The Romanelli Music Diary: Eventually

Goto page Previous  1, 2, 3 ... 157, 158, 159 ... 232, 233, 234  Next
View previous topic :: View next topic
Author Message
Fischman
RockMonster, JazzMeister, Bluesboy,ClassicalMaster


Gender: Male
Location: Land of Enchantment
United States

  • #1571
  • Posted: 12/26/2021 22:31
  • Post subject:
  • Reply with quote
Romanelli wrote:
1245


Steamin' With The Miles Davis Quintet b...is Quintet

MILES DAVIS
STEAMIN’ WITH THE MILES DAVIS QUINTET
1961 – PRESTIGE
Produced By BOB WEINSTOCK

1. Surrey With The Fringe On Top
2. Salt Peanuts
3. Something I Dreamed Last Night
4. Diane
5. Well, You Needn’t
6. When I Fall In Love

On two dates in 1956, Miles Davis and his band went into the studio and recorded enough material to flesh out four future albums: Relaxin’, Cookin’, Workin’, and Steamin’. Of the four, Steamin’ concentrates more on the improvisational dynamic of the group, and is the least desirable of the four. This does not mean that this is a bad album by any means…it just means that it’s the only one of the four that is not flawless. After all, Davis isn’t maybe the most important recording artist in history for no reason. He’s a giant, and he is because he made more great music than pretty much anyone else could ever even dream about. The Quintet of these 1956 sessions is bolstered not only by the legendary Philly Joe Jones, Red Garland and Paul Chambers, but also by the power of saxophonist John Coltrane. The interplay between Davis and Coltrane during this period is exceptional, laying the groundwork for the future growth of jazz is so many ways.

The weakest moment here is Dizzy Gillespie’s “Salt Peanuts”. A great song is a great song, but overdone is overdone. “When I Fall In Love” is simply beautiful, with Davis and Red Garland taking sweet turns on the solo. But the best of this period, and of this album, is the pure joy of having Davis and Coltrane in the studio together. Coltrane plays on 4 of the album’s six tracks, and his presence makes a huge difference. Steamin’ is notable for being the last album released by Davis on the Prestige label, and despite the fact that it’s often overshadowed by his more famous records (‘Round Midnight, In A Silent Way), it’s definitely a piece of beauty, and deserves to be heard just as much as anything else he was doing during this period. Coltrane eventually went on his own, but died of cancer at age 40 in 1967. Garland, Jones and Chambers all moved on by 1962, and Davis continued his incredible run. Steamin’ is another in a long line of fine Davis moments.


Link


Had to give this another listen while reviewing my diary notes for this album:

The final release in the series, "Steamin'," while also having a small dip, may well be the most impactful overall (which surprises me that it was released last). It can seem too laid back too much of the time, but all those slow tunes are delivered in so sultry and compelling a way, it takes over your brain, sits you down and confiscates your attention. I don't think the world really needed another rendition of "Salt Peanuts," and even if it did, this probably isn't it, but the rest of the album, fast and slow, is positively killer. Highlights include the opening track, "Surrey with the Fringe on Top, " the drop-dead gorgeous "Diane," the up-tempo "Well, You Needn't," and the closing ballad "When I Fall in Love."
Back to top
  • Visit poster's website
  • View user's profile
  • Send private message
Romanelli
Bone Swah


Gender: Male
Location: Broomfield, Colorado
United States
Moderator

  • #1572
  • Posted: 12/28/2021 00:55
  • Post subject:
  • Reply with quote
1253


Black Sunday by Cypress Hill

CYPRESS HILL
BLACK SUNDAY
1992 – COLUMBIA
Produced By DJ MUGGS & T-RAY

1. I Wanna Get High
2. I Ain’t Goin’ Out Like That
3. Insane In The Brain
4. When The Shit Goes Down
5. Lick A Shot
6. Cock The Hammer
7. Lock Down
8. 3 Lil’ Putos
9. Legalize It
10. Hits From The Bong
11. What Go Around Come Around, Kid
12. A To The K
13. Hand On The Glock
14. Break ‘Em Off Some

