add 0017

Though not as big and swirling as Just for a Day, there's more of an attempt to put advanced song structure and melody in place rather than just craft infinitely appealing, occasionally thunderous mood music. Everything is simplified, as if Brian Eno's presence on two songs -- he contributes keyboards and treatments and co-wrote one tune after turning down the band's invitation to produce -- hammered home the better aspects of "ambient" music. This is no Music for Airports though. On the opening "Alison," the largely uplifting "When the Sun Hits," and the darkly blissful "Machine Gun," Slowdive are still capable of mouth-opening, spine-tingling flourishes. They've found a way to be quiet, moving, and aggressive simultaneously, mixing trance-like beauty with the deepest delayed guitar sounds around, a sound at once relaxing, soothing, and exciting, and most of all harshly beautiful.
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John Mc 1970

Where Fortune Smiles is really a John Surman recording, but subsequent re-releases have passed the credit on to John McLaughlin (for obvious reasons). The music is similar to but more dense thanExtrapolation. McLaughlin's raw sound was starting to take shape by this time and his impeccable chops are on full display. So too are those of the underrated vibraphonist Karl Berger and, of course, soprano saxophonist Surman. The foundation is held loosely in place by bassist Dave Holland and drummer Stu Martin. It's a challenging but interesting listen, especially given McLaughlin's later success and popularity. Although his creativity would peak with the Mahavishnu Orchestra and Shakti, he never sounded more free and exploratory than he does here. Highly recommended for its historical significance as well as some excellent playing.
Vinyl rip
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add 0016

The remoteness of the Knife (aka Olof and Karin Dreijer) and the chilliness of their music makes it easy to conjure up images of the duo working in a studio that resembles the Fortress of Solitude, playing instruments carved out of ice. But if the vibrant pop of Deep Cuts was like the northern lights, then Silent Shout is a sunless, vast expanse of tundra. A much darker, more ambitious set of songs than the Knife's previous work, the album finds the Dreijers stretching their sonics and downplaying the overt poppiness of Deep Cuts and The Knife. But, while Silent Shout isn't as whimsical or immediate as the Knife has been in the past, it's just as inventive, if not more so. Karin Dreijer's vocals are more striking than ever; treated as another instrument in the arrangements, they're layered, pitch-shifted, and tweaked until there's almost nothing left but tones and emotions. Her tweaked whispers on "Silent Shout" add to the song's pulsing, restrained, but very real menace; on "Na Na Na," she sounds like an alien diva. Likewise,Karin's whimsical, detailed lyrics also have a darker cast, offering glimpses of strange people in stranger situations. "From Off to On" deals with voyeurism and TV addicts; on "Like a Pen," Dreijer describes a character's struggle with body issues with disturbing clarity: "Sharpen my body like a pen...something too small for a lens." Many of the album's songs -- especially "Forest Families," "The Captain," and "Still Light" -- have a hushed, eerie intensity, but Silent Shout also sets off flares of emotion against its frosty backdrops. The fantastic single "We Share Our Mother's Health" is sleek yet chaotic, with marauding vocals set against frantic synths and beats that sound like the aural equivalent of blood bouncing on ice. The equally fantastic but completely different-sounding "Marble House" -- which was inspired by the classic French film The Umbrellas of Chebourg -- embodies doomed romance with its gliding melody and brittle castanet rhythms. the Knife eventually shows off its more playful side with the lumbering, cartoonishly macho "One Hit," which gives the album's sinister bent a mischievous twist. Truly unique -- even for a group as different as this one is -- Silent Shout is the Knife's most compelling work yet.
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add 0015

