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December music reviews

Mary Black: Live

Dara Records DVD 107 mins PAL4:3 5.1 and Stereo

Recently the mail bought this package of a DVD of a concert, a full documentary on a much-loved artist and also a live CD recording of similar material. Tuff job being a music reviewer!

The documentary “Still Believing” is a full introduction covering the pedigree of one of Ireland’s finest exports, but also some snippets of Irish pub life that sadly this country doesn’t imitate.

The concert footage almost provides another documentary. This one musical, as material covering the last twenty years is included. Personally I find the full-on sincerity almost too earnest and yearn for some of the wit that found its way into the wonderful Guinness Festival nights we used to see down under, but I know many others won’t agree. What isn’t in doubt is that Mary Black can sure sing, her band is hugely talented and great care has been taken over the production. Her legion of fans will surely not hesitate in seeking this package out, and they will not in any way be disappointed – quite the opposite. Others will enjoy the experience, and it could well leave to further investigation of the Mary Black catalogue. I know I shall replay this set many times; it will be interesting to see how it grows on me. Allan McFarlane

Junior Brown: Down Home Chrome

Telarc

Both sides of the ever-eccentric guitarist/vocalist Junior Brown are well represented here. The country/blues virtuoso guitarist lays down some excellent ‘down-home’ tracks towards the end of this CD but you have to get through some rib-splittingly funny eccentricity to get there.

A classic of self-parody can be found in Two Rons Don't Make It Right, an extreme tongue in check version along the My Baby’s Left Me (again) lines. Personally I love it, the deep baritone voice is a wonder, yes he is a wizard guitarist, and if you only play this CD once I guarantee a spin you’ll never forget. The Amazon reviewer sums it all up pretty well with the line “If you think Junior had a tendency toward being pretty weird when he was being normal, wait 'til you hear him being weird”.

On the technical side, this is one of the more curious Telarc releases I’ve come across. In stereo mode (this is a SACD hybrid release) the sound is puzzlingly ‘plumy’, with an overall artificial acoustic surrounding the vocals in particular in a disconcerting manner. Having tried it on a few systems to check my sanity, it was while driving home from one of these trials that I popped it in the car player. All was revealed. This makes stunning in car listening with a rock solid vocal presence in the middle of the dash. I can’t help but think that the producers had a big-rig truck in mind when they chose this presentation. Allan McFarlane

Maria Callas: Callas – Life And Art

EMI

The diva Divina has had all the accolades (the voice/musical icon etc of the twentieth century), so what made her so divine? Callas aficionados will be already in the know, so those of us nearer entry level are clearly the target audience for compilations such as this. There’s two and a half hours’ worth of mostly Italian arias across the two CDs, and the formidable virtuosity of the singer is constantly apparent: serene or searing intensity, breathtaking moments (many of them) when her voice seems so consummate, so convincing in its portrayal of the beauty and pain of being human.

Those who respect her talent talk of her imaginative intelligence, her capacity to definitively understand what is implied by the music, the theatrical genius, the defiant soul. But loaded on top of each other, out of context, it’s taxing to take more than a handful of these songs at a time. This is the latest of a stream of Very Best Of/Ultimate/Legend collections from EMI over the last two or three years – presumably each (re-)released with the intent of drawing lucrative new audiences to the individual operas. Fair enough, but less can so often be more. There must be more scope for a format where the quintessential peaks of the aria come in context with the preceding manoeuvring of soloists, chorus and orchestra…several minutes of it, at least, preferably.

Some of the selections here are a little suspect, too. Why, for instance, ‘Son vergin vezzosa’ from Bellini’s ‘I Puritani’, instead of the sublime ‘Ah, vieni al tempio…fedele Arturo’? Why not something from her celebrated ‘Il barbiere di Siviglia’?

