SACD / DSD – HDMusic.me

Reteaming with the Band, Bob Dylan winds up with an album that recalls New Morning more than The Basement Tapes, since Planet Waves is given to a relaxed intimate tone – all the more appropriate for a collection of modest songs about domestic life. As such, it may seem a little anticlimactic since it has none of the wildness of the best Dylan and Band music of the ’60s – just an approximation of the homespun rusticness. Considering that the record was knocked out in the course of three days, its unassuming nature shouldn’t be a surprise, and sometimes it’s as much a flaw as a virtue, since there are several cuts that float into the ether. Still, it is a virtue in places, as there are moments – “On a Night Like This,” “Something There Is About You,” the lovely “Forever Young” – where it just gels, almost making the diffuse nature of the rest of the record acceptable.

Tracklist:
01. On A Night Like This
02. Going, Going, Gone
03. Tough Mama
04. Hazel
05. Something There Is About You
06. Forever Young
07. Forever Young
08. Dirge
09. You Angel You
10. Never Say Goodbye
11. Wedding Song

Mastered by Shawn R. Britton at Mobile Fidelity Sound Lab, Sebastopol, CA.

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Bob Dylan – Blood On The Tracks (1975) [MFSL 2012]

Following on the heels of an album where he repudiated his past with his greatest backing band, Blood on the Tracks finds Bob Dylan, in a way, retreating to the past, recording a largely quiet, acoustic-based album. But this is hardly nostalgia — this is the sound of an artist returning to his strengths, what feels most familiar, as he accepts a traumatic situation, namely the breakdown of his marriage. This is an album alternately bitter, sorrowful, regretful, and peaceful, easily the closest he ever came to wearing his emotions on his sleeve. That’s not to say that it’s an explicitly confessional record, since many songs are riddles or allegories, yet the warmth of the music makes it feel that way. The original version of the album was even quieter — first takes of “Idiot Wind” and “Tangled Up in Blue,” available on The Bootleg Series, Vols. 1-3, are hushed and quiet (excised verses are quoted in the liner notes, but not heard on the record) — but Blood on the Tracks remains an intimate, revealing affair since these harsher takes let his anger surface the way his sadness does elsewhere. As such, it’s an affecting, unbearably poignant record, not because it’s a glimpse into his soul, but because the songs are remarkably clear-eyed and sentimental, lovely and melancholy at once. And, in a way, it’s best that he was backed with studio musicians here, since the professional, understated backing lets the songs and emotion stand at the forefront. Dylan made albums more influential than this, but he never made one better.

Tracklist:
01. Tangled Up In Blue
02. Simple Twist Of Fate
03. You’re A Big Girl Now
04. Idiot Wind
05. You’re Gonna Make Me Lonesome When You Go
06. Meet Me In The Morning
07. Lily, Rosemary And The Jack Of Hearts
08. If You See Her, Say Hello
09. Shelter From The Storm
10. Buckets Of Rain

Mastered by Rob LoVerde, assisted by Shawn R. Britton at Mobile Fidelity Sound Lab, Sebastopol, CA.

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The official release of The Basement Tapes — which were first heard on a 1968 bootleg called The Great White Wonder — plays with history somewhat, as Robbie Robertson overemphasizes the Band’s status in the sessions, making them out to be equally active to Dylan, adding in demos not cut at the sessions and overdubbing their recordings to flesh them out. As many bootlegs (most notably the complete five-disc series) reveal, this isn’t entirely true and the Band were nowhere near as active as Dylan, but that ultimately is a bit like nitpicking, since the music here (including the Band’s) is astonishingly good. The party line on The Basement Tapes is that it is Americana, as Dylan and the Band pick up the weirdness inherent in old folk, country, and blues tunes, but it transcends mere historical arcana through its lively, humorous, full-bodied performances. Dylan never sounded as loose, nor was he ever as funny as he is here, and this positively revels in its weird, wild character. For all the apparent antecedents — and the allusions are sly and obvious in equal measure — this is truly Dylan’s show, as he majestically evokes old myths and creates new ones, resulting in a crazy quilt of blues, humor, folk, tall tales, inside jokes, and rock. The Band pretty much pick up where Dylan left off, even singing a couple of his tunes, but they play it a little straight, on both their rockers and ballads. Not a bad thing at all, since this actually winds up providing context for the wild, mercurial brilliance of Dylan’s work — and, taken together, the results (especially in this judiciously compiled form with its expert song selection, even if there’s a bit too much Band) rank among the greatest American music ever made.

