They may have dropped the dixie, but these Chicks still aren’t ready to make nice. The opening title track has many of the band’s hallmarks – a catchy, sing-along chorus, propulsive banjo picking backed with big drums, and a nasty kiss-off.
Production from Jack Antonoff, the man behind the boards for Taylor Swift’s recent pop albums and Lana Del Ray’s 2019 gem NFR, gives the album a shiny, poppy gloss. Fans missing the country and bluegrass elements of the Chicks’ older material should love “March March,” a strong performance with banjo, violin and plenty of stomps and claps.
If Gaslighter has a weakness, it is the multitude of mid-tempo numbers and ballads. The album would be better with more upbeat performances sprinkled throughout. As it is, Gaslighter stalls after the momentum established by the early numbers. Compounding the problem, most of these songs deal with the same topic: the dissolution of Natalie Maines’ marriage.
This won’t be a problem for long-time fans. Despite the weighty heartbreak behind the material, Gaslighter is filled with self-empowerment and determination to embrace the future regardless of the past.
PJ Harvey – Dry – Demos
The demos Polly Jean Harvey crafted for what would become her debut album are so strong they were released as bonus tracks not long after Dry started drawing critical acclaim. Now they are finally receiving their own stand-alone vinyl release.
The demos are presented in the same running order as the proper album, and clock in at nearly the same combined length, providing an alternate perspective of the lauded release. Many of the songs are built around acoustic guitar parts that create more space for Harvey’s voice and lyrics to shine through.
Harvey aficionados have long had Dry – Demos in one form or another for some time. If you are still actively listening to Dry or wondering what the hype surrounding Harvey is about, you will eventually want to add them to your vinyl collection as well.
Roddy Ricch – Please Excuse Me for Being Antisocial
Trap MC Roddy RIcch’s debut album made a lot of noise earlier this year when his single “The Box” spent 11 weeks at the top of the charts and became a dance club staple. Ricch allegedly spent just 15 minutes recording the juggernaut and claimed to recording 250 songs for Please Excuse Me for Being Antisocial.
This quick pace is evident in the 16 tracks that made the album – and clock in at a little more than 43 minutes. Ricch almost sings his lyrics (with an assist from Auto-Tune), creating a smooth delivery and melody that serves as a counterpoint to the hardened machismo of Ricch’s lyrics. Most songs revolve around tales about Ricch’s previous life as drug dealer, his success – and wealth – as a rapper and bragging about sexual exploits. Along the way, Ricch gets high-profile assists from Mustard, Ty Dolla Sign, Meek Mill and A Boogie wit da Hoodie.
While the lyrical content remains fairly static, the production is frequently fascinating. Delicate finger-picked guitars give way to gospel piano, flutes, harps and vaguely Asian melodies. These disparate arrangements are held together with booming basslines and trap drums. The back half of the album is especially interesting, with each song sounding completely different than the rest. This sequence culminates with “Prayers to the Trap God” and a gospel choir on the concluding “War Baby.”
The moment the needle drops on Back to Land, the third album from the San Francisco psychedelic group Wooden Shjips, a trace amount of smoke seeps from the speakers. By the time the title song is going full bore the sweet smoke is now unmistakably filling the room. Short of stopping the record, nothing can be done to stop the foggy ambience. It’s best just to lay back and embrace the feeling.
It doesn’t take long for the four-piece band to lay down a groove wide enough to accommodate an aircraft carrier. Once there, an organ spars with Ripley Johnson’s echo-laden vocals against a tight, minimalist rhythm section while Johnson’s guitar soars high in the heavens. There isn’t necessarily a lot of deviation from song to song, but why play with a perfect formula? Listeners will figure out pretty quickly if Wooden Shjips are their cup of tea. If so, welcome to the promised land.
Pretenders – Hate for Sale
Every so often, if music fans are lucky, a veteran artist will put out an album that reminds fans why and how they fell in love with the band in the first place. Hate for Sale, the 11th album from the Pretenders, is that album.
Clocking in at a brisk 30 minutes, Hate for Sale snarls out of the gate with and rarely slows down. Frontwoman Chrissie Hynde seems invigorated by the return of founding drummer Martin Chambers and guitarist James Walbourne, with whom she wrote every song. Walbourne’s riffs and solos add muscle to Hynde’s undiminished vocals. He even manages to singlehandedly salvage the album’s least-effective track (“Junkie Walk”). Sidesteps into reggae on “Lightning Man” and orchestral pop on the introspective ballad “You Can’t Hurt a Fool” reinforce the raw force on the rest of the album.
