Archive for November, 2009
November 15, 2009
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The Red Fox Chasers – Anthology
By Ash in Music Reviews
Mastering engineer, Christopher King, who won a Grammy for his work on Charley Patton’s 2003 collection, Screamin’ and Hollerin’ the Blues, is the man responsible for digitally restoring this anthology of historic tracks as created by early American Appalachian music leaders, The Red Fox Chasers. The recordings date between 1928-1931, and within that short period, this quartet from North Carolina recorded a total of 42 songs all directly to the medium popular at the time: 78 RPM vinyl. With that in mind, it’s worth noting that with each side’s capacity limited to around three minutes, and each acoustic performance captured live in one take – this set of recordings offers a tangible chronicle of the past. Add to that the band’s ability to sell thousands of records across America, and I’m Going Down To North Carolina becomes more than a historical document: it’s a well-defined moment in the evolution of country and bluegrass music.
Named after violinist Guy Brooks’ favoured activity, Brooks managed to convince neighbours Bob Cranford (harmonica), Paul Miles (banjo) and A. P. ‘Fonzie’ Thompson (guitar) partake, whereupon the group would gather (somewhat romantically for a bloodsport) to tell tales by campfire, smoke, drink and play songs. With both Cranford and Thompson sharing an interest in gospel singing, the content presented here is a mixture of original, traditional and religious epithet. The lyrics of ‘Virginia Bootleggers’ as set to the tune of gospel favourite ‘The River Of Jordan’ managed to get Brooks, a Baptist preacher, kicked out of church. That air of rebellion and mockery combined with a discernible passion for environmental influence (as well as fellow three-finger style banjo player, Charlie Poole who was the likely source for ‘Budded Roses’) courses throughout the two discs, effectively evoking a lost time and lifestyle.
Whilst across the border in Tennessee, African-Americans were inventing their smooth form of skiffle (the Memphis Blues Style), this mountain music is altogether less languid, yet equally provincial as the guitar, fiddle, banjo and harmonica all sizzle with a hotfooted impatience; even when at rest, the instruments, voices and crackle never cease to engage. Perhaps the most obvious connection between this old timey music and the modern age is to be found in the Coen brothers’ movie ‘O Brother, Where Art Thou?’ which, though containing a mix of blues, country and bluegrass, still proved there was enough mainstream interest in the genres.
Perhaps not for every casual listener, The Red Fox Chasers’ anthology provides a fascinating insight into a past popular culture that proves more charming than a thousand Russell Brands vying for the BBC’s attention.
November 15, 2009
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Foo Fighters – Greatest Hits
By Ash in Music Reviews
Tascam should expect increased requests to restart production of their 688 Midistudio, because Dave Grohl’s love of the machine is explicitly spelled out within the liner notes of the Foo Fighter’s Greatest Hits. Grohl traces his affair with the dual-cassette studio back to a pre-Foo 1994, and emphasises his continued use of the archaic machine to write demos. With the conception of songs like ‘All My Life’ and ‘Best Of You’ credited to the Tascam 688, and now as frontman of one of the biggest rock bands in the world, those demos must have accrued a price worth the weight of a small diamond. How sweet.
It’s not like uncle Dave needed the cash – more like an outlet. In the 15 years since Grohl created his squadron of Foo Fighters, they’ve released six studio albums and won six coveted Grammy awards; but the band have yet to deliver enough to be considered more than a ‘singles’ band. In many ways the ‘Greatest Hits attests to that. As Grohl notes, “…it is a collection of the songs that have defined our band’s identity to most people over the years.” With another 65 album tracks to choose from, the inclusion of three ‘new’ songs on this compilation will probably serve as an indignant smack to casual fans.
With the running time of these 16 tracks coming in at under an hour (when a CD’s capacity is approximately 80 minutes), there lies a confusing mess around Grohl’s statement. Surely, removing the three bonus songs and utilising the full volume of the CD would provide fans with a more definitive collection. Even the deluxe edition holds the same amount of songs, but includes a bonus DVD. And why could Greatest Hits not be remastered? Compare ‘This Is A Call’ to ‘Learn To Fly’ to ‘The Pretender’ and the variety of production standards across the years is altogether jarring and disjointed. Yes, it is testament to the natural growth of a band and their career, but what listener really cares about that? A respectful equalisation across the board would have made this a far more pleasurable listen.