Tracklist:
01. Odds And Ends
02. Orange Juice Blues (Blues For Breakfast)
03. Million Dollar Bash
04. Yazoo Street Scandal
05. Goin’ To Acapulco
06. Katie’s Been Gone
07. Lo And Behold!
08. Bessie Smith
09. Clothes Line Saga
10. Apple Suckling Tree
11. Please, Mrs. Henry
12. Tears Of Rage
13. Too Much Of Nothing
14. Yea! Heavy And A Bottle Of Bread
15. Ain’t No More Cane
16. Crash On The Levee (Down In The Flood)
17. Ruben Remus
18. Tiny Montgomery
19. You Ain’t Goin’ Nowhere
20. Don’t Ya Tell Henry
21. Nothing Was Delivered
22. Open The Door, Homer
23. Long Distance Operator
24. This Wheel’s On Fire

Mastered by Rob LoVerde at Mobile Fidelity Sound Lab, Sebastopol, CA.

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If Blood on the Tracks was an unapologetically intimate affair, Desire is unwieldy and messy, the deliberate work of a collective. And while Bob Dylan directly addresses his crumbling relationship with his wife, Sara, on the final track, Desire is hardly as personal as its predecessor, finding Dylan returning to topical songwriting and folk tales for the core of the record. It’s all over the map, as far as songwriting goes, and so is it musically, capturing Dylan at the beginning of the Rolling Thunder Revue era, which was more notable for its chaos than its music. And, so it’s only fitting that Desire fits that description as well, as it careens between surging folk-rock, Mideastern dirges, skipping pop, and epic narratives. It’s little surprise that Desire doesn’t quite gel, yet it retains its own character — really, there’s no other place where Dylan tried as many different styles, as many weird detours, as he does here. And, there’s something to be said for its rambling, sprawling character, which has a charm of its own. Even so, the record would have been assisted by a more consistent set of songs; there are some masterpieces here, though: “Hurricane” is the best-known, but the effervescent “Mozambique” is Dylan at his breeziest, “Sara” at his most nakedly emotional, and “Isis” is one of his very best songs of the ’70s, a hypnotic, contemporized spin on a classic fable. This may not add up to a masterpiece, but it does result in one of his most fascinating records of the ’70s and ’80s — more intriguing, lyrically and musically, than most of his latter-day affairs.

Tracklist:
01. Hurricane
02. Isis
03. Mozambique
04. One More Cup Of Coffee
05. Oh Sister
06. Joey
07. Romance In Durango
08. Black Diamond Bay
09. Sara

Mastered by Shawn R. Britton at Mobile Fidelity Sound Lab, Sebastopol, CA.

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Bob Dylan and the Band both needed the celebrated reunion tour of 1974, since Dylan’s fortunes had been floundering since Self Portrait and the Band stumbled with 1971’s Cahoots. The tour, with its attendant publicity, definitely returned both artists to center stage, and it definitely succeeded, breaking box office records and earning great reviews. Before the Flood, a double-album souvenir of the tour, suggests that these were generally dynamic shows, but not because they were reveling in the past, but because Dylan was fighting the nostalgia of his audience — nostalgia, it must be noted, that was promoted as the very reason behind these shows. Yet that’s what gives this music such kick — Dylan reworks, rearranges, reinterprets these songs in ways that are still disarming, years after its initial release. He could only have performed interpretations this radical with a group as sympathetic, knowing of his traits as the band, whose own recordings here are respites from the storm. And this is a storm — the sound of a great rocker, surprising his band and audience by tearing through his greatest songs in a manner that might not be comforting, but it guarantees it to be one of the best live albums of its time. Ever, maybe.

Tracklist:
DISC ONE
01. Most Likely You Go Your Way (And I’ll Go Mine)
02. Lay Lady Lay
03. Rainy Day Women #12 & 35
04. Knockin’ On Heaven’s Door
05. It Ain’t Me, Babe
06. Ballad Of A Thin Man
07. Up On Cripple Creek
08. I Shall Be Released
09. Endless Highway
10. The Night They Drove Old Dixie Down
11. Stage Fright
DISC TWO
01. Don’t Think Twice, It’s All Right
02. Just Like A Woman
03. It’s Alright, Ma (I’m Only Bleeding)
04. The Shape I’m In
05. When You Awake
06. The Weight
07. All Along The Watchtower
08. Highway 61 Revisited
09. Like A Rolling Stone
10. Blowin’ In The Wind

Mastered by Rob LoVerde at Mobile Fidelity Sound Lab, Sebastopol, CA.