Undeniably beautiful here, but even better elsewhere. Paul Green

Fleetwood Mac: Live in Boston (DVD & CD)

Reprise Records

Super-groups of the seventies are a bit thin on the ground these days. Fleetwood Mac was certainly a super-group with albums like Rumors, Tusk and Tango in the Night. Live in Boston mixes classic Fleetwood with some newer material from their tired sounding 2003 album, Say You Will. While their 2003 album failed to fire, this live set shows the quality of this classic rock band.

The double DVD, one CD package is certainly good value for money having 24 tracks covering all of the big hits. The material was recorded for a PBS TV special filmed last September at the Fleet Center in Boston, USA. The video quality is generally good rather than excellent and is presented in 16:9 letter box instead of anamorphic widescreen. The DVD provides a 5.1 Dolby Digital and two-channel Linear PCM sound tracks. I found 5.1 tracks added little and so listened mostly to the PCM track.

Lindsey Buckingham’s guitars are still sharp and provide the drive for many of the songs. His guitar solo I’m so Afraid (on the CD) is a scorching, emotionally charged satisfying blast. On Big Love he croons and plays without missing a beat. Stevie Nicks looks remarkably good but her voice on Dreams sounds drier than I remember. As always the heartbeat of a good rock band is the rhythm section and Mick and John keep things pumping. Missing from this album is Christine McVie who has retired from the Mac.

If Fleetwood Mac were one of your favorite bands then you’re going to love this DVD/CD. Some might be put off by the sight of old people rocking, but these guys have not forgotten how to. Richard Nelson

Janis Ian: Working Without a Net

Rude Girl Records/Oh Boy Records/Elite

Having recently praised the new Janis Ian CD Billie’s Bones the Editor thought I might like to hear this two CD compilation taken from recent live performances. How right he is, as I cannot stress too much the impact this set has made in our home. This is the kind of release that reinforces why we own and invest in such good home music systems, and why we continue to search out CDs and LPs that brings that system to life.

Having now read that Janis Ian turns out to be a recording junkie, meticulously documenting anything audio or visual that she finds of interest, is seems entirely natural that her own performances fall into that category, and I promise you, that after hearing these recordings you will be stunned to read that this set contains true live performances and that the astonishing guitar playing is largely Janis’s own.

Not content to simply rehash the solo efforts of 20-30+ years ago, many of the famous tracks are reworked into full band arrangements (Jesse), while others retain the mandatory solo accompaniment (At Seventeen).

As a mentor of a vast number of singer-songwriter imitators, this is a timely and much needed reminder of the influential and totally awe-inspiring talent that is Janis Ian. If you have had anything close to even a passing interest in this artist then I urge you to seek this release out. If you’re a hard-core fan I suspect you already have. Hugely recommended. Allan McFarlane

Bob James: In Hi-Fi

Audio Fidelity

Best known in New Zealand for composing and performing the theme from the TV show Taxi (Angela, to give the tune its proper name), Bob James has had much success in the USA as the writer, arranger and performer of easy listening jazz, often with a touch of R&B. In Hi-Fi is an 11 track compilation of his work, put out by Audio Fidelity label owner, Marshall Blonstein, a James fan.

As I’ve found with other Audio Fidelity releases, the sound quality is superb – another great Steve Hoffman remastering job. In Hi-Fi is a hybrid SACD. Michael Jones

Medeski Martin & Wood: End of the World Party (Just in Case)

Blue Note

For a decade MMW have been on a musical voyage from a basic jazz trio to exploring the outer reaches of the musical universe. Their voyage continues with End of the World Party (Just in Case), exploring a funk filed galaxy of rhythms and grooves. MMW have defined their music as “avant-garde instrumental hip-hop trance-funk”. That’s quite a mouthful and these guys bring together many elements to form an acid-jazz style of hip-hop that is all their own. In the past their albums have been guilty of being rather free-flowing and over indulgent. This time producer John King has ensured that they don’t get too carried away.   

Some of the tracks like New Planet sound suspiciously like funky 70s Herbie Hancock, but that is not a bad thing. Later tracks on the album such as Ice revert to a more traditional piano, drums and bass format but still manage to keep a contemporary feel. This album would be right at home in your trendy coffee shop but deserves more than just being background café music.

