Author: Ed Murray (Page 1 of 2)

The Black Crowes: Before the Frost…Until the Freeze


RIYL: Gov’t Mule, North Mississippi Allstars, The Allman Brothers Band

Two albums in one, a CD purchase of Before the Frost… gets you a download code to receive the album’s companion release, …Until the Freeze. The download portion is available in both mp3 and FLAC formats. The vinyl version pulls all the material – 20 songs, 19 new Black Crowes tunes, plus a cover of the Stephen Stills-Chris Hillman song “So Many Times” – into a double album, but in a different running order.

Great playing, as always. Soulful singing. Strong material, even. The same lineup – still including Luther Dickinson, guitarist from North Mississippi Allstars – has been in place for a few years now (this’ll be their third album, if you include both the studio and live versions of Warpaint), and it shows on the seemingly effortless musicianship always on display on a Black Crowes joint. There’s a reason they’re one of the great American true rock & roll bands, and their hard-working professionalism is on display here. It’s a studio album that was recorded in a quasi-live setting, before an audience of fans at Levon Helm’s Woodstock, NY studio in late February and early March of this year, and the intimate setting really suits them. Standouts include “Houston Don’t Dream About Me,” the funky “Kept My Soul,” “Appaloosa,” with its simple and catchy chorus (and great guitar solo), “Last Place That Love Lives” and “I Ain’t Hiding” (this, despite its sorta-disco beat that’s a little hard to take over the course of the song).

Until the Freeze… is more acoustic and laid-back, with some fun country-ish numbers that really work, surprisingly, given the Crowes’ penchant for bluesy hard rawk workouts. The addition of fiddle and pedal steel, courtesy of utility session player Larry Campbell really countrifies things, and it’s hard not to wonder how the hardcore Crowes fans – which, let’s face it, are mainly there for the rocking guitars – are going to take to it.

Fans are going to love this record, but it’s not going to win them any new converts. Most people aren’t even going to be aware of this album. There’s no big hit single here, no “Jealous Again” or “Remedy” or “She Talks to Angels” or even “Hard to Handle,” the cover tune that put them on the map in the first place. And I’m sure that’s just fine for both the Black Crowes and their solid legion of fans. But I think they deserve more. (Silver Arrow 2009)

The Black Crowes MySpace page

Gary Burton, Pat Metheny, Steve Swallow, Antonio Sanchez: Quartet Live

Jazz vibraphonist Gary Burton formed the original Gary Burton Quartet in 1967 with bassist Steve Swallow and a couple of other hip jazz cats (namely, guitarist Larry Coryell and drummer Roy Haynes), predating the sometimes exhilarating but often lugubrious jazz fusion craze by at least a few years. Coryell left the band after a few years, and a number of talented jazz guitar slingers filled the slot, Pat Metheny among them. Recorded live in June of 2007 at Yoshi’s Jazz Club in Oakland, CA, Quartet Live reunites Burton, Swallow and Metheny, and includes drummer Antonio Sanchez, who’s been playing in the Pat Metheny Band for a number of years. The chemistry between these four jazz masters is obvious, as the quartet just clicks on a set that includes such compositions as Duke Ellington’s beautiful ballad (and disc highlight) “Fleurette Africaine,” Chick Corea’s “Sea Journey,” Carla Bley’s “Olhos de Gato” and “Syndrome,” Keith Jarret’s “Coral” and Metheny’s own “Missouri Uncompromised,” “B and G” and “Question and Answer,” the well-known Metheny staple here given an 13-minute treatment that somehow manages to avoid sounding like aimless, ego-driven noodling, like the rest of the album, really. (Concord Jazz, 2009)

Gary Burton fansite MySpace page

Hot Club of Cowtown: Wishful Thinking

The best thing about Wishful Thinking is the lack of ironic, tongue-in-cheek posturing. The Hot Club of Cowtown plays a sincere, honest blend of Western swing and hot Gypsy jazz that’s thankfully parody-free. The weakest thing about ’em is, sadly, the vocals, which are a bit thin for music this passionate. I found myself wishing more than once that they were an all-instrumental band, in fact. Luckily, the palpable sense of exuberance and the command of their instruments is almost enough for Elana James (fiddle, vocals), Whit Smith (guitar, vocals) and Jake Erwin (upright bassist) to get by on. And the vocals aren’t so bad that you’ll find yourself turning Wishful Thinking off, either. It’s obvious this band has the chops and experience to exhilarate an audience, whether live (they’ve appeared on such diverse stages as the Grand Ol’ Opry to the Glastonbury Festival to “Prairie Home Companion” to opening for as well as backing both Bob Dylan and Willie Nelson) or on record (this is their first new album in five years, and the first-ever with drums), which lend such a crackling energy to the proceedings you’ll wonder how they ever did without ’em. (Thirty Tigers, 2009)

Hot Club of Cowtown MySpace page

The Datsuns: Headstunts

The fourth album by New Zealand rockers The Datsuns is mostly a more-of-the-same kind of affair, and that’s not necessarily a bad thing. In fact, after a couple of less-than-memorable releases – including their second album, produced by none other than Led Zeppelin’s John Paul Jones – Headstunts is somewhat of a throwback to the high energy, ’70s-style r-a-w-k that US listeners first got a taste of on their 2002 self-titled debut. “Highschool Hoodlums” recalls nothing if not their own “MF From Hell,” in in intent if not in sound. Other tasty sonic nuggets abound, such as the surf-y “Hey! Paranoid People!,” the grungy groove of “Your Bones” and the extended raunch ‘n’ roll of “Eye of the Needle.” While this album certainly isn’t going to start a new musical revolution, and the Datsuns aren’t the saviors of rock ‘n’ roll, Headstunts is a solid-if-safe effort that will still hit your gut a lot harder than your head, which, again, is not necessarily a bad thing. (Cooking Vinyl)

The Datsuns MySpace Page

The Gourds: Haymaker!

Even those with half an ear wouldn’t mistake the Gourds for anything but a Texas band. From their sound, which is tough to describe since it has so many different elements (alt-country with creole and Tex-Mex seasoning? Hillbilly soul?), to their songwriting (with topics that run the typical Gourds subject matter weirdness: road trips, love, a guy named Thurman, unrequited love, fossils, love, Shreveport, women), this Austin-based five-piece is definitely of a place. Haymaker!, their ninth studio album, boasts more of a country sound than their last two albums, 2007’s Noble Creatures and 2006’s Heavy Ornamentals, but with the Gourds, country gets rightfully twisted to include soul, rock, swamp boogie, and a lot of the usual elements that listeners have come to expect from a Gourds album. Haymaker! thankfully is also a lot less ballad-heavy than Noble Creatures, so it naturally has a more playful feel. And while there’s nothing here as immediately stand-out as their cover of Snoop Dogg’s “Gin and Juice” – c’mon, that was 12 years ago, man! – there’s enough here for Haymaker! to be a contender for the best Gourds album yet. (Yep Roc 2009)

The Gourds MySpace page

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