Category Archives: Reviews

Synchronicity

By lytspeed Posted in Music, Opinion, Reviews Leave a reply

Synchronicity

By: The Police

Type: Rock

Hot Tracks:

  • Synchronicity I
  • Synchronicity II
  • Miss Gradenko
  • King of Pain

This is, in my opinion, the best album of 1983. No, Thriller is not on my list.

Sting has the ability to write meaningful, often intellectual lyrics and wrap them in tasty musical phrases. I think he was at his peak on this album, though there have been many bright points in his career since The Police broke up.

In “Synchronicity I,” he lays out the premise of the album, describing Jung’s concept of synchronicity in lyrical form. For those who are not simply caught up in the driving rhythm, there lies a clue as to some of the issues Sting will be addressing later in the album. It is not exactly a concept album, but it does have recurring themes of coincidence, desperation, possessiveness and friction. Later, at the end of what used to be Side 1, they pull out “Synchronicity II,” a slice-of-life illustration of the concepts presented in the first song. Sting’s use of metaphor, simile and allusion in this song is appropriate and challenging. The language is tight, and you get a real sense of the plight of a frustrated factory worker who has been pushed to his limit. The end of the song leaves you hanging, but with foreshadowing of what happens next.

Other bright spots on the album include “Miss Gradenko,” a bouncy tune penned by Stewart Copeland and “King of Pain,” an exercise in morbid metaphor. I have decided not to include “Every Breath You Take” and “Wrapped Around Your Finger” in the hot tracks simply because of their sheer frequency of play. For me, they have lost much of their appeal because I have heard them too much. To be fair, though, there is not a bad track on the album — with the possible exception of Andy Summers’ “Mother.” This is one of those songs that you either hate or love, depending on what your initial feeling is. In my opinion, this song does not fit in well with the musical feel of the rest of the album at all, and should have been left off. I’m not knocking Summers’ musical or compositional skills; I have heard a lot of great work from him, and he does an excellent job on the music for “Murder by Numbers” later on the CD (this track was not on the original vinyl), but “Mother” just rubs me the wrong way and has for nearly 15 years.

I mentioned tension earlier. I think the subject matter of this album was perfect for the playing styles of the band, and that is part of why it was so successful. In an interview recently, Sting pointed out that there was always tension between the three band members because of their individual playing styles. In particular, Stewart Copeland likes to play slightly ahead of the beat, creating a driving urgency in the music. Sting, on the other hand, likes to play slightly behind the beat. This dichotomy often works very well, particularly on the songs where tension is a lyrical element. If the band would have been able to resolve their musical style differences, they might not produced such a good album.

Rating (out of a possible five):

Strong Persuader

By lytspeed Posted in Music, Opinion, Reviews Leave a reply

Strong Persuader

By: The Robert Cray Band

Type: Blues

Hot Tracks:

  • Smoking Gun
  • I Guess I Showed Her
  • Right Next Door (Because of Me)
  • New Blood

Robert Cray’s intelligent lyrics add a twist to the blues that has not been seen before. Instead of negative, sexist lyrics blaming women for all the world’s ills, he writes tongue-in-cheek songs like “I Guess I Showed Her,” about a man who leaves his life on suspicion (not proof) of adultery, only to wind up in a nasty hotel room — but he showed her! Another example of this twist is “Right Next Door (Because of Me).” In this song, he describes the anguish a man goes through after causing the breakup of the couple next door by having an affair with the wife. Instead of boasting, the man in the song is sorry for the pain he has caused through his inappropriate actions.

It is also easy to see why Cray is one of Eric Clapton’s favorite guitarists. His plucky, stinging style of playing is very expressive. He doesn’t use a lot of legato, so each note stands out as clearly separate from the others surrounding it, which conveys feelings of pent-up passion or frustration very well. When the notes come out, it is almost like they are exploding from the guitar, shooting out in a staccato array like a whole string of firecrackers, each one a distinct pop, but linked to the others by a fuse. He tends to play in the bridge or bridge-and-middle positions of his Stratocaster, which contributes to the sharp, bright sound of his playing. It sounds like he uses predominantly bare fingers to play, as well, though I have never actually seen him in concert to confirm this.