This music trekking voyage has made a welcomed visit to planet funk and I for one can grok that. Seriously cool. Richard Nelson

Memories Are Made of This

EMI

Even before I got to open this generous dual CD pack, the publisher had already decided to  buy a copy. It is that type of collection. These songs are little gems: ‘evergreens’ indeed. Try The Kingston Trio with Tom Dooley, Dean Martin with Memories Are Made Of This, Doris Day with Whatever Will Be, Will Be (Que Sera, Sera) or Pat Boone with Love Letters In The Sand. And that is just the first four tracks!

These are not only evergreens; they have ivy growing on them. They are smile at the computer and foot-tappingly good. It a wonderful exercise in time travel. Mother is back in the kitchen and there is a smell of fresh scones. Dad is in the back yard fiddling with his motorbike. Baby sister is asleep in a pram big enough to provide housing for Africa. I have just finished building the world’s first miniature air-born tank, all with a little help from Meccano.

This is not just boring old fart material however. The CD covers songs from the 1957-58 period, which was a unique time in popular music. While students of rock history may think that the charts were completely taken over by rock’n’roll music after Elvis, this wasn’t the case. For many years the charts were shared between rock’n’roll (Green Door, You’re Sixteen and Cathy’s Clown from this compilation) and the older pop music.

Is there a downside to all of this nostalgic joy? Well the quality of the pressings is always an issue with recordings of this vintage. We are talking patchy, strident at times all the way down to muddy. If you are not as obsessional as me about sound quality however, you will no doubt get hours of listening pleasure from this delightful compilation. John Groom

Remembering Jacqueline du Pré

EMI Classics DVD 56 mins PAL 4:3 Stereo/Mono

This DVD of the now legendary Christopher Nupen film paying homage to the considerable talents cellist Jacqueline du Pré is an almost reverential tribute to one of the finest musicians ever to come out of England. Made up almost exclusively of extremely rare footage, not only of du Pré, but also of her collaborators (Daniel Barenboim, Pinchas Zuckeman, Itzhak Perlman), teacher (William Pleeth) and notable admirers (Sir John Barbirolli).

Included are some wonderful filmed excerpts, Brahms, Beethoven and Elgar. Excerpts that capture the youthful exuberance of this wonderful artist who was struck down all to early in her short life. The film does not dwell on what might have been, instead choosing to disseminate the joy that du Pré gave to so many by making this essential viewing available to all. Essential for anyone with a classical interest, or with a music student in the household. A life enhancing experience not to be missed on any account. Allan McFarlane

Damien Rice: O

14th Floor Records/Warners

Breathtaking. Simply breathtaking. Debut recordings often mark the creative peak of an artist with following efforts being more polished but less “of” the artist. With O Damien Rice has set an impossibly high standard than must terrify him as he looks ahead. I have no idea how to classify the music contained within the ten tracks of this album but perhaps folk/singer songwriter with an edge will do for now. (As a counter view my wife would happily tag it with “sad bastard music”. Take your choice.) Accept though that no label can start to capture the grandeur, the raw unvarnished emotion of these performances.

The opening track, Delicate, starts off with echo's of Nick Drake in its gentleness and the frailty of the vocal but then builds into a pleading, demanding finale chorus than had the hairs standing up on the back of my neck. If these songs are written from experience then Damien is carrying a few deep scars from his past loves with bitterness and hurt common themes. Occasional lyrical weaknesses, especially the way he clutches for rhymes at times, are more than countered by the way Rice's voice communicates meaning. I doubt the best poets could convey emotion any better. All isn't sadness and dark as The Blower's Daughter stands out as one of the most exquisitely realised songs of love and longing that I've heard.

