Mostrar mensagens com a etiqueta 1994. Mostrar todas as mensagens
Mostrar mensagens com a etiqueta 1994. Mostrar todas as mensagens

terça-feira, 30 de março de 2021

ERIC CLAPTON: "From the Cradle"

Original released on CD Reprise 9362-45735-2
(EU 1994, September 13)


For years, fans craved an all-blues album from Eric Clapton; he waited until 1994 to deliver "From the Cradle". The album manages to re-create the ambience of postwar electric blues, right down to the bottomless thump of the rhythm section. If it wasn't for Clapton's labored vocals, everything would be perfect. As long as he plays his guitar, he can't fail - his solos are white-hot and evocative, original and captivating. When he sings, Clapton loses that sense of originality, choosing to mimic the vocals of the original recordings. At times, his overemotive singing is painful; he doesn't have the strength to pull off Howlin' Wolf's growl or the confidence to replicate Muddy Waters' assured phrasing. Yet, whenever he plays, it's easier to forget his vocal shortcomings. Even with its faults, "From the Cradle" is one of Clapton's finest moments. (Stephen Erlewine in AllMusic)

sexta-feira, 8 de janeiro de 2021

quarta-feira, 19 de agosto de 2020

BACK IN BLACK


CBS’ decision to drop Johnny Cash after unparalleled 28 year partnership angered many people. Even at that time, in 1986, Cash still had a loyal following, playing sell-out concerts throughout the world and shifting more than 40,000 copies of every album he released. But this was not enough to justify the record company’s investment. Never one to consider retirement, Cash started looking for a new label.



Seven years later, and still with no recording contract, Cash met Rick Rubin during a show in California in early 1993. Rubin, who had produced the Red Hot Chili Peppers’ was forming a new label, Def American (American Recordings) and wanted to sign the legendary country songer. «To work with Johnny Cash will be an honour», Rubin said at the time. «I have respected him for years, both as a performer and a writer, and it’s going to be a pleasure having him with American». Many of the early sessions were experimental. Cash would revisit old songs and pick a few favourites, then Rubin would suggest other material for Cash to cover. Many of Rubin’s suggestions seemed strange to Cash, but he recorded them, nonetheless, only to discover that they ‘felt’ right.


The first album that resulted from those sessions was released in April 1994 and called, simply, "American Recordings". The sleeve pictured Cash with two dogs, one white and one black, to illustrate the themes of sin and redemption that the album embodied. It was the first release to feature only the word “CASH” in big, bold letters on the front, a stark and iconic design that would appear on all five of the main American releases. «I think I’m more proud of this than anything I’ve ever done in my life.» Cash said on its release. «This is me. Whatever I’ve got to offer as an artist, it’s here. I don’t think I ever worked so well with a producer.» The album received rave reviews. The Los Angeles Times called it ‘a milestone work for this legendary singer’, and Billboard went even further, saying, ‘Never has the Man In Black produced a work of such brilliance.’ It went on to win a Grammy.


The second set was called "Unchained" and appeared in November 1996. It would be almost four years before Cash would release another new album. In that time, he was diagnosed with a nervous disorder, having been twice misdiagnosed. In fact he was suffering from autonomic neuropathy, a disease which affects the nervous system. As time went on, it became clear that Cash’s touring days were over. Apart from the occasional appearance at places such as The Carter Fold, he would not take to the stage again. Life on the road had been a major part of Cash’s life and it was hard for him to accept that he would never tour again. But being off the road did give Cash more time to concentrate on writing and recording. He started researching new material and turned to songs he remembered from his youth, as well as the contemporary material suggested by Rubin and his own compositions, which had been the staple of his last two albums. Work on a third American album started in late 1999, with members of The Heartbreakers, Cash’s daughter-in-law, Laura Cash, Norman Blake, Randy Scruggs and Marty Stuart.

"American III: Solitary Man" was released in October 2000 and Cash wrote in the sleeve notes: «This album has been a long time coming, and I feel another in there somewhere». He certainly didn’t waste time finding it, and started writing again almost immediately. But there was no doubt that Cash’s voice was getting weaker and, though keen to record, some days he struggled to finish a song. His vocal style had changed from the low baritone that had become his trademark, and was now closer to spoken word. The title track was one of Neil Diamond’s many hits and, while not at the cutting edge of much of his work with Rubin, reflects his lonesome persona.

"American IV: The Man Comes Around" was released in November 2002 and became Cash’s first-ever platinum studio record. It has moments that are simply stunning, and Cash had no doubts about how the album stacked up next to its predeccessors. «I firmly believe that it’s the best record we’ve done,» he said, «It reaches out even further than the others did. It goes in so many directions, but they all come together with me and how I could make these songs my own. They come together in being my songs.» He described the theme of the album as being «the human spirit fighting for survival», adding, «It probably reflects a little of the maturity that I’ve experienced with the pain that I’ve suffered from the illnesses that brought me so close to death.» The album’s closing song was the old Vera Lynn favourite,”We’ll Meet Again”, with accompaniment from the whole ‘Cash Clan’. It was a touching, but chilling finale.