Nevertheless, it’s difficult to argue with the weight of the Foo Fighters’ hits – greatest or otherwise. Veritable tanks of flying machines, the songs presented here are a simple snapshot of a great band in action. Straddling the pop-rock divide with legs akimbo whilst crunching out power chords on their melodically overdriven guitars, the Foo Fighters have consistently delivered great singles with aplomb for well over a decade. Perhaps in years to come, there will be a collection less reticent to pander to an invisible audience, and maybe some of those original Grohl demos will resurface on a ‘rarities’ CD. But, for now – Greatest Hits adequately fills a stopgap.
November 12, 2009
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The Slew – 100%
By Ash in Music Reviews
The latest release from Kid Koala comes in collaboration with Dylan Frombach (Dynomite D). The result of a four-year project that fries chunky blues guitar riffs in a batter of turntablism, 100% is as adventurous an album that an everyday hip-hopper could wish to hear. Much like DJ Shadow’s classic ‘Entroducing’, 100% is constructed entirely of samples, with the primary difference being that Kid Koala laboriously cut each sample to vinyl himself. Being equipped with that knowledge means ‘100%’ is capable of making a bigger impression than without.
With solid, good-humoured grooves and licks throughout, The Slew’s debut album doesn’t necessarily require an appreciation of fine production techniques and deck wizardry. Even though ‘ Robbing Banks’, for example, is driven by an Angus Young style riff motif – and Kid Koala utilises the musical ability exhibited on early classics like Drunk Trumpet in order to manipulate a guitar lick into something akin to a solo – the track still throbs with a funky enough break to keep heads nodding.
Grabbing vocal acapellas is, of course, nothing new. Perhaps it’s Moby who’s best known for putting the blues vocals from the 1920’s Alan Lomax recordings to best effect resulting in hit-after-hit on advert after advert. Although The Slew are unlikely to get anywhere near that mainstream success, 100% is likely to stand as an untouchable underground project, revered and bootlegged alongside records like DJ Shadow and Cut Chemist’s Brainfreeze. Perhaps the best thing about 100% is that it’s, er, completely free: free and downloadable from Kid Koala’s blog.
For those of you who that prefer the feel of cold, hard 5” of polycarbonate or 12” of thick, black vinyl, you’ll have to go out and catch the band on tour in early 2010. With ex-Wolfmother duo Chris Ross (bass) and Myles Heskett (drums) officially part of The Slew, don’t be expecting anything less than an inspiring performance. So there you have it: a free, downloadable album of quality, artistic integrity and love. They don’t make ‘em like this very often…
November 3, 2009
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Brother Ali – Us
By Ash in Music Reviews
The very fact that this is the second Brother Ali record released this year says something about this particular rapper’s dedication. With the odds stacked against him (he’s a traditional Sunni Muslim trying to break America), Ali looks and says nothing expected of a ‘typical’ MTV rap star. “I’m the luckiest son-of-a-bitch that ever lived,” he says on the bombastic ‘Fresh Air’, and to instantly sum up the reason for all his labour: “I spend life doing shit I love!”
Signed to Minneapolis’ chic hip-hop label, Rhymesayers, Ali has thrown a good deal of soul into ‘Us’, his fourth full length album. As with previous recordings, production duties are gainfully handled by Atmosphere’s Ant, ensuring a bountiful hour of buoyant beatery filled with stabbing horns and whirling organs amongst a myriad of other live instruments.
Album introduction ‘Brothers And Sisters’ opens with hip-hop legend Chuck D asking an anonymous audience to welcome Ali. Having described him as a “Soldier of love who carries with him a message of true hope and true peace,” ‘The Preacher’ launches into his humble philosophy and vision of the world with great determination and veracity. With an unshakable belief and lyrical talents to match, this should be Ali’s defining moment – his opening number. And, yet, with the timbre of Ali’s voice best suited to Ant’s mid-tempo, thudding, funk numbers – the energy comes across misguided, falling hopelessly flat.
