The Rolling Allmusic.com's Album of the Day thread

is it?

i hate it when records are too smart for me.

-- only children bleed (theundergroundhom...), May 21st, 2006 6:45 PM.

just a bro checkin some music out, that's all. lookin for a cool album, no big deal

Nice to see this as an album of the day.

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Falling halfway between musical primitivism and art rock ambition, Roxy Music's eponymous debut remains a startling redefinition of rock's boundaries. Simultaneously embracing kitschy glamour and avant-pop, Roxy Music shimmers with seductive style and pulsates with disturbing synthetic textures. Although no musician demonstrates much technical skill at this point, they are driven by boundless imagination — Brian Eno's synthesized "treatments" exploit electronic instruments as electronics, instead of trying to shoehorn them into conventional acoustic patterns. Similarly, Bryan Ferry finds that his vampiric croon is at its most effective when it twists conventional melodies, Phil Manzanera's guitar is terse and unpredictable, while Andy Mackay's saxophone subverts rock & roll clichés by alternating R&B honking with atonal flourishes. But what makes Roxy Music such a confident, astonishing debut is how these primitive avant-garde tendencies are married to full-fledged songs, whether it's the free-form, structure-bending "Remake/Remodel" or the sleek glam of "Virginia Plain," the debut single added to later editions of the album. That was the trick that elevated Roxy Music from an art school project to the most adventurous rock band of the early '70s.

:-(

"emerged as the pop music scene du jour in the earliest years of the 21st century"

make sense

sorry i'm in a bad mood.

but only 4 stars?
shame on you amg

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Wish You Were Here is a glistening, powerful rock record that stays true to power pop while sounding as contemporary as any mainstream rock band of the mid-'70s. It was the kind of record that could have been a hit, but due to a series of legal and managerial entanglements, it was pulled from stores before it had a chance to find its audience. Despite its relative obscurity, most die-hard Badfinger fans maintain that the group shines brilliantly on Wish You Were Here and they're correct. For one, it's easily the most cohesive album the group ever recorded — a nice by-product of working with one talented producer (in this case, Chris Thomas) for an entire album instead of piecing a record together. Also, the showcases each band member at a peak of songwriting. As the band's most prolific and gifted composer, Ham naturally has the strongest presence, and while each of his songs stands as proof that he was a consummate pop craftsman — particularly the elegant "Dennis," the hard-hitting "Just a Chance," and the Abbey Road-esque "Meanwhile Back at the Ranch." Joey Molland has a strong showing with the stately ballad "Love Time" and "Should I Smoke," his complement to "Ranch." What is surprising is that Mike Gibbins' two contributions are of the same caliber, as is Tom Evans' electric-piano laden "King of the Load," since they were in a bit of a slump prior to this album. Thomas ties the record together with a clean, professional production that keeps the rockers energetic without losing their melodic edge, while preventing the sentimental numbers from seeming syrupy. All of this results in a classy, catchy pop record, possibly the best Badfinger ever released. It could have been a hit, too, but we'll never know.

I should clarify my post above... that Badfinger album reminds me of all the bad things that happened to them and fills me with a profound sense of injustice.

Mr. Ned Raggett is not here right now, but if you'd like to leave a message...

(I believe someone has been assigned to cover Scott.)

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Sure, there have been other virtuoso recordings of Beethoven's Piano Concerto No. 1 in C major. But for sheer bravura excitement, no other recording can touch the RCA recording of Sviatoslav Richter with Charles Münch and the Boston Symphony from early November 1960. Richter's tone is bright, luminous, and sonorous and his technique is brilliant, poised, and powerful. And Richter's interpretation is so exuberant in the opening Allegro con brio, so deep in the central Largo, and so delightfully goofy in the closing Rondo that even the greatest recordings pale in comparison. Münch is a genial and sympathetic accompanist. The Boston Symphony plays with beauty of tone and ease of ensemble. And RCA captured it all on wonderfully warm stereo sound pressed on thick, juicy LPs that were the sin qua non of recorded sound in the early '60s. And Richter's equally glorious late November 1960 recording of Beethoven's gracefully reckless two-movement Piano Sonata in F major is a charming pendant to the Piano Concerto.

With this JVC reissue of RCA's recording, the best just got better. While most later reissues of the recording on LP were pressed on progressively cruder vinyl and most reissues of the recording on CD were embedded in progressively harder plastic, JVC has restored all the depth and reality and warmth of the original LP to the sound. This is as good as it gets in this world.

