PINK FLOYD
THE DIVISION BELL
1994-COLUMBIA
Produced By DAVID GILMOUR & BOB EZRIN
1. Cluster One
2. What Do You Want from Me
3. Poles Apart
4. Marooned
5. A Great Day For Freedom
6. Wearing The Inside Out
7. Take It Back
8. Coming Back To Life
9. Keep Talking
10. Lost For Words
11. High Hopes
Nearly twenty years after their classic Dark Side Of The Moon album, and a decade after the departure of Roger Waters had almost effectively destroyed Pink Floyd as a band, The Division Bell was released in 1994. This is the last Pink Floyd studio album, and shows very strongly the effects of legal battles and infighting had on the group. Their first album post-Waters had been 1987’s A Momentary Lapse Of Reason, which suffered from the same problems as this one did. The Division Bell was clearly the end for Pink Floyd, evident even at the time of its release. At least Momentary has “Learning To Fly”, which is the only post-Waters Floyd song worthy of the legacy of the name. The Division Bell is filled with well played, non-Pink Floyd sounding songs that sound uninspired and more like New Age music than anything off of Wish You Were Here, or even Animals. They may have wanted to go on post-Waters, but this shows that the things that Waters brought to Pink Floyd that David Gilmour could not replicate was drive, passion and the ability to create miles of space in a song. That’s what makes The Division Bell ultimately not work.
Gilmour admits that he is lazy. And even though his guitar work here pretty much saves the album from mediocrity, the man now at the helm of Pink Floyd sounds like he’s barely trying. Ongoing troubles with keyboardist Richard Wright (legally banned from being an official band member), the ghost of Waters, and of past success, create an atmosphere of almost certain failure. And while The Division Bell has a certain (if minor) appeal, it’s mostly frustrating as an album. It mostly serves to show just how vital Waters was to Pink Floyd, even at his most egotistical and nasty. The elements that Waters brought to the band: a sense of adventure, a desire for creativity, and most importantly, space, are all missing from this album. A decade after the last Waters era album (The Final Cut), they gave it a shot. It was time to put Pink Floyd to bed as a studio band. Thankfully, they didn’t drag the name any further through the mud than this. Important as the last gasp of a once great band…but not for much more than that. Stick with the older Floyd.
Link _________________ May we all get to heaven
'Fore the devil knows we're dead...
JIMI HENDRIX
MARTIN SCORSESE PRESENTS THE BLUES: JIMI HENDRIX
2003- MCA
Produced By JANIE HENDRIX, JOHN MCDERMOTT & EDDIE KRAMER
1. Red House
2. Voodoo Chile
3. Come On (Let The Good Times Roll)
4. Georgia Blues
5. Country Blues
6. Hear My Train A Comin’
7. It’s Too Bad
8. My Friend
9. Blue Window
10. Midnight Lightning
Sometimes it’s easy to forget that the musical legacy of Jimi Hendrix expands far beyond they three Jimi Hendrix Experience albums, and that he was so much more than just a rock guitarist. Thankfully, the Hendrix estate has been very diligent in keeping his work in public view. And thankfully, the greatness of the man was not lost on Martin Scorsese, who, in 2003, created a fascinating and important PBS series called The Blues. Done in seven episodes, The Blues covers the entire history of the genre, from the early Delta blues players to the rockers who continue to breathe life into the blues. Hendrix came into play in episode number six, “Red White And Blues”, which covers a lot of the 60’s and 70’s blues revival among rock and roll players. Recorded between 1966 (“Red House”) and 1970 (“Midnight Lightning”), these ten studio tracks are all of exceptional quality, and showcase how powerfully Hendrix’ take on the blues really was. There is not a weak second on this album, loaded with some of the best players in music, and with, most importantly, one of the most gifted guitar voices in history.
The Experience is featured here, but so are Buddy Miles, Steve Winwood, Stephen Stills, Lonnie Youngblood, Jack Casady, Billy Cox…the list is long. The takes are legendary. The 15 minutes of “Voodoo Chile” are breathtaking, and Hendrix smokes everything in his path here. Of special note are two previously unreleased tracks (by 2003, you would have thought that all he did was out already). “Georgia Blues” includes saxophonist Youngblood, and is excellent. But the real prize is “Blue Window”, nearly 13 minutes of pure Hendrix heaven. The Hendrix estate releases music via Experience Hendrix, and has done an amazing job of trickling out amazing performances by the man who changed the electric guitar forever. This compilation is much better than you might think it should be, given that it was released 33 years after Hendrix’ death. It’s actually exceptional…one of the best Hendrix posthumous albums you’ll find. Heaven in an album. _________________ May we all get to heaven
'Fore the devil knows we're dead...
