Audiophile Digital

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Ken Kessler  |  Dec 01, 2018
This month, we review: The Doors, The Guess Who, Billy Squier and Negro Church Music.
Ken Kessler  |  Mar 06, 2019
This month, we review: Nazareth, Rick Derringer, The Louvin Brothers, & The Percy Phillips Studio Collection
Ken Kessler  |  Nov 01, 2018
This month, we review: Eleanor Mcevoy, The Flying Burrito Bros, Glenn Frey, and Spirit.
Ken Kessler  |  Oct 01, 2018
This month, we review: Supertramp, Gene Clark, Jethro Tull, and The Who.
Ken Kessler  |  Sep 01, 2018
This month, we review: Love, Bob Dylan, Phil Ochs, and Linda Ronstadt
Ken Kessler  |  Apr 03, 2019
This month, we review: Alexander Spence, Murray Head, Marillion, & Poco
Ken Kessler  |  May 14, 2019
This month, we review: Simon And Garfunkel, The Eagles, Eddie and the Hot Rods, and The Souther-Hillman-Furay Band,
Ken Kessler  |  Dec 10, 2010
As has been de rigueur of late, Swiss-born Beat Kaestli has joined Tony Bennett, Rod Stewart, Michael Bublé and others releasing ‘American Songbook’ sessions. Kaestli, though, has resisted the more obvious A-list songs and opted for ‘slightly-less-covered’ masterworks, including ‘My Romance’, ‘Day In Day Out’ and other tunes that are familiar rather than done to death. Backed by a superb quintet and recorded at St Peter’s Episcopal Church, NY, with David Chesky at the controls, it’s a perfect showcase for SACD surround, which seems to be enjoying a renaissance. Kaestli’s emphasis is jazzier than the norm, a refreshing break from Sinatra wannabees.
Ken Kessler  |  Dec 07, 2010
A trend I have no complaints about is that of live CDs which come with a DVD of the same concert, viz. McCartney in NYC, Steve Stills, etc. As I first saw King and Taylor together nearly 40 years ago, this set brought a lump to my throat: for baby boomers, there’s no more comfortable pair of slippers. They’re simply the gentlest, warmest pair of singer-songwriters imaginable, they clearly adore each other, and they deliver a combined self-penned 15 classics.
Ken Kessler  |  Dec 08, 2010
Mayfield was one of the very first soul artists to imbue his songs with serious political content. And this self-produced, solo debut from 1970 melded contemporary soul and R&B with production values rarely glimpsed before, resulting in Mayfield’s immediate elevation to the front rank. Overshadowed by masterpieces from Isaac Hayes, Stevie Wonder and Marvin Gaye from the same period, Curtis expanded on the ground-breaking work he’d created with the Impressions in the previous decade. Sounding dated only in that it lacks the abrasiveness of the post-rap era, Curtis succeeds instead because of its intensity, beauty, intelligence and grandeur.
Ken Kessler  |  Dec 08, 2010
After a run of smash hit LPs, the Doobies had no trouble maintaining a winning streak in 1976 because this, their sixth release, was also their first with the man who would kick everything up a notch and strengthen its sound in a highly distinctive manner: vocalist Michael McDonald. There were always signs that the group had hidden blue-eyed soul leanings and MM’s presence, along with that of another Steely Dan refugee, Jeff ‘Skunk’ Baxter, ensured that the increasing levels of sophistication would render the band an AOR/FM staple. Classy, and not as far removed from ’Dan as you might imagine, in case you’ve always hungered for more from that outfit. Sound Quality: 87% .
Ken Kessler  |  Dec 10, 2010
Talk about a breakthrough: by 1973 with this, album number three, the Doobies had metamorphosed from a quasi-boogie/rock outfit, looking like Allman Brothers wannabees, into a slick Left Coast outfit able to segue country rock into blue-eyed soul. This particular set, possibly a career best, alternated hard rockers with rootsy ballads, handing us enough AOR masterpieces to ensure permanent rotation on American FM wavebands: ‘Natural Thing’, ‘Long Train Runnin’’, the immortal ‘China Grove’ and the lush title track… Most bands would kill to produce something this accomplished. And this SACD let’s you hear just how gorgeous it all was. Sound Quality: 88% .
Ken Kessler  |  Dec 08, 2010
Not that I needed reminding that the J Geils Band was one of the best live acts I’d ever enjoyed, this nearly two-hour long set from the Monkey Island period is the 200-proof, real deal. Frontman Peter Wolf demonstrated the showmanship that enabled him to work an audience; harpmeister Magic Dick and axemaster Geils were on top form; and the remainder of the band constituted the tightest rhythm section north of Memphis. They ran through their most famous material, including a raunchy take on the Supremes’ ‘Where Did Our Love Go’, while a peppering of instrumentals leave no doubt this was the best house party/bar band ever. Sound Quality: 80% .
Ken Kessler  |  Dec 10, 2010
Since I saw JT on this particular tour, maybe I’m prejudiced, but, damn! this performance is a textbook example of how to charm an audience. Despite the size of the venue, and the clearly stoned crowd, it could have been an intimate coffee shop gig. The sound is clear as a bell, and every one of the 14 tracks is so familiar (to elder baby boomers) that they’re bound to bring tear to eye. Taylor remains the pinnacle of singer-songwriter bliss, particularly for those who favour the unplugged, not-entirely-maudlin sort, as far removed from Leonard Cohen or Nick Drake as the range of human emotions allows.
Ken Kessler  |  Dec 10, 2010
Interesting re-packaging of the US version of Hendrix’s debut, but not absolutely necessary if you bought this 17-track expanded release in 1997. This adds only cooler packaging and a 17-minute DVD of engineer Eddie Kramer and three now-departed figures – Hendrix’s one-time manager, Chas Chandler, and the members of the Experience, Mitch Mitchell and Noel Redding – talking about the recording sessions. But if you don’t own any Hendrix, this is the best place to start: it’s an utterly incendiary album bursting with invention, the blueprint for psychedelia, jazz-rock and so much more. An ear-opener then, a touchstone now for every guitarist since.

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