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kokkinos





  • #411
  • Posted: 03/07/2022 21:58
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The Beach Boys - The Beach Boys Today!
Oh man, how I love this album. You know, shockingly enough, I’ll go on to say it’s my favourite of theirs on most days. I think The Beach Boys Today! Is for The Beach Boys what Rubber Soul – which by the way might also be my favourite entry in the Fab Four’s catalogue - is for The Beatles. It perfectly captures this rare moment of transition, they find themselves between being boys and men, innocent and mature, carefree and sophisticated, etc and we get the best of both worlds. And I find it highly fascinating that you can witness this development as the album progresses, all you have to do is compare the first side to the second and it should be instantly noticeable. Not sure why Help Me, Ronda is considered the best track here – especially this version - when Please Let Me Wonder exists, that song is nothing short of a heavenly beauty. As I’ve said before, there are probably 5 or 6 songs I would view as candidates for the title of the second greatest Beach Boys song ever and this is clearly one of them. Dance, Dance, Dance may be the weak link, just a simple and harmless rock and roll tune, though it’s “imperfect” moments like this that make me appreciate this record even more - not to mention I’m the kind of guy that loves Bull Session With The "Big Daddy" - being a bit messy and confused fits the state of mind of a teenager/young adult, which is what The Beach Boys will always represent in my mind, sometimes Pet Sounds feels too perfect.
8.5/10.


The Beach Boys - Summer Days (And Summer Nights!!)
How many great album can you release in the span of a single year? Sadly, just one. I mean, if you examine it individually, it’s a decent album. If you compare it to the above, it’s a major let down. It’s entertaining, no doubt about it, but hardly special or memorable. On the other hand, it has to be said that Amusement Parks U.S.A. is irresistibly hilarious and California Girls is one of their finest moments.
7.5/10.


Sam Rivers - Fuchsia Swing Song
I think that’s the first Sam Rivers album I’ve listened so far – though I’m familiar with every band member, what a lineup - and I like it a lot. It’s not the weirdest thing out there – nothing like, say, Albert Ayler - it’s way too close to hard bop for that, the rhythm section offers a rock-solid foundation that supports Rivers’ willingness to follow some more adventurous paths. Jaki Byard’s piano is a wonderful touch that never loses the sense of balance between tradition and experimentation.
7.5/10.


Bert Jansch - Bert Jansch
Another almost forgotten folk hero of the ‘60s that deserves more recognition. Not the most impressive songwriting, the themes he’s dealing with are not exactly unique, it’s mainly various stories taken straight out of the rambling man playbook (see Woody Guthrie, Bob Dylan and many, many more) his guitar is the one thing that immediately stands out, it’s no coincidence that some of the instrumentals are the highlights of the album. His voice is an acquired taste, it takes some time to get used to it, but it has a distinct tone that allows his personality to come through. The overall atmosphere is also really special, it’s as if you are standing next to him as he records, it’s incredibly intimate, any more and it would have been uncomfortable. And of course Needle Of Death is a classic.
8/10.
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kokkinos





  • #412
  • Posted: 03/14/2022 21:55
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Hey, everyone, I took a break from 1965 and the '60s in general, I'll probably get back to it in a few days.
In the meantime, I tried catching up with some new releases, though there's nothing spectacular to report on that front either, let me post a few random thoughts:
-Snoop’s BODR was a welcome surprise. Nothing life-changing of course, but it’s been quite some time since he offered us such a consistent listening experience, he almost sounds focused – and everyone knows that when he feels like it, he’s one of the best and – in his case, it’s even more important - one of the most entertaining rappers of all time . Nice production as well, a clear nod to old school west coast but also ready to follow the modern trends.
-Earl’s Sick was a mild let down for me, nowhere near his best or most memorable. Probably the most direct and immediate material he’s presented so far and as a result the easiest to like even for non-fans, the production does have its moments, yet is too clean and too accessible overall. The initial appeal wears off at some point and it’s not challenging enough to reward multiple listens. I hate to admit it, but Earl almost plays by the book here, maybe maturity doesn’t suit him as much as troubled youth.
-Cities Aviv’s Man Plays The Horn is one of the most interesting records I’ve listened lately. The production is clearly the highlight, its rich sound comes close to justifying its length of 82 minutes. Despite its diverse and experimental attitude, it’s dedicated to creating and maintaining a trance-like atmosphere, though there are a few exciting moments where it goes for a change of pace and suddenly pumps you up. An exhausting listen, but I’d say it was worth it.
-Last but not least, Griselda. Right now I’m thinking Conway The Machine released the better album. Just as it was the case with Earl, he also follows a more “commercial” path. Still, it works much better here. It’s decently varied (though variety is not exactly Griselda’s strong suit) and detailed enough to stand out from the typical old school / hardcore / gangsta crowd. Same with his writing, dealing with well-worn themes, but personal enough to keep it interesting. No complaints about his rapping either, he goes on to prove he is one of the best at the moment. Benny The Butcher, on the other hand, is a rapper I can easily appreciate, though I’ve never considered him one of my favourites. Nothing wrong with his new release, it’s solid, maybe too solid and lacks a spark – don’t hate me, but his rapping always feels somewhat rigid and forced, although he’s slightly grown on me compared to, say, 3 or 4 years ago. Production on the other hand is great and does elevate the whole album.
-For some reason, I missed the collaboration between Curren$y and Alchemist, I have to check that one out.
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  • #413
  • Posted: 08/20/2022 15:27
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Hey guys, it's been some time since I updated my diary, I hope life is great in everyone's world.


