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Today's work truck music...


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To Tulsa And Back -- CD

J.J. Cale

2004 Sanctuary Records

Cale, Back From Tulsa Sounding Great!, June 22, 2004
By William Sargent (Providence, RI USA) - See all my reviews
This review is from: To Tulsa & Back (Audio CD)

I'd call this Cale's best since Troubador from 1976. JJ went To Tulsa And Back to record this harder-edged collection. It contains unargueably some of his best laid-back tunes, that harken back to JJ's early Shelter years albums, like Naturally, Really and Okie. JJ used some of his hometown pals to record about half of these new songs in Tulsa, and the results sounds great! "Blues For Mama" is a must for any blues fan, with its melancholy melody, moanfully wailing guitar licks and from-the-gut vocal. "New Lover" is an energetic rocker led by Cale's driving guitar, and it screams, "Oh Eric, book some studio time". "The Problem" (a political message) is destined to be a Cale classic, with his coarse whispery vocal, and acidic lead guitar, fueled along by that incredible Tulsa Sound. Aware of life on the streets, JJ gives us a view of a pair living it in "Homeless". Another favorite on this cd is "Fancy Dancer", one of those rhythmic tunes that you can't sit still to. JJ Cale delivered a gem this time... get a copy!

"My Gal" 4:23
"Chains Of Love" 3:37
"New Lover" 3:12
"I Step" 3:20
"Stone River" 3:42
"The Problem" 4:31
"Homeless" 3:25
"Fancy Dancer" 4:50
"Rio" 3:46
"These Blues" 3:49
"Moto Mouth" 3:17
"Blues For Mama" 4:07
"Another Song" 3:24
 
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I Get A Boot Out of You/The Picasso of Big Band Jazz-- Remastered CD

Modern Touch of Marty Paich

1959-1958/2011 MasterJazz Records (Import EU)

Perfection isn't just a word. It's Marty Paich Big Band sound. December 26, 2012
By Jazzcat
Format:Audio CD

Perfection is the sound of the Marty Paich band in the fifties. I mean, just the first album presented in this edition, "I get a boot out of you" is absolutely SHEER PERFECTION in Jazz. You probably may know Art Pepper "Plus Eleven" album from the same era. It was arranged by Marty so you have the picture. Here you have probably a more astounding effort by Marty and his West Coast guys (I'll list the crew in a heartbeat). This album is very well known in the Jazz completists club (I'm in) just for the cover (every album from the fifties with a nice girl on it is very famous), but guys, the music... The MUSIC here is capitol music. Marty's pen is made out of gold, he can make a big band swing and sound totally perfect, with a miracle balance between charts and solos... enthusiasm, freshness and challenging arrangements. This is perfection for real, I'm not exaggerating. I'll list the band of this first album. JACK SHELDON, Al Porcino, CONTE CANDOLI (tp), Bob Enevoldsen (v-tb), George Roberts (b-tb), Vince DeRosa (fhr), ART PEPPER (alto), BILL PERKINS (tenor), Bill Hood (bari), VICTOR FELDMAN (vibes), RUSS FREEMAN (piano), JOE MONDRAGON (bass), MEL LEWIS (drums). LA June/July 59. You got it I guess. It doesn't get any better than this in Jazz. It's the real deal. Nothing is better than this stuff, maybe different, NOT BETTER. NOTHING. This is IT. The remastering of this album has been made very well, the sound is full, bright, fast, three dimnsional. Very beautiful for real. "I get a boot out of you" has been for very long time out of print so when I saw it on the shelves of my music store, I jumped on it. Never a Jump has been so lucky. A GEM. The second album presented here was recorded the year before, 1958, June, in LA. Curiously enough the audio quality is not great as the "Boot". The recordings is less dynamic, less bright and full. A worst remastering Job in my opinion. The line up of the band is more or less the same, with the addiction of HERBIE HARPER (tb), HERB GELLER (instead of Art Pepper), Marty paich at the piano (no russ Freeman here), BOB COOPER together with Bill Perkins as tenors. Musically we're on the same ground here. The album opens up with a medium tempo blues to set the pace. Overall is another splendid album, but I don't know, I still prefer the "Boot". There's a freshness, an enthusiasm in that album that is almost unreachable. Just to try to explain you the general mood, "Picasso" is a softer album in a sense, it's more dry, ... less bright and brilliant, even the fast charts are less vital, but we're comparing this album to probably the best Big Band jazz album of all time. And in the end this is just my taste. I would give 10 stars to the "Boot" and maybe 8 to "Picasso". My taste. It's not a matter of different soloists, they're all great, it's just a matter of the overall mood. I prefer the "Boot", because it's joy all the way, full throttle... Anyway just the "Boot" totally justify the price of this edition, ... you have a 8 album from Marty paich and the guys for free! ;))) Get this while you can. GOLD!