For one brief shining moment, particularly 1991, Cypress Hill had it all right. An intoxicating blend of lowrider hip hop rhythms, Hispanic sounding vocals that were borderline insane, and smart, catchy songs. Then, after that, Cypress Hill got famous. And then, Cypress Hill quickly became the poster children for self-parody. Black Sunday is the album after their great self-titled debut, and it’s barely a shadow of what that album had promised. Of course, it sold a gazillion copies, thanks in large part to the irresistible strangeness of “Insane In The Brain”, but it also marked the very early end to any relevance that Cypress Hill had established for themselves just two years before. So what happened to these guys? Probably the biggest thing was their overwhelming obsession with weed. Apparently, they couldn’t get enough of it, and obviously, they couldn’t stop recording songs about it.

“Insane In The Brain” was massive. It crossed over to rock audiences, and helped make hip hop even more relevant. But while this was happening, Cypress Hill was already on the downside. They were nowhere near bottom yet…this album is only half as good as the debut, but it’s ten times better than the terrible albums they would release after Black Sunday. While this beats the whole “we love weed” thing into the ground, it still has some musical merit, and isn’t a bad listen. “When The Shit Goes Down”, “Lick A Shot”, and “I Ain’t Goin’ Out Like That” are worthwhile, and show that there still may have been a chance for these guys. It could have gone either way, but it was all downhill after Black Sunday. And so, it’s a fact that all of the Cypress Hill you will ever need is the great debut album and a handful of songs from Black Sunday. “Insane In The Brain” makes it better, but not by a whole lot more.


Link

_________________
May we all get to heaven
'Fore the devil knows we're dead...
Back to top
  • Visit poster's website
  • View user's profile
  • Send private message
  • Visit poster's website
Romanelli
Bone Swah


Gender: Male
Location: Broomfield, Colorado
United States
Moderator

  • #1573
  • Posted: 12/28/2021 21:19
  • Post subject:
  • Reply with quote
1254


Anodyne by Uncle Tupelo

UNCLE TUPELO
ANODYNE
1993 – SIRE
Produced By BRIAN PAULSON

1. Slate
2. Acuff-Rose
3. The Long Cut
4. Give Back The Key To My Heart
5. Chickamauga
6. New Madrid
7. Anodyne
8. We’ve Been Had
9. Fifteen Keys
10. High Water
11. No Sense In Lovin’
12. Steal The Crumbs

Part of what makes this album legend is that it’s simply amazing…but it also has one of the greatest “what if’s” attached to it. This is Uncle Tupelo’s fourth album, their best album, and their last album. Just as the band was beginning to reach a mass audience and their label began having hopes for the band as huge sellers, they broke up. Irrevocably. So, the “what if”…what if Uncle Tupelo had stayed together? Jay Farrar wouldn’t have formed Son Volt, and the rest of the band wouldn’t have gone on to become Wilco. What kind of music would the partnership of Farrar and Jeff Tweedy have made in the future? We’ll never know. We do know the success that Son Volt and Wilco went on to…much of that success was spawned by the excellence of Anodyne, one of the greatest alt-country albums ever made. This album marks the point where the band figured it all out, found their sound, and wrote the songs around it to make it all possible.

The treasures on Anodyne are seemingly endless. The songwriting is split between Farrar and Tweedy, with one excellent cover written by (and featuring on vocals) Doug Sahm (“Give Back The Key To My Heart”). Farrar rocks on the excellent “Slate” and “Chickamauga”, while Tweedy flexes his melodic muscle on “Acuff-Rose”, “The Long Cut” and the perfect “New Madrid”. This album stands as a defining moment in alt country, as the fusion of country and rock is more fulfilled here than ever before. “New Madrid”, for example, sounds like a gently rolling country song with a banjo rhythm and sweet harmonies, yet sound like nothing country had ever dreamed of as the electric lead guitar line rides atop the song perfectly. This is alt-country 101 right here. And it’s a must have album. Uncle Tupelo had become a great band on this album, and it was over before a follow up could even be talked about. You should have this…it’s an absolutely beautiful set of songs. Five stars all the way.