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Where Dylan’s first Greatest Hits took its title literally, Greatest Hits, Vol. 2 is a greatest-hits album only in the loosest sense of the term. While the double album does contain several genuine hits — “Lay Lady Lay,” “Tonight I’ll Be Staying Here with You,” the non-LP “Watching the River Flow” — it is largely comprised of album tracks that became classics, either through Dylan’s own version or through covers. These include “Don’t Think Twice, It’s All Right,” “All I Really Want to Do,” “My Back Pages,” “Maggie’s Farm,” “She Belongs to Me,” “If Not for You,” and “Just Like Tom Thumb’s Blues,” among many others. There are also various rarities scattered throughout the 21 songs, including a live version of “Tomorrow Is a Long Time” from 1963, a live take of “The Mighty Quinn (Quinn the Eskimo),” and the Basement Tapes songs “I Shall Be Released,” “Down in the Flood,” and “You Ain’t Goin’ Nowhere.” While some of the cuts may not be immediately familiar to some listeners, Greatest Hits, Vol. 2 in many ways is a more accurate picture of the depth and breadth of Dylan’s talents, making it an excellent introduction. And it’s not just for casual fans, because the rarities and sequencing are revealing for even devoted Dylan fans.

Tracklist
DISC ONE:
01. Watching the River Flow
02. Don’t Think Twice, It’s All Right
03. Lay Lady Lay
04. Stuck Inside of Mobile with the Memphis Blues Again
05. I’ll Be Your Baby Tonight
06. All I Really Want to Do
07. My Back Pages
08. Maggie’s Farm
09. Tonight I’ll Be Staying Here with You

DISC TWO:
01. She Belongs to Me
02. All Along the Watchtower
03. The Mighty Quinn (Quinn, the Eskimo)
04. Just Like Tom Thumb’s Blues
05. A Hard Rain’s A-Gonna Fall
06. If Not for You
07. It’s All Over Now, Baby Blue
08. Tomorrow Is a Long Time
09. When I Paint My Masterpiece
10. I Shall be Released
11. You Ain’t Goin’ Nowhere
12. Down in the Flood

Mastered for this SACD by Steve Hoffman at Stephan Marsh Mastering.

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John Barry’s sensitive score to the 1982 biopic Frances harkens back to the Hollywood golden era that launched the film’s subject, doomed actress Frances Farmer (played onscreen by Jessica Lange). Its simple yet sumptuous melodies evoke the classic melodramas of decades past, albeit informed with an emotional depth rarely achieved in the infancy of the sound era. Barry captures the beauty and tragedy of both Farmer and Lange, creating slow-burning themes that brilliantly convey heartbreak, melancholy, and turmoil. To his credit, the composer avoids the kind of overbaked arrangements that commonly express the travails of human suffering, instead tempering Frances with sympathy and even mercy.

Tracklist:
01. Main Title
02. Meeting Harry
03. Upset
04. Late To Work
05. Uproar
06. Frances And Doc
07. Walk
08. Okay Dad; Mother Shut Up!
09. Mozart’s Sonata In A Major, K.331
10. Bug House
11. Free At Last
12. Home Again; Things Are Going To Be Slow
13. A Portrait Of Frances

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Some of the greatest song writing talents of the fifties, sixties and seventies wrote for the legendary singer Elvis Presley. Barb Jungr, regarded as Britain’s foremost chansonnier and song stylist takes these songs and embarks on a journey through love, loneliness, obsession and finally, faith. ‘Love Me Tender’ is a tribute to Elvis Presley in the real sense of the word. She is not impersonating him. These tracks are real covers – deconstructions and reinterpretations – making the listener forget the original. ‘Love Me Tender’ falls into the dark sound world usually inhabited by Nick Cave and Tom Waits; unforgettable and highly original.

Barb Jungr’s three previous Linn albums have seen her exercise her extraordinary talent for metamorphosing the songs of everyone from Bob Dylan and Jacques Brel to the Everly Brothers and Ray Davies into deeply personal, thought-provoking artistic statements; “Love Me Tender” addresses songs connected with pop music’s ultimate icon: Elvis Presley. Arrangers Adrian York and Jonathan Cooper, given mostly non-musical atmospheric cues to do with Jungr’s perceptions of the Deep South, have produced a remarkably homogeneous soundscape full of tolling bells, doomy repeated chords and aching spaces, transforming songs such as Love Me Tender, Heartbreak Hotel, Are You Lonesome Tonight? and In the Ghetto into poignant meditations on emotional yearning and loss. Jungr’s voice, always affecting courtesy of its ability to move uncontrivedly between the most intimate dramatic whisper, a confiding earnestness tinged with melancholy vibrato, and a strident assertiveness, brings out all her material’s subtlest nuances and the resulting album, which also contains a haunting original, Looking for Elvis, can only bolster Jungr’s already considerable reputation as one of Europe’s most intriguing and intelligent interpreters of the contemporary song.

Tracklist:
01. Love Letters
02. Heartbreak Hotel
03. Long Black Limo
04. Wooden Heart
05. Are You Lonesome
06. Kentucky Rain
07. In the Ghetto
08. Love Me Tender
09. You are always on my mind
10. I shall be released
11. Tomorrow
12. Looking for Elvis
13. Peace in the valley

All vocals by Barb Jungr except on ‘Peace In The Valley’.
Produced by Barb Jungr, Adrian York & Calum Malcolm.
Arrangements by Adrian York & Jonathan Cooper.
Recorded at Livingston Studios, London, UK from 30 November – 1 December 2004.