When June Carter Cash died in May 2003, after complications following an operation to replace a heart valve, Cash was devastated. Due to his ill-health, the recording sessions to the next album went slowly and there were many days that he would not feel like recording at all. Cash began work on about 60 songs at this time, but was admitted to hospital in late August. He was discharged in early September, and intended to head back to the studio to select tracks for the new album, but it was not to be. He quickly returned to hospital, and on 12 September 2003 the news came that Johnny Cash had passed away.


"American V: A Hundred Highways" was only released three years later, on 4 July 2006 in the States. One of the best tracks on the album is “Rose Of My Heart”, about his love for his late wife. “We’re the best partners this world’s ever seen”, he sings. “Together we’re close as can be / But sometimes it’s hard to find time in between / To tell you what you mean to me.” Cash’s voice may not have been strong, but the emotion he wrings out of almost every word is outstanding.



Once more Rato Records made all the homework and selected the very best from these five albums to assemble a great and lasting collection: 32 tracks in a double CD, representing the legacy of this Country True Legend. Hope you like the selection and the art work as well. Enjoy, this is for you.

quarta-feira, 15 de abril de 2020

BBM (Baker, Bruce & Moore) Album

Original released on CD Virgin CDV 2745
(NETHERLANDS, 1994)

One of the first long plays I ever bought was "Disraeli Gear"s by Cream. It blew my mind. Almost 30 years later these guys release this unique "Around the Next Dream". It also blew my mind. Mr. Bruce and Mr. Baker are a superior rhythm section and Mr. Moore does an excellent send off to Mr. Clapton. "Around the Next Dream" is great bluesy psych from the late 60's recorded in the middle 90's. How damn cool is that? If you remember 1967 and enjoyed the music and the vibe of that time, then I believe you will enjoy this recording. And these great musicians will play no more, 'cause sadly all of them are already gone to the stars: Ginger Baker (1939-2019); Jack Bruce (1943-2014); Gary Moore (1952-2011)

domingo, 19 de janeiro de 2020

JEFF BUCKLEY Debut Album (+ bonus tracks)

Original released on CD Columbia CK 57528
(US 1994, August 23)

Jeff Buckley was many things, but humble wasn't one of them. "Grace" is an audacious debut album, filled with sweeping choruses, bombastic arrangements, searching lyrics, and above all, the richly textured voice of Buckley himself, which resembled a cross between Robert Plant, Van Morrison, and his father Tim. And that's a fair starting point for his music: "Grace" sounds like a Led Zeppelin album written by an ambitious folkie with a fondness for lounge jazz. At his best - the soaring title track, "Last Goodbye," and the mournful "Lover, You Should've Come Over" - Buckley's grasp met his reach with startling results; at its worst, "Grace" is merely promising. (Stephen Erlewine in AllMusic)

quinta-feira, 27 de dezembro de 2018

PINK FLOYD: "The Division Bell"

Original released on CD EMI 7243 8 28984 2 9
(EU 1994, March 30)

The second post-Roger Waters Pink Floyd album is less forced and more of a group effort than "A Momentary Lapse of Reason" - keyboard player Richard Wright is back to full bandmember status and has co-writing credits on five of the 11 songs, even getting lead vocals on "Wearing the Inside Out." Some of David Gilmour's lyrics (co-written by Polly Samson and Nick Laird-Clowes of the Dream Academy) might be directed at Waters, notably "Lost for Words" and "A Great Day for Freedom," with its references to "the wall" coming down, although the more specific subject is the Berlin Wall and the fall of Communism. In any case, there is a vindictive, accusatory tone to songs such as "What Do You Want From Me" and "Poles Apart," and the overarching theme, from the album title to the graphics to the "I-you" pronouns in most of the lyrics, has to do with dichotomies and distinctions, with "I" always having the upper hand. Musically, Gilmour, Nick Mason, and Wright have largely turned the clock back to the pre-Dark Side of the Moon Floyd, with slow tempos, sustained keyboard chords, and guitar solos with a lot of echo. (William Ruhlmann in AllMusic)

domingo, 7 de outubro de 2018

A Tribute To ELVIS

Original released on CD Mercury 314-524 072-2   
(US, 1994)

A Tribute To The BEE GEES

Original released on CD Eggbert Records 80012
(US, 1994)