Link

_________________
May we all get to heaven
'Fore the devil knows we're dead...
Back to top
  • Visit poster's website
  • View user's profile
  • Send private message
  • Visit poster's website
Romanelli
Bone Swah


Gender: Male
Location: Broomfield, Colorado
United States
Moderator

  • #1574
  • Posted: 12/30/2021 00:23
  • Post subject:
  • Reply with quote
1255


Let It Bleed by The Rolling Stones

THE ROLLING STONES
LET IT BLEED
1969 – LONDON
Produced By JIMMY MILLER

1. Gimme Shelter
2. Love In Vain
3. Country Honk
4. Live With Me
5. Let It Bleed
6. Midnight Rambler
7. You Got The Silver
8. Monkey Man
9. You Can’t Always Get What You Want

In which The Rolling Stones say goodbye to the sixties and Brian Jones, and say hello to the Mick Taylor era, the best years the Stones would ever have. Let It Bleed, their eighth album, is a monster, a highlight in their career despite the transitional feel of it, and maybe their most memorable overall sets of songs. The album starts with the roaring “Gimme Shelter”, highlighted by the balls out vocals of Merry Clayton, perhaps the best backup singer moment in history. “Love In Vain” is a perfect acoustic Robert Johnson cover, and Taylor’s first real contribution. “Country Honk” (later reworked into “Honky Tonk Women”) displays their affinity for American country music. Then, it’s back to tearing the walls down with the excellent rocker “Live With Me”. The title track is all about Mick Jagger seducing the world…it’s a sleazy and perfect soundtrack for those days when you need “a little coke and sympathy”.

“Midnight Rambler” is the Stones at their rocking blues best, and one of the purest songs Jagger & Richards ever wrote. Mick’s harmonica is haunting. “You Got The Silver” is the last time we hear Jones, and just barely. It’s a fine track, and fits the album perfectly with a memorable lead vocal from Keith. “Monkey Man” is one of their stronger straight ahead rockers, with a great riff from Richards. And finally, say goodbye to the decade with the always classic “You Can’t Always Get What You Want”, the greatest Stones anthem of all. A great album. And really, it’s Keith Richards who carries it, playing almost all of the guitars. Guests include Ry Cooder, Leon Russell and Al Kooper. Let It Bleed is strong and solid from start to finish, although it’s sometimes overlooked in favor of Sticky Fingers and Exile On Main Street. This is one of the albums that made the Stones the legends they are, now and forever. This is a must have.


Link

_________________
May we all get to heaven
'Fore the devil knows we're dead...
Back to top
  • Visit poster's website
  • View user's profile
  • Send private message
  • Visit poster's website
Romanelli
Bone Swah


Gender: Male
Location: Broomfield, Colorado
United States
Moderator

  • #1575
  • Posted: 12/30/2021 22:30
  • Post subject:
  • Reply with quote
1256


The Stone Roses by The Stone Roses

THE STONE ROSES
1989 – SILVERTONE
Produced By JOHN LECKIE

1. I Wanna Be Adored
2. She Bangs The Drums
3. Elephant Stone
4. Waterfall
5. Don’t Stop
6. Bye Bye Bad Man
7. Elizabeth My Dear
8. (Song For My) Sugar Spun Sister
9. Made Of Stone
10. Shoot You Down
11. This Is The One
12. I Am The Resurrection
13. Fools Gold

Still hard to believe that this came from the 80’s…the mark of an album that was ahead of its time. From “I Wanna Be Adored” on, you know that just by listening to this that you’re part of something special. The Stone Roses emerged in the midst of the Manchester rock scene of the 80’s that spawned bands like Happy Mondays and Inspiral Carpets. The best thing to come from it was this album. The Stone Roses debut is a fantastic guitar driven album, loaded with dreamy songs and danceable tracks that still seem to be somehow sad sounding and lazy. Before grunge, after punk, and in the midst of the death throes of album rock and new wave, The Stone Roses was something new and different. This album was initially ignored, but its stature and legend has rightfully grown over the years to where it is widely considered one of the greatest albums of all time. Rightfully so…this is a beautiful and awe inspiring work.