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“Walking in the Sun” heralds a new direction for one of Europe’s finest voices. Drawing on influences from a wide range of musical traditions, including gospel and the blues, the album also includes some exciting new self-penned material. Music lovers will appreciate lyrics by Jimmy Reed, Carole King and Randy Newman as well as a new song by Eric Bibb.

Barb Jungr is a very well known singer in her native England, where she’s had a lengthy career of performances and collaborations with numerous artists; most recently, she participated in the “Girl Talk” sessions with Claire Martin and Mari Wilson. She’s also become quite something of a musicologist, with a very keen interest in world music and she’s lectured extensively about singing and vocal performance. Her repertory is quite broad, encompassing diverse styles ranging from French chansons to cabaret, folk, gospel and blues. This superb disc from Linn Records features an eclectic mix of gospel and blues, as well as songs from artists as diverse as Bob Dylan, Randy Newman and Carole King, and includes a couple of self-penned tunes as well. The resulting album has a very spiritual feel to it, and Barb Jungr finds a way to make just about every song in this stunning assortment her own.
Barb’s smoky-sweet alto is perfect here; on the disc’s opening track Who Do You Love (popularized by George Thorogood’s raunch-n-roll version) she lends a very light vocal touch (almost a whisper), which theoretically seems totally wrong for this song, but she makes it just oh-so-right. The next track, Bob Dylan’s Trouble In Mind opens with a sensationally smooth upright bass and finger-snapping intro, and segues into Barb’s spot-on vocal – this woman really knows how to sing the blues, and she can really belt it out as required. Jessica Lauren lends a lightly-played organ accompaniment that’s sheer perfection – one thing that’s evident from the start is how the vocal and instrumental textures are so perfectly arranged throughout this excellent disc. There are a few weak spots – I’m not particularly enamoured with Barb’s delivery of the Jimmy Cliff classic Many Rivers To Cross, but then I can’t begin to tell you how many times I’ve hit the replay button on her soulful delivery of Brownie McGhee’s Rainy Day. It’s one of those magical moments where everything worked perfectly, and the resulting sounds are irresistible.
The sound quality of this multichannel hybrid SACD is superb. All of my listening was done in the multichannel mode, and the instruments and voices are expertly placed in the recorded soundfield – this is a textbook example of how surround sound should be done right. Highly recommended.

Tracklist:
01. Who do you love?
02. Trouble in Mind
03. Beautiful Life
04. Drink Me Up
05. Walking in Memphis
06. Walking in the Sun
07. Rainy Day
08. Take Out Some Insurance
09. Run on for a Long Time / God Song
10. Blind Willie McTell
11. Many Rivers to Cross
12. Heading Home
13. Way Over Yonder

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Award winning British Jazz Singer of the Year Claire Martin, International Cabaret award winner Barb Jungr and Neasden Queen of Soul Mari Wilson, solo and in harmony, bring the songs you love to hate to life again in this glamorous celebration of all things girlie.
Three girls give their all in silk and sequins, pinnies and rubber gloves. Bacharach, Sondheim and Tamla Motown, marriage, love and kitchen equipment combine in this hysterical, fabulously sung show performed by Britain’s best dressed divas.

Tracklist:
01. Girls Talk
02. Doctor’s Orders
03. Walkin’ Miracle
04. Different for Girls
05. Substitute
06. Wives and Lovers
07. Keep Young and Beautiful
08. My Guy
09. Terry
10. You Keep Me Hangin’ On
11. Girl Talk
12. Wishin’ and Hopin’
13. Ladies who Lunch
14. I Enjoy being a Girl
15. A Woman’s Touch
16. Single Girl
17. D.I.V.O.R.C.E.
18. Let’s jump the Broomstick
19. Chapel of Love
20. It should’ve Been Me
21. When do the Bells Ring for Me
22. Needle in a Haystack
23. I’m Gonna Make you Mine

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Count Basie and the Kansas City 7 is an album by American jazz bandleader and pianist Count Basie featuring small group performances recorded in 1962 for the Impulse! label. The Allmusic review by Scott Yanow awarded the album 4 stars stating “One of Count Basie’s few small-group sessions of the ’60s was his best”.

One of Count Basie’s few small-group sessions of the ’60s was his best. With trumpeter Thad Jones and tenors Frank Foster and Eric Dixon filling in the septet, Basie is in superlative form on a variety of blues, standards and two originals apiece from Thad Jones and Frank Wess. Small-group swing at its best.