Herbie Hancock - Maiden Voyage
What better way to get back on track than Herbie Hancock, one of music’s all-time greats, and, even more so, one of his most popular and critically acclaimed records, it seems like a safe bet. So, Maiden Voyage is only his fifth album as a band leader and he’s already come a long way, showcasing quite a bit of diversity and willingness to experiment, an enquiring mind that’s evolving constantly. After the hard bop excitement of Takin’ Off, the delicately atmospheric My Point Of View, the piano-focused Inventions And Dimensions and the edgy Empyrean Isles, it’s time for another step forward. Or is it? If you expect it to be a natural continuation of Empyrean Isles, there’s a good chance you’ll be disappointed, as it’s far from his most ambitious or experimental outing. However, one could argue it's his most balanced effort, having one eye set to the past and one to the future, yet the different elements are blended together effortlessly and it all flows so very smoothly, Miles Davis would be proud.
It's also worth pointing out that this is essentially a summer album. As you might have guessed based on the titles of its tracks, this album should be the ideal companion if you intend to cross the ocean or in general travel by water. Having a central theme is always a nice touch and in this case it does come out, to some degree at least. The title track is an absolute classic, though my favourite has to be either Survival Of The Fittest, which is easily the most out-there track of the album and I guess that’s the main reason it is considered the weak link by many, or The Eye Of The Hurricane, which lies on the other end of the spectrum and is clearly the most traditional and accessible number here. Little One is slightly forgettable and leaves something to be desired. Last but not least, you ‘d better not miss Dolphin Dance, it is outright gorgeous.
7/10.
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  • #414
  • Posted: 08/20/2022 22:07
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B.B. King - Live At The Regal
Now, let’s try something different. Even though B.B. King is a legend of the blues and one of the greatest guitar players of all time, it is widely accepted that the album format doesn’t do him justice, as is the case with most of his contemporaries. Listening to Live At The Regal confirms the above remark, as I found it preferable to any of his studio albums that I’ve encountered so far – as a matter of fact it’s his highest ranked album on BEA as well. His Infectious energy and undeniable charisma lay the foundation for a masterful demonstration of his skills - as a singer, guitarist and showman. I’m no expert on the blues, so I won’t comment on the - consisting of originals and covers - song selection, but it’s clear that there is a spark throughout the record’s entirety – on the other hand, this may very well have to do with B.B. King himself and not the songs, hard to tell. Also, live albums get extra points when they include parts that display the performer’s interaction with the audience and there’s plenty of that here – just listen to Worry, Worry if you have any doubts. All in all, I’d say it’s as good an introduction to the man and what he is about as any, so consider giving it a try, especially if you somehow never got to know this wonderful artist’s work.
7/10.
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  • #415
  • Posted: 08/21/2022 20:13
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Wayne Shorter - Juju
Wayne Shorter made a name for himself as an Indispensable member of the Jazz Messengers. Despite the tons of great music he made there, the hard bop framework proved to be too tight for him and – as I wrote when commenting on his 1964 album, Night Dreamer - there was hardly any room for him to express his ideas and emotions, so he decided to take care of business and become a bandleader. Speaking of broadening his horizons, it has to be said that in 1964 he joined Miles’ second quintet, which definitely had a major influence on his solo work as well. So, Juju features the same lineup as Night Dreamer with one exception: it's a quartet this time, as there’s no Lee Morgan/trumpet. As a result, it feels like a natural successor of the latter, though - partially because of Morgan’s absence - it establishes an even lighter and breezier atmosphere. Shorter’s style is strikingly mature, it wouldn't be a stretch to call it calculated. Even though he is open to exploring unconventional structures and can put the pedal to the floor when he feels like doing so, it’s impressive that he manages to remain economical, never losing focus and always keeping the balance. Credit is due to the rest of the band as well, especially McCoy Tyner’s piano that stands out on more than one occasions. Keeping in mind all the above, the one thing that seals the deal and makes me consider this the superior record is compared to Night Dreamer is that it simply contains more memorable and instantly recognisable tunes, a quality any Blue Note record should have in spades.
7.5/10.
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  • #416
  • Posted: 08/22/2022 21:20
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Andrew Hill - Point Of Departure
Point Of Departure is widely regarded as Andrew Hill’s magnum opus and as far as I’m concerned it more than lives up to its reputation. A while back I commented on his previous album - Black Fire - and I wrote that the tendency to compare him with Thelonious Monk isn’t entirely justified, as I was of the opinion that he fell short of that – ridiculously high – standard. Here, on the other hand, there are no complaints of any kind to be made, he totally smashed it. His playing is stylishly bouncy, full of energy and joy, adventurous yet easy on the ear, technical but not too serious, a Monk-esque vibe is undeniable. Not much needs to be said for Eric Dolphy, it’s business as usual, he quite simply delivers another monumental performance, what a legend. However, it’s the two comparatively “old school” guys, namely Joe Henderson and Kenny Dorham, that deserve a special mention. They are extremely essential to the success of this record, their grounded approach leaves plenty of room for Hill’s and Dolphy’s shenanigans and makes the final outcome much more colourful and multidimensional. They are the voice of reason if you will, take them out and all of a sudden nothing makes sense. The rhythm section – that would be bassist Richard Davis and Tony Williams, one of my favourite drummers that I’ve already brought up more than once in this diary - is also up to the task, you could hardly ask for anything more. Spectrum is my favourite track, but it’s far from an easy choice. Each of them has its own distinct personality and showcases a different aspect of the sextet’s brilliance, yet all of them contribute to the greater, stunningly beautiful, picture. All in all, I unreservedly recommend it, one of jazz’s finest achievements.
8/10.
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Skinny
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  • #417
  • Posted: 08/23/2022 13:27
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Sorry to refer to an earlier post, but Benny would be the third best rapper in Dipset (at best). I love his dedication to that era, and I feel he’s truly authentic (no cosplay here), but it’s a hunger for nostalgia that propels him in the eyes of many. He’s workmanlike and likeable, but thoroughly untouched by genius. Conway’s ceiling, on the other hand, is improbably high - but the Wu-Tang worship has got to stop.
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  • #418
  • Posted: 08/23/2022 20:41
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Skinny wrote:
Sorry to refer to an earlier post, but Benny would be the third best rapper in Dipset (at best). I love his dedication to that era, and I feel he’s truly authentic (no cosplay here), but it’s a hunger for nostalgia that propels him in the eyes of many. He’s workmanlike and likeable, but thoroughly untouched by genius. Conway’s ceiling, on the other hand, is improbably high - but the Wu-Tang worship has got to stop.