The Pretenders are selling hate. Buy it. There is a lot to love.
Fiona Apple – Fetch the Bolt Cutters
When this Fiona Apple’s fifth album was released digitally last April, and dealing with the coronavirus appeared to be a season and not A Thing We’d Have to Live with Indefinitely, I was convinced it was going to be the soundtrack for the pandemic.
Although this naiveté is laughable in hindsight, Fetch the Bolt Cutters still captures that mood. It is charming, angry, insecure, elegant, awkward and funny – often effortlessly shuffling through several emotions within a few bars.
Apple recorded these songs at her home studio in the years following her previous album, eight years ago. The resulting baker’s dozen tunes are complex and authentic and provide a heartening catharsis especially needed right now.
Margo Price is a long-time Nashville resident, but her third album is loaded with the sun-soaked hallmarks of Los Angeles. The title song, which opens the album, operates on the same wavelength as Jenny Lewis’ recent masterpiece On the Line. The next track, “Letting Me Down” has a strong Jackson Browne vibe. Later, “Heartless Mind” has a very ‘80s feel that seems peeled from a John Hughes montage.
Her sound may be different, but Price is as defiant as ever, taking on motherhood, heartbreak and a raft of political issues such as housing and health care, in a sharp stanza or two that allows an idea to linger while the song moves along.
Special notice must be given to Tom Petty’s keyboard wizard Benmont Tench, who frequently gives the performances a Heartbreakers air, and producer Sturgill Simpson who keeps the album cohesive and gives “Twinkle Twinkle” the same fuzzy feel as his album “Sound and Fury.”
Jill Scott – Who is Jill Scott? Words and Sounds, Vol. 1
The debut album from Philadelphia singer Jill Scott is a near-perfect blend of soul, jazz and poetry. Her gig as a spoken-word poet shines brightly through her lyrics a delivery throughout the album. (Sample stanza: I felt Dizzy, Sonya, heaven and Miles between my thighs/Better than love,we made delicious.) Sympathetic production from DJ Jazzy Jeff (Townes) and the Roots (as the Grand Wizzards) create a neo-soul backdrop of acoustic instruments and horns that her words ride like waves.
Who is Jill Scott? brought some of the singer’s best-loved and well-known songs, including “Love Rain,” “One is the Magic #” and “A Long Walk.” No less than Beyonce has been known to drop a bit of “He Loves Me” into her set. Who is Jill Scott? Either a longtime favorite or your next favorite singer. If you love soul music, you need this album.
Various artists – If You’re Not Part of the Solution, You’re Part of the Problem (Soul, Politics and Spirituality in Jazz, 1967-1975)
From “Strange Fruit” in the 1930s, to Duke Ellington’s “Black, Brown and Beige” suite in the ‘40s, to Sonny Rollins’ Freedom Now album in the 1950s, protest music has long been at the heart and core of jazz. This collection rounds up 10 performances from a time when America’s civil rights leaders were being killed and more militant factions, such as the Black Panthers, were gaining a voice. As a genre, jazz was also under siege from R&B groups like Sly and the Family Stone and James Brown.
The music in this double LP is just as strident and uncompromising as one would expect from the title, but it’s far from a purely academic exercise. More often than not, the basslines in these performances are funky enough on their own to get your feet involved, while your head ponders the parallels between that time and the present day, and the horn players ricochet melodies and grooves off each other. Dig it.
Although Norah Jones’ second album in as many years shares many similarities with last year’s Begin Again, Pick Me Up Off the Floor hangs together better as a cohesive album.
Working once again with a revolving cast of musicians, Jones maintains a consistent mood and tempo throughout the album. The joy in these performances lie in their subtleties, like the pedal steel guitar on “Heartbroken, Day After,” soulful B3 organ on “Flame Twin” or horns on the gospel song “To Live.” It’s not hard to get lost in the interplay between drummer Brian Blade and upright bass player Chris Thomas on “Hurts to Be Alone.”
