Review: Carl Broemel – Wished Out
Carl Broemel will be a familiar name to many as a key member of
the Louisville, Kentucky quintet My Morning Jacket – joining just prior to the
group’s breakout LP, Z. Wished Out is Broemel’s third solo outing since 2010
and it continues his explorations of slightly wistful rock structures, which
sometimes tap directly into the southern indie rock tropes of the early/mid
‘80s, and at other times seem more influenced by the sounds and styles that
emerged out of California in the early ‘70s. Either way, Broemel regularly hits
a pleasing groove.
Wished Out – arriving in a sleeve that should make us all grateful
for the resurrection of vinyl – certainly doesn’t hang around. Only 8 songs in
35 minutes, it’s hardly a magnum opus, and its charms are consequently fleeting,
though most music players come with a repeat button, and with 3 of the 8 songs
clocking in at over 5 minutes, there’s plenty for the listener to get their
teeth into.
The first of them is the title track, and it plays to all Broemel’s
strengths. Fabulous musicianship throughout and a vocal hook that’s so sweet it
reminds me a little of classic period Karl Wallinger/World Party, before winding
up with a subtly fluid guitar solo that parries and lunges for the best part of
2 minutes – just great! It’s followed by the gentle psychedelia of ‘Malibu
Shadow’ and then a more direct pop song, the ultra hooky ‘Starting From Scratch’.
The LP ends with the ambitious, multi-faceted ‘Out Of Reach’ – a song
of many parts, that never quite settles into any of them, though it packs (and delivers) a
multitude of musical punches along the way.
Rollo
Review: Zack Logan – Raised By Wolves
Zack Logan –
Raised By Wolves (Badlands Records)
Released in early August, Zack Logan’s Raised By Wolves is an
album of country flecked Americana - and brings to mind a cluster of
singer-songwriters who came to prominence in the early ‘70s, from John Prine and
Steve Forbert, to just about anyone of those artists who got lumbered with the
‘next Dylan’ tag, and the expectations that came with it. Of course I say
‘poor’, but there were an awful lot of column inches put aside for those guys,
and the best of them overcame the lazy labeling and thrived. Bruce Springsteen
being the prime example.
So where does Zack Logan fit in? He certainly shares the same
blue-collar concerns as Springsteen, and his style and approach hints at
Prine’s easy delivery. It’s nothing overt, mind, more a shared record
collection and a way with a couplet. He’s a songwriter that consistently
impresses with subtle hints and understated pointers supporting and defining
his more unfussy prose.
The collection begins with ‘Annalee’, a simple study of a
relationship coming to an end, told with feeling (but never sentimentally), and
the sense of loss and heavyhearted sadness is palpable. Not cheery, but
desperately near to perfection. The title-track relies on some lucid imagery
and a catchy-as-hell chorus, but although the songs meaning is far from clear,
it’s tempting to read a great deal into Logan’s words.
Perhaps best of all is ‘Two Weeks At A Time’ – Logan’s missing his
girl as his job takes him away for… well the clues in the title. It’s a
laborers lament, though it probably works just as well for troubadours on the
road. We can ask him when he comes to our town.
Rollo
Review: Paul McCartney – Egypt Station
Paul
McCartney – Egypt Station (Capitol)
This is the thing, if you have any interest in popular music; you
have some sort of history with Paul McCartney. You may not agree, indeed, you
may believe the absolute opposite is true, but you’re wrong. The Beatles are
the single biggest influence on popular music. Even if every musical thing you
love sounds nothing like them, it’s a just a reaction against all those bands
that do. If they write their own songs, that’s The Beatles. If they make
videos, that’s The Beatles. If they stretch musical boundaries, that’s The
Beatles. The list goes on.
Of late, McCartney’s actually hit a bit of an autumnal purple
patch. 2013’s ‘New’ was an excellent collection, with minimal filler, solid
songwriting throughout and a few absolute stunners. It was unexpected, but
y’know, it’s Paul McCartney, anything’s possible. His solo highpoints are
spread throughout his career, so it’s impossible to predict when the next one’s
coming. Egypt Station isn’t quite up there with New, but it’s a close run
thing.
Over the course of an hour, Egypt Station touches upon a number of
styles and sounds, from gentle blues to heavy rock, and lyrically he’s on top
form, taking on social and political targets (‘People Want Peace’, ‘Despite
Repeated Warnings’, respectively) seemingly at will. In fact, it’s impossible not
to be overwhelmed by the pure, easy craftsmanship of his songwriting. It’s a
collection that simply flows, and signs off with the magnificent ‘Hunt You
Down/Naked/C-Link’, a multi-parter that brings to mind classic records like Ram
and Red Rose Speedway. Essential McCartney? Pretty close…
Rollo
Coming Up: Mott The Hoople - Mental Train - The Island Years 1969-71 Box Set
What they’re saying:
Legendary
English rock band Mott The Hoople’s entire output for Island Records is set to
be released as a new 6-CD box set, Mental Train
on 2 November.