No worries, always a pleasure.
And well said, my thoughts are close to your assessments - though I'm curious how Dipset came to you, haven't listened to anything by the guys in quite some time.
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  • #419
  • Posted: 08/23/2022 21:21
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Phil Ochs - I Ain't Marching Anymore
Phil Ochs presents us his second attempt at creating his version of The Times They Are A-Changin’ and It’s clearly a better one. His protest is not as intense or vitriolic, yet equally effective and direct when it comes to getting his point across. He has an ear for melody which he puts to good use and makes it much easier to digest compared to Dylan’s more sparse/stripped to the bone approach. His guitar playing is spot on, adding extra depth without distracting from the message. His voice carries enough emotional weight without getting excessive. It’s not as commanding as Dylan’s– after all, there’s only room for one sheriff in this town voice of a generation - , but he makes up for it by being more sensitive and relatable. And what a surprise, the guy can actually mix it up and tell a story, it’s not entirely about politics and social injustice. When reviewing his debut album All the News That's Fit to Sing, I went on and called him a journalist. Well, now he is much more than that, he is a well-rounded songwriter and this diversity proves to be refreshing. Before I get carried away, let me say that I’d still take Dylan every day of the week and twice on Sunday, but this is a record that is definitely worth listening, the man has something to say, give him a chance.
8/10.
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  • #420
  • Posted: 08/24/2022 17:09
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kokkinos wrote:
No worries, always a pleasure.
And well said, my thoughts are close to your assessments - though I'm curious how Dipset came to you, haven't listened to anything by the guys in quite some time.


I’m not sure - he just gives me a heavy Dipset vibe, I guess. Whereas Conway and Gunn are much more obviously influenced by Wu-Tang.
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