the great blues rock guitar player that had reached its peak with layers like Clapton, Beck, Page, Allman and Hendrix was over, and blues as a sellable musical format was giving way to tappers and squealers in aquanet and spandex when Stevie Ray Vaughan, who had just finished making David Bowie’s last gasp as a musical force (Let’s Dance) an exciting album, burst onto the scene and made the blues viable again. In the 80’s, Vaughan was approached (vaguely) as a guitar force only by Robert Cray, and maybe by his own brother Jimmie. Texas Flood was the first album by his band, Double Trouble, and the first real glimpse of what an absolute powerhouse of a player this guy really was. His talent was scary, and his sound was more immediately identifiable than any other blues player before or since. He was also the last of his kind: a wizard of a blues player who captured the attention of the world and made it his playground. Stevie Ray Vaughan was the last real true master of the guitar: no one since has that amazing ability that made Vaughan such an amazing figure.
Texas Flood showcases all of Vaughan’s low down blues talents to the hilt, making up for what is very much a so-so collection of songs. But the songs on this album are not (nor were they ever) really the point of it all. Texas Flood contains the most blistering shuffle you’ll ever hear (“Pride And Joy”), some of the best slow blues playing you’ll ever hear (“Texas Flood”), and literally expert guitar workouts, one after the other. Vaughan is an unremarkable singer…which, again, doesn’t really matter much. If you’re a fan of guitar, there are a few albums that you must have. Anything recorded during Vaughan’s short career (he died in 1990) falls into that category. And even though Texas Flood has a few flaws, you can’t deny the excellence of his playing. Vaughan was the last of his kind, one of the greatest who ever lived, and his albums have value for that alone.
I had the good fortune to catch the as yet little known SRV live as an opening act right after this album's release/just before he took off.
As evident as his amazing technique and absolute fire are on this album, it's doubly moreso in concert! I had heard Pride and Joy a couple times on the radio, but that could hardly prepare me for this show! Dude was a genuine force of nature. His loss was especially tragic considering he had recently conquered his demons and brought us a very mature but still fiery, and outstanding comeback album with "In Step."
I never did get to see him. I have worked with guitarists who have, and those I know who did see him live treasure his music so much more. Great players live SRV can be great in the studio...but they really shine on stage. _________________ I'm leaning on the threshold
Of her mystery
And crashing through the walls
Of dying history
CHRIS ROBINSON & THE NEW EARTH MUD
THIS MAGNIFICENT DISTANCE
2004-VECTOR
Produced By CHRIS ROBINSON & PAUL STACEY
1. 40 Days
2. Girl On The Mountain
3. Mother Of Stone
4. Train Robbers
5. Like A Tumbleweed In Eden
6. When The Cold Wind Blows At The Dark End Of Night
7. …If You See California
8. The Never Empty Table
9. Eagles On The Highway
10. Surgical Glove
11. Piece Of Wind
12. Sea Of Love
In which the lead singer of The Black Crowes makes a second attempt at a solo career. Robinson’s problem is that without his brother, Rich, his songwriting (which was already on the decline by 2004) lacks any kind of memorable hooks. And without his bandmates from the Crowes, the music of The New Earth Mud is about as lively as their name. There are a couple of exceptions to this. “40 Days” is a rowdy Crowes like song that gives you plenty of hope for this album: it’s the best thing Robinson has written in years. And the closer, “Sea Of Love”, is pretty terrific as well. As for everything in the middle, well, it’s not terrible…it’s listenable. It’s unfortunately also quite forgettable. Without The Black Crowes, Robinson sounds unchallenged. And without his brother, he sounds uninspired. With tracks as lazy as “Girl On A Mountain”, “When The Cold Wind (blah blah blah)”, and the really kind of dreadful “…If You See California” (I get it!), it’s hard to stay focused as a listener. And, apparently, as the artist as well.
If you’re a fan, this might work for you…or it might infuriate you. If Robinson had tried throughout the album as hard as he obviously did on the opening track, this would be much more inspired and a much better collection. As it is, it won’t offend your ears. Good music to clean house by…or to take a nap to. His solo career has been inconsistent and without much in the way of recordings, and he’s been, of course, on and off with The Black Crowes. He doesn’t have much left in the tank, and he hasn’t for years, but you’ve got to give him credit for keeping on. As for The Magnificent Distance, it’s worth having around for “40 Days”, and not for a whole lot else, unfortunately. Stick to the 1990’s version of Chris Robinson with the Crowes.
