MUSIC DISC & DOWNLOAD REVIEWS

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CD REVIEW: Tori Amos
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Brett Milano  |  Jun 03, 2007  |  0 comments

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CD Review: Velvet Revolver
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Ken Richardson  |  Jul 16, 2007  |  0 comments

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CD Review: VHS or Beta
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Parke Puterbaugh  |  Oct 03, 2007  |  0 comments

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CD Review: Ween
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Rob O'Connor  |  Jan 05, 2008  |  0 comments

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CD Review: Wilco
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Billy Altman  |  Jun 03, 2007  |  0 comments

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CD Reviews: 50 Cent, Kanye West
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Jeff Perlah  |  Nov 04, 2007  |  0 comments

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CD, DVD Review: Dinosaur Jr.
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Jeff Perlah  |  Jun 07, 2007  |  0 comments

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CD, DVD Review: Jay-Z
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Jeff Perlah  |  Dec 18, 2007  |  0 comments

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Cee Lo Green: The Lady Killer
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Jeff Perlah  |  Feb 28, 2011  |  0 comments
 
Elektra
Music •••• Sound ••••

 

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Changing to a country horse . . .
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Rob O'Connor  |  Mar 05, 2009  |  0 comments
ATO
Music ••• Sound ••••
Let's hear it for Kitt Kitterman!

Who?

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Chesky Records Uses Its Head to Make Better-Sounding Music
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Steve Guttenberg  |  Apr 29, 2016  |  1 comments
I met singer-songwriter Amber Rubarth when she was recording her first Chesky Records album, Sessions From the 17th Ward, back in 2012. I instantly fell in love with her music and the sound of her voice, but more than that, I was amazed by how relaxed she was making an entire album in just two days. Most of the tunes were hers, and they were consistently good, but her covers of Tom Waits’ “Hold On” and Bob Dylan’s “Just Like a Woman” blew me away. No wonder legendary record producer Phil Ramone said Rubarth was “part of the new old-soul generation.”
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Circa Zero
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Mike Mettler  |  Jun 03, 2014  |  0 comments
Performance
Sound
Never one to favor flash over substance, Andy Summers may very well be the most underrated guitarist of the rock era. Summers took a minimalist approach with his work for the juggernaut pop-alternative trio known as The Police, letting atmospherics and not pyrotechnics fuel such indelible hits as “Don’t Stand So Close to Me” and “Every Breath You Take.” His echoing, chorused, chordal-centric technique schooled a generation of players from U2’s The Edge to The Fixx’s Jamie West-Oram. Even a player as accomplished as Rush’s Alex Lifeson added a Summersesque “less is more” dimension to his repertoire during the ’80s.
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Concerts Go High-Def
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Ken Richardson  |  Jan 03, 2007  |  0 comments

BLACK IS BLACK. True, but you won't believe how deep it goes on the high-def reissues of U2's 1988 concert pic Rattle and Hum (Paramount; Movie •••••; Blu-ray Disc Picture ••••, Sound ••••; HD DVD Picture ••••, Sound ••••½; Original Extras ½, New Extras: None).

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Dave Mathews: Everyday
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Parke Puterbaugh  |  Jun 10, 2001  |  0 comments

The first time I heard Everyday, I thought it was terrible, a train wreck of Led Zeppelin, fusion, and grunge. The material seemed contrived, formless, and prickly. And then I kept listening, adapted to it, and rather grew to like it.

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David Bowie: Five Years — 1969-1973
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Mike Mettler  |  Jan 11, 2016  |  0 comments
Also see “RIP: David Bowie”

Performance
Sound
“Five years—that’s all we’ve got.” That ominous prognostication, put forth by David Bowie ostensibly about an Earth heading toward imminent destruction in the opening track to 1972’s incendiary game-changer The Rise and Fall of Ziggy Stardust and The Spiders From Mars, also serves as a fitting epigraph for both the core title and scope of this massive box set, the first in what will likely prove to be a series that will go well beyond merely making the grade.
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