STEVIE NICKS
TROUBLE IN SHANGRI-LA
2001 – REPRISE
Produced By JOHN SHANKS, STEVIE NICKS, SHERYL CROW, MIKE CAMPBELL, JEFF TROTT, DAVID KAHNE, RICK NOWELS & PIERRE MARCHAND
1. Trouble In Shangri-La
2. Candlebright
3. Sorcerer
4. Planets Of The Universe
5. Every Day
6. Too Far From Texas
7. That Made Me Stronger
8. It’s Only Love
9. Love Changes
10. I Miss You
11. Bombay Sapphires
12. Fall From Grace
13. Love Is
Not many people realize this, but Stevie Nicks went through a long dark period. Her 1994 album, Street Angel, was a flop, and she was lost in a battle with writers block. Fleetwood Mac had gotten back together in 1997, but that was, as always, a turbulent thing. So, the story goes, Nicks asked her friend Tom Petty to help her write some songs. Petty refused, telling her she didn’t need any help. This got her going again, and resulted in her writing new material for what became Trouble In Shangri-La. This album is not on a par with her best work (Bella Donna), but it is a return of sorts…enough so that it’s a major victory for her. It’s a pleasant enough album with some pretty great moments, but it’s pretty inconsistent (the list of producers is too long), and moves her closer to the land of adult contemporary music. And, yeah, again, it’s filled with Fleetwood Mac drama. Which has, over the years, gotten a little old.
After the fine opening track, Nicks reaches back for three old songs. “Candlebright” and “Sorcerer” date back to the Buckingham Nicks album, when they were recorded as demos, and even toyed with by Fleetwood Mac. “Planets Of The Universe” is a Rumours era song about her relationship with, again, Buckingham. Three of the next four are covers…one by Sheryl Crow, and one a duet with Natalie Mains. The last five songs are Nicks writing in the present (2001) day, and they are they least desirable tracks here. Stevie may have been emerging from a long writing drought, but that doesn’t mean the songs were up to standard yet. Still, Trouble In Shangri-La shows that her spark is still there, and that she can still shine, if even for just a few moments. This is, overall, a mostly average effort. The older tracks are the most interesting, and the songs by other people are the strongest.
Link _________________ May we all get to heaven
'Fore the devil knows we're dead...
MILES DAVIS
BITCHES BREW
1970 – COLUMBIA
Produced By TEO MACERO
1. Pharoh’s Dance
2. Bitches Brew
1. Spanish Key
2. John McLaughlin
3. Miles Runs The Voodoo Down
4. Sanctuary
5. Feio
Miles Davis had been making a new kind of noise for years, but in 1970, he blew it all wide open, and he blew people’s minds in the process. Bitches Brew melded not only jazz with rock instruments…it brought together rock and jazz MUSIC, in ways no one had ever thought possible. Think about what jazz had always been, and think about the limitations that rock had lived under since its inception. Davis blows it all away with one swift double album that can be described as nothing less than truly amazing. His guitarist of choice, since the previous album (1969’s In A Silent Way), was John McLaughlin, an exciting and eclectic performer who understood the dynamics of both rock and jazz. With Wayne Shorter, Chick Corea, Bennie Maupin and Dave Holland, and an expanded band that included up to twelve members, Davis, with this whole new stunning universe revolving around his masterful trumpet playing, destroys more musical barriers on two discs than just about anyone else…ever.
There is simply not a single wasted note, or a wasted second on this album. It’s the beauty and spontaneity of improvised jazz, and the excitement of a great rock and roll album. Unfortunately, the direction this music eventually took was a direction that most people can’t get into…meaning that it’s become music for musicians. Fusion is the thing that sells probably the least amount of albums, gets the least radio play, and makes those who play drool with envy. Bitches Brew, though, is pre-fusion. It’s amazing to listen to, even as a fan. One of the greatest albums ever made, regardless of genre, and one of modern music’s greatest moments. Davis made more great music in this vein, and in every avenue he turned down as well. He has more great albums than anyone has ever made. This could be his own greatest achievement. A must listen to for fans of rock, jazz…fans of music. This is a must hear, even if it’s just one time.