2007′s ‘The Undisputed Truth’ was delivered with fire throughout, but the Ali on ‘Us’ is simply no longer that angry. ‘The Undisputed Truth’ Ali was (according to the inlay sheet that accompanies ‘Us’) “Young, divorced, single dad, homeless,” and though he may still be able to spit verses better than a million other MCs, he’s now a recently happily remarried man with a baby daughter. In this drastically different psychological position, his observations naturally emanate from a more peaceful realm. It’s not that the hunger has died, but comparing the tone of ‘Daylight’ from ‘The Undisputed Truth’ to ‘Games’ on ‘Us’, though similar, there is less of that unflinching attitude exhibited across the whole of ‘Us’.
Like Chuck D, Brother Ali is in danger of becoming the elder statesman of hip-hop before having made the impact necessary to hold that title. Ali has set his sights high and is steadily working his way towards it, gripping the underdog’s rope tighter as he climbs. But, still, the breakthrough eludes him and ‘Us’ will, sadly, not see Ali – a gifted, conscious rapper – overground.
Despite all that, this is another solid album from the young Minnesotan with a lot to say. By tackling prostitution, slavery and homophobia, Ali will eventually grab the public to share his truth. For as long as he carries that desire – he’ll always be worth listening to.
November 2, 2009
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Nirvana – Bleach (Remastered)
By Ash in Music ReviewsThe PR attached to the 2009 remaster of Nirvana’s 1989 recording, ‘Bleach’, states, ‘This record is important’. Put into historical context, that certainly makes for a fair statement.
When Nirvana and producer Jack Endino took up residence in Seattle’s ‘Reciprocal Recording Studios’ at the end of 1988, shifting millions of records was probably not the primary thought of 21-year-old Kurt Cobain. Nonetheless, after ‘Nevermind’, ‘Bleach’ went on to achieve platinum sales, making it only one of two platinum selling records for label Sub Pop (the other is Flight Of The Conchords’ eponymous 2008 record). Not bad for an album that cost just £400 to make.
The two decades since the record’s release have seen Cobain’s rise to fame, his suicide and a derided resurrection in Guitar Hero 5. Licensing tracks to rhythm games brings with it great financial reward, so (without wishing to excuse the act) it’s easy to see why the choice was made. It also means that songs appearing in the game are remixed to allow each instrument to sound individually. Beyond this, songs are levelled using compression, to ensure there are no glaring differences in volume.
Similarly, the remastering of ‘classic’ albums is often intended to exploit a fan’s willingness to complete the collection of their favourite band. The Beatles, Rolling Stones and Def Leppard are amongst those who had remasters out in 2009.
Now joining that selection is Nirvana and, specifically, their debut album for Sub Pop Records, ‘Bleach’. Some of the questions for people that already own the original album ask are: Is it worth buying? How different does it sound? What have they done to it?
Remastered by the capable George Marino at Sterling Sound, let’s look at how the remaster sounds in comparison to the original.
I ripped two tracks (‘About A Girl’ and ‘Blew’) as WAV files and analysed them in Wavelab. Here’s the original of ‘About A Girl’.
About A Girl (Original)
As can be seen by simply looking at the wave, there is room for dynamic movement within the song, but there are a number of high peaks, particularly around the 2 minute mark (level gauge indicates that these peak at -0.02db just shy of the flat 0db). Any increase in volume to the overall file would mean result in those peaks exceeding 0db causing the file to clip (distort).
About A Girl (Remastered)
In comparison to the wave and level indicator of the remastered version, it’s immediately apparent just how much louder the overall recording is. Not only that, but the peaks are a lot more uniform which implies that the whole file has been compressed to give it more gain, and the top of those original peaks have been, to all intents and purposes, lopped off.
As soon as the drums come in on this laid-back, and naturally more dynamic number, the peak volume (as indicated by the meters) hits 0db and stays there throughout. The original, however, retains dynamic level changes so the volume rises and falls as the band play harder or softer respectively.
The equalisation of the track has also changed, with the remaster favouring less treble across the hi-hats, ride and tambourine – and generally making for a less exciting listen. Bass-light headphones (Sennheiser HD 280s) indicate the remaster contains more bass and greater lower mid-range frequencies giving the recordings more grind to bring them into line with present day rock records. A good stereo system will highlight the reduction in sound quality, but, on an average system, the most discernible change is increased volume.