Recorded by Damien in nine different locations on either an eight or sixteen track mobile studio the sound, while not edgy and unpleasant, has a roughness to it which serves the music perfectly. This is no “live in the studio” album which makes the overall emotional impact all that more impressive. There's an interesting visit to opera (Eskimo), surprising walls of sound (I Remember) and various multi-tracked effects that take this music to places that very few others have explored. Guitars, cello, bass and drums are predominant but violin, piano, clarinet, massed strings, different percussion and more make appearances. Lisa Hannigan appears at times to vocally add a softer counterpoint to Damians lead.

I urge anybody with a like for (essentially) acoustic folk, singer songwriter style of music that is sung with passion and fire to simply buy this. Don't bother listening to samples, just buy it. Simply a classic. Craig Fenemor

Various: Blues Lounge

Putumayo World Music

Putumayo World Music continues to churn out interesting and high quality compilations to expand your musical tastes. Blues Lounge is described as “an innovative collection of classic blues tracks remixed and reinterpreted by leading electronica DJs and producers.” It includes tracks from artists like Little Axe, Tangle Eye and Moby.

No doubt blues aficionados would turn in their graves, but it is clear that adding a little hip-hop helps to make blues more accessible to regular folk. On the traditional African-American folk song John Henry’s Blues, which samples a vocal by convict Ed Lewis recorded at Mississippi State Penitentiary, the mix does a good job of maintaining the raw energy and spirit of the original. At the other end of the spectrum is Moby who uses blues, gospel and soul elements in his techno and this is displayed in the track Run On.

Whatever the approach, the fusion of electronica and blues produces interesting and surprising results. Banal Reality by Organic Groves layers guitar and synth over a drum and bass loop, but it is the old blues vocal sample that gives the track its mood.

Once again PWM have produced a disc that extends my musical understanding and enjoyment. Nice one. Richard Nelson

Various: Music From The Chocolate Lands

Putumayo

Subtitled ‘Unforgettable songs from countries where chocolate originates’, this latest pretext for a world music selection is sometimes solid, often sumptuous, and only occasionally bordering on the ‘wallpaper’ category. In characteristic Putumayo fashion, it’s all about fusions and collaborations – cross-cultural mixes of rhythm, melody, and style with frequently resonant Afro/Latino undercurrents. Think siesta, smoko, and taverna trysts, rallying choruses and unobtrusively explored soloes. Whilst there’s nothing specifically outstanding, there’s plenty that’s interesting for its detail and depth. And it’s all suffused with a sub-tropical warmth and rather irresistible sense of colour and conviction. Paul Green

Brian Wilson: Performs Smile

Nonesuch

Brian Wilson, the genius behind the Beach Boys, was never completely mentally healthy. In 1965 he had a mental breakdown and stopped touring with the band. The next year saw his very personal album (Pet Sounds) largely ignored (it’s now acknowledged as a classic album), clashed with Beach Boys lead singer Mike (“what is this shit?”) Love over the album, battled with the record company over royalties and had other matters going on. Plus Wilson felt as if he was in a competition with the Beatles, who had acknowledged Pet Sounds as an influence on Sgt Pepper. The pressures were building up.

The following year saw Wilson putting together the next Beach boys album, to be called Smile. After several recordings were made, Wilson broke down mentally, and has never been the same. Bootlegs of the Smile recordings have crept out over the years, giving fans a taste of “the greatest album never released”. But Wilson’s full imaginings for Smile have never been known, until now.

In 2003 Wilson and lyricist Van Dyke Parks completed the missing sections of Smile and earlier this year Wilson and his young band recorded the album (the 1967 Beach Boys recordings were not used).

So was it worth the wait? Definitely yes.

Smile is full of the carefully thought-out arrangements that will be familiar to fans of Pet Sounds. Unlike that album, full of conventional songs, Smile is comprised of a number of song fragments, linked together.

The recording is very good. One of the studios Wilson used in the 1960s was utilised for the Smile recordings, along with an original 1960s valve console for the vocals. In contrast to many of today’s recordings, Smile has a delightfully warm sonic signature. Michael Jones