Link _________________ May we all get to heaven
'Fore the devil knows we're dead...
MILES DAVIS
BITCHES BREW
1970 – COLUMBIA
Produced By TEO MACERO
1. Pharoh’s Dance
2. Bitches Brew
1. Spanish Key
2. John McLaughlin
3. Miles Runs The Voodoo Down
4. Sanctuary
5. Feio
Miles Davis had been making a new kind of noise for years, but in 1970, he blew it all wide open, and he blew people’s minds in the process. Bitches Brew melded not only jazz with rock instruments…it brought together rock and jazz MUSIC, in ways no one had ever thought possible. Think about what jazz had always been, and think about the limitations that rock had lived under since its inception. Davis blows it all away with one swift double album that can be described as nothing less than truly amazing. His guitarist of choice, since the previous album (1969’s In A Silent Way), was John McLaughlin, an exciting and eclectic performer who understood the dynamics of both rock and jazz. With Wayne Shorter, Chick Corea, Bennie Maupin and Dave Holland, and an expanded band that included up to twelve members, Davis, with this whole new stunning universe revolving around his masterful trumpet playing, destroys more musical barriers on two discs than just about anyone else…ever.
There is simply not a single wasted note, or a wasted second on this album. It’s the beauty and spontaneity of improvised jazz, and the excitement of a great rock and roll album. Unfortunately, the direction this music eventually took was a direction that most people can’t get into…meaning that it’s become music for musicians. Fusion is the thing that sells probably the least amount of albums, gets the least radio play, and makes those who play drool with envy. Bitches Brew, though, is pre-fusion. It’s amazing to listen to, even as a fan. One of the greatest albums ever made, regardless of genre, and one of modern music’s greatest moments. Davis made more great music in this vein, and in every avenue he turned down as well. He has more great albums than anyone has ever made. This could be his own greatest achievement. A must listen to for fans of rock, jazz…fans of music. This is a must hear, even if it’s just one time.
Love the way you articulate both your appreciation for, and the importance of this album. It seemed odd though, referring to it as "pre fusion" since the preceding In a Silent Way is generally considered his first fusion album.
THE SMITHEREENS
GREEN THOUGHTS
1988 – ENIGMA/CAPITOL
Produced By DON DIXON
1. Only A Memory
2. House We Used To Live In
3. Something New
4. The World We Know
5. Especially For You
6. Drown In My Own Tears
7. Deep Black
8. Elaine
9. Spellbound
10. If The Sun Doesn’t Shine
11. Green Thoughts
Heavily influenced by The Beatles and The Byrds, the jangle pop of The Smithereens first appeared in 1986 with the album Especially For You and the single “Blood And Roses”. Green Thoughts, their second effort, contains enough crunchy guitar to distance themselves from being overly compared to those bands, but the influence is, fortunately, still there. Led by Pat DiNizio, they have always been very listenable, and never quite great. In fact, most of the band’s albums are pretty interchangeable, with a great song or two surrounded by a large batch of good enough material to make the disc worthwhile. The exceptional songs on Green Thoughts are “Only A Memory” and “Drown In My Own Tears”, with “House We Used To Live In” not too far behind. After those three, Things settle into the category of “good but not great”. There’s nothing bad here at all, and nothing that would ever make you regret the purchase.
DiNizio has a voice that suggests more depressing music, but they play upbeat, which makes for a nice contrast. And which has always kept them interesting…that, and the fact that they do not hide their love of their influences. They recorded two whole album of Beatles covers, and a version of The Who’s Tommy. The cover and title of their next album, 11, was a nod to the film Oceans 11. Overall, Green Thoughts is a nice slice of what the non new wave bands were up to in 1988. Their sound (and their better material) has endured well enough that The Smithereens are still active today, playing their hits and the music that makes them happy, though DiNizio passed away in 2017. They’ve always been kind of indie rock for the adult crowd: nothing too crazy, nothing that the kids would ever really claim as their own. A band that is always good to hear, and Green Thoughts is one that never disappoints.
