JOURNEY ~ "TRIAL BY FIRE"

Original released on CD Columbia CK 67514 (US 1996-11-22)

NICK CAVE & THE BAD SEEDS: "Murder Ballads"

Original released on CD Mute CDSTUMM138

(UK 1996, February 5)

In some ways, "Murder Ballads" is the record Nick Cave was waiting to make his entire career. Death and violence have always haunted his music, even when he wasn't explicitly singing about the subject. On "Murder Ballads", he sings about nothing but death in the most gruesome, shocking fashion. Divided between originals and covers, the record is awash in both morbid humor and sobering horror, as the Bad Seeds provide an appropriate backdrop for the carnage, alternating between blues, country, and lounge-jazz. Opening the affair is "Song for Joy," a tale from a father who has witnessed his family's death at the hands of serial killer. It is the most disturbing number on the record, lacking any of the gallows humor that balances out the other songs. Cave's duets with Kylie Minogue ("Where the Wild Roses Grow") and PJ Harvey ("Henry Lee") are intriguing, but the true tours de force of the album are "Stagger Lee" and "O'Malley's Bar." Working from an obscure, vulgar variation on "Stagger Lee," Cave increases the sordidness of the song, making Stagger an utterly irredeemable character. The original "O'Malley's Bar" is even stronger, as he spins a bizarrely funny epic of one man's slaughter of an entire bar. During "O'Malley's Bar," Cave and the Bad Seeds are at the height of their powers and the performances rank among the best they have ever recorded. (Stephen Erlewine in AllMusic)

Original released on CD Angel 0777.7.54699.2.9

(US 1996, August 20)

"I'll Be Your Baby Tonight" is an odd collection from Bernadette Peters, one of the most popular Broadway singers of the '70s, '80s, and '90s. Instead of sticking to traditional Broadway material, Peters branches out to sing material from pop, rock, R&B and country composers like Bob Dylan, John Lennon and Paul McCartney, Sam Cooke, Lyle Lovett and Billy Joel. Although Peters is well-suited to sing Lennon/McCartney's pop material and the pseudo-show tune stylings of Joel, she sounds a bit lost when she tries grittier material like the country-rock of Dylan's title track or Sam Cooke. Still, there are enough fine performances - including a few cuts written by Stephen Sondheim and Rodgers & Hammerstein - to make the missteps tolerable for dedicated fans. (Stephen Erlewine in AllMusic)

KRALL's TRIBUTE TO THE NAT KING COLE TRIO

Original released on CD Justin Time ICD 8478

(CANADÁ 1996, March 12)

Pianist/vocalist Diana Krall pays tribute to the Nat King Cole Trio on her Impulse! set. In general, the medium and up-tempo tunes work best, particularly such hot ditties as "I'm an Errand Girl for Rhythm," "Frim Fram Sauce," and "Hit That Jive Jack." Krall does not attempt to directly copy Cole much (either pianistically or vocally), although his influence is obviously felt on some of the songs. The slow ballads are actually as reminiscent of Shirley Horn as Cole, particularly the somber "I'm Through With Love" and "If I Had You." Guitarist Russell Malone gets some solo space on many of the songs and joins in on the group vocal of "Hit That Jive Jack," although it is surprising that he had no other opportunities to interact vocally with Krall; a duet could have been delightful. Bassist Paul Keller is fine in support, pianist Benny Green backs Krall's vocal on "If I Had You," and percussionist Steve Kroon is added on one song. Overall, this is a tasteful effort that succeeds. (Scott Yanow in AllMusic)

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.