The Stone Roses formed in 1983, and it took six years before this first album was out. It’s loaded with gems. “Fools Gold” is stunning, almost 10 minutes of perfection. “Elephant Stone”, “I Wanna Be Adored”, “Made Of Stone”, “Waterfall”, “She Bangs The Drums”, “I Am The Resurrection”…this is an album that is absolutely loaded with one great song after another. Unfortunately, The Stone Roses took 5 years before releasing their disappointing second album, which suddenly found the musical landscape knee deep in Oasis and Blur. And there’s been nothing since then…after over twenty five years, it’s kind of doubtful that a third album will ever come. But, there’ always this album. This album has quietly become a classic over the years, and for good reason. This is simply a great album. By a band that caught lightning in a bottle, and never came close to doing it again. The Stone Roses is amazing and perfect.


Link

_________________
May we all get to heaven
'Fore the devil knows we're dead...
Back to top
  • Visit poster's website
  • View user's profile
  • Send private message
  • Visit poster's website
Romanelli
Bone Swah


Gender: Male
Location: Broomfield, Colorado
United States
Moderator

  • #1576
  • Posted: 01/01/2022 02:04
  • Post subject:
  • Reply with quote
1257


In My Tribe by 10,000 Maniacs

10,000 MANIACS
IN MY TRIBE
1987 – ELEKTRA
Produced By PETER ASHER

1. What’s The Matter Here?
2. Hey Jack Kerouac
3. Like The Weather
4. Cherry Tree
5. The Painted Desert
6. Don’t Talk
7. Gun Shy
8. My Sister Rose
9. A Campfire Song
10. City Of Angels
11. Verdi Cries

If there was ever a band name that didn’t fit the sound of the group it was attached to, it’s 10,000 Maniacs. This band has been around since 1981, but their biggest successes by far came when Natalie Merchant was their lead singer and principal songwriter. Merchant, who possesses one of the most beautiful voices in the history of rock, went solo in 1993, while the Maniacs continue to soldier on without her. In My Tribe is, along with its follow up Blind Man’s Zoo, the peak of the band’s career. It includes some of Merchant’s best early songs, highlighted by “Hey Jack Kerouac” and “What’s The Matter Here?”. Merchant, who was always the best part of the Maniacs, sounds positively perfect on those tracks. And on a lot of the rest as well, as she brings some of her best melodies to the album. Merchant also brings a maturity to the songs, writing about tough subjects like child abuse and drugs. This is Natalie Merchant at her very best.

In My Tribe was made better by having one of the tracks, a cover of Cat Stevens’ “Peace Train”, removed during the whole Salman Rushdie controversy in 1989…the track was not a great fit for the album, and it is still not included on CD versions of In My Tribe to this day…although you can hear it on vinyl and foreign versions. This album is their most pop sounding recording, and it’s absolutely the most essential 10,000 Maniacs disc. Merchant’s solo career has been iffy, but the career of 10,000 Maniacs since her departure has been off the charts invisible. Since she left 23 years ago, the band has released just four albums, all of which have gone almost completely unnoticed with singer Mary Ramsey at the helm. The bottom line is this…Natalie Merchant has a wonderful voice. The best place to hear that voice is on her early solo albums Tigerlily and Ophelia, and on In My Tribe. Worthwhile for her singing alone.