Link _________________ May we all get to heaven
'Fore the devil knows we're dead...
THE BLACK KEYS
EL CAMINO
2011 – NONESUCH
Produced By DANGER MOUSE & THE BLACK KEYS
1. Lonely Boy
2. Dead And Gone
3. Gold On The Ceiling
4. Little Black Submarines
5. Money Maker
6. Run Right Back
7. Sister
8. Hell Of A Season
9. Stop Stop
10. Nova Baby
11. Mind Eraser
There is greatness in the records of The Black Keys. More people would know it if they could get past the fact that they play blues rock, something pretty uncool in the decade of the 2010’s. El Camino is their seventh album, and it’s almost as great as its predecessor, Brothers. The duo of Dan Auerbach and Patrick Carney can’t help but sound huge, and eternally hip. They are teamed with producer Danger Mouse (who also co wrote all of the songs) for the third time, and it still works like a charm. Carney’s drums are massive and relentless, and Auerbach’s fuzzed out guitar brings the great blues rockers from the 60’s and 70 to mind. But more than anything, The Black Keys have songs. El Camino, just like Brothers before it, is loaded with great material and great performances to match. Which is simply the recipe for a great listening experience. And that’s what this is.
“Lonely Boy”, “Gold On The Ceiling”, and the half ballad, half rocker “Little Black Submarines” are the obvious highlights, but this album has so much more. El Camino rocks. It’s an exciting album, one that never lets up from the first track. It was named by many as one of the best albums of the year, but you have to wonder…what if this had been released in previous decades? In the 70’s The Black Keys might have been the greatest band in the world…a time when this kind of music was huge. In current times, when a blues rock band can get any kind of notice, much less the accolades that The Black Keys get, you know that this is great stuff. Which this truly is. Their next album, 2014’s Turn Blue, moved them into more psychedelic territory, showing that they are still capable of evolving and getting better. This is a classic album that should be better known. One you will absolutely enjoy.
Link _________________ May we all get to heaven
'Fore the devil knows we're dead...
TURNPIKE TROUBADOURS
GOODBYE NORMAL STREET
2012 – BOSSIER CITY
Produced By TURNPIKE TROUBADOURS & WES SHARON
1. Gin, Smoke & Lies
2. Before The Devil Knows We’re Dead
3. Southeastern Son
4. Blue Star
5. Call A Spade A Spade
6. Morgan Street
7. Gone, Gone, Gone
8. Good Lord Lorrie
9. Empty As A Drum
10. Wrecked
11. Quit While I’m Ahead
Chances are, if you don’t make it a habit of seeking out Americana and non-Nashville country music, you’ve probably never heard of Turnpike Troubadours. This would really be a shame. Coming from small town Oklahoma, they have been carving out a nice little career for themselves since 2005. Goodbye Normal Street is their third album, and it’s a great slice of what good Americana music has become in this decade. These guys have not only the chops, but they also have pretty terrific songwriting, and a great sense of finding the hook. All of which makes them highly listenable, entertaining, and very worth the risk. This is one of those off the radar bands that becomes a great discovery. And despite their lack of widespread airplay, their albums do sell…a strong indication of just how good they can be. They rarely, if ever, disappoint, and they are always fun to listen to.
Goodbye Normal Street has several high points. “Gin, Smoke & Lies” and “Before The Devil Knows We’re Dead” is a perfect one-two punch to start things off…by the time you get to track three, you should be hooked. Two songs that define exactly what country music should sound like. “Good Lord Lorrie” is a great story and catchy as hell, then “Wrecked” and “Quit While I’m Ahead” end the album as strong as it began. Singer and main songwriter Evan Felker is surrounded by great players, and almost everything here works perfectly. The Troubadours will likely stay small…they release their albums on their own small label, and seem to be content doing it that way. These guys are definitely worth checking out, especially if you like a bit of the twang in your tunes. Their other four albums…Bossier City (2007), Diamonds And Gasoline (2010), Turnpike Troubadours (2015) and A Long Way From Your Heart (2017) are all good for a spin as well.