His chord progressions allow for standard blues pentatonic soloing, but don’t necessarily follow the everpresent twelve bar I-IV-V blues progression. He rarely strums his chords; instead he arpeggios them or plucks them with all his fingers in rapid succession to provide a light but driving rhythm.

All of these elements combine to give this album a sound that is unmistakably blues, but fresh and energetic blues. Perhaps this is because he grew up in Seattle, away from the blues centers of Chicago and the south. His sound seems to be more influenced by Chicago blues than anything else, but it still deviates from that trademark style.

Rating (out of a possible five):

No Resemblance Whatsoever

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No Resemblance Whatsoever

By: Dan Fogelberg and Tim Weisberg

Type: Light Jazz/Rock

Hot Tracks:

  • Forever Jung
  • Todos Santos
  • The Face of Love
  • Windward

It’s been twenty years since Dan Fogelberg and Tim Weisberg blurred the boundaries of rock and jazz with Twin Sons of Different Mothers, proving that an artist need not be bound to one form of music. Since that time, light jazz/rock has become a complete radio format all its own, and this album should find a happy home there. That is where Fogelberg gets most of his airplay these days, and although his catalog covers everything from electric rock to jazz to bluegrass, he seems to have accepted his niche happily.

The supporting members of the band are solid, featuring strong studio musicians Neil Stubenhaus (bass), Michael Landau (electric guitar), Larry Cohn (keys) and Vinnie Colaiuta (drums). Fogelberg demonstrates his musical acumen on a variety of instruments, as usual, and seems to have been influenced vocally by Aaron Neville recently. (If you don’t find this to be appealing, you may want to avoid this version of “Sunlight.”)

Weisberg, though not very much in the spotlight recently, has lost none of his smooth, fluid flute skill. His style still complements Fogelberg’s compositions well, and more than makes up for the Neville-style vocals on “Sunlight.”

This album doesn’t feature any songs as energetic as “Power of Gold,” from Twin Sons, but that is not surprising. Fogelberg’s current audience seems to be composed mainly of light rock listeners, so harder songs might not have the appeal that they might have once had for him. I’m sure both musicians are still capable of rocking out on occasion, but that was not the intent of this album.

It is good to see that whatever legal or personality conflicts existed between these two virtuosos has passed. Any conflict that robs people of the product of these two talents is to be avoided at all costs.

This album is excellent to play by firelight, in romantic situations or any time that you just wish to unwind and relax. Sit back, close your eyes, and let the strains of Tim Weisberg’s flute carry your troubles away on the air.

Rating (out of a possible five):

Live at Carnegie Hall

By lytspeed Posted in Music, Opinion, Reviews Leave a reply

Live at Carnegie Hall

By: Stevie Ray Vaughan & Double Trouble

Type: Blues

Hot Tracks:

  • Testifyin’
  • Letter to My Girlfriend
  • Iced Over
  • Rude Mood

It happened the day after Stevie’s birthday in 1984. He played the one place he’d always thought was unattainable: Carnegie Hall in New York City. He played at top volume, as always, and effectively defeated the purpose of the natural acoustic amplification in the building, creating a sonic assault that must have sounded muddy to the audience. (I had a similar experience at Phoenix Symphony Hall, when I saw a non-traditional Kansas lineup open for Alan Parsons. The sound personnel did not account for the natural acoustics of the hall, and Kansas played way too loud. The music was difficult to understand and differentiate. Fortunately, they had the problem worked out by the time Parsons took the stage; his sound engineering experience probably helped with that.)

On the album, whenever Stevie strums a chord and mutes it immediately after, you can hear the sound echoing off into the rafters. It takes some getting used to; I kept wanting to tweak a non-existent reverb control on my stereo to reduce some of the overall echo.

The best tracks on this album are the “new” ones. Stevie plays songs by several of his heroes, his way of saying thank you for influencing him. In particular, “Letter to My Girlfriend” shows a rare side of Stevie’s vocal talents and the backing help from Dr. John, the Roomful of Blues horns and Jimmie Vaughan works well. “Iced Over,” a classic Albert Collins tune, is excellent as well.