Tracks:
I Get A Boot Out Of You:
1.It Don't Mean a Thing
2.No More
3.Love for Sale
4.Moanin'
5.Violets for Your Furs
6.What Am I Here for?
7.Warm Valley
8.Things Ain't What They Used to Be

The Picasso Of Big Band Jazz:
9.From Now on
10.Walkin' on Home
11.Black Rose
12.Tommy's Toon
13.New Soft Shoe
14.What's New
15.Easy Listenin'
16.Martyni Time
17.Nice and Easy
 
Today's work truck music...


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Straight Shooter -- CD

Bad Company

1974 Swan Song Records

Supergroup hits its stride, November 7, 2001
By Mons "Mons" (Norrpan) - See all my reviews
This review is from: Straight Shooter (Audio CD)

Released in 1974, Straightshooter is regarded by many as being Bad Company's strongest album. It has the bluesy feel of its predecessor (Bad Co) but has the band turning their amps up 11 and rocking out the strongest set of songs of the band's career. Do not forget that Bad Co was a supergroup with 2 guys out of Free (Rodgers and Kirke), the bass player from King Crimson (Boz Burrell) and Mott the Hoople's guitarist (Mick Ralphs). They should have been huge, of course, but suffered from having to play second fiddle to Swan Song stablemates Led Zeppelin. The songs were great, their sound: a sort of supercharged, sexy blues-rock without the pretention of Led Zep. What let them down perhaps was their lyrics, some of which make Spinal Tap look like Leonard Cohen, but if you can take that - and I can - this album is a great listen from beginning to end. Bad Company were also one of the few hard rock bands that wrote great ballads (Anna), though it was Straightshooter's high-octane rockers like Good Lovin' Gone Bad, Feel Like Making Love and Shooting Star that helped secure them a place in rock history. Bad Company were a good, tight band, but I would recommend anyone to listen to them purely to hear Paul Rodgers' masterful rock vocals. New to Bad Company? Get this one first, and then Bad Co.

Side one

"Good Lovin' Gone Bad" (Mick Ralphs) – 3:35
"Feel Like Makin' Love" (Paul Rodgers, Ralphs) – 5:12
"Weep No More" (Simon Kirke) – 3:59
"Shooting Star" (Rodgers) – 6:16

Side two

"Deal With the Preacher" (Rodgers, Ralphs) – 5:01
"Wild Fire Woman" (Rodgers, Ralphs) – 4:32
"Anna" (Kirke) – 3:41
"Call on Me" (Rodgers) – 6:03
 
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California -- CD

Wilson Philips

2004 Columbia Records

As the offspring of 1960s California pop royalty (Beach Boy Brian Wilson, Mamas & Papas' John and Michelle Phillips), female vocal trio Wilson Phillips seems uniquely qualified to turn out a comeback album (after 12 years of silence) featuring covers of L.A.-centric hits from the '60s and '70s. Linda Ronstadt's "You're No Good" is ripe for revival, and here it gets a bit of a pumped-up Britney Spears-style treatment. Neil Young's "Old Man" is also the recipient of techno-friendly modernization. The trio's take on the Eagles' "Already Gone" sounds like a natural fit for contemporary-country radio.Unsurprisingly, the most faithful renditions are the strongest--Joni Mitchell's title cut and the Youngbloods' pacific anthem "Get Together." The girls dig into the catalogs of their parents too, for a "Monday, Monday" that owes more to Sheryl Crow than to the Mamas & the Papas, and a zesty romp through the Beach Boys' "Dance, Dance, Dance." The most affecting moment on CALIFORNIA, though, is the closing track, where Brian Wilson joins his daughters and their pal for a piano-and-vocal version of his classic "In My Room."

1. You're No Good
2. Old Man
3. California
4. Already Gone
5. Go Your Own Way
6. Turn! Turn! Turn! (To Everything There Is a Season)
7. Monday Monday
8. Get Together
9. Doctor My Eyes
10. Dance Dance Dance
11. In My Room
 
Today's work truck music...


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Sounds of Summer - The Very Best of -- CD

The Beach Boys

2003 Capitol Records

Amazon.com

The cynic may question just how many Beach Boys greatest hits albums are enough. Everyone else, however, will appreciate what makes Sounds of Summer unique. This is the first single-disc collection to feature such a large cross section of hits from the group's entire career, spanning 1962's "Surfin' Safari" through 1988's "Kokomo." All 30 tracks, spanning several label changes, were Billboard Top 40 hits and are probably now as identifiable as the national anthem to anyone with radio or TV access. The fact that the tracks aren't in chronological order helps make for a fresh listening experience, as does the crisp digital sound. And yet these songs--even those that are more than four decades old--always sound strangely fresh and will likely remain so as long as there are beaches, young people, and that symbolic season of freedom and dreams. Which is to say that the title here passes the "truth in advertising" test. Perfect for those casual fans not yet ready to spring for the individual albums, Sounds of Summer is in many ways a better representation of this legendary band's art than Elvis' 30 No. 1 Hits and The Beatles 1 were of the King and the Fab Four. --Bill Holdship