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After achieving a reluctant Top Ten hit with a rock version of the traditional Irish pub ballad "Whiskey in the Jar," Thin Lizzy began work on Vagabonds of the Western World — their third, and ultimately last album for Decca Records. The single's surprise success gave the band bargaining power to demand more money and time to record, resulting in their first sonically satisfying album. The environmentally-conscious R&B of "Mama Nature Said" kicks things off with Eric Bell leading the way on slide guitar. The overblown "The Hero and the Madman" and the tepid "Slow Blues" threaten to derail the proceedings, but all is well again when the band break into their first bona fide classic "The Rocker." Brimming with attitude and dangerous swagger, Lynott sets the tone, as drummer Brian Downey explodes into life for the first time on vinyl. Lizzy's Irish heritage permeates the title track, and the beautiful "Little Girl in Bloom" is absolutely flawless, featuring Lynott, the poet, in top form. In many ways, Vagabonds... actually rocks harder than Lizzy's next album, the soulful Nightlife — often considered the band's first "important" record. And with the inclusion of four non-LP singles, including the aforementioned "Whiskey in the Jar," this package becomes even more appealing.

qft

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With the title track instantaneously established among the defining songs of the 1970s (not to mention David Essex's own career), the singing actor's first album had a lot to live up to. So, it says much for the quality of his collaboration with producer/arranger Jeff Wayne that, from the moment "Lamplight" gets things underway, Rock On asserts itself in the most convincing manner possible — by spinning that track off as a second worldwide hit. Neatly divided between the darkly percolating, percussive rumbles that characterized his breakthrough and the broader ballads that would ultimately ensure Essex's longevity as a performer, Rock On is a supremely confident debut, as indeed it ought to be — with a recording career that dated back to 1965, Essex had been waiting a lifetime to make it. As he himself sings in the closing "Sept. 15th," "I've been doing a show for a long time." His roots show, as well, in sweet covers of Paul Simon's "For Emily, Wherever I May Find Her" and Doc Pomus/Mort Shuman's "Turn Me Loose," while there's also a reverb-drenched stab at proving further versatility with the mock-Caribbean swagger of "Ocean Girl" (to rhyme with "I love the way you twirl," of course). Another cover, Travis Pritchett's "Tell Him No," is especially persuasive, its lyric drawing such emotion out of Essex's voice that it overcomes even the heavy effects and canyon-like echo with which his tones are normally swamped — yes, Virginia, the boy can sing. It is the brittle sonics of the self-composed "Rock On," "Lamplight," "Streetfight," and "We All Insane" that are most memorable, however, and ensure that his early years remain the best remembered. But next time somebody suggests that all you really need of Essex is a decent greatest-hits collection, remember that the chirpy love songs and heartaching ballads of later years had to start somewhere.

is there anyone here who listens to paula abdul?!

what will be next on the album of the day?!
celine dion?!
its going down..

i even own this album on vinyl!:

Sviatoslav Teofilovich Richter - Beethoven: Piano Concerto No. 1; Piano Sonata, Op. 54

it's great

lets take a wild guess what will be tommorow...
maybe Ricky martin: with 4 stars, he deserves it.
or celine dion - "falling into you" - also 4 stars for this "great record.
i'm sure yr cousin or at least your ant has it, on cassette..
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allmusic is great isnt it?

After scoring no less than four American Top 10 hits from her debut album, Move to This, British singer Cathy Dennis followed up with a fine second album, Into the Skyline, which unfortunately fell into the dreaded "sophomore slump" category, perhaps because it treaded similar musical waters as her debut. As a result, her third and best album never saw a release in the United States. Am I the Kinda Girl was released during the peak of the 1990s grunge era, resulting in an album much more earthy and melancholy than her two previous dance-oriented records. This album, in fact, could very well be classified as a rock/pop album with no real dance cuts. "Am I the kinda girl that could be your boyfriend?" is the question she asks on the album's title track, and that sets the lyrical tone for the album. The lyrics are ripe with drug references and sexual innuendoes (without resorting to foul language), yet the songs possess a definite feeling of sadness. The ballads resonate with a 1960s sound, and the results are beautiful. "When Dreams Turn to Dust," "Stupid Fool." and "The Date" are among the album's best songs, and they are sung so earnestly they almost sound tearful. She also provides a great cover of the Kinks' "Waterloo Sunset." The upbeat songs, namely "Homing the Rocket" and "That Is Why You Love Me" are no less engaging. This is a solid, sincerely delivered album that unfortunately never received the exposure it was due.

4The Chantilly Codex is a manuscript with ninety songs and thirteen motets copied sometime before 1400 in Avignon or Foix, representing an overview of the general song repertory for that time. The texts are often arcane and the notation complex, but the adventure is rewarding, revealing both the artistry and often strange concerns of that period. The selection, performed here by the talented Ensemble P.A.N. of Switzerland, is a fine rendering of the spirit and practices of this artistic flowering amidst a land of strife and difficult existence. Beginning with the strangest music and texts, we meet the microtonal and "snaky" swooping and odd tonalities of two pieces referring to the "society of smokers" of the time, who undoubtedly smoked hashish and substances other than tobacco. The involuted texts, with hidden meanings, are Johannes Symonis' (called Hasprios) punning ballade Puisque je suis fumeux (Since I am smoky, full of smoke, smoke I must, for, if I did not smoke, those who call me smoke-head, by reason of smoke, I would prove them wrong") and Solage's rondeau Fumeux Fume par fumee ("A smoker smokes through smoke. A smoky speculation.") There are also songs about great musicians, such as Jehan Suzay's ballade Pictagoras, Jabol et Orpheus, an anonymous love poem and instrumental, a typical imitation birdsong (virelai) by Jean Vaillant entitled Par maintes foys, and another virelai by the mysterious Grimace called A l'arme, a l'arme about a battle of lovers. A brilliant four-voice double ballade (two simultaneous texts), Quant Theseus, by the master Guilliame de Machaut is perhaps the crowning star of the collection. Another ballade double by F. Andrieu, Armes, amours, concludes this fascinating album.