Finally, a tribute LP worth buying! This is not an ironic, silly joke, like the Rutles or R.E.M. "tributes." Sure, we all think '70s disco stench when we think Bee Gees, of contemptible falsettos, and Saturday Night Fever. But knowledgeable fans know that this blockbuster period all but obliterated from public awareness an initial decade of great hit singles, of eight LPs that remain a massive treat for anyone who has ever claimed to love the Beatles, and that's the material mined by the 21 bands here; hell, even the one disco-era song here, the deplorable "How Deep Is Your Love," is done by clever Baby Lemonade as if covering Teenage Fanclub! Best is the Young Fresh Fellows' pouncing "Craise Finton Kirk Royal Academy of Arts," and Fastbacks' "Turn of the Century," off Bee Gees 1st. Sneetches do a bang-up "Mrs. Gillespie's Refrigerators," the little-known Appleseeds rave-up the "Taxman," rip "Exit Stage Right," and Jigsaw Seen open with an absolutely Badfinger-esque "Melody Fair," off "Odessa"! And it's good that there's so many numbers from "Horizontal" and "Idea" (Spindle terrific; Michael Nold dripping; Kristian Hoffman psychedelic; Dramarama surprisingly OK; Idle Wilds and Insect Surfers average), there are no less than four tracks from the typically non-acknowledged but still alright early-'70s LPs: "2 Years On", Phil Seymour does a nice "The First Mistake I Made," off "Trafalgar", Nick Celeste minor-muffs "The Greatest Man in the World," and though it's no shock to hear Material Issue do an uninspired but serviceable "Run to Me" off "To Whom It May Concern", Chris Von Sneidern's damn-lovely "You Know It's For You" is as unpredicted as a Panama snowstorm. Consider that there are no tracks here from their three-four albums' worth of pre-Bee Gees 1st LP material, nothing off "Cucumber Castle", and all those huge hit singles remain untouched. Even without the variety and artist coverage, this is fantastic music. This sucker puts all those shabby tribute LPs of super artists to shame. (Jack Rabid in AllMusic)

sábado, 4 de novembro de 2017

A Tribute To VAN MORRISON

Original released on CD Polydor 523368-2
(UK, 1994)

Produced by Van Morrison himself (how daunting for the artists facing the production booth!), this is a fairly unadventurous and unnecessary tribute album. Very few of the artists here manage to put their own stamp on songs that, face it, would be unremarkable if it weren't for Van Morrison's delivery and his musical arrangements. Sinéad O'Connor, more than most, sounds completely baffled and uncomfortable in her singing of "You Make Me Feel So Free." Hothouse Flowers' "Bright Side of the Road" does nothing with the song except to add a sort of plodding feeling. Only Elvis Costello dares to experiment: He brings in the the Voice Squad for an a cappella rendition of "Full Force Gale." Then there's the embarrassing: Liam Neeson giving a reading of "Coney Island" and an orchestral treatment of "Tupelo Honey," not too far away from Muzak. It's no contest: after two or three tracks you'll want to put on a Van Morrison album and turn this one off. (Ted Mills in AllMusic)

domingo, 15 de outubro de 2017

A Tribute To Otis Blackwell

I don't know why this CD is not well known, and rated low by someone. I think it is really good. Otis Blackwell is perhaps the least known of all major rock 'n roll songwriters. Blackwell "shaped the foundation..." of rock 'n roll by giving Elvis Presley "Don't Be Cruel." Hound Dog was a big hit, but it might be said that "Don't Be Cruel" put Rock and Roll into the mainstream culture. Otis Blackwell wrote it, and many other songs on this CD. It is great to hear these hits sung in the original style (most of them), but by different artists. Debbie Harry sings "Don't be Cruel" and Kris Kristofferson sings in a voice you won't recognize. The other performers are not as well known, but they perform really well. Listen to the cuts and decide which you think is best. I think all of them are very well done. If you like, or remember Elvis, this tribute CD is a must. Most tribute albums fail because the interpretations are too diverse to make the album consistent. "Brace Yourself: A Tribute to Otis Blackwell" sidesteps that problem by having the artists record with a house band well-versed in the material of the legendary rock & roll/R&B songwriter. Otis Blackwell was born on February 16th, 1931, in Brooklyn, New York, U.S.A. He was a singer, pianist and composer, who had a strong impact in rock and roll music. He was also known as John Davenport. Blackwell wrote some of the greatest hits for Elvis Presley, Jerry Lee Lewis, Jimmy Jones, Little Willie John and others, among them "All Shook Up", "Don't Be Cruel", "Great Balls of Fire", "Fever", "Breathless", "Return to Sender", etc. On this tribute album, 15 of those hits are performed by an equal number of different artists such as Graham Parker, Dave Edmunds, Paul Rodgers, Willie DeVille, Kris Kristoferson, Marcia Ball, Chrissie Hynde to name just a few, with new arrangements and without being devaluated nor loosing the slightest bit of magic of the original recordings at all. In 1991, 3 years before this album was published, Blackwell suffered a stroke which left him paralyzed. Otis Blackwell died of a heart attack in May 6th, 2002, in Nashville, Tennessee.

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