Tracklist:
01. Oh, Lady Be Good
02. Secrets
03. I Want a Little Girl
04. Shoe Shine Boy
05. Count’s Place
06. Senator Whitehead
07. Tally Ho, Mr. Basie!
08. What’cha Talkin?
09. Trey of Hearts (Bonus Track)

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Frank Sinatra’s collaborations with Count Basie were among the singer’s better ventures back into jazz in the early 1960s, and led not only to a couple of great studio albums, and one superb live Sinatra album, but also to Basie’s being signed to the Sinatra-founded Reprise label in the mid-’60s. The 53 minutes of music captured on Live at the Sands was recorded during the opening sets from three different shows in late January and early February of 1966, by Basie and his band during the engagement with Sinatra at the Sands Hotel that yielded that live Sinatra album. Maybe that raises the expectations, because this release is a slight disappointment — the band sounds OK, but except for Basie himself and drummer Sonny Payne, it seems like they’re walking their way through some of this repertoire. There are a number of good moments here: “I Needs to Be Bee’d With,” “Flight of the Foo Birds,” “Satin Doll,” “Blues for Home,” and “This Could Be the Start of Something Big” (which is worth hearing for the ensemble work and Eric Dixon and Eddie “Lockjaw” Davis’ solos); the band finally takes flight, but compared with some of the recordings of complete shows by Basie that are nothing less than great, a lot of this is secondary. Given the fact that it was Sinatra’s set that was going to be taped for release for certain, the band may, indeed, have been holding back during its own set, for good reason. Even the audience response says it, positive and polite but not excessive — they were there for Sinatra, and nothing Basie and company did were likely to bowl them over, so why make the effort? It’s not a bad set, and some of it — “Makin’ Whoopee” (especially the call and response on the piano), “Corner Pocket,” and “Jumpin’ at the Woodside” — has great appeal. But this is overall a legendary band doing a somewhat less-than-legendary set, during some gigs that, in fairness, yielded up a great live album elsewhere. The quality is solid live sound, in crisp stereo from a nicely controlled mid-’60s venue, using state-of-the-art equipment.

Tracklist:
01. Introduction
02. Splanky
03. I Can’t Stop Loving You
04. I Needs To Be Bee’d With
05. Flight of the Foo Birds
06. Satin Doll
07. Makin’ Whoopee!
08. Corner Pocket
09. One O’Clock Jump
10. Go Away Little Girl
11. Whirlybird
12. Blues for Ilene
13. This Could Be The Start Of Something Big
14. Jumpin’ At The Woodside

Recorded January 26-29 & February 1, 1966 in the Copa Room, Sands Hotel, Las Vegas.
Mastered for this SACD by Shawn R. Britton at Mobile Fidelity Sound Lab, Sebastopol, CA.

ISO

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At first glance this collaboration should not have worked. The Duke Ellington and Count Basie Orchestras had already been competitors for 25 years but the leaders’ mutual admiration (Ellington was one of Basie’s main idols) and some brilliant planning made this a very successful and surprisingly uncrowded encounter. On most selections Ellington and Basie both play piano (their interaction with each other is wonderful) and the arrangements allowed the stars from both bands to take turns soloing. “Segue in C” is the highpoint but versions of “Until I Met You,” “Battle Royal” and “Jumpin’ at the Woodside” are not far behind.

Tracklist:
01. Battle Royal
02. To You
03. Take The A Train
04. Corner Pocket (aka Until I Met You)
05. Wild Man (aka Wild Man Moore)
06. Segue In C
07. B D B
08. Jumpin’ At the Woodside
09. One More Once
10. Take The A Train (The Count Departs) [Rehearsal & alternate takes]11. Jumpin’ At the Woodside [Alternate take]12. B D B [Alternate take]13. Blues In Hoss’ Flat (Blues In Frankie’s Flat)
14. Wild Man (aka Wild Man Moore) [Alternate take]15. Battle Royal [Rehersal & alternate takes]16. Pause Track [Blank Track]

Engineered for SACD by Mark Wilder.

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Ray Sings, Basie Swings, huh? Hmm, well, yes and no. You see, the story goes something like this. In 2005, Concord Records exec John Burk, who produced Ray Charles’ superb late-career, Grammy-winning Genius Loves Company, found a reel of tape simply labeled “Ray/Basie.” Upon further analysis, it was determined that the 1973 recording featured Ray Charles backed by his own band — Count Basie and his band had actually recorded earlier that day. Charles’ vocal was exceptionally prominent in the mix and at first it was thought that this potentially momentous discovery would prove unable to bear fruit. But then Burk brainstormed and decided to bring the current Count Basie Orchestra — whose leader died in 1984 — into the studio to lay tracks behind Charles’ vocals. So there’s no Basie on Ray Sings, Basie Swings, but that’s merely a technicality, because there is some great music. Charles was in fine form vocally on this mix of remakes of his early ABC-Paramount-era hits and then-recent material. The consecutive reworkings of “Busted,” “Cryin’ Time,” and “I Can’t Stop Loving You,” three of his defining Top Ten hits of the early ’60s, are given brassy, bluesy treatments here, and standards ranging from Oscar Hammerstein II’s “Oh, What a Beautiful Morning” to the Beatles’ “The Long and Winding Road” are transformed in Charles’ hands. The set-closing “Georgia on My Mind,” as close to a signature song as Charles had, is given a tender, minimalist reading, but the track preceding it, “Look What They’ve Done to My Song, Ma,” picked up from the folk-pop singer Melanie, is quite possibly the album’s highlight. It’s appeared on other Ray Charles compilations before, but the gospelized, testifyin’ version featured here has got to be the liveliest take on that song anyone’s ever devised. So, yeah, there’s no Count Basie to be found here, but his namesake orchestra does him proud. For one of those postmortem studio patch jobs that owes as much to technology as talent, it’s a fine addition to the Ray Charles oeuvre, as long as one can get past the semi-false advertising of its title.