Link

_________________
May we all get to heaven
'Fore the devil knows we're dead...
Back to top
  • Visit poster's website
  • View user's profile
  • Send private message
  • Visit poster's website
Romanelli
Bone Swah


Gender: Male
Location: Broomfield, Colorado
United States
Moderator

  • #1577
  • Posted: 01/01/2022 20:49
  • Post subject:
  • Reply with quote
1258


Escape by Journey

JOURNEY
ESCAPE
1981 – COLUMBIA
Produced By MIKE STONE, KEVIN ELSON & STEVE PERRY

1. Don’t Stop Believin’
2. Stone In Love
3. Who’s Crying Now
4. Keep On Runnin’
5. Still They Ride
6. Escape
7. Lay It Down
8. Dead Or Alive
9. Mother, Father
10. Open Arms
11. La Raza Del Sol
12. Don’t Stop Believin’ (Live)
13. Who’s Crying Now (Live)
14. Open Arms (Live)

The fact that Journey was born from the great Santana band that played Woodstock can be most forgettable when listening to Escape, their biggest hit album and the one that made them ridiculously famous. Journey had floundered for years until their label forced Steve Perry into the band. They quickly discovered that the key to their future success was all in Perry’s golden throat. The hits began coming immediately, and by the time of Escape, they had figured out how to work it perfectly. Maybe the greatest cheese metal song of all time, “Don’t Stop Believin’”, opens things with the best few seconds of guitar that Neil Schon was ever allowed to play in this band, and the awful song plows straight ahead into the hearts of young girls and karaoke singers forever. At least it was a Journey hit that rocked. “Stone In Love” also had some rhythm, but after that, the stage was all Steve Perry’s. And he milked the whole “girls love power ballads” angle for all it was worth.

“Who’s Crying Now” is a perfectly formulaic dirge of a ballad, and of course it was a hit. But the song that really brought Journey to its short lived peak was “Open Arms”. This is Perry at his absolute weepiest, and it’s the ultimate power ballad…which is probably not such a great thing. Hair metal bands spend the next decade trying to top “Open Arms”, and, thankfully, none could do it. It’s the epitome of schlock, bad rock, and arena excess. As for the rest of Escape…you will find that the best tracks on any Journey album are actually the ones that were NOT hits. So, the six songs from “Keep On Runnin’” through “Mother, Father” are what keeps Escape from total disaster. The last four songs are non-essential bonus tracks. After Escape, Journey began a slow decline that ended with their breakup in 1986. They keep reuniting, but they’ll never recapture the magic of Escape, when they managed to give birth to an entire decade of excess, while still managing to keep the girls in full swoon.


Link

_________________
May we all get to heaven
'Fore the devil knows we're dead...
Back to top
  • Visit poster's website
  • View user's profile
  • Send private message
  • Visit poster's website
Fischman
RockMonster, JazzMeister, Bluesboy,ClassicalMaster


Gender: Male
Location: Land of Enchantment
United States

  • #1578
  • Posted: 01/01/2022 21:33
  • Post subject:
  • Reply with quote
Romanelli wrote:
1258


Escape by Journey

JOURNEY
ESCAPE
1981 – COLUMBIA
Produced By MIKE STONE, KEVIN ELSON & STEVE PERRY

1. Don’t Stop Believin’
2. Stone In Love
3. Who’s Crying Now
4. Keep On Runnin’
5. Still They Ride
6. Escape
7. Lay It Down
8. Dead Or Alive
9. Mother, Father
10. Open Arms
11. La Raza Del Sol
12. Don’t Stop Believin’ (Live)
13. Who’s Crying Now (Live)
14. Open Arms (Live)

The fact that Journey was born from the great Santana band that played Woodstock can be most forgettable when listening to Escape, their biggest hit album and the one that made them ridiculously famous. Journey had floundered for years until their label forced Steve Perry into the band. They quickly discovered that the key to their future success was all in Perry’s golden throat. The hits began coming immediately, and by the time of Escape, they had figured out how to work it perfectly. Maybe the greatest cheese metal song of all time, “Don’t Stop Believin’”, opens things with the best few seconds of guitar that Neil Schon was ever allowed to play in this band, and the awful song plows straight ahead into the hearts of young girls and karaoke singers forever. At least it was a Journey hit that rocked. “Stone In Love” also had some rhythm, but after that, the stage was all Steve Perry’s. And he milked the whole “girls love power ballads” angle for all it was worth.