The band
were signed to Island from 1969-1971 and this new box brings together all of
their studio albums from the period, in addition to a wealth of bonus material
including BBC sessions and live concerts. The studio albums have all been
remastered from the original tapes (where available) by renowned engineer Andy
Pearce and have been complemented by bonus tracks selected by Mott the Hoople
expert, Kris Needs.
Disc 5
comprises more unheard and, in some cases, unreleased music from the Island
archive and Disc 6 rounds everything off with live material recorded at
Fairfield Hall, Croydon on 13 September 1970 plus a BBC Radio One In Concert from the Paris Theatre, London on 30
December 1971. The CDs are housed in a shoe box style package with a 50-page
booklet designed by Phil Smee who scoured the archives for rare photos and
memorabilia, tracing the evolution of the band. It is completed with
comprehensive sleeve notes by Kris Needs.
Mott the
Hoople were one of the most prolific and important British rock bands of the
early 1970s and have been cited as a major influence by members of a raft of
subsequent groups, including Queen, Def Leppard, Oasis, R.E.M., Kiss, Motley
Crue and The Clash.
“Mott would
swing relentlessly and unstoppably into their show every night, like a
marauding band of outlaws and every night there was something close to a riot –
the kids couldn’t get close enough; they simply couldn’t get enough,” says
Queen’s Brian May of the band. “Ian Hunter – the unwritten boss – would plant
himself centre-stage behind his shades and dare anyone to remain seated.”
Mott The
Hoople continue to perform, in their current line-up, with Ian Hunter at the helm.
Review: Donnie Fritts – June (A Tribute To Arthur Alexander)
Donnie
Fritts – June (A Tribute To Arthur Alexander) (Single
Lock Records)
Donnie Fritts and Arthur Alexander met in the ‘50s, when Fritts
was just 16 and Alexander 18, and they remained close until the latter’s death
in 1993. Of coarse, music provided the initial link, writing and playing
together, though it could hardly have been common for a white kid and a black
kid to be hanging out together - under any circumstances.
Arthur Alexander’s importance and legacy has never been disputed.
His songs have been covered by The Beatles, The Stones and Bob Dylan, and his
debut hit ‘You Better Move On’, recorded at the original FAME Studios at Muscle
Shoals was the breakout hit for both Alexander and the studio (indeed, studio
owner Rick Hall used the proceeds from ‘You Better Move On’ to finance the
building of a new studio at Avalon Avenue in Muscle Shoals, still the current
facility).
Fritts’ versions of these classic Southern R&B songs – many of
which he co-wrote - are full of warmth and emotion. They’re earthier than Alexander’s
originals, more homely and less imposing, but none-the-less charming, and one
can’t help but approve of the depth of feeling that seeps from every note.
Fritts has done his old friend proud, and fans of both will find much to enjoy.
There’s no shortage of highlights, but it would be amiss if I
didn’t mention a few. “All The Time’ is just tremendous. Anchored by Fritts’
organ, a song that’s already chock full of heartache, takes on a level of
sadness that’s almost unbearable. ‘Soldier Of Love’ is beautifully ramshackle,
with a chorus that simply soars and the inevitable closer ‘Adios Amigo’ - a
timeless tale of friends saying goodbye. As poignant as it gets, really.
Rollo
Coming soon: Jethro Tull - This Was (50th Anniversary Edition) Box Set
After several name changes, Jethro Tull played its first show as
Jethro Tull in February 1968. Months later, Ian Anderson, Mick Abrahams, Glenn
Cornick and Clive Bunker released the band’s debut – This Was. The album debuted
at #10 on the U.K. album chart, but more important, it was the first step in a
50-year (and counting) journey that made Jethro Tull one of the world’s most
successful progressive rock bands.
To celebrate the album’s upcoming 50th anniversary, a special deluxe edition will be released which features:
- Original album and bonus tracks remixed in stereo by Steven Wilson
- Live BBC sessions recorded in 1968
- Original mono mix and original 1968 U.K. stereo mix
- Original album and bonus tracks remixed by Steven Wilson in 4.1 DTS and AC3 Dolby Digital surround and 96/24 LPCM stereo
- Flat transfer of the 1968 stereo remix
- Presented in a case-bound DVD book filled with an extensive history of the album, track-by-track annotations by Ian Anderson, plus rare and unseen photographs
Recorded during the summer of 1968, This Was is the only Jethro Tull album to feature guitarist Mick Abrahams, who left the group shortly after the album came out to form Blodwyn Pig. The title of the album refers to the band moving away from its early blues-based sound, which was referenced in the original liner notes: “This was how we were playing then – but things change – don’t they?” The album includes songs that have been in and out of Jethro Tull’s live show for 50 years, like “My Sunday Feeling” and “Beggar’s Farm.” Also featured are several bonus tracks: “Love Story,” “A Christmas Song.” “Sunshine Day” and “Aeroplane.”