Tracklist:
01. Oh, What a Beautiful Morning
02. Let the Good Times Roll
03. How Long Has This Been Going On?
04. Every Saturday Night
05. Busted
06. Crying Time
07. I Can’t Stop Loving You
08. Come Live With Me
09. Feel So Bad
10. The Long and Winding Road
11. Look What They’ve Done To My Song
12. Georgia on My Mind

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With a title like Vibrate, it would seem that the Manhattan Transfer had filled their first studio disc in four years with jazzy and exciting vocal workouts intended to shake the speakers. But the title is a bit misleading as Vibrate is one of their most subdued and elegant recordings, and one that harks back to the days of Mecca for Moderns where pop tangents were part of their repertoire. With an arrangement that remains fairly intact from the Brenda Russell original, “Walkin’ in New York” begins the disc with a summery sidewalk swagger that sets the relaxed tone of the disc. Two successful Rufus Wainwright covers follow as the Transfer take “Greek Song” globe-hopping through the Middle East via Hawaii and then spin down to Brazil for a beautiful tango-inspired version of “Vibrate.” On past recordings they have covered contemporary pop with mixed results, often sounding staid or forced, as on 1983’s Bodies and Souls, but the chamber pop of Wainwright is a perfect fit for their vocal style. The tribalistic experiment of “First Ascent” bristles with harmonies and rhythms from musical lands rarely tread upon while a remake of the Beach Boys’ “Feel Flows” abandons the original’s psychedelic pop for a more soulful arrangement. Oddly enough, as their pop tendencies flourish on Vibrate, their more typical jazz tracks tend to sound like misfits. “Doodlin’” and “Embraceable You” are immaculately performed but lack the personality and depth found in the disc’s pinnacle moment, “The New JuJu Man (Tutu).” This stunning vocalese recitation of the infamous Miles Davis recording of Marcus Miller’s “Tutu,” with lyrics by Jon Hendricks, is one of the most incredible performances that the Transfer have recorded. Cheryl Bentyne sounds otherworldly as she conjures up the spirit of Miles’ muted trumpet and spews the solo lick by lick as the balance of the Transfer humanize the original’s cold keyboard arrangement. As if they even need to prove it, the Transfer once again show that they are indeed the masters of vocal jazz and when they push the boundaries of vocal music, the results can be stunning. The balance of Vibrate may not come close to the dizzying height of “Tutu,” but the Manhattan Transfer offer a pleasurable excursion through an eclectic set of contemporary jazz and pop.

Tracklist:
01. Walkin’ in N.Y.
02. Greek Song
03. Vibrate
04. The New JuJu Man (Tutu)
05. Doodlin’
06. The Twelfth
07. First Ascent
08. Core of Sound (Modinha)
09. Feel Flows
10. Embraceable You
11. Medley: Come Softly to Me / I Met Him on a Sunday

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The quintessential American power pop band, Big Star remains one of the most mythic and influential cult acts in all of rock & roll. Originally led by the singing and songwriting duo of Alex Chilton and Chris Bell, the Memphis-based group fused the strongest elements of the British Invasion era — the melodic invention of the Beatles, the whiplash guitars of the Who, and the radiant harmonies of the Byrds — into a ramshackle but poignantly beautiful sound which recaptured the spirit of pop’s past even as it pointed the way toward the music’s future. Although creative tensions, haphazard distribution, and marketplace indifference conspired to ensure Big Star’s brief existence and commercial failure, the group’s three studio albums nevertheless remain unqualified classics, and their impact on subsequent generations of indie bands on both sides of the Atlantic is surpassed only by that of the Velvet Underground.