"California Girls" (Brian Wilson/Mike Love [1965]) – 2:44
Stereo remix from Endless Harmony Soundtrack
"I Get Around" (Brian Wilson/Mike Love [1964]) – 2:13
"Surfin' Safari" (Brian Wilson/Mike Love [1962]) – 2:05
"Surfin' USA" (Brian Wilson/Chuck Berry [1963]) – 2:27
"Fun, Fun, Fun" (Brian Wilson/Mike Love [1964]) – 2:18
"Surfer Girl" (Brian Wilson [1963]) – 2:27
"Don't Worry Baby" (Brian Wilson/Roger Christian [1964]) – 2:47
"Little Deuce Coupe" (Brian Wilson/Roger Christian [1963]) – 1:38
"Shut Down" (Brian Wilson/Roger Christian [1963]) – 1:48
Exclusive new stereo remix
"Help Me, Rhonda" (Brian Wilson/Mike Love [1965]) – 2:46
"Be True to Your School" (Brian Wilson/Mike Love [1963]) – 2:08
"When I Grow Up (To Be a Man)" (Brian Wilson/Mike Love [1964]) – 2:02
"In My Room" (Brian Wilson/Gary Usher [1963]) – 2:12
"God Only Knows" (Brian Wilson/Tony Asher [1966]) – 2:51
"Sloop John B" (Trad. Arr. Brian Wilson [1966]) – 2:57
Above two: stereo remixes from The Pet Sounds Sessions box set
"Wouldn't It Be Nice" (Brian Wilson/Tony Asher/Mike Love [1966]) – 2:31
Revised stereo remix from 2001 re-issue of Pet Sounds
"Getcha Back" (Mike Love/Terry Melcher [1985]) – 3:00
"Come Go with Me" (C.E. Quick [1978]) – 2:05
"Rock and Roll Music" (Chuck Berry [1976]) – 2:27
"Dance, Dance, Dance" (Brian Wilson/Carl Wilson/Mike Love [1964]) – 2:00
Exclusive new stereo remix
"Barbara Ann" (Fred Fassert [1965]) – 2:11
"Do You Wanna Dance?" (Bobby Freeman [1965]) – 2:18
"Heroes and Villains" (Brian Wilson/Van Dyke Parks [1967]) – 3:38
"Good Timin'" (Brian Wilson/Carl Wilson [1979]) – 2:12
"Kokomo" (Mike Love/John Phillips/Scott McKenzie/Terry Melcher [1988])3:35
"Do It Again" (Brian Wilson/Mike Love [1968]) – 2:18
Single version, without workshop effects coda
"Wild Honey" (Brian Wilson/Mike Love [1967]) – 2:37
"Darlin'" (Brian Wilson/Mike Love [1967]) – 2:12
"I Can Hear Music" (Jeff Barry/Ellie Greenwich/Phil Spector [1969]) – 2:36
"Good Vibrations" (Brian Wilson/Mike Love [1966]) – 3:36
 
^--- What do you think of that one, WW? I listened to a little bit of it and instantly disliked it. But I'm a huge fan of all her other earlier albums.
 
Today's work truck music...


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Graceland -- CD

Paul Simon

1986/1990 Warner Bros. Records

Amazon.com essential recording

The melding of South African styles and Simon's trademark sensibility made for one of the most intriguing albums--not to mention commercial hits--of the '80s. At once lively, thoughtful, gorgeous, and tough, Graceland acknowledges splits both in South Africa's social fabric and in Simon's personal life (the title track is a clear descendant of the earlier "Hearts and Bones," a song about the singer-songwriter's brief marriage to Carrie Fisher). Humor is hardly absent from the mix, though; witness the addled "I Know What I Know" and the fable-like "You Can Call Me Al." --Rickey Wright

Side one
No. Title Writer(s) Length
1. "The Boy in the Bubble" Forere Motloheloa, Paul Simon 3:59
2. "Graceland" Simon 4:48
3. "I Know What I Know" General MD Shirinda, Simon 3:13
4. "Gumboots" Lulu Masilela, Jonhjon Mkhalali, Simon 2:44
5. "Diamonds on the Soles of Her Shoes" Joseph Shabalala, Simon 5:45
Side two
No. Title Writer(s) Length
6. "You Can Call Me Al" Simon 4:39
7. "Under African Skies" Simon 3:37
8. "Homeless" Shabalala, Simon 3:48
9. "Crazy Love, Vol. II" Simon 4:18
10. "That Was Your Mother" Simon 2:52
11. "All Around the World or the Myth of Fingerprints" Simon 3:15
 
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