It's easy to think of the Black Keys as the flip side of the White Stripes. They both hail from the Midwest, they both work a similar garage blues ground and both have color-coded names. If they're not quite kissing cousins, they're certainly kindred spirits, and they're following surprisingly similar career arcs, asthe Keys' third album, Rubber Factory, is neatly analogous to the Stripes' third album breakthrough,White Blood Cells. Rubber Factory finds the duo expanding, stretching, and improving, coming into its own as a distinctive, original, thoroughly great rock & roll band. With 2003's Thickfreakness, guitarist/vocalist Dan Auerbach and drummer/producer Patrick Carney delivered on the promise of a raw, exciting debut by sharpening their sound and strengthening the songwriting, thereby upping the ante for their next record, and Rubber Factory doesn't disappoint. Instead, it surprises in a number of delightful ways, redefining the duo without losing the essence of the band. For instance, the production has more shades than either The Big Come Up or Thickfreakness -- witness the creepy late-night vibe of the opening "When the Lights Go Out" or how the spare, heartbroken, and slide guitar-laden "The Lengths" sounds like it's been rusted over -- but it's also harder, nastier, and uglier than those albums, piled with truly brutal, gut-level guitar. Yet through these sheets of noise, vulnerability pokes through, not just on "The Lengths," but in a lazy, loping, terrific version of the Kinks' "Act Nice and Gentle." And, like their cover of the Beatles' "She Said, She Said" on their debut, "Act Nice and Gentle" illustrates that even if the Black Keys have more legit blues credentials than any of their peers, they're nevertheless an indie rock band raised with not just a knowledge of classic rock, but with excellent taste and, most importantly, an instinct for what makes great rock & roll. They know that sound matters, not just how a band plays but how a band is recorded, and that blues sounds better when it's unvarnished, which is why each of their records feels more like a real blues album than anything cut since the '60s. But they're not revivalists, either. They've absorbed the language of classic rock and the sensibility of indie rock -- they're turning familiar sounds into something nervy and fresh, music that builds on the past yet lives fearlessly in the moment. On a sheer gut level, they're intoxicating and that alone would be enough to makeRubber Factory a strong listen, but what makes it transcendent is that Auerbach has developed into such a fine songwriter. His songs have enough melodic and lyrical twists to make it seem like he's breaking rules, but his trick is that he's doing this within traditional blues-rock structures. He's not just reinvigorating a familiar form, he's doing it without a lick of pretension; it never seems as if the songs were written, but that they've always existed and have just been discovered, which is true of any great blues song. Carney gives these songs the production they deserve -- some tunes are dense and heavy with guitars, others are spacious and haunting -- and the result is the most exciting and best rock & roll record of 2004.
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el bill y el Jim 2

A duet recording between pianist Bill Evans and guitarist Jim Hall is one that should retain high expectations to match melodic and harmonic intimacies with brilliant spontaneous musicianship. Where this recording delivers that supposition is in the details and intricacy with which Evans and Hall work, guided by simple framings of standard songs made into personal statements that include no small amounts of innovation. Only two standards are included, and begin the program before the duo merges into some original material with some foraging off the beaten path, along with tender notions that should please anyone. If you hear the melody of the opener, "I've Got You Under My Skin," in your head, you'd never believe Evans and Hall could conceive of this reharmonized and essentially improvised take, full of interplay and invention. The classic waltz version of "My Man's Gone Now" is closer to a stock rendition, except that Evans wrings out every bit of somber emotion in a spontaneous manner.Hall's "All Across the City" -- by now a revered standard -- is heard here in an early version with languid, serene, and peaceful tones. Another similarly iconic standard is "Turn Out the Stars," mostly a solo piano work with Evans hinting at quotes of Dave Brubeck's "In Your Own Sweet Way." The most unusual choice is Joe Zawinul's "Angel Face," with a naturally delicate lead from Hall's guitar, while Claus Ogerman's "Jazz Samba" injects a bit of energy into this otherwise easygoing set, with Hall's basslines setting off some bright harmonic reinforcements. At only 32 and a half minutes, it's disappointing there are no bonus tracks and/or additional material for a CD-length reissue, but Intermodulation still remains a precious set of music from these two great modern jazz musicians.
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el Bill y el Jim 1

Other than four piano solos from April 4, 1962, this set was pianist Bill Evans' first recordings after a hiatus caused by bassist Scott LaFaro's tragic death in a car accident. The first of two meetings on record in a duo format with guitarist Jim Hall, the collaborations are often exquisite. Both Evans and Hall had introspective and harmonically advanced styles along with roots in hard-swinging bebop. The six selections on the original LP have been expanded to ten for this CD reissue with the inclusion of two alternate takes and previously unheard versions of "Stairway to the Stars" and "I'm Getting Sentimental Over You." There is more variety than expected on the fine set with some cookers, ballads, waltzes, and even some hints at classical music. Recommended.
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add 0014