Blew (Original)
Moving to full-on rock song, ‘Blew’, and more of the subtly nuanced bass-string noises can be heard on the intro to the remaster, but this is probably due to sheer volume than anything else. Again, the levels sit at 0db throughout with Kurt’s vocal sitting high in the mix as the presence of those splashy cymbals have been vastly reduced. There are less peaks in danger of clipping on this track, with only a couple at around 43 and 44s.
Blew (Remastered)
With the development of technology, the way we listen to music has changed drastically. As an MP3 amongst the collection on an 80GB iPod (or equivalent), the remastered tracks from ‘Bleach’ are going to stand up against the others in terms of volume, so you won’t have to turn them up that extra 3db. Whether that trade-off is worth the overall loss of quality is up to the listener and their individual preferences.
Of course, Bleach is a great album. Not only is it fun to listen to, it contains some of Nirvana’s best songs. In addition to this straight remaster, however, is a remastered recording of their oft bootlegged performance at the Pine Street Theatre (Portland, Oregon). With a remastered DVD and CD of their 1992 Reading headline show (Nirvana’s final UK performance) scheduled for release later this year, this is easily the better concert of the two. Though it may not contain any material from ‘Nevermind’, Kurt’s performance and passion is far more evident here than the shoddy Reading show. You have to hand it to Sub Pop, they know their audience is not simply going to buy a straight remaster of ‘Bleach’. By including the extra concert (and glossy inlay book, no doubt), they will ensure a sizeable chunk of Nirvana’s audience make a repeat purchase.
To anyone who already owns ‘Bleach’, and doesn’t necessarily want to have to buy this reissue, you can achieve the same (and better) results by simply turning up your amp the next time you listen to this important record.
November 2, 2009
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Nitin Sawhney – London Undersound Instrumentals and Remixes
By Ash in Music Reviews
On 7th July, 2005, a series of terrorist attacks rocked London.
In October 2008, London-based musician, Nitin Sawhney, released ‘London Undersound’ as a reaction to perceived post-terrorist tensions in the capital. Now in 2009, it would appear that Londoners have just carried on as they would have always done. Though possible to capitalise on misfortune, by no stretch of the imagination did this ever appear to be Sawhney’s intention.
2009 also sees ‘London Undersound Instrumentals and Remixes’ surface, its need somewhat undetermined. With cover art designed by artist Anthony Gormley, the bold red-and-white colours that comprise the wartime ‘Keep Calm and Carry On’ poster come similarly emblazoned on the CD.
With remix albums generally servicing the requisites of DJs, it’s strange that Sawhney has felt the need to release this – particularly because, since ‘Beyond Skin’, Sawhney’s music over the past decade has never really been fit for dancefloors. Generally, his productions have been polished with such slavish focus, they’re more suited to designer coffee outlets than Fabric or Cream. If ever (and let’s pray this never happens) Richard Curtis put together a new romantic comedy, entitled it ‘Southall’ and cast Hugh Grant and Julia Roberts as lead roles, Sawhney would be first in line to write the soundtrack.
Nevertheless, this instrumental and remix album demonstrates that Sawhney isn’t completely out of step with his past. Now, deprived of the awful, mawkishly insincere vocals that plagued ‘London Undersound’, the instrumental pieces are given necessary space to shine. The space reveals Sawhney’s dedication to music, and, thus, his true talent. Choosing artists like Paul McCartney, Natty and Imogen Heap may have seemed a good idea last year, but this instrumental album only highlights their complete lack of interpretive ability.
Without miserablist and daft lyrics ruining the music, the new ‘London Undersound’ becomes a pleasure to listen to, and the listener can now gauge what it is that Sawhney himself envisaged when initially composing these frequently emotionally fulfilling pieces. Extras on the disc include five youthful dubstep and bassline remixes that may appeal to DJs, along with four quite unnecessary slices of glittering tosh masquerading as alternative vocal versions of the original songs.
Nevertheless, the new ‘London Undersound’ has an appeal far wider than the original and, though it will service listeners on yoga retreats and those with Land Rovers well, it will stay with me a lot longer than its predecessor which should, I believe, still be under the rails of Clapham Junction’s platform 12.