Wilco frontman Jeff Tweedy’s idiosyncratic guitar playing and unique phrasing are evident throughout “I’m Alive,” one of the best songs on the album. Ultimately, however, these nuances aren’t distinct enough to win Jones any new fans. The mid-tempo pop/jazz singer may need to be picked up off the floor, but only the most devoted fans will be swept off their feet.
Post Malone – Hollywood’s Bleeding
For an established pop artist, Post Malone’s third album takes a while before the hooks arrive. There are a few flourishes of energy – DaBaby’s rap on “Enemies,” the bridge on “Allergic” – before “A Thousand Bad Times,” the fifth song, finally delivers something to sing along to.
From there, Hollywood’s Bleeding starts building momentum. “Circles” is perfect for a night at the club (whenever that can be a thing again), while Future and Halsey steal the spotlight on “Die for Me.” Ozzy Osborne and Travis Scott take over on the arena rock anthem “Take What You Want.” In danger of disappearing on his own album, Malone grabs center stage on “I’m Gonna Be” and “Staring at the Sun” (with SZA). This sets up the massive hit “Sunflower,” which appeared in the animated Spider-Man film.
At 17 tracks and 51 minutes, Hollywood’s Bleeding could benefit from some editing, but the genre mashup, something-for-everyone approach winds up delivering plenty of fun.
Booker T. Jones – Note by Note
As leader of Booker T. and the MGs, Booker T. Jones helped define the sound of the Stax label and southern soul. Trust me, you’ve heard him play even if you don’t recognize the name. Now Jones is back with his first album since 2013 revisiting the songs and music that built his reputation.
Note by Note jumps out of the speakers with “Cause I Love You,” a duet between Evvie McKinney and Joshua Ledet. From there, Jones takes the mic for the swampy blues “Born Under a Bad Sign” before turning the singing over to Ayanna Irish on the playful “B-A-B-Y.”
Regardless of the style or the singer, Jones’ distinctive B3 organ holds the performances together. His talent is especially evident on seemingly disparate performances of the gospel number “Precious Lord” and Chuck Berry’s “Havana Moon” (delivered with a distinct south-of-the-border feel).
Two new songs close out the album, but by then the deal has long been sealed. Fans of the Colemine and Daptone labels will find a lot to love here, but any fan of sweet soul music should celebrate Note by Note.
I realize this seems like a preposterous statement, especially coming from someone who devoted a good deal of time reading Peter Guralnick’s 1,000-plus page, two-volume biography of The King. But I stand by my statement.
Last Train to Memphis: The Rise of Elvis Presley and Carless Love: The Unmaking of Elvis Presley stand as the definitive works on the totality of Elvis’ life. Other books might provide better insight into a specific part of Elvis’ story, but for a cradle-to-grave examination, I can’t imagine how anyone could do it better than Guralnick.
In addition to being a great writer, Guralnick is a thorough researcher. While Elvis left no record of his life beyond the carefully cultivated figure in copious interviews, films and records, Guralnick gets to the soul of the man through first-hand interviews with scores of musicians, friends and – most importantly – women.
Through the memories of Dixie Locke, Elvis’ first girlfriend, we see the inception of his royalty. She was 15 when they met (Elvis was 19) and a sophomore in high school. They started seeing each other regularly when Elvis was a truck driver, delivering supplies at job sites for Crown Electrical in Memphis. Locke paints the picture of a man who was confident in his ability as a musician, but didn’t want to be pushy about his passion. Elvis’ always had his guitar with him and wouldn’t hesitate to play and sing if asked, but would never initiate a performance on his own.
Locke was on a two-week vacation with her parents when Elvis got the call from Sam Phillips to cut some songs for Sun Records. When she returned, Elvis was playing shows all over the area with guitarist Scotty Moore and bass player Bill Black. Elvis and Locke did an admirable job of trying to remain a couple, but Elvis’ life had changed too much over that short amount of time. He was home less and less and the couple found they had fewer things in common each time he was back in Memphis. Elvis was still shy, tender and devoted, but he was no longer living a life that could be contained by a white picket fence and nine-to-five job.
Elvis’ rise on the Louisiana Hayride tours, the Dorsey Brothers, Steve Allen and Ed Sullivan television shows is well-covered territory. In many ways, his life crescendos upon entering the army. Although just 23 at the time, Elvis and his manager, the infamous Colonel Tom Parker, were worried a fickle public would forget about The King while he was overseas. When Elvis returned from Germany two years later, he hit the ground running, recording singles and making movies to regain any lost momentum. He also came back with a habit for pills and a 14-year-old love interest, Priscilla Beaulieu.