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VARIOUS ARTISTS
SWEET RELIEF: A BENEFIT FOR VICTORIA WILLIAMS
1993-THIRSTY EAR
Produced By SYLVIA REED & KELLEY WALKER
1. Summer Of Drugs – Soul Asylum
2. Main Road – Lucinda Williams
3. Crazy Mary – Pearl Jam
4. Merry Go Round – Buffalo Tom
5. Weeds – Michael Penn
6. Animal Wild – Shudder To Think
7. Tarbelly And Featherfoot – Lou Reed
8. Opelousas (Sweet Relief) – Maria McKee
9. This Moment – Matthew Sweet
10. Frying Pan – Evan Dando
11. Lights – The Jayhawks
12. Why Look At The Moon – The Waterboys
13. Big Fish – Giant Sand
14. Holy Spirit – Michelle Shocked
In 1993, just as her career was starting to take off, Victoria Williams was diagnosed with Multiple Sclerosis. One thing that doesn’t come with being a hard working musician trying to make it big is health insurance, so some pretty awesome talents got together and recorded some of Williams’ songs for this album, a fundraiser to help her with medical expenses. The success of the album led to the formation of the Sweet Relief Foundation, an organization designed to help musicians with serious medical problems. For this reason alone, Sweet Relief deserves a great rating. As far as the talent who came to her aid, just take a look at the tracklist…Williams is a great songwriter, and the respect she had already gained at this early point in her career is pretty huge. She’s a unique talent. So even without her illness, a tribute album of her material was bound to be interesting. This album is more than interesting. Part of that is the talent involved on both sides.
The originals versions of these songs by Williams are quirky and special, driven home by her unique and almost squeaky voice. In the hands of these artists, you get a whole new sense of what these songs have that makes them so cool. Soul Asylum opens things up with a great take on “Summer Of Drugs”, and it just gets better from there. From The Jayhawks (Williams was married to Mark Olson at the time), Pearl jam, Lou Reed, Lucinda Williams, Michael Penn…the lineup is stellar. The songs are all great….if you’re familiar with the work of Williams, you know what a fantastic songwriter she is. “Crazy Mary”, “Weeds”, “Tarbelly And Featherfoot”, “Frying Pan”…there is not one weak song here, And the material lifts everyone to great performances. Sweet Relief is a great organization, and Sweet Relief the album is the best kind of tribute album: it’s all done with a lot of love, and it’s a beautiful record even without the tragic circumstances.
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1. Moribund The Burgermeister
2. Solsbury Hill
3. Modern Love
4. Excuse Me
5. Humdrum
6. Slowburn
7. Waiting For The Big One
8. Down The Dolce Vita
9. Here Comes The Flood
It was pretty well known when Peter Gabriel left Genesis that he was a pretty strange guy. But, really, the oddest thing about him since going solo has been his dislike of album titles (his first four were untitled: when his label told him to start naming his releases, he used only 2 letter titles). This one, the first of the four Peter Gabriel albums, is often referred to as “Car” (for obvious reasons). It launched Gabriel as a solo artist, and is bolstered by the strong single “Solsbury Hill”, written about his departure from Genesis. The song features a driving acoustic guitar track with orchestrations, and is by far the highlight of the album. Most of the rest of the album sounds a lot like Genesis leftovers, occasionally crossing the line into strange (“Moribund The Burgermeister”, “Down The Dolce Vita”), but never going over the edge, and never going into any kind of uncharted waters. It’s mostly Gabriel dipping his toes into the water, trying not to get too wet.
Gabriel himself has noted that he is not pleased with the production of the album, and has since released quite a few stripped down versions of some of the tracks. And, given the scope of what Gabriel would later prove himself capable, this record doesn’t quite hit the mark. His albums would gradually get better as he gained confidence, peaking with the epic So in 1986. Peter Gabriel was an artist who needed to find his way, and this album was the beginning of that progression. Because of that, this is the weakest of his solo album: it’s not a bad album, it’s just uneven and has yet to have the confidence and power of his later work. If you’re a fan, you’ll need to have this one, but you’ll be better served by his other titles.