LUCIA, MEOLA & McLAUGHLIN: "The Guitar Trio"

Original released on CD Verve Records 314 533 215-2

(US 1996, October 15)

The acoustic guitar trio of John McLaughlin, Al DiMeola, and Paco DeLucia can always be relied upon to create quiet but fiery music. The three virtuosos always sound restrained and tasteful (yet inwardly explosive) when they play together. This 1996 effort has three originals apiece from McLaughlin and DiMeola, two by DeLucia and a beautiful McLaughlin-DiMeola duet on "Manhã de Carnaval" that makes one wish they would more fully explore bossa nova. Most of the selections are thoughtful, but there are also plenty of explosive outbursts for contrast (along with the jubilant closer "Cardeosa") on the highly arranged yet spontaneous-sounding program. (Scott Yanow in AllMusic)

BETH HART Debut Album

Original released on CD Lava 92654-2

(US, 1996)

Every now and then we have the oportunity to hear some new artist whom may leave a trace in modern music. When you must evaluate artists debue one has to have in mind how hard is to come out with something new. Beth Hart's was good enough to attract public attention and she got the chance for recording subsequent titles. For me beginner should listen to it more carefully after hearing some of the later (better articulated) albums. In general, she's good singer, selfassured an she deliver her songs with faith in what she's singing. That makes a good artist. I have to confess I'd not heard of Beth Hart until her collaboration single with Joe Bonamassa. Loved her vocals on that track and so naturally I've gone back to listen to some of her back catalogue. I've listened to two of her albums so far and I like her a lot.  She sings with a lot of energy and as it's been stated by others before, that she has a certain Janis Joplin quality to her voice when she really let's loose. On the slower, more bluesy numbers she can also sound very soulful indeed, reminding me then very much of Tracy Chapman. I think one person on here rather unkindly likened her voice to that of a goat... bit unfair as her range is much more varied than that. Anyway, to that person I would say that Stevie Nicks has made an entire career out of imitating a goat - and it ain't hurt her none! (in RateYourMusic)

COMPAY SEGUNDO: "Yo Vengo Aquí"

Original released on CD DRO EastWest 0630 14783 2

(ESPAÑA, 1996)

MEN AT WORK: "Business As Usual"

Original released on LP CBS SBP 237700

(AUSTRALIA 1981, November 9)

"Business as Usual" became a surprise international hit on the basis of "Who Can It Be Now?" and "Down Under," two excellent singles that merged straight-ahead pop/rock hooks with a quirky new wave production and an offbeat sense of humor. Colin Hay's keening vocals uncannily recall Sting, and the band's rhythmic pulse and phased guitars also bring to mind a bar band version of the Police. And that helps make the remainder of "Business as Usual" enjoyable. There's a fair amount of filler on the record, but "Be Good Johnny," "I Can See It in Your Eyes," and "Down by the Sea" are all fine new wave pop songs, making "Business as Usual" one of the more enjoyable mainstream-oriented efforts of the era. (Stephen Erlewine in AllMusic)

EVA CASSIDY Complete Perfomance At The Blues Alley Jazz Club, Georgetown, D.C.

Original released on double CD (+DVD) Blix Street G2-10209

(UK 2015, November 13)

Eva Cassidy's performance at the Blues Alley jazz club has become musical history. Twenty years on, experience for the first time every song recorded on the night of the 3rd January 1996. "Nightbird" is Eva Cassidy’s ultimate tour-de-force - 31 songs recorded in one night at the Blues Alley jazz club in Georgetown, DC. Encompassing the full spectrum of Eva’s gospel, blues, jazz and folk roots, "Nightbird" showcases the breadth and depth of one of the world’s finest singers. The recordings have been remixed and remastered from the original tapes resulting in the most sonically engaging Eva Cassidy release to date. Of the 31 songs, 12 are previously unreleased including the title track "Nightbird" as well as the jazz standards "It Don’t Mean A Thing (If It Ain’t Got That Swing)" and "Fever".

Of the 12 unreleased tracks, 8 are previously unheard songs. These include "Son of a Preacher Man", "Route 66", "Late in The Evening", "Baby I Love You" and "Caravan". Quite how Eva Cassidy is able to take songs we've all heard dozens of times ("Bridge Over Troubled Water", "Over The Rainbow" etc) and put entirely her own deeply soulful slant on them is incredible. Whether she is singing jazz, pop, folk or blues, she is totally convincing, and absolutely note and pitch perfect. A very rare talent indeed. The black and white DVD only serves to enhance the intensity of her performance. Although black and white, the sound is crystal clear. Praise also for her delicate guitar work, and a very accomplished and professional band. What more can I say than "phenomenal"? (in Amazon)