In many ways, the events of 1960 and Elvis’ return to America set up a cycle of events that he was either never willing or able to escape for the rest of his life. Elvis would fly to Los Angeles or go on location for a movie shoot for a few weeks, pop into a California or Nashville studio to record the music for the film’s soundtrack, a stand-alone single or his own album, have a few weeks off, then be off to another movie shoot with a sprinkling of several more recording sessions, rinse, lather, repeat.
In the days of the Kennedy administration, it seemed like everything Elvis touched turned to gold. He had hit records and was a big box office draw. Because success came so quickly, both before and after the army, Elvis kept a tight circle of friends, people he knew from Memphis or the service, people he could trust. This is certainly natural and understandable. And because Elvis and his crew were all males in their early 20s, it made sense for everyone to burn the candle at both ends and have as much fun as possible. If that meant you had to take a few pills so you could stay up for 20-plus hours at a time and cavort around Las Vegas or the Sunset Strip, so be it.
The enduring problem was Elvis never found a greater purpose in life. He began with ambition to be a legitimate actor in the mold of Marlon Brando or James Dean, but it didn’t take long for Parker or the studio heads to realize that people would gladly pay just for the privilege of seeing their idol on the big screen, regardless of the vehicle. So, any attempts at prestige went out the window and the movies got quicker and cheaper. For most of the ‘60s, Elvis was appearing in three new movies each year.
Likewise, the unmistakable brilliance in being able to transform a standard like “Blue Moon of Kentucky” into something completely fresh and revolutionary was also being commodified. In order to make as much money as possible, Parker and RCA records insisted that they have a significant cut of the publishing on any song Elvis would record. As the decade progressed, the person responsible for finding new material from their publishing company got lazier and lazier and the material suffered significantly. There are many true gems to emerge from this period, like Doc Pomus and Mort Shuman’s “Viva Las Vegas.” But those moments are tarnished by the amount of embarrassing dreck like “There’s No Room to Rhumba in a Sports Car” and “Old MacDonald Had a Farm.”
Near the end of the decade, Elvis was tired of releasing such undercooked material (although he never got tired of cashing the checks). His routine had been pretty static for several years at this point, although because Elvis’ fame kept growing, the circle around him became even more insular and isolating. And because everyone had been taking stimulants to stay awake for so long, they now needed depressants to help them sleep.
Here again, the underlying issue of a greater purpose comes back to the fore. When you can buy anything you want without fear of running out of money, when you can bed any woman you want on charm alone and you can get out of any jam simply because you are Elvis Presley it all becomes very rote very quickly. Put another way, a life without friction is no life at all.
Elvis flirted with different hobbies, trying to fill that void. He bought a ranch and everyone got horses, he got into karate, then collecting law enforcement badges, guns and racquetball, but eventually tired of it all. Nothing scratched that itch.
Shortly after the summer of love, Elvis finally stood up for himself and declared he wanted to start touring again. (As a point of reference as to how out-of-touch Elvis was at this time, try imagining him at the Monterey Pop Festival or Woodstock. It is almost impossible.) Coincidentally, the public was finally tiring on to Elvis’ cinematic manure and stopped showing up at the theaters. The ’68 Comeback Special re-established The King’s musical bona fides and invigorated his recordings for a while. The fans flocked to his concerts, which earned rave reviews, but in reality, Elvis had only traded three- or four-week movie shoots for two- or three-week tours. The rest of his hamster wheel remained the same.
After Elvis’ marriage to Priscilla ended in divorce, he desperately started cycling through a dizzying number of women. This time, though, he wasn’t (just) looking for sex. He was searching for a connection. He felt isolated from his entourage, his family, his manager, even well-meaning fans. Who he was as a person had been consumed by what he was as a celebrity.
Several women in Guralnick’s book express surprise that when they met Elvis, thinking their world was going to get larger. Instead, it shrank to hotel suites, Graceland and a dozen constant hangers-on. By the mid-‘70s, Elvis had given up any pretense of caring. He put on weight, quit trying onstage and lashed out at everyone around him. The merry-go-round of uppers and downers had given way to cocaine.