“Who’s Crying Now” is a perfectly formulaic dirge of a ballad, and of course it was a hit. But the song that really brought Journey to its short lived peak was “Open Arms”. This is Perry at his absolute weepiest, and it’s the ultimate power ballad…which is probably not such a great thing. Hair metal bands spend the next decade trying to top “Open Arms”, and, thankfully, none could do it. It’s the epitome of schlock, bad rock, and arena excess. As for the rest of Escape…you will find that the best tracks on any Journey album are actually the ones that were NOT hits. So, the six songs from “Keep On Runnin’” through “Mother, Father” are what keeps Escape from total disaster. The last four songs are non-essential bonus tracks. After Escape, Journey began a slow decline that ended with their breakup in 1986. They keep reuniting, but they’ll never recapture the magic of Escape, when they managed to give birth to an entire decade of excess, while still managing to keep the girls in full swoon.


Link


Best analysis of Escape I've ever read. (great job with Let it Bleed too).
Back to top
  • Visit poster's website
  • View user's profile
  • Send private message
Romanelli
Bone Swah


Gender: Male
Location: Broomfield, Colorado
United States
Moderator

  • #1579
  • Posted: 01/02/2022 20:47
  • Post subject:
  • Reply with quote
Fischman wrote:
Romanelli wrote:
1258


Escape by Journey

JOURNEY
ESCAPE
1981 – COLUMBIA
Produced By MIKE STONE, KEVIN ELSON & STEVE PERRY

1. Don’t Stop Believin’
2. Stone In Love
3. Who’s Crying Now
4. Keep On Runnin’
5. Still They Ride
6. Escape
7. Lay It Down
8. Dead Or Alive
9. Mother, Father
10. Open Arms
11. La Raza Del Sol
12. Don’t Stop Believin’ (Live)
13. Who’s Crying Now (Live)
14. Open Arms (Live)

The fact that Journey was born from the great Santana band that played Woodstock can be most forgettable when listening to Escape, their biggest hit album and the one that made them ridiculously famous. Journey had floundered for years until their label forced Steve Perry into the band. They quickly discovered that the key to their future success was all in Perry’s golden throat. The hits began coming immediately, and by the time of Escape, they had figured out how to work it perfectly. Maybe the greatest cheese metal song of all time, “Don’t Stop Believin’”, opens things with the best few seconds of guitar that Neil Schon was ever allowed to play in this band, and the awful song plows straight ahead into the hearts of young girls and karaoke singers forever. At least it was a Journey hit that rocked. “Stone In Love” also had some rhythm, but after that, the stage was all Steve Perry’s. And he milked the whole “girls love power ballads” angle for all it was worth.

“Who’s Crying Now” is a perfectly formulaic dirge of a ballad, and of course it was a hit. But the song that really brought Journey to its short lived peak was “Open Arms”. This is Perry at his absolute weepiest, and it’s the ultimate power ballad…which is probably not such a great thing. Hair metal bands spend the next decade trying to top “Open Arms”, and, thankfully, none could do it. It’s the epitome of schlock, bad rock, and arena excess. As for the rest of Escape…you will find that the best tracks on any Journey album are actually the ones that were NOT hits. So, the six songs from “Keep On Runnin’” through “Mother, Father” are what keeps Escape from total disaster. The last four songs are non-essential bonus tracks. After Escape, Journey began a slow decline that ended with their breakup in 1986. They keep reuniting, but they’ll never recapture the magic of Escape, when they managed to give birth to an entire decade of excess, while still managing to keep the girls in full swoon.


