Although he doesn't totally transcend his Stevie Ray Vaughan/Hendrix influences, Chris Duarte attempts to progress beyond them – occasionally – on his fourth release, Romp. Kicking off with the greasy Junior Kimbrough-penned title track, he then moves into a sizzling Hendrix-fueled instrumental, "101," which shows his hot-dog guitar prowess but could have been on any of his previous discs. Similarly, the flashy "Like Eric" doesn't hide the fact that if you wanted to hear Eric Johnson, you'd buy an Eric Johnson album. Things finally settle into a more unique groove on "My My." Here his haunting Hendrix-styled distorted fuzz tone nudges a mechanical beat that's creepy and edgy. Better still is a version of Dylan's "One More Cup of Coffee," the album's six-minute centerpiece that transforms the original into a dreamy, ominous ode, utilizing near spoken lyrics against a subtle and stark backing.
I can still remember the waves caused by Rodriguez’s “El Mariachi.” He was a part of a new school of DIY filmmakers in the ’90s who truly changed the movie scene. With other filmmakers like Richard Linklater (with “Slacker”) and Kevin Smith (with “Clerks”), Rodriguez made the idea that anyone could be the next notable director seem real. It was a wave that would eventually create household names like Quentin Tarantino and gave birth to a career in Rodriguez that has consistently produced for the last two decades…
The Piano Quintet in A minor is "grand" in more ways than one. It lasts more than 37 minutes. Each movement possesses its own fascination. The first offers heaving, swelling romantic music and engages all the instruments in daunting fashion. The second is a haunting, relentless scherzo that starts off with a lighter sound to build suspense. The slow third, major key movement starts off in rather saccharine style but turns persuasive in its own way.
The original Affinity essentially survived for just one album, a superb, jazz-tinged effort released on the Vertigo label in 1971, and subsequently reissued on several occasions since then – a cottage industry that seems to have spawned more interest in the band today than they ever attracted during their career. Certainly few people were aware that the group continued on following the departure (for a solo career) of vocalist Linda Hoyle later in 1971, but this set – aptly titled for the timespan it covers – not only documents the band's further activities, it also suggests that their ultimate demise was far from timely. With Vivienne McAuliffe proving a more than ample replacement, Affinity continued both gigging and recording, and this collection of previously unreleased demos and outtakes finds the band in excellent form. One can only imagine how great they might have been, had they had a full studio (and a recording budget) at their disposal!
Not wanting to leave a good thing behind, Moore reprises Still Got the Blues on its follow-up, After Hours. While his playing is just as impressive, the album feels a little calculated. Nevertheless, Moore's gutsy, impassioned playing makes the similarity easy to ignore.