In his final years, Elvis was burning through money in futile attempts to buy intimacy. He’d buy a fancy car for a girl on their first date, then get sad when she wanted to leave Graceland to be with her friends or family. “Well I gave her a car and she leaves me in it,” Elvis quipped. He begged his dates to hold his hand and stay with him until the pills take over enough for him to fall asleep. He speaks baby talk and expects them to wait on and care for him. By the end, it is no surprise that Elvis dies, only that the inevitable took so long. And it didn’t really take that long. Picture Elvis in that gorgeous black leather attire onstage in the fabulous (and weird) ’68 Comeback Special. Now think of him bloated, squeezed into a jumpsuit. Those moments are less than 10 years apart.
Could this have been avoided? Looking at Judy Garland and Kurt Cobain, the answer seems negative. But Paul McCartney, Mick Jagger and Dave Grohl would say otherwise. Heck, Frank Sinatra outlived Elvis by two decades, and Sinatra started his career when Elvis was in grade school.
Elvis rarely spoke up for himself, preferring to follow a schedule someone else laid out for him. Maybe he didn’t want to let down all the people depending on him, but it ultimately meant he became a pawn in his own life. He was far too content with the superficial for far too long, rarely searching for depth until he had become fallow.
As Guralnick notes in the introduction to Careless Love, Elvis’ story is a tragedy. It is compelling and fascinating by what it suggests and lacks, but as a long-form, day-by-day narrative, it plays like a boring recitation of Groundhog’s Day as the same events cycle past again and again. As a vacation, I’d swap places with Elvis in a second, but in the long view I’ll take my mundane life over Elvis’ boring one any time.
While mainstream America was reliving the 1950s via sock hops and malt shops in “Happy Days,” the Cramps slid a hand underneath the decade’s poodle skirt to celebrate rockabilly music, monster movies and pin-up girls.
The Cramps roared into the 1990s with Stay Sick!, a debaucherous offering every bit as good as their first few albums nearly a decade earlier. The band’s musk is evident just by reading the song titles on Stay Sick! If a whiff of “The Creature from the Black Leather Lagoon” and “Journey to the Center of a Girl” don’t get you going, dig their perversion of Bob Seger’s milquetoast “Old Time Rock and Roll” into the infinitely superior “God Damn Rock and Roll.”
This is the music your parents warned you about – and for good reason. If that doesn’t provide enough motivation, there’s a song called “Bikini Girls with Machine Guns” which is every bit as awesome as it sounds. C’mon. You know you want to.
Tom Waits – Small Change
Tom Waits’ fourth album plays like the daydreams of a janitor resigned to cleaning up a strip club as the sun rises and the last customer stumbles out. “Tom Traubert’s Blues” opens the album, a romantic fantasy set against a lush orchestra, borrowing the melody and chorus from “Waltzing Matilda.” Jim Hugart’s upright bass propels the next number, “Step Right Up,” a monologue that dances in the common ground between carnival barkers, beat poetry and TV preachers.
The rest of the album settles in between these two poles. Small Change is largely filled wistful, piano ballads with “Step Right Up,” “Pasties and a G-String” and “The One That Got Away” puncturing the fatigue of the late-night blues. Waits quotes a bit of Casablanca’s “You Must Remember This” in the opening and closing bars of “Bad Liver and a Broken Heart,” illuminating a major influence on the compositions here and the booze-fueled perspective from which Waits was writing.
Waits mined this same fertile territory across the half-dozen albums he released annually in the 1970s, but he never did it better than he did on Small Change.
Khruangbin – Mordechai
Working with vocals seems to please Khruangbin. After building an all-instrumental ouvre, the Texas funk trio released an EP with soul singer Leon Bridges earlier this year. Several months later, they released Mordechai, their third album, replete with singing.
The disembodied vocals on “First Class,” the opening cut, give way to actual lyrics on “Time (You and I),” which recalls Kool and the Gang sans horns. While most songs feature vocals, the singing complements and reinforces the vibe set by the instruments. The upbeat “Pelota” features handclaps and Spanish lyrics delivered with so much gusto it is impossible to listen without moving your body to the rhythm. A couple other high points feature African elements. “Connaissais de Face” incorporates bits of film dialogue alongside African guitar elements and dub rhythm. The relaxing “So We Won’t Forget” floats on a midsummer breeze with its Afro-pop arrangement and chill vocals.
