Audiophile Vinyl

Sort By: Post DateTitle Publish Date
Ken Kessler  |  Dec 10, 2010
Like the title says, this is part of APO’s astonishing direct-to-disc series, but for me, it’s also the culmination of a decade-long plea for this label to record the R&B legend. It’s here I must declare personal involvement: I wrote the liner notes, explaining how it came about. Chad Kassem’s efforts have resulted in a delicious live session which justifies my nagging. Tate reaches down to the soles of his shoes to deliver exquisite takes of two trademark songs from his classic Verve LP, ‘Look At Granny Run Run’ and ‘Ain’t Nobody Home’, plus four others.
Ken Kessler  |  Dec 10, 2010
Less than year since Michael Jackson’s passing, armed as we are with 40 years’ worth of 20/20 hindsight, it’s hard to be objective about this, their second LP. For those – like me – who couldn’t stand their teeth-jarring precocity, beaten only in the saccharine stakes by their contemporaries, the too-clean-to-be-real Osmonds, it was simply Motown For Kids. But on reflection, this is so polished, irresistible and, it must be admitted, funky, that one must subjugate any preference for the Temps and admit that it’s as catchy as a dose of the clap in Magaluf. Most eerily, the tracks beyond the title hit sound – sophistication-wise – like they’re sung by a 35-year-old.
Ken Kessler  |  Dec 10, 2010
This LP’s rarity value alone commands attention: Topham was the Yardbirds’ founder guitarist, who had to leave the band because he was only 15. By 1969, at the age of 22, he delivered this solo LP, a long-forgotten take on the blues, far removed from the Yardbirds. Despite its Blue Horizon pedigree, it’s not of the Brit Blues school per se and is a stylistic mish-mash, more akin to Andrew Loog Oldham’s covers of the Stones’ canon, but its worth to Yardbirds hard-core is unparalleled. If you could find a mint original, you’d have to part with £100+.
Ken Kessler  |  Dec 10, 2010
If you’re bemused by the current obsession with ‘the American Songbook’ – even the BBC got in on the act with a week of specials devoted to it – this is an ideal time to hear one of the finest practitioners of the genre, before it became retro-cool. Ms Lee, arguably one of the half-dozen or so finest female popular music vocalists of the 20th Century, sexily slides through a dozen lesser-known gems, including her politically-incorrect composition which provides this LP with its utterly non-contemporary title. But stuff that: this is an album to play after you’ve run out of Mad Men DVDs, when you long for a time when men were men and women didn’t mind it. Sound Quality: 85% .
Ken Kessler  |  Dec 09, 2010
Yes, an LP of the CD I’ve been boring you with for six years. While probably a digital original, the album lends itself beautifully to the analogue medium because it’s just so damned rich: perfectly-recorded piano; fluid guitar, Dobro and bass; Keb’ Mo’s textured vocals. This was his ‘covers album’, the bluesman choosing nine peace ’n’ love folk and rock classics, mainly from the 1960s, like ‘Get Together’, ‘Imagine’ and ‘For What It’s Worth’. They serve as a statement that’s as relevant in 2010 as when the songs were new.
Ken Kessler  |  Dec 08, 2010
As this series of Nat ‘King’ Cole LPs, pressed on two 45rpm discs, concentrates on his golden era, you know what to expect: perfect sound quality, breathtaking arrangements, tasteful material and that voice. Aaah! That voice! It delivered so much, and was so inimitable that Cole could use it to make any song his own. This release from 1963, the last of a trio of LPs arranged and conducted by Gordon Jenkins, was themed with the subtitle ‘Songs of Love And Loneliness’. Cole creates the necessary mood with such completeness that you feel an ache in nearly every note.
Ken Kessler  |  Dec 08, 2010
For those in need of some distaff R&B amidst the incredible male performers captured live by Chad Kassem & Co, Texan songstress Greenleaf and her band Blue Mercy exhibit precisely the kind of fire and grit that exemplifies the great blues and (southern) soul belters of the 1960s and 1970s. Greenleaf acknowledges gospel inspiration and cites Koko Taylor and Aretha Franklin amongst her muses, so you can expect and do receive earthy, powerful interpretations of five tracks that suffer no sonic restraint. If the modernity of the recording’s crystal clarity jars with what is a genre of elderly vintage, think of this as you would a b/w movie filmed in high-def. This is shake your booty stuff.
Ken Kessler  |  Dec 08, 2010
Ms Ross, exactly 80 years old on the day that I’m writing this, is one of the UK’s best-kept secrets: jazz aficionados who know their onions appreciate that she is one of the best interpreters of standards in the business, so this set from World Pacific back in 1959 – featuring Zoot Sims on sax – ranks with any ‘Great American Songbook’ you can imagine. The stance here differs from her more famous work as part of Lambert, Hicks & Ross, the crack sextet (with a touch of big-band class provided by Mel Lewis on drums) accenting her vocals with uncanny precision. It may be a half-century old, but it can teach a few tricks to today’s crop of wannabees. Mesmerising.