A two-fer combining Big Star’s first and second albums, #1 Record/Radio City remains a definitive document of early-’70s American power pop and a virtual blueprint for much of the finest alternative rock that came after it. The lone Big Star record to merit the full participation of founder Chris Bell, the brightly produced #1 Record splits the songwriting credits evenly between him and Alex Chilton (in the tradition of Lennon-McCartney). But from the beginning, the group is tearing apart at the seams: Bell and Chilton’s relationship seems less a working partnership than a battle of wills, and each possesses his own distinctive vision. The purist, Bell crafts electrifying and melodic classic pop like “Feel” and “In the Street,” while Chilton, the malcontent, pens luminous, melancholy ballads like “The Ballad of El Goodo” and “Thirteen.” Ultimately, their tension makes #1 Record brilliant. However, Radio City shifts gears dramatically: Bell is largely absent (though he guests, uncredited, on a few tracks, including the wonderful “Back of a Car”), allowing Chilton’s darker impulses free reign. From the raucous opener “O My Soul” onward, the new Big Star is noisier, edgier, and even more potent. Erratic mixing, spotty production, shaky performances — by all rights, Radio City should be a failure, yet Chilton is at his best when poised on the brink of disaster, and the songs hang together seemingly on faith and conviction alone. Each track recalls pop’s glory days, from the Kinks-ish snarl of “Mod Lang” to the Byrds-like guitar glow that adorns “Way Out West.” The much-celebrated “September Gurls” is indeed a classic — everything right and good about pop music distilled down to three minutes of pure genius.

Tracklist:
01. Feel
02. The Ballad of El Goodo
03. In the Street
04. Thirteen
05. Don’t Lie to Me
06. The India Song
07. When My Baby’s Beside Me
08. My Life Is Right
09. Give Me Another Chance
10. Try Again
11. Watch the Sunrise
12. ST 100/6
13. O My Soul
14. Life Is White
15. Way out West
16. What’s Going Ahn
17. You Get What You Deserve
18. Mod Lang
19. Back of Car
20. Daisy Glaze
21. She’s a Mover
22. September Gurls
23. Morpha Too
24. I’m in Love with a Girl

Tracks 01-12 is “#1 Record” Album (1972).
Tracks 13-24 is “Radio City” Album (1974).

Mastered by George Horn at Fantasy Studios, Berkeley, CA.

ISO

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Taken from the same three sessions as The Great Ray Charles but not duplicating any of the performances, this set casts Charles as a jazz-oriented pianist in an instrumental setting. Brother Charles has five numbers with a trio (three songs have Oscar Pettiford on bass) and jams on three other tunes (“Hornful Soul,” “Ain’t Misbehavin’,” and “Joy Ride”) with a septet arranged by Quincy Jones; solo space is given to David “Fathead” Newman on tenor and alto and trumpeter Joseph Bridgewater. Fine music — definitely a change of pace for Ray Charles.

Tracklist:
01. The Genius After Hours
02. Ain’t Misbehavin’
03. Dawn Ray
04. Joy Ride
05. Hornful Soul
06. The Man I Love
07. Charlesville
08. Music, Music, Music

Mastered for this SACD by Rob LoVerde at Mobile Fidelity Sound Lab, Sebastopol, CA.

ISO

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Genius Loves Company is the last studio album Ray Charles completed before his death in June 2004. Prior to this, the last studio album he released was Strong Love Affair in 1996, which was a stab at modern pop, filled with new songs and given an adult contemporary sheen. It was not one of his most distinctive efforts, even when judged against his latter-day albums, and it disappeared not long after its release. Charles left Warner and, years later, signed with Concord, who released Genius Loves Company, which had a decidedly different approach than the all-modern Strong Love Affair. As the title acknowledges with a wink, this is a duets album, which may be a little commonplace as far as latter-day superstar albums go but is still a step up from his previous studio album since it puts Ray Charles in a comfortable, relaxed situation that plays to his strengths. Instead of trying to put Charles in a modern setting, producers John Burk and Phil Ramone (Burk helmed seven of the album’s tracks, Ramone is responsible for the other five, and their work fits together seamlessly) go for a clean retro setting with a few guitars, synths, and a rhythm section, occasionally dressing it with an orchestra or some strings. In other words, apart from the glistening production, it’s not far removed from any of Charles’ crossover records from the ’60s, and he’s also given a strong set of songs, largely familiar pop classics, from “Fever” and “Somewhere Over the Rainbow” to “Sorry Seems to Be the Hardest Word” and “Crazy Love.” His duet partners are fairly predictable — classy newcomers like Norah Jones and Diana Krall, but also old stalwarts like Elton John, B.B. King, Johnny Mathis, James Taylor, Bonnie Raitt, and the ubiquitous Willie Nelson (who has never sounded older than he does here on “It Was a Very Good Year”) — but they’re also reliable, never overshadowing Ray yet never shrinking in his shadow either; in short, it sounds more like a real duets album than most superstar duet records. The end result is modest, friendly, laid-back, and pleasing, one that remains faithful to Charles’ music while sounding relatively fresh. It may not be weighty enough to be a career-capping masterpiece, but it’s sweet enough to be an appropriate final album — which is far more than can be said of Strong Love Affair, or any of the other albums he cut in the ’80s or ’90s for that matter.