GODSPEED YOU! BLACK EMPORER
LIFT YR. SKINNY FISTS LIKE ANTENNAS TO HEAVEN
2000-KRANKY
Produced By DARYL SMITH
1. Storm
2. Static
3. Sleep
4. Antennas To Heaven
The genre of Post Rock has been described this way. “Music using rock instrumentation for non-rock purposes, using guitars as facilitators of timbre and textures rather than riffs and power chords”. This is perhaps the best way to describe the sound of this Canadian band, and particularly their third album, Lift Your Skinny Fists Like Antennas To Heaven. The band, which was once a collective with a fluid membership, on this album utilizes three guitarists, two bass players and drummers, along with cello, violin and horns. Although Post Rock is directly influenced by the work of The Velvet Underground and Public Image, Ltd., there is little to suggest any direct lines to either band here. What may seem like just noise to some is actually a sprawling and breathtaking work by a band that has dared to be different and on the outside for what is now twenty years. The tracks are long…this is actually a double CD album with two songs on each disc. The first three are all within a minute of each other in length at just over 22 minutes, with the last one a virtual quickie at only 18 minutes.
Each track is broken into several separate parts, and the CD insert contains a fascinating drawing of how the entire album flows, with diagrams of how the intensity rises and falls. There are no vocals on the album except for pre-recorded spoken word pieces. But despite the length and sometimes airy atmospheres of the songs, this album somehow holds your attention. It manages to never become boring or stale. In short, it’s really masterfully done, managing to not be overdone or repetitious, but evolving constantly from one beautiful scene to another. This is not the kind of music the masses will enjoy…their albums have never sold well, and they’ve never had anything close to a hit song. But their fans keep them in business, enough so that they have, to this date, been able to release four albums and an EP. This is music for your adventurous side, and if you have the patience to handle the massive scope of the album, you will be rewarded. This is not rock…it’s post rock, at its absolute definition. A beautiful album, and a most intriguing band.
Link _________________ May we all get to heaven
'Fore the devil knows we're dead...
But despite the length and sometimes airy atmospheres of the songs, this album somehow holds your attention. It manages to never become boring or stale. In short, it’s really masterfully done, managing to not be overdone or repetitious, but evolving constantly from one beautiful scene to another.
Perfectly said.
I remember the first time I heard the term "post rock" and was keen to explore. What I found initially, I didn't care much for. It seemed to fall short of my expectations given the definition. Then, a friend whose musical acumen I respect recommended this and I was glad I put in the effort. This is what I was hoping for, and then some. It is, for me, the pinnacle of the genre.
JAMES TAYLOR
ONE MAN BAND
2007-HEAR
Produced By DAVE O’DONNELL & JAMES TAYLOR
1. Something In The Way She Moves
2. Never Die Young
3. The Frozen Man
4. Mean Old Man
5. School Song
6. Country Road
7. Slap Leather
8. My Traveling Star
9. You’ve Got A Friend
10. Steamroller Blues
11. Secret O’ Life
12. Line ‘Em Up
13. Chili Dog
14. Shower The People
15. Sweet Baby James
16. Carolina In My Mind
17. Fire And Rain
18. Copperline
19. You Can Close Your Eyes
Forty years after he was first signed to Apple Records and became the first non British act to put out an album on The Beatles’ label, James Taylor released just his second live album…surprising for a man well known for his live shows. One Man Band is an ambitious project, an entertaining album that’s much better when listened to along with the accompanying DVD. The “band” is Taylor (wearing what can be best described as his Sweet Baby James era blue workshirt) on guitar and Larry Golding on piano, giving the songs a more intimate feel. There’s also a drum machine…literally. Two of the songs (“Slap Leather” and “Chili Dog”) feature a massive machine that plays actual drums. There are also two songs (“My Traveling Star” and “Shower The People”) that include pre-recorded vocals by the Tanglewood Festival Chorus. The result is an interesting live show, given a boost by Taylor’s entertaining between songs banter and his unquestionable talent. The album does have its flaws, some of which are resolved by simply playing the DVD.