Ken Kessler  |  Dec 08, 2010
Sundazed continues to plough a furrow that only a few other reissue labels dare, that of all-but-forgotten psychedelia. This time they’ve unearthed an ultra-obscure album by a band that might have been little more than a footnote, for once having included Elliott Randall in its ranks. But they produced one of those deliriously gloomy/druggy, proto-Goth sets that mix freakish originals with unusual covers: Love’s ‘Signed DC’, Dylan’s ‘It’s All Over Now, Baby Blue’ and even a Screamin’ Jay Hawkins track. The mix shows their eclecticism, but the best aspect of Creation – unlike too much from this genre which deserves to be forgotten – is that the music is terrific.
Ken Kessler  |  Dec 08, 2010
There’s a strong case for regarding this as EC’s best album – if not of his entire career, which is too varied and complex, then surely of his early years. The magic ingredient was the arrival of the band that would accompany him through his strongest period, his most sympathetic backing of all: the butt-kicking Attractions, who injected enough adrenalin into these Nick Lowe-produced sessions to yield an embarrassment of riches – ‘Pump It Up’, ‘Radio Radio’, ‘Lipstick Vogue’ and eight more acidic tracks. It’s ignoble to suggest that Costello was maturing: he arrived fully formed and in no need of assistance. It was like giving a great F1 driver a faster car.
Ken Kessler  |  Dec 08, 2010
If you enjoyed the gold CD edition, reviewed in March, then the LP will provide some surprises. Although The Cars were born in the analogue era, they embraced an artificial, otherworldly sound, which logic dictates might be favoured by digital. But so rich and layered were their recordings, and so distinctive the vocals, that the music lends itself equally to what should be passé technology in this context. Blessedly, The Cars were not as Fritz Lang-ian in their modernism as, say, the far-quirkier Devo, never allowing melody to be subjugated by studio wizardry, so even the proliferation of synths – which date the album – does not jar with analogue warmth.
Ken Kessler  |  Dec 08, 2010
There have been blues prodigies in the past, young kids who defy their age with a sound conveying wisdom, experience and other abilities which suggest the passage of time. But quite how Knox managed to ingest the anima of a 60-year-old in a 17-year-old’s mind/body is part of the mystery that makes this LP so compelling. Had you heard the album before being told this, his interpretation of Willie Dixon’s ‘You Need Love’ would have you convinced the guy had been playing juke joints for decades. When you realise that he composed nearly all of the material, you’ll want to see his birth certificate.
Ken Kessler  |  Dec 08, 2010
While the Beach Boys and Jan & Dean successfully co-opted the ‘surf’ genre by adding vocals, its inventor was Dick Dale, aka ‘King of the Surf Guitar’. Dale launched the genre with ‘Let’s Go Trippin’’ from 1961, which kicks off this set, developing a sound he forged to reflect the sensations of the sport. Along the way he directly influenced so many guitarists (eg Hendrix, Eddie Van Halen) that he’s even credited by some with inventing heavy metal. What these 28 mono tracks reveal are ingenious techniques that dazzle and frighten in equal measure 50 years on.
Ken Kessler  |  Dec 06, 2010
As eerie a song as has ever topped the charts, the surprise success of ‘Ode To Billie Joe’ ensured that Gentry’s 1967 debut LPwould also reach No 1. In retrospect, this is a seminal release helping to create the break between traditional, Opry-style country warblers, the gutsy, bluesy component turning this into, sort of, a distaff effort at the outlaw approach, with Gentry eschewing the beehive, pointy-bra’d, down-trodden angst of most of her contemporaries. As Gentry faded from the public a mere five or so years afterwards, working only sporadically, this reissue is a reminder of how much she helped to empower today’s country songbirds. Sound Quality: 88% .
Ken Kessler  |  Dec 06, 2010
If 1962’s Live In Paris was breathtaking, Sinatra At The Sands from ’66 defies categorisation. I mean, accompaniment by Count Basie and his Orchestra, conducted and arranged by Quincy Jones? And it was recorded at the Copa Room of the Sands Hotel and Casino in Las Vegas? If ever there was a Rat Pack-less souvenir of Sinatra at the top of his game, a primer in cool stagecraft, this LP takes the honours. All of his standard showstop tunes were delivered, up to and including ‘It Was A Very Good Year’. Add to that slick patter, ‘All Of Me’, plenty of the Basie band, ‘One For My Baby’, ‘I’ve Got You Under My Skin’ … there’s a reason why Ol’ Blues Eyes still remains the Boss.

Pages

X