Tracklist:
01. Here We Go Again
02. Sweet Potato Pie
03. You Don’t Know Me
04. Sorry Seems To Be The Hardest Word
05. Fever
06. Do I Ever Cross Your Mind?
07. It Was A Very Good Year
08. Hey Girl
09. Sinner’s Prayer
10. Heaven Help Us All
11. Over The Rainbow
12. Crazy Love [Live]

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This pairing of two totally idiosyncratic vocalists acquired legendary status over the decades in which it had been out of print. But the proof is in the listening, and frankly it doesn’t represent either artist’s best work. There is certainly a powerful, often sexy rapport between the two — Charles in his sweet balladeering mode, Carter with her uniquely keening, drifting high register — and they definitely create sparks in the justly famous rendition of “Baby, It’s Cold Outside.” The main problem is in Marty Paich’s string/choir arrangements, which too often cross the line into treacle, whereas his charts for big band are far more listenable. Moreover, Charles’ sweetness can get a bit cloying, too, although some of the old grit emerges on “Takes Two to Tango”.

Tracklist:
01. Ev’ry Time We Say Goodbye
02. You and I
03. Intro: Goodbye/We’ll Be Together Again
04. People Will Say We’re In Love
05. Cocktails For Two
06. Side By Side
07. Baby, It’s Cold Outside
08. Together
09. For All We Know
10. Takes Two To Tango
11. Alone Together
12. Just You, Just Me
13. Hard Hearted Hannah [Unlisted Track]

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Down-home, anguished laments and moody ballads were turned into triumphs by Ray Charles. He sang these songs with the same conviction, passion, and energy that made his country and soul vocals so majestic. This has not turned up in the reissue bins.

Tracklist:
01. Early In The Mornin’
02. Hard Times
03. The Midnight Hour
04. The Right Time
05. Feelin’ Sad
06. Ray’s Blues
07. I’m Movin’ On
08. I Believe To My Soul
09. Nobody Cares
10. Mr. Charles’ Blues
11. Some Day Baby
12. I Wonder Who

Mastered by Shawn R. Britton at Mobile Fidelity Sound Lab, Sebastopol, CA.

ISO

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Bob Dylan with The Band – Planet Waves (1974) [MFSL 2016] {PS3 ISO + FLAC}

Bob Dylan – Blood On The Tracks (1975) [MFSL 2012] {PS3 ISO + FLAC}

Bob Dylan And The Band – The Basement Tapes (1975) [MFSL 2012] {PS3 ISO + FLAC}

Bob Dylan – Desire (1976) [MFSL 2013] {PS3 ISO + FLAC}

Bob Dylan & The Band – Before The Flood (1974) [MFSL 2015] {PS3 ISO + FLAC}

Bob Dylan – Bob Dylan’s Greatest Hits Volume II (1971) [Audio Fidelity ‘2013] {PS3 ISO + FLAC}

John Barry – Frances (1982) [Reissue 2005] {PS3 ISO + FLAC}

Barb Jungr – Love Me Tender (2005) [2.0 & 5.1] {PS3 ISO + FLAC}

Barb Jungr – Walking In The Sun (2006) [2.0 & 5.1] {PS3 ISO + FLAC}

Mari Wilson, Barb Jungr, Claire Martin – Girl Talk (2005) {PS3 ISO + FLAC}

Count Basie – Count Basie And The Kansas City 7 (1962) [Analogue Productions’ Remaster 2012] {PS3 ISO + FLAC}

Count Basie – Live At The Sands (Before Frank) (1998) [MFSL 2013] {PS3 ISO + FLAC}

Duke Ellington and Count Basie – First Time! The Count Meets the Duke (1961) [Reissue 2002] {PS3 ISO + FLAC}

Ray Charles and Count Basie Orchestra – Ray Sings Basie Swings (2006) [Reissue 2007] {2.0 & 5.1} PS3 ISO + FLAC

The Manhattan Transfer – Vibrate (2004) [2.0 & 5.1] {PS3 ISO + FLAC}

Big Star – #1 Record + Radio City (1972+1974 / 2 albums on 1 Disc) [1992, Reissue 2004] {PS3 ISO + FLAC}

Ray Charles – The Genius After Hours (1961) [MFSL 2014] {PS3 ISO + FLAC}

Ray Charles – Genius Loves Company (2004) [2.0 & 5.1] {PS3 ISO + FLAC}

Ray Charles & Betty Carter – Ray Charles And Betty Carter (1961) [Analogue Productions Remaster 2012] {PS3 ISO + FLAC}

Ray Charles – The Genius Sings The Blues (1961) [MFSL 2010] {PS3 ISO + FLAC}