Link _________________ May we all get to heaven
'Fore the devil knows we're dead...
RIDE
NOWHERE
1990 – CREATION
Produced By MARC WATERMAN
1. Seagull
2. Kaleidoscope
3. In A Different Place
4. Polar Bear
5. Dreams Burn Down
6. Decay
7. Paralysed
8. Vapour Trail
9. Taste
10. Here And Now
11. Nowhere
Ride is pretty much forgotten these days, but in 1990, they were at the front of the line of shoegaze bands. Carrying the torch lit by The Smiths, My Bloody Valentine and House Of Love, this British band made looking down while playing very cool. Layers of guitars with lots of feedback, monster drums, weird, dreamy vocals, and odd, somewhat decipherable lyrics are what this band was all about on Nowhere, their debut album. Still considered to be one of the greatest moments in shoegaze, it didn’t last long. Ride was a band that changed their sound from album to album, so they never quite did this again, and by 1995, they had already broken up. But they will always be remembered by some for Nowhere, a sonically heavy yet beautiful album. This music isn’t for everyone, and there are moments that sound a bit over derivative (“Polar Bear” starts exactly the same as The Smiths “How Soon Is Now”), but get past those and you’re fine.
The opening track, “Seagull”, sounds like The Beatles’ “Tomorrow Never Knows” on acid…if you can imagine that. “Dreams Burn Down” gets so huge that instruments start getting drowned out in places. Guitarists / singers / songwriters Mark Gardener and Andy Bell make a great team in every way here, and the rhythm section of Steve Queralt and Laurence Colbert is an absolute beast. Nowhere lacks perfection…yet it’s still an absolute classic, and an important album that has drifted into the land of almost completely forgotten. The band has reunited a couple of times, and they recorded four other albums, including a comeback effort in 2017 called Weather Diaries. After the breakup in 1995, Andy Bell went on to play bass for Oasis. The last three tracks here were added onto the CD release. Some versions contain a bonus disc of a 1991 show that is well worth hearing.
Link _________________ May we all get to heaven
'Fore the devil knows we're dead...
RIDE
NOWHERE
1990 – CREATION
Produced By MARC WATERMAN
1. Seagull
2. Kaleidoscope
3. In A Different Place
4. Polar Bear
5. Dreams Burn Down
6. Decay
7. Paralysed
8. Vapour Trail
9. Taste
10. Here And Now
11. Nowhere
Ride is pretty much forgotten these days, but in 1990, they were at the front of the line of shoegaze bands. Carrying the torch lit by The Smiths, My Bloody Valentine and House Of Love, this British band made looking down while playing very cool. Layers of guitars with lots of feedback, monster drums, weird, dreamy vocals, and odd, somewhat decipherable lyrics are what this band was all about on Nowhere, their debut album. Still considered to be one of the greatest moments in shoegaze, it didn’t last long. Ride was a band that changed their sound from album to album, so they never quite did this again, and by 1995, they had already broken up. But they will always be remembered by some for Nowhere, a sonically heavy yet beautiful album. This music isn’t for everyone, and there are moments that sound a bit over derivative (“Polar Bear” starts exactly the same as The Smiths “How Soon Is Now”), but get past those and you’re fine.
The opening track, “Seagull”, sounds like The Beatles’ “Tomorrow Never Knows” on acid…if you can imagine that. “Dreams Burn Down” gets so huge that instruments start getting drowned out in places. Guitarists / singers / songwriters Mark Gardener and Andy Bell make a great team in every way here, and the rhythm section of Steve Queralt and Laurence Colbert is an absolute beast. Nowhere lacks perfection…yet it’s still an absolute classic, and an important album that has drifted into the land of almost completely forgotten. The band has reunited a couple of times, and they recorded four other albums, including a comeback effort in 2017 called Weather Diaries. After the breakup in 1995, Andy Bell went on to play bass for Oasis. The last three tracks here were added onto the CD release. Some versions contain a bonus disc of a 1991 show that is well worth hearing.
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