The biggest problem is the set list. It’s not really fair to expect Taylor to play just his top shelf material from the 70’s…and apparently, his diehard fans are okay with his newer songs. But it can be hard to hold your attention on songs like “Never Die Young”, “My Traveling Star” and “Secret O’ Life” when you know he has better songs in his pocket. The last five tracks are the strongest, but it’s a long wait to get there. His attempt at hip hop (“Slap Leather”) will make you cringe a bit, and the old concert favorite “Steamroller Blues” is over dramatized and maybe the worst example of “white boy blues” you will ever hear. Songs like “Never Die Young” and “Line ‘Em Up” are almost invisible…songs that are good and expertly played but at the same time unremarkable enough to fail to hold your interest. This is well played, well thought out, and a nice gift for fans…but with too much emphasis on gimmickry and lesser material. Rent the DVD and record the highlights.
Link _________________ May we all get to heaven
'Fore the devil knows we're dead...
TRACY CHAPMAN
1988-ELEKTRA
Produced By DAVID KERSHENBAUM
1. Talkin’ Bout A Revolution
2. Fast Car
3. Across The Lines
4. Behind The Wall
5. Baby Can I Hold You
6. Mountains O’ Things
7. She’s Got Her Ticket
8. Why?
9. For My Lover
10. If Not Now…
11. For You
Out of the wasteland of dying classic rock, hair metal, dance pop and synthesizer driven music of the 1980’s came this Tufts University protest singer and her acoustic guitar. Turned down by numerous producers because she wasn’t any of the above, Tracy Chapman was finally hooked up with David Kershenbaum, who was brave enough to let her be who she was in a musical landscape that did not support what she was doing at all. The result is one of the most striking debut albums ever made, and a shining beacon during one of music’s most dismal times. Tracy Chapman had something to say, and she said it well. Compared frequently and accurately to Joan Armatrading, Chapman’s debut album is a thing of beauty. Even though it does contain a couple of clunkers, as a whole it’s nearly perfect. The song that made the world take notice of Chapman was “Fast Car”, a beautifully told story of a life struggle within the boundaries of poverty and alcoholism. “Fast Car” was the unlikeliest of huge hits, and still stands as one of the best songs of the decade.
“Talkin’ Bout A Revolution” is a protest anthem that would have been perfect in the late 1960’s. “For My Lover” may be her most beautiful song, while “Behind The Wall” is a brave a cappella picture of inner city life. Also of note are “She’s Got Her Ticket”, which brings reggae into the mix, and “Across The Lines”. The album is almost as good as, and draws comparisons to, Armatrading’s self titled debut album. Her career has continued on, with not surprisingly less success (after all, this isn’t the kind of stuff that consistently sells a lot of units), and she’s never quite matched the magic of her debut, but this album should still be a must have. It’s so much more than just “Fast Car”, which is all that it’s remembered for today. It’s proof that, once in a while, beautiful music can come from nowhere. She’s more of an artist than a hitmaker, and more of a storyteller than a star. It’s hard too not appreciate Chapman for any of that.
Link _________________ May we all get to heaven
'Fore the devil knows we're dead...
It mostly serves to show just how vital Waters was to Pink Floyd, even at his most egotistical and nasty. The elements that Waters brought to the band: a sense of adventure, a desire for creativity, and most importantly, space, are all missing from this album.
Nasty, yes (see for instance these incredibly annoying and silly lyrics"You have to be trusted by the people that you lie to / So that when they turn their backs on you / You'll get the chance to put the knife in"), but nevertheless, Roger Waters was the driving force, you're right, The Wall is a fantastic rock opera and it's mainly his work, at least for the lyrics, but even the music I guess, the general tension.
However, I love two songs from The Division Bell: Poles Apart (a homage to both Barrett and Waters (!), with its interesting barrettian interlude) and of course the great, the fantastic High Hopes, with strong lyrics by Gilmour's wife.