Far from being a gimmick, by the end of Mordechia it becomes clear that the human voice is yet another texture for Khruangbin to play with in their impressive musical arsenal. It will be fun to see where this leads them next.
Indie folk darling Phoebe Bridgers’ second album is an introspective masterpiece perfect for late nights and headphones. “Garden Song” sets the stage with delicate guitars, subtle electronics and double-tracked vocals, but while Bridgers is able to maintain this mood throughout the course of the 41-minute album, it never feels staid or monotonous. The upbeat “Kyoto” bounces with a horn section, while the autotune on “Punisher” makes the lyrics about loneliness seem even more immediate and detached. “ICU” sounds like one of the best Death Cab for Cutie songs in years. The album culminates with the fittingly titled “I Know the End” and a cavalcade of horns, choir, strings and drums that bleed into screams, electric guitar and deep exhalations – a cathartic release of all the emotions Bridgers has been processing throughout the album.
Punisher recalls the lineage of Elliott Smith, Cat Power and early Sufjan Stevens, but Bridgers’ guest appearances with the 1975 and Mercury Rev and projects with Conor Oberst and boygenius reveal a broad talent that should be successful in whatever path Bridgers chooses. I’m happy to follow her on the ride.
Neil Young – Homegrown
After the success of his classic album Harvest and its No. 1 hit “Heart of Gold” in 1972, Neil Young was at a crossroads. His guitarist and a member of his touring crew had both died from drug overdoses and a longtime romantic relationship ended. Young poured his emotions into two disparate projects. Death got a hard look in the eye on Tonight’s the Night and heartbreak was at the core of Homegrown. Of the two projects, Homegrown was much closer in spirit to the homespun charm of Harvest. This might be why Young released Tonight’s the Night and Homegrown languished in the vaults until now.
Although several songs appeared across Young’s later ‘70s releases, Homegrown is the first chance to hear the dozen songs as Young first envisioned them. The result is this missing link between Harvest and Comes a Time. Not everything works – the spoken word piece “Florida” and lumbering blues of “We Don’t Smoke It No More” stall the album’s momentum – but the rest capture Young in a lyrically vulnerable and musically tranquil state.
24-Carat Black – III
Funk collective 24-Carat Black released only one album, which flopped on the charts in 1973 but gained a second life in the in the 1990s thanks to several prominent hip hop samples. The Numero Group, a Chicago label specializing in obscure and forgotten labels and bands released a collection of unreleased 24-Carat material in 2009. Now, even more 24-Carat Black material has been unearthed and released by Numero as III.
It is clear from some of the performances and mixes that these recordings were never intended to be the final version. That said, there are some moments worth seeking out. The muted trumpet on “I’m Coming Back” places the track in jazz/fusion territory popular in the late ‘70s. Similarly, “Speak Low” feels like a missing link between classical, funk and jazz. The 10-minute “Skelton Coast” sounds like something mid-‘70s Marvin Gaye would have cooked up. It is interesting to wonder what ideas were waiting to be added to the mostly instrumental track. Fans who devoured 24-Carat’s proper album and the previous vault collection will enjoy III. Newcomers should start with the original 1973 Stax release.
One need only compare the cover of Hinds’ third album, The Prettiest Curse, to their previous albums to notice change is afoot. While the first two covers look like yearbook photos shot in a dark corner of a gymnasium, The Prettiest Curse looks like it came from Glamour Shots. While the music is similarly polished, it thankfully retains its soul and effervescent fun.
The album is filled with nods to the Strokes, the Breeders and the band’s hometown, Madrid, Spain. Back-to-back standout tracks “Boy” and “Come Back and Love Me <3” not only feature the quartet’s first Spanish lyrics, but an unguarded tenderness. This newfound vulnerability returns a few songs later, on “Take Me Back.”
Fans of Hinds early albums need not worry. They still know how to rock, but by peeling back the garage rock aesthetic, The Prettiest Curse reveals Hinds have considerable songwriting chops as well.
The 1975 – Notes on a Conditional Form
With a running time only slightly shorter than most romantic comedies, the fourth album from Manchester pop rockers The 1975 suggests an overstuffed epic. Instead, Notes on a Conditional Form plays like a manic yet polished playlist, careening from one style to another with little regard to flow.