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ANTHRAX
ATTACK OF THE KILLER B’S
1991-ISLAND
Produced By ANTHRAX, MARK DODSON & CHARLIE BENANTE
1. Milk (Ode To Billy)
2. Bring The Noise
3. Keep It In The Family (Live)
4. Startin’ Up A Posse
5. Protest And Survive
6. Chromatic Death
7. I’m The Man ‘91
8. Parasite
9. Pipeline
10. Sects
11. Belly Of The Beast (Live)
12. N.F.B. (Dallabnikufesin)
For a brief time during the 80’s and early 90’s, Anthrax was a steadily growing thrash metal success. They didn’t really stand out from anyone else until they embraced hip hop in 1987 with “I’m The Man”, long before other bands even thought of it. They joined forces with Public Enemy, and rode the wave of success on the golden throat of singer Joey Belladonna. On paper, in theory, Anthrax was the perfect band: a collection of great players, willing to step outside the box that metal lives in, and they had a sense of humor. In reality, things didn’t quite translate to record as perfectly as that. Their metal sound grew tiresome, their songs tended to be overdone, and the great sense of humor didn’t seem to know when it was time to stop. The result was that Anthrax made a long series of tough to listen to albums, albeit with a slew of successful hits, before grunge, Pantera, and their own inflated sense of self worth eventually took them down.
Attack Of The Killer B’s is actually one of their better moments. Technically an EP collection of B sides, as an album there are some terrific highs, some questionable mediums, and some wretched lows. On the plus side, “Milk (Ode To Billy)”, the Kiss cover “Parasite” and the surf classic “Pipeline” are great, as are the strangely hilarious “Startin’ Up A Posse” and “N.F.B”, the funniest take on power ballads ever recorded. On the flip side of that, “Chromatic Death” is annoying, and “I’m The Man ‘91” is as wretched a track as you’ll ever hear. Everything else is either pretty good or eh, making this collection ultimately very middle of the road. And yet, for all the talent that Anthrax had to boast over the years, this stands as one of their best albums. It is recommended over albums like Persistence Of Time and Spreading The Disease, which are overly serious and single dimensional. This really is about your best bet.
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STEVIE WONDER
GREATEST HITS
1968 – MOTOWN
VARIOUS PRODUCERS
1. Uptight (Everything’s Alright)
2. I’m Wondering
3. I Was Made To Love Her
4. Hey Love
5. Blowin’ In The Wind
6. A Place In The Sun
7. Contract On Love
8. Work Out, Stevie, Work Out
9. Fingertips (Pt. II)
10. Castles In The Sand
11. Hey Harmonica Man
12. Nothing’s Too Good For My Baby
It’s easy to forget that Stevie Wonder had an entire career that happened before his massive peak years in the 1970’s, and that The Jackson 5 were not the first child stars that Motown dealt with. Wonder started recording when he was eleven, and became one of the brightest stars in the Motown stable by the time he was 13. Known for his harmonica playing as much as for his soulful voice, he made some great records (and some okay ones) doing what Motown chief Berry Gordy wanted him to do. Impressive enough that the kid had a full Greatest Hits album out by the age of 18. But Wonder’s greatness was actually all in front of him, and it wasn’t until he took on Gordy in the early 70’s and won creative control over what he recorded that this was to be heard on albums like Talking Book, Innervisions, and Songs In The Key Of Life. But that’s another story…this is about the much younger Stevie Wonder.
Wonder’s talent was always evident, but many of the tracks covered in this collection were clearly during a formative period. The highlights here are “Fingerprints (Pt. II)”, “Uptight (Everything’s Alright)”, and “Castles In The Sand”. They got a real James Brown impersonator in Michael Jackson a few years later, but they sure did try unsuccessfully to make Little Stevie that guy for awhile…the results are iffy. But, even with the uneven material, the historic significance of this collection makes it worthwhile. And, beneath the sometimes bad choices in material, there is always the huge talent that Stevie Wonder has always possessed. You won’t find what is ultimately his greatest material here…that would come later. But this sure does give you a look at where it all came from. Even at this early point in his career, you really can’t go wrong with Stevie Wonder.