The breezy, jazzy rhythms and stripped-down new wave of Dislocation Dance overstay their welcome on Midnight Shift. Indie connoisseurs will wolf down the band's spare instrumentation and upbeat, naïve lyrics; however, Midnight Shift lacks consistency. The group sounds inspired on some tracks and cruising on automatic pilot on others. Dislocation Dance is comprised of talented musicians, capable of flinging themselves from one genre to another, often within the same song. On "Baby Blue," they giddily leap back and forth between '60s Motown and country. Nevertheless, for all of their eclecticism, Dislocation Dance is indebted to late-'70s and early-'80s post-punk acts — just check out the Friends Again-esque funky riffs of "Show Me," the Joy Division-like icy percussion of "Here Comes Love" and "Mr. Zak," and the Pale Fountains-ish acoustic pop of "Bottle of Red Wine." (Since trumpet player Andy Diagram was also a member of the Pale Fountains, the last shouldn't be a surprise.) When Dislocation Dance's jumble of musical styles somehow clicks, they charm the ears. The horn-powered "Show Me" is unbelievably catchy, especially the 12" version added to Vinyl Japan's 2000 reissue of the album. "Tyrannies of Fun" illuminates the LP-like spring sunshine with its soaring violins and halcyon trumpet. There's also a terrific electronic cover of the Beatles' "We Can Work It Out" at the end of Vinyl Japan's version of Midnight Shift that could've been a disaster. Dislocation Dance is never predictable here.

Quite surprised to see this one! Although IMO the best songs on this CD are the pre-album singles (Can't Cheat Karma, Demystification). What next, Omega Tribe? Lack of Knowledge?

Ned, could you explain this -- or what it might have to do with something else on the AMG's front page?

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Skid Row gets harder and heavier on its sophomore effort, matching Sebastian Bach's gritty, streetwise rants to lean, driving riffs that manage to back up all the attitudinal posturing. Largely missing are the bits of pop-metal fluff that filled out Skid Row; in their place are tales from the dark side about drugs, corruption, and the like, with Bach affecting a tough, threatening persona most of the time. The furious noise kicked up behind Bach is usually more threatening than his overwrought vocal delivery, but Slave to the Grind is powerful enough that it doesn't really matter. "Monkey Business," "Get the Fuck Out," and the thrashy title track crush most anything on the debut, and power ballads like "Quicksand Jesus" and "Wasted Time" are far less generic than their Skid Row counterparts. Many observers were surprised when Slave to the Grind became the first heavy metal album to debut at number one on the Billboard charts, but it really was one of the best -- and heaviest -- examples of mainstream hard rock/heavy metal in the genre's MTV heyday.

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You certainly can't accuse Kelly Hogan of dishing up "more of the same" on her third solo album, Because It Feel Good — while her previous release, Beneath the Country Underdog, was a solid and satisfying dose of rootsy C&W and R&B, Because It Feel Good aims for something a good bit more expressive, and much harder to pigeonhole. Hogan has once again teamed up with a handful of superb Chicago-area musicians (including guitarist Andy Hopkins, pedal steel virtuoso Jon Rauhouse, and violinist Andrew Bird, taking a breather from his own band Bowl of Fire), but she's also enlisted David Barbe (best known as the former bassist with Sugar) as producer, and with Barbe's help Hogan has gone for a broader and more impressionistic sound for this album. The opening cut, a cover of the Statler Brothers' hit "I'll Go to My Grave Loving You," sets the tone with its echoey, skeletal guitar patterns, stark and boomy percussion, and Hogan's beautiful, ethereal voice soaring above it all, achieving an effect that's at once gorgeous, heart-tugging, and a little ominous. It's a daring approach and a bravura performance, and it works superbly on both levels. While much of Because It Feel Good takes a somewhat more traditional approach (particularly the low-key weeper "(You Don't Know) The First Thing About Love" and the soulful "Please Don't Leave Me Lonely"), for the most part the album strays admirably far from the formulaic constraints of typical alt-country, and Hogan proves just how broad and how keen her talent is. While there are only two originals from Hogan and Hopkins, they're both superb, and as she recasts songs by Charlie Rich, Smog, and Randy Newman — often without changing the gender of the main characters and always with taste, intelligence, and a simply gorgeous voice — she makes it clear she's one of the finest and most imaginative interpretive singers of her generation. If you're looking for updated honky tonk, this might not be your cup of tea, but if you want to hear a gifted and imaginative singer make the most of a diverse collection of fine tunes, then Kelly Hogan's Because It Feel Good deserves a place in your CD player.