The seven singles plucked from the album so far have done a good job of cherry-picking the high points, from arena rock and dancefloor pop to a tender acoustic duet and ‘80s pastiche. If that’s not enough, environmental activist Greta Thunberg, a gospel choir, an orchestra and several atmospheric pieces also appear.
There’s enough here that everyone will find at least a few tracks to like, but without a core narrative or flow, the album just ambles along. After 22 songs, Notes doesn’t conclude as much as it stops. It’s an album ripe for selective shopping, but spreading the songs across a surprisingly succinct four sides of vinyl, creates mini playlists. These smaller doses work in the album’s favor and make for a more enjoyable listen.
Shabaka and the Ancestors – We Are Sent Here By History
In the 1960s, Impulse Records was responsible for releasing some of the most incendiary and forward-leaning albums by John Coltrane and Pharoah Sanders. The spirit of those recordings thrives on Impulse’s latest release, the second album by Shabaka and the Ancestors. The 11 cuts on We Are Sent Here By History are filled with a sense of urgency and vitality that make them the perfect soundtrack to our tension-filled time.
Quite simply, there are no songs or even bad moments on this album. Imagine Kamasi Washington spiked with Afro-beat and the best elements of those ‘60s Impulse releases and you’re close. We Are Sent By History is an essential addition to any music library.
Ostensibly a song cycle about coal miners, Ghosts of West Virginia, the newest album by singer/songwriter Steve Earle, also works as a metaphor for blue collar work. Although the songs were written years ago for a theater production, they seem particularly timely right now, in the midst of a pandemic when sectors of the workforce are literally labeled essential.
The album opens with an a capella song that sounds like an old Appalachian hymn. From there, Earle unearths the heritage and history of the coal mining profession and covers the folk song “John Henry” for further context.
The emotional tour de force “It’s About Blood” opens the second side. As the guitars build, Earle names all 29 miners killed in the 2010 Upper Big Branch coal mine explosion. A climax this intense would conclude most albums. Instead, Earle pivots into the tender ballad “If I Could See Your Face” sung by Elanor Whitmore. This ability to empathetically explores different facets of a coal miner’s life, is not only what makes Earle a cut better than many other songwriters, but also makes Ghosts of West Virginia stand out in his own vast catalog.
Prince – One Nite Alone
Prince’s final shows were billed as the Piano and a Microphone tour, but One Nite Alone shows this context was not a new one. Recorded in 2002, this 35-minute collection finds Prince exploring his jazzier side. The recordings are gorgeous, elegant and intimate, putting the listener in the room with Prince. But like a decadent desert, these songs work best in small doses. Although some tracks, like “Here on Earth,” feature touches of synthesizer and percussion, they all work in the same stately mood, blunting the effect across the course of the album.
One Nite Alone is the album to play when you finally open that bottle of wine you’ve been saving, want to impress a certain someone or just want to curl up in the dark and escape with a gifted artist. Finally having it on vinyl will make the experience seem even more immediate. It won’t be played as much as Purple Rain, but One Nite Alone will be perfect when time comes.
Prince – The Rainbow Children
Once freed from the shackles of a major label, Prince was able to indulge all of his impulses, for better or worse. His 2001 album The Rainbow Children is a jazz concept album about … who knows. I’ve never quite been able to figure it out. The looser arrangements and nearly 70-minute running time allow Prince more space to jam and solo. Whether or not it works depends on your taste in jazz and self-indulgence.
The Rainbow Children is a long way from Prince’s groundbreaking, hit-filled albums of the ‘80s. That said, there are some stand-out tracks. The James Brown funk workout “The Work, Part 1” could have been an R&B hit in an alternate world. Closing songs, “The Everlasting Now” and “Last December” also number among the album’s strongest moments.
Long out of print, Prince completists will be delighted they no longer have to shell out exorbitant figures to own The Rainbow Children on vinyl. Less devoted fans may want to sample the album digitally before deciding if they want to take custody of The Rainbow Children.
Social distancing spins started as a silly little experiment during the coronavirus shutdown. While the virus is still a very real threat, writing about what records I play each day seems too frothy in the face of the very real, very heavy issues currently at the forefront of America today. The series may be back in the fall, when we all will probably need a reprieve from real life.
Until then, check on your friends, support your favorite artists and do something each day to expand your worldview. I am stepping away for now. Thank you all for reading. Don’t forget to check out The Daily Record archives.