Stevie’s playing on “Dirty Pool” is characteristically great, but the arrangement hinders the song. I am particularly annoyed by Jimmie Vaughan’s embellishment in the left channel throughout the song. I have never seen the talent in Jimmie that the music industry attributes to him, honestly. I respect the man for his influence on Stevie and for carrying the torch after his death, but his guitar playing seems to me to be a repetition of the same tricks over and over. He is very fond of triplets, both when playing and singing, and tends to overuse them in both cases. His rhythm playing is low key throughout the rest of the album, and therefore tolerable. Unfortunately, he trades solos with Stevie on “The Things That I Used to Do.” When I hear his choppy, stilted solos I get the picture of someone walking with cement blocks strapped to their feet; that’s how strained his music sounds to me.

<Ducking as blues purists throw things at me for my disrespect.>

“C.O.D.” is notable because it shows just how laid back and respectful Stevie could be as a rhythm player, yet still add to the song’s overall melodic quality. His musical phrases between Angela Strehli’s vocal lines help to create the illusion of chord movement without stepping on her toes in the bright spotlight of Carnegie Hall. A vocalist couldn’t ask for a better rhythm player.

Stevie ends the concert with a solo encore comprised of two of his old standards, “Lenny” and “Rude Mood.” “Lenny” seems a little disconnected without the band, but the quiet parts work well in the acoustics of the hall. Unfortunately, you can also hear the crowd getting rowdy, including someone clearly shouting “Shut the fuck up!” (Interesting note: The only guitarist other than Stevie that I’ve ever seen pull off a solo version of “Lenny” is Carvin Jones, opening for Albert Collins not long before his death. This young bluesman also plays some mean Hendix covers.) At the beginning and end of the piece, you can hear foreshadowing of the song that would eventually replace it as Stevie’s favorite slow number: “Riviera Paradise.”

“Rude Mood” works well as a solo piece. It has so many notes that it carries well without a band, and Stevie’s trademark simultaneous rhythm and lead playing style fills in the background. It also helps that he knows enough not to carry it on too long.

Basically, the historic value of this album makes it important, but it is not one of the best live recordings of Stevie Ray Vaughan & and Double Trouble that exists. This is not the band’s fault; the detractions from the quality of the performance were due to other factors and do not reflect on the members of the core group.

Rating (out of a possible five):

Ledbetter Heights

By lytspeed Posted in Music, Opinion, Reviews Leave a reply

Ledbetter Heights

By: Kenny Wayne Shepherd

Type: Hard Edged Blues

Hot Tracks:

  • Born With a Broken Heart
  • Deja Voodoo
  • While We Cry (Live)
  • Aberdeen

This album makes me wonder if reincarnation is a reality. Young Kenny has Stevie Ray Vaughan’s patented Strat tone down pat, as well as much of his playing style. The first time I heard him, I thought it was an unreleased Stevie Ray track with a different vocalist. At first, this turned me off, but it has now been two years since Ledbetter Heights came out, and I have a different perspective. I have decided that Kenny is not trying to make money off of Stevie’s chops, he is merely greatly influenced by him. This is no different than Stevie himself building a reputation on his interpretations of Lonnie Mack, Albert King and Jimi Hendrix. Shepherd makes all the appropriate nods to the blues greats that made his music possible and covers some classics on this first release as well.

Most of this album is pure KWS, though. Kenny is trying very hard to show that he does have his own voice on guitar. His cover of “Aberdeen” demonstrates his dexterity at slide guitar, with two different slide parts playing in perfect synch and pitch in either channel of the mix. “Riverside” features slide as well, though this in a lazy day feeling blues ballad. If I had to pick a direction in which Shepherd is most likely to establish a distinctive voice, I would say that his slide playing was it.

He handles straight electric blues tunes very well also. In fact, the more I listen to this album the more I like it and wonder where such a young talent could come from. There’s that reincarnation thing again, but he can’t be reincarnated from Stevie because he knew Stevie. Hmmm….

I look forward to future albums by this young guitar monster. I also hope he is successful in dispelling the rumors about his motivation and can continue to develop his own style. If he keeps playing like this, he will. He needs to pay his dues before being ranked among the top players, but I don’t think it will take long for his dues to be paid up.

Rating (out of a possible five):