Live set by former Velvet Underground member and the ringmaster of the avant-garde, Mr. John Cale. The album is virtually a career retrospective, recorded live on John's 2006 European tour. Cale felt like he'd finally found the personnel to interpret his songs with new twists, new dimensions and new emotions. None more so evident than the track 'Gun', originally appearing on 1974's Eno & Manzanera produced Fear but now sounding akin to a heavy arsenal of crunching weaponry. Inspired, Cale recorded the dates and the band began to tear up a 40 year musical history book, challenging and breathing new life into Cale's work…
Sound explorations are emphasized throughout this release with Jeff Palmer's atmospheric organ, the varied tones of John Abercrombie's guitar synthesizer, David Liebman's very passionate soprano and Adam Nussbaum's drums interacting over a variety of patterns. All of the compositions are group originals with five by Palmer and one apiece from the other three musicians. Whether it be the funky beat of "Hip Slick," the free jamming of "Mr. Adam," the spacey title cut or the almost New Age feel of "Mr. John," the themes are less important than the setting of moods and the advanced improvising.
This self-titled album was Elton John's second and breakthrough release in America. Mr. John and Bernie Taupin had been collaborating for a few years, but they really started to gel as a team on this release. The album has almost a baroque sound to it with alot of strings, harpsicords and airy syntheseisers. Of course everyone knows the megahit "Your Song", but the album contains others that would become Elton John classics. "Sixty Years On" is a stirring lament about growing old, "The Greatest Discovery" is a sweet ode to the birth of a brother, while "The King Must Die" ends the album in dark epic fashion. "I Need You To Turn To" & "First Episode At Hienton" carry on in the somber-like tone. The album is dominated by, but not regulated to classical stylings…
John Lee Hooker's greatness lies in his ability to perform the same songs the same way yet somehow sound different and memorable in the process. He operates at maximum efficiency in minimal surroundings with little production or assistance. That was the case on a 1969 session for Black and Blue; it was just Hooker and his guitar moaning, wailing, and narrating on 10 tracks which included familiar ditties "Boogie Chillen," "Love Affair," "Big Boss Lady," and "Cold Chills." Evidence has now not only reissued these 10 but has added another six bonus cuts, bringing the CD total to 16. If you have ever heard any Hooker, you will not be surprised or stunned by these renditions; you will simply enjoy hearing him rework them one more time, finding a new word, phrase, line, or riff to inject.
Hooker was already being hailed as a living legend in the '60s, but by the time of this 1986 release he was a larger-than-life figure, his iconic stature unquestioned. From his earliest collaborations with Canned Heat and on through the '70s and '80s, the rock world never got tired of trying to endear Hooker to a crossover audience. JEALOUS is an attempt to adapt Hooker's lonesome blues to full-band arrangements. Unlike his band recordings of the '50s, though, there's a decided rock edge to his accompaniment here, providing a sharp contrast to the down-home, earthy sound of Hooker's voice and guitar. Organ, electric guitar, and a forceful rhythm section baked in reverb back Hooker on JEALOUS. Instead of overpowering Hooker, though, these new arrangements place the bluesman on a sonic pedestal, from which he sounds like the voice of God dispensing wisdom through the blues.
This four-disc box from London's JSP Records collects an astounding 100 songs recorded by John Lee Hooker in Detroit from the years 1948 to 1952, including his first two sides ever, the signature tunes "Boogie Chillen" and "Sally Mae." Most of the tracks here are done solo, with Hooker's ever-present foot-stomping, although a few feature other musicians on loose-limbed blues boogies. Since Hooker never significantly altered his style during his long career, these first recordings set the stage for all that came after, and he arguably never sounded fresher or better. Four discs worth of this throwback Mississippi bluesman will be severe overkill for casual listeners, but diehard Hooker fans will find this box set absolutely essential.
One of his finest '90s recordings, Chill Out balances the guitar-glitz of Carlos Santana's guest shot on the karmic title cut with a handful of profoundly deep Hooker solo performances. Among those are new versions of his standards "Tupelo" and "Annie Mae," and the soulful "If You've Never Been in Love," where expert slide-man Roy Rogers provides subtle accompaniment to Hooker's spontaneous storytelling. The band numbers that bookend the album are weak, relying on Hooker's strong vocal presence to overcome sketchy writing. Van Morrison, pianist Charles Brown, and M.G.'s leader Booker T. Jones also lend a hand. But Hooker doesn't need anybody's help to get to the passionate heart of his blues. One last note: Anton Corbijn's CD-booklet photographs of ol' Johnny Lee are terrific.
Produced by Hooker's slide guitarist Roy Rogers–who knows what's right for him–this is Hooker's best 1990s effort. Rogers guides him through arrangements that recapture his past glories ("Boom Boom," with guest Jimmie Vaughan), sets him up for a giddy jam with the late Telecaster master Albert Collins ("Boogie at Russian Hill"), and teams him with Charlie Musselwhite for the guitar-voice-harmonica duet "Thought I Heard"–a performance as sad and eerie as disembodied moans in a Delta graveyard. There's also Hooker's first recorded performance on National steel guitar, the solo "Hittin' the Bottle Again". This album gets right to the heart of Hooker's music and stays there. A blues-lover's delight.