Most tribute compilations lose their attraction before you get them out of their plastic wrap. Rave On Buddy Holly (Fantasy) is a rare exception. Buddy Holly would have turned 75 on September 9 if his plane didn’t crash in an Iowa cornfield with Ritchie Valens and The Big Bopper back in 1959.
Only 22 when he died Holly took advantage of his 17 months in the limelight, releasing 3 albums. What this compilation does is allow the artists here to interpret his songs their own way – not as Holly recorded those 50 years ago.
Lou Reed’s almost Metal version of “Peggy Sue” is a perfect example a song that keeps its imagery intact but is miles different from the original. Others like Paul McCartney’s “It’s Easy” and Justin Townes Earle’s “Maybe Baby” keep its rock and roll spirit.
Not all are winners though like Graham Nash’s uninspired “Raining In My Heart” and She and Him’s “Oh Boy!,” which does nothing more than exploit Zooey Deschanel’s inadequate vocals.
Other standouts include The Black Keys “Dearest,” The Detroit Cobras “Heartbeat” and Fiona Apple’s “Everyday.” Overall though Rave On Buddy Holly is a ball of fun that again proves that great material is timeless.
Susan Tedeschi and Derek Trucks are many things both individually and collectively. Both led successful bands, killer blues guitar players, great writers, make Grammy nominated records, married to one another and now with the Tedeschi Trucks Band they are in the same band.
Their debut Revelator (Masterworks) is a good one. Along with Warren Haynes’ stunning Man In Motion and Booker T. Jones The Road From Memphis it looks like that big fat Stax Memphis soul sound is having a healthy resurgence.
This is a good thing but what makes this album even better is that Tedeschi and Trucks combined as one unit is stronger than their previous groups. Derek Trucks is the best white southern guitar player since Duane Allman’s passing in 1971; he’s not a vocalist and has struggled to find one to match his playing level.
Susan Tedeschi is an incredible vocalist first and formidable guitar player second. Combined they fill a musical void each had in their individual groups. There new group has a total of 11 individuals which includes a horn section and backup singers.
Thankfully they don’t get in the way, thanks to subtle production assisted by Jim Scott. Its pretty much Trucks’ guitar and Tedeschi’s awesome vocals. It works well too.
Standouts include first single “Midnight In Harlem,” “Come See About Me,” the gospel influenced “Bound For Glory,” “Love Has Something Else To Say” my favorite “How To Love” and the album standout “Until You Remember.”
A lot of people are hatin’ the new Beyonce album 4 (Columbia), they’re making a mistake. Without question the 12 tracks here are the most diverse of her solo career and it’s the kind of album that changes a pop singer into legendary status.
Right away from the albums opener “1 + 1” with it’s stark instrumentation, which puts all the emphasis on her vocals, she triumphs. Yea, yea there’s still some singles that drive radio play but that’s not what this albums about.
She’s listed as Executive Producer, which is important because she recently parted ways with her father who previously oversaw every facet of her career. Good for her, only a confident artist can pull something like this off and Beyonce does.
Other standouts include “Party,” “Best Thing I Never Knew,” “I Was There” and my favorite “Love On Top.”
I’m amazed it’s 10 years since Alicia Keys released her debut Songs In A Minor. In celebration of the occasion, a killer deluxe edition has been issued and it’s a beauty too. Alicia Keys Songs in A Minor Collector’s Edition (Legacy) compiles all era recordings as well as demos and rare mixes on two cd’s with a dvd to boot.
A singer/songwriter who has grown into a working producer, set a high mark for debuts with this album that sold 11 million and earned Keys 5 Grammys. The original album still stands on its own, aged only ten years it’s still very familiar.
The second disc of bonus tracks is very cool. Stuff like “Juiciest (Mixtape Version)” and “If I Was Your Woman (Original Funky Demo)” show the nasty side of Keys that didn’t emerge until her later recordings.
Other’s like “”I Won’t” and “Ghettoman” were recorded during the original sessions but weren’t included on the albums release. While “Fallin’,” “Butterflyz” and “Girlfriend” are here in radically different versions from the originals.
Also included is an Earle Sebastian directed documentary and videos from the album. A great collection of music, photos, liner notes and Keys commentary for everything makes this a worthy celebration of a worthy album. Neil Young’s latest is yet another archival re-issue, this time it’s Neil Young & The International Harvesters A Treasure (Reprise) which chronicles his 1984-85 tour for his album Old Ways, with a band of country musician session studs.
Enough’s enough of Young releasing his back catalog stuff; he should do it on line like most artists do. As for the album itself? Yea, he’s never approached this kinda stuff before or after but so what. Or should I say who cares?
It’s a blip in his lengthy career and it’s pretty much gone unnoticed until he brought it up. Recorded live it doesn’t even sound like a live album as each of the albums 12 songs fade out eliminating any advantages of a live recording. Hey Neil Young, we’ll pass.