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TEARS FOR FEARS
THE SEEDS OF LOVE
1989 – FONTANA
Produced By TEARS FOR FEARS & DAVID BASCOMBE
1. Woman In Chains
2. Badman’s Song
3. Sowing The Seeds Of Love
4. Advice For The Young At Heart
5. Standing On The Corner Of The Third World
6. Swords And Knives
7. Year Of The Knife
8. Famous Last Words
Tears For Fears 1-s basically a duo, consisting of Roland Orzabal and Curt Smith. The Seeds Of Love was their third album, and following up the hugely successful Songs From The Big Chair, established the band as one of the more important acts of the 80’s. Unfortuantely, Smith would leave after this album (he returned in 2000), and after an untimely hiatus, Orzabal used the name for his solo career…but the golden age of Tears For Fears was over. The Seeds Of Love took over three years to record, costing a huge amount of money, and was a big success, with a huge sound and plenty of stellar guest musicians helping out (Robbie McIntosh, Phil Collins). “Sowing The Seeds Of Love” was a huge hit, keeping the band high on the charts and in the public eye. But just calling The Seeds Of Love” good is an understatement, and an unfair one at that. This album is much more than that.
With a bigger sound than Songs From The Big Chair, and an ever growing maturity in the songwriting, this is the peak of Orzabal and Smith’s creativity. The songs are longer, many over six minutes, with rich instrumental passages inspired by a multitude of musical styles (from jazz to The Beatles), and exceptional lyrics. The hooks are here as well, and only the lack of a follow up single of note kept this album from ruling the end of the eighties. The Seeds Of Love is big, beautiful, and as full an album as there was in the decade…and proof that this may have been the very best of the New Wave bands. Unfortunately, without Smith, Orzabal lost his way as a solo artist, dragging the Tears For Fears name through some really unsteady and muddy water over the next few years. But 1989 was the year that, if only for a moment, this band made the statement that they were just as good, if not better, than anyone who was out there. The Seeds Of Love is their masterpiece, and is worthy of being a part of any collection.
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IKE REILLY
POISON THE HIT PARADE
2008 – ROCK RIDGE
Produced By ED TINLEY & IKE REILLY
1. Poison The Hit Parade
2. Janie Doesn’t Lie
3. Lust Song 78
4. Fish Plant Rebellion
5. Dragonflies
6. New Assassination Blues
7. Hip Hop Thighs #16
8. Cracker’s Big Break
9. Duty Free
10. Farewell To The Good Times Part 2
11. Cash Is King
12. The Train Bomber
13. It’s Alright To Die
This album by the should-be star Ike Reilly is a collection of oddities. There are several alternate versions of tracks already released on prior albums, demos, outtakes, and even a second disc containing videos. For a lot of artists, an album like this would simply be a throwaway, but Ike Reilly is an interesting guy, even in a setting like this one. If you’re a fan, there are five songs that will sound familiar, yet different. “Hip Hop Thighs #16”, “Duty Free”, and “Cash Is King” are all reconstructed in ways that make them seem like new, as are “It’s Alright To Die” and “Fish Plant Rebellion”. But it’s the previously unreleased songs that really win this set. The title track and “Dragonflies” are the true standouts of this album, showing that the Reilly magic is still strong. The other fist time recordings, “Lust Song 78”, “The Train Bomber”, New Assassination Blues”, Janie Doesn’t Lie”, and The Jam cover “Funeral Pyre” all bring the expected glory to this album, making you wonder just how good it could have been if it had been all new material.
If you are not a fan of Ike Reilly, I do strongly suggest that you check him out. There are a couple of albums worth starting at, with Poison The Hit Parade being one of them. Even though it’s more of an outtakes album, and it’s therefore not as strong as works like Salesmen And Racists or Junkie Faithful, or Sparkle In The Finish, there is still enough of interest here to warrant having this. Even the video disc is interesting enough, plus it gives you a bonus version of “Whatever Happened To The Girl In Me”. In my book, anything you can get your hands on by this artist is a pure winning situation, so if you do find a copy of Poison The Hit Parade floating around anywhere, you should snag it up and check out one of the more under-appreciated artists of the rock era. Ike Reilly deserves to be much better known than what he is.
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