Link


Best analysis of Escape I've ever read. (great job with Let it Bleed too).


Thank you! Means a lot to me! Smile
_________________
May we all get to heaven
'Fore the devil knows we're dead...
Back to top
  • Visit poster's website
  • View user's profile
  • Send private message
  • Visit poster's website
Romanelli
Bone Swah


Gender: Male
Location: Broomfield, Colorado
United States
Moderator

  • #1580
  • Posted: 01/02/2022 20:50
  • Post subject:
  • Reply with quote
1259


Talking With The Taxman About Poetry by Billy Bragg

BILLY BRAGG
TALKING WITH THE TAXMAN ABOUT POETRY
1986 – ELEKTRA
Produced By KENNEY JONES & JOHN PORTER

1. Greetings To The New Brunette
2. Train Train
3. The Marriage
4. Ideology
5. Levi Stubb’s Tears
6. Honey, I’m A Big Boy Now
7. There Is Power In A Union
8. Help Save The Youth Of America
9. Wishing The Days Away
10. The Passion
11. The Warmest Room
12. The Home Front

1. Sin City
2. Deportees
3. There Is Power In A Union (Instrumental)
4. The Tracks Of My Tears
5. Wishing The Days Away (Alternate Version)
6. The Clashing Of Ideologies (Alternate Version)
7. Greetings To The New Brunette (Demo)
8. A Nurse’s Life Is Full Of Woe
9. Only Bad Signs
10. Hold The Fort

Maybe the best way to describe Billy Bragg (better known recently for his collaborations with Wilco on the Mermaid Avenue albums) is to say that he is the British version of the young Bob Dylan, influenced heavily by the music of The Clash. If that sounds exciting, it should. Bragg is a left wing activist, and he has no reservations about singing his political views. Talking With The Taxman About Poetry is his third album, and thirty years later, still stands as a fine folk album. Bragg never made a truly masterful album, but this one comes reasonably close. The best tracks here may be “Levi Stubb’s Tears”, about the Four Tops singer, and “Greetings To The New Brunette”, which features The Smiths guitarist Johnny Marr. Bragg’s convictions are strong, and he brings more instrumentation to this album other than just an acoustic guitar. His songwriting, which has always been hot or cold, is more on than ever before, and as good as he ever got.

Bragg’s recording career, outside of the Mermaid Avenue albums with lyrics by Woody Guthrie, has been surprisingly spotty. So, this would be the best bet as far as his albums are concerned. It’s his most even collection, and his most adventurous. If you get the 2006 (20 years) edition, you get the interesting bonus disc listed above. It features some alternate versions, but also some surprise tracks like Gram Parsons’ “Sin City” and “The Tracks Of My Tears”. Bragg’s idea of taking punk into a folk setting has always fit well…it’s just that Bragg himself was more Phil Ochs than he has ever been Dylan. Talking With The Taxman About Poetry is a very good album. It’s a few grains short of great, but then Billy Bragg has always been that. Always interesting, always strong, but never the strongest recording artist, and never the best of what folk has to offer. But, again, it’s his most interesting and likeable work to date.


Link

_________________
May we all get to heaven
'Fore the devil knows we're dead...
Back to top
  • Visit poster's website
  • View user's profile
  • Send private message
  • Visit poster's website
Display posts from previous:   
Post new topic   Reply to topic
All times are GMT
Goto page Previous  1, 2, 3 ... 157, 158, 159 ... 232, 233, 234  Next
Page 158 of 234


 

Jump to:  
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


Similar Topics
Topic Author Forum
Sticky: Music Diaries SuedeSwede Music Diaries
Sticky: Info On Music You Make Guest Music
Sticky: Beatsense: BEA Community Music Room Guest Lounge
Larcx's Music Diary Larcx13 Music Diaries
Here goes nothing: My music diary of ... LullabyPuppet Music Diaries

 
Back to Top