THE ALLMAN BROTHERS BAND
AT FILLMORE EAST
1971-POLYDOR
Produced By TOM DOWD
1. Statesboro Blues
2. Done Somebody Wrong
3. Stormy Monday
4. You Don’t Love Me
1. Hot ‘Lanta
2. In Memory Of Elizabeth Reed
3. Whipping Post
Seven words best describe the third album by The Allman Brothers Band: The Greatest Live Album Of All Time. Don’t try to argue: you will lose every time. Recorded over a three day period in March of 1971 at Bill Graham’s Fillmore in New York, this double live album is everything that was good about the original Allman Brothers Band lineup. The songs are long…seven songs stretched out over 76 minutes…but even though this is the blueprint for every jam band that has come along since the Allmans, you’ll find that there really isn’t even a moment of wasted space on this album. The powerful rhythm section of Berry Oakley, Butch Trucks and Jaimoe thunders relentlessly, and quiets to a whisper when needed. Gregg Allman sings sparingly but with great strength, and his keyboards, while not a lead instrument, add texture. The real weapon here, the centerpiece of it all, is the guitar work of Duane Allman and Dickey Betts. The two together were never better than here, and the results are sonically amazing. Best guitar duo ever.
This isn’t just a great live album: it’s the sound of a great band reaching its pinnacle right in front of us. Every track is perfection. The first two tracks, each at under five minutes, are almost teasers. T-Bone Walker’s “Stormy Monday” is beautiful, topped by nearly 20 minutes of Willie Cob’s “You Don’t Know Me”, complete with a breathtaking guitar flurry of “Joy To The World” at the end. The crowning glory is the 1-2 punch of “In Memory Of Elizabeth Reed” and “Whipping Post”, 36 minutes of pure jam heaven. This album is perfect, and had Duane Allman not died just months later (followed by one year by Oakley), who knows what this band could have done. We’ll never know, but we have At Fillmore East to remind us of where they were headed. You can also get The Fillmore Concerts, which contains five more tracks, including the 33 minute “Mountain Jam” that was also on Eat A Peach. No rock collection is complete without At Fillmore East.
Link _________________ May we all get to heaven
'Fore the devil knows we're dead...
The Greatest Live Album Of All Time. Don’t try to argue: you will lose every time.
I am all in favor of dogmatic assertions. I do it all the time. And I am certainly not going to argue. Just humbly saying: you are wrong here. _________________ When the stewardess is near do not show any fear.
THE xx
xx
2009-YOUNG TURKS
Produced By JAMIE SMITH
1. Intro
2. VCR
3. Crystalised
4. Islands
5. Heart Skipped A Beat
6. Fantasy
7. Shelter
8. Basic Space
9. Infinity
10. Night Time
11. Stars
The xx is classified as British indie pop, which, based on this album, is not a bad thing at all. Formed as a duo in 2005, the group slowly grew into a four piece band and released their debut album, xx, in 2009. Featuring bass, guitar, keyboards and beats along with male and female vocals, the album is short by 21st century standards at 38 minutes, but it also has moments of brilliance and beauty that make it well worth having. Part of the attraction to this band is that they try to record what they are able to play live so that their live shows are comparable to their studio recordings…meaning that nothing on the album is overdone. The album has been a commercial and critical success, having spent at one time over 100 consecutive weeks on the UK Albums Chart, and it was the winner of the 2010 Mercury Prize, which is awarded to the best album of the year in the UK. In all, this is a fine way for a band to start their career, and it has paved the way for what they hope will be much future success.
The album produced four singles: “Crystalised”, “Basic Space”, “Islands” and “VCR” were all hits for the band. But, for me, the track that centers the album and stands out as the strongest is “Infinity”. This song is by far the strongest on the album, and is a prime example of the strengths that The xx bring to the table. Shortly after the release of the album, guitarist/keyboardist Baria Qureshi was fired from the band, and The xx has operated as a trio ever since. Their second album, 2012’s Coexist, has a different feel and sound and is not as strong as the debut. This is one of the best albums of 2009, and is a positive note for the future of pop music. Whether or not music has a future in this direction is unclear, but if it does, then xx deserves a lot of credit for it. This is a very good, not perfect, album with enough to keep the listener interested to make it a keeper.
Link _________________ May we all get to heaven
'Fore the devil knows we're dead...
You cannot post new topics in this forum You cannot reply to topics in this forum You cannot edit your posts in this forum You cannot delete your posts in this forum You cannot vote in polls in this forum