In 1968, BBC Radio featured the band twice on its award-winning program, “BBC Top Gear Session.” Both of those performances – nine songs in total – are featured on the second disc, including live versions of “Serenade To A Cuckoo,” “Love Story” and “My Sunday Feeling.” Rounding out the disc are b-sides, outtakes, radio advertisements, and an unreleased mono mix of “Someday The Sun Won’t Shine For You” (Faster Version). The final CD features the album’s original U.K. stereo mix and its original mono mix.
The DVD features the original album and bonus tracks remixed by Steven Wilson in 4.1 DTS and AC3 Dolby Digital surround and 96/24 LPCM stereo. There are also 5.1 surround versions of “Love Story” and “A Christmas Song.” Also included in 96/24 LPCM stereo is the 1969 stereo mix that was released in the U.S.
To celebrate the album’s upcoming 50th anniversary, a special deluxe edition will be released which features:
- Original album and bonus tracks remixed in stereo by Steven Wilson
- Live BBC sessions recorded in 1968
- Original mono mix and original 1968 U.K. stereo mix
- Original album and bonus tracks remixed by Steven Wilson in 4.1 DTS and AC3 Dolby Digital surround and 96/24 LPCM stereo
- Flat transfer of the 1968 stereo remix
- Presented in a case-bound DVD book filled with an extensive history of the album, track-by-track annotations by Ian Anderson, plus rare and unseen photographs
Recorded during the summer of 1968, This Was is the only Jethro Tull album to feature guitarist Mick Abrahams, who left the group shortly after the album came out to form Blodwyn Pig. The title of the album refers to the band moving away from its early blues-based sound, which was referenced in the original liner notes: “This was how we were playing then – but things change – don’t they?” The album includes songs that have been in and out of Jethro Tull’s live show for 50 years, like “My Sunday Feeling” and “Beggar’s Farm.” Also featured are several bonus tracks: “Love Story,” “A Christmas Song.” “Sunshine Day” and “Aeroplane.”
In 1968, BBC Radio featured the band twice on its award-winning program, “BBC Top Gear Session.” Both of those performances – nine songs in total – are featured on the second disc, including live versions of “Serenade To A Cuckoo,” “Love Story” and “My Sunday Feeling.” Rounding out the disc are b-sides, outtakes, radio advertisements, and an unreleased mono mix of “Someday The Sun Won’t Shine For You” (Faster Version). The final CD features the album’s original U.K. stereo mix and its original mono mix.
The DVD features the original album and bonus tracks remixed by Steven Wilson in 4.1 DTS and AC3 Dolby Digital surround and 96/24 LPCM stereo. There are also 5.1 surround versions of “Love Story” and “A Christmas Song.” Also included in 96/24 LPCM stereo is the 1969 stereo mix that was released in the U.S.
Review: IDLES - Joy As An Act Of Resistance.
IDLES - Joy
As An Act Of Resistance. (Partisan Records)
What a solid second album from Bristol punkers, IDLES! Their
self-released, politically charged debut record, Brutalism, from just last year,
tackled some difficult topics with some aplomb, and was subsequently widely acclaimed
by press and fans alike. It’s always tricky following a cracking debut, but Joy
As An Act Of Resistance. will surely find them on or around the top of those
lists that music mags like to run at the end of the year. Again they’re hitting
targets hard, employing a lyrical dexterity that gets to the heart of the
subject with the minimum of bullshit - and combining them with hooks and
choruses that stick, making them doubly effective.
Beginning with scratchy drums, album opener ‘Colossus’ instantly
builds tension, and that’s maintained until the wave breaks around a third of
the way through. Out of that squall comes a densely riffed coda, full of noisy
melody and repeated phrases. Damn catchy, instantly addictive and a fine start.
‘Never Fight A Man With A Perm’ in funny and full on – and comes with the best
title of the year, so far. ‘I’m Scum’ is delivered with a rigid centre digit
held defiantly aloft, and the biting dissection that is ‘Love Song’ brings to
mind classic PiL, without ever sounding much like them. ‘June’ feels intensely,
deeply personal and is utterly affecting, and Brexit lambast ‘Great’ gets to
the point instantly, and then like a dog with bone, it just doesn’t let go.
Jonesy
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