Audiophile Vinyl

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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 01, 2018
This month we review: Doug MacLeod, Ruth Brown, The Minx Soundtrack, and Matthew Sweet
Ken Kessler  |  Mar 06, 2019
This month we review: King Solomon, Mel Henke, Sarah Mclachlan, & Matthew Sweet
Ken Kessler  |  Nov 01, 2018
This month we review: Buffalo Springfield, Paul Rodgers, Ultimate Spinach, and Sonny Boy Williamson.
Ken Kessler  |  Oct 01, 2018
This month we review: Michael Nesmith, John Butler, Carmen McRae, and Nina Simone.
Ken Kessler  |  Sep 01, 2018
This month we review: Slim Harpo, Lynyrd Skynyrd, A Sea For Yourself, and The Rising Storm.
Ken Kessler  |  Jun 20, 2019
This month we review: Marvin Gaye, Gene Clark, The Remains, and Johnny 'Guitar' Watson
Ken Kessler  |  Apr 03, 2019
This month we review: Simon And Garfunkel, The Police, Rolling Stones, & Twisted Sister
Ken Kessler  |  Aug 28, 2019
This month we review: Tony Joe White, Julie London, Buck Owens and Linda Ronstadt
Ken Kessler  |  May 14, 2019
This month we review: The Beatles, The Band, Little Willie John, and The Kinks
Ken Kessler  |  Jul 25, 2019
This month we review: Bo Diddley, Big Brother & The Holding Co, Holly Cole Trio and The Shadows Of Knight
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 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 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
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.