Like most such things, this four-track CD single is mostly of use to collectors and die-hard fans, as the material is not up to the standard of the Black Keys' albums. The title track is one of their less memorable efforts, clunking along in a scuzzy Howlin' Wolf punk groove that doesn't go much of anywhere. Also on board is an alternate version of a song from their first album, "Heavy Soul," and covers of the Stooges' "No Fun" and Richard Berry's "Have Love Will Travel," though the latter seems based on the Sonics' cover of the tune, not the original. Those two covers are the best half of the single, the band turning "No Fun" in particular into more of a gritty blues groove.

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El Duke - Money Jungle

Duke Ellington surprised the jazz world in 1962 with his historic trio session featuring Charles Mingusand Max Roach. Not in a mood to simply rework older compositions, the bulk of the LP focused on music he wrote specifically for the session. "Money Jungle" is a thunderous opener, a blues that might be classified somewhere between post-bop and avant-garde. The gem of the date is the fragile, somewhat haunting ballad "Fleurette Africaine," where Mingus' floating bassline and Roach's understated drumming add to the mystique of an Ellington work that has slowly been gathering steam among jazz musicians as a piece worth exploring more often. "Very Special" is a jaunty upbeat blues, while the angular, descending line of "Wig Wise" also proves to be quite catchy. Ellington also revisits "Warm Valley" (a lovely ballad indelibly associated with Johnny Hodges) and an almost meditative "Solitude." Thunderous percussion and wild basslines complement a wilder-than-usual approach to "Caravan." Every jazz fan should own a copy of this sensational recording session.
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ADD 0013

While the vast majority of post-punk bands who have an obvious taste for the blues seem to enjoy taking the style apart and messing around with the bits and pieces, the Black Keys are the (relative) traditionalists within the subgenre. With their two-piece, no-bass format, there's no room for clutter or wank, and the raunchy fuzz of Dan Auerbach's guitar (and drummer Patrick Carney's production) owes more to the Gories/Blues Explosion/White Stripes school of aural grime than anything else, but look past all that and the Black Keys are a straight-up blues band who could probably cut an album for Alligator if they were willing to clean up their act and fill out the lineup. And Alligator would doubtless be glad to have 'em -- the Black Keys's wail is hot, primal, and heartfelt, and Auerback's lean but meaty guitar lines and room-filling vocals drag the blues into the 21st century through sheer force of will without sounding like these guys are in any way mocking their influences. In short, if you're looking for irony, you're out of luck; if you want to hear a rock band confront the blues with soul, muscle, and respect, thenThickfreakness is right up your alley. Points added for the fact that the Black Keys performed, recorded, and produced Thickfreakness all by their lonesome in a single day -- further proof these guys are not messing around.
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ADD 0012

Michel Gondry's Eternal Sunshine of the Spotless Mind balances love and mental and emotional chaos skillfully, and its soundtrack is nearly as deft, mixing Jon Brion's score and some well-chosen pop songs. Chief among them is ELO's "Mr. Blue Sky"; despite the facts that it appears only in the commercials for the movie, and was also used recently in the ads for Spike Jonze's Adaptation (which, like Eternal Sunshine, was also written by brain-twisting scribe Charlie Kaufman), its quirky cheer fits, and its analog warmth and intricate layers of sounds resemble Brion's style. The Polyphonic Spree's guileless, twinkly "Light & Day" also works well, even though the song has been overexposed in TV commercials. However, their "It's the Sun (KCRW Morning Becomes Eclectic Version)" is just a little too much Polyphonic Spreefor the soundtrack's own good; the band's trippiness certainly reflects the way the film constantly rearranges and references itself, but the Spree's music is more naïve than the rather complex emotional story that Eternal Sunshine of the Spotless Mind tells. On the other hand, the Indian pop of Lata Mangeshkar's "Wada Na Tod" is subtly hypnotic, and Don Nelson's "Nola's Bounce" and "Some Kinda Shuffle" have a happy, nostalgic feel to them that complements the film's obsession with memories. The Willowz's "Something" is another highlight, although its brash garage rock is virtually the polar opposite of the rest of the soundtrack. Yet, as good as the pop music on the soundtrack is, at times it feels like a distraction from Brion's intimate score. Not surprisingly, the songs that work best with his music for the film are the ones that he worked on: Beck's cover of the Korgis' 1980 hit "Everybody's Gotta Learn Sometime" crosses his vulnerable Sea Change side with Brion's intricately layered, slightly retro style to moving effect, and Brion's own "Strings That Tie to You" is plaintively sweet. As for the score itself, his work here isn't as immediately attention-getting as it was on the excellent Punch-Drunk Love score, but it's just as evocative of love and memories, with warm pianos, strings, and guitars giving the music a worn-in feeling that is both nostalgic and timeless. While the brevity of pieces like "Bookstore," "Postcard," and "Sidewalk Flight" may frustrate Brion fans, these miniatures have nearly as much going on in them as the longer pieces do. "Showtime," which sounds like four or five pieces of music being played quietly at the same time, is an especially apt distillation of the film's feel, and "Elephant Parade" captures its essential optimism. On the longer cues, Brion really shines. "Theme" is bittersweetly humdrum, a quintessentially gentle, whimsical Brion piece; "Main Title," meanwhile, takes that whimsy in a mysterious, slightly spooky direction. The pianos that dominate the score work especially well on "Peer Pressure" and "Row," and scratchy acoustic guitar loops that sound like they were taken from old vinyl sound particularly wistful on "Collecting Things" and "Phone Call." Not all of the score is bittersweet, though -- "Drive In" is playful, prickly, and slightly dangerous. "A Dream Upon Waking" captures the nagging feeling of something being not quite right, and nearly reaches Punch-Drunk Lovelevels of disorientation. Indeed, Eternal Sunshine of the Spotless Mind is so visually and emotionally involved that during some of its most disorienting moments, its music doesn't always get the attention it deserves, so having this soundtrack offers another opportunity to enjoy it.
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ADD 0011 ( no paramos hasta el 2012)

As minimal two-man blues-rock bands go, this has to be near the top of the heap. The problem with minimal two-man blues-rock outfits (and there have been more of them than you think) is that they're, well, usually too minimal, with thin garage sound and a shortage of variety. The Black Keys' sound, impressively, is not too thin (though it is garage-ish), and there's enough deft incorporation of funk, soul, and hard rock into the harsh juke joint-ish core to avoid monotony. Most importantly, Dan Auerbach has a genuinely fine, powerful blues voice, sometimes approximating a white, slightly smoother Howlin' Wolf(particularly on the opener, "Busted"). Auerbach's a good guitarist, too, conjuring suitably harsh and busy (and sometimes heavily reverbed) riffs out of what sounds like a cheap but effectively harsh amp. Patrick Carney's drums might be the cruder component of this two-man band, but they keep the sound earthy without sounding sloppily punkish for the hell of it, as too many such groups searching for the blues-punk fusion do. The very occasional insertion of hip-hop snippets seems neither here nor there, and the cover of the Beatles' "She Said, She Said" seems like an odd choice. But overall it's quite cool raunchy electric blues with more vigor and imagination than similarly raw, elderly Southern juke joint artists who came into vogue starting in the 1990s. And it's way fresher than the standard bar band blues-rockers with slicker execution and more reverence for blues clichés.
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ADD 0010

tracks

Sample		Title/Composer	Performer	Time
	1	Spoonful	Howlin' Wolf	3:49
	2	Tail Dragger	Howlin' Wolf	4:31
	3	Smokestack Lightning	Howlin' Wolf	3:55
	4	Moanin' At Midnight	Howlin' Wolf	3:14
	5	Built For Comfort	Howlin' Wolf	5:10
	6	The Red Rooster	Howlin' Wolf	3:48
	7	Evil	Howlin' Wolf	4:06
	8	Down In The Bottom	Howlin' Wolf	2:44
	9	Three Hundred Pounds Of Joy	Howlin' Wolf	2:34
	10	Back Door Man	Howlin' Wolf	6:51

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