LIVE ALBUM RECOMMENDATIONS

As a teenager on a budget, I found live albums an easy way to collect the greatest hits of bands I loved - Rush’s Exit…Stage Left, Cheap Trick’s At Budokan, and Yes’ YesSongs were early collections I wore through repeatedly. However, many of those ‘classic rock’ live albums were pretty much the same renditions as featured on the original studio album with crowd noise. That is, the performances didn’t necessarily elevate the songs.

This opinion, of course, changed as I grew to be more discerning in the live albums I collected. James Brown At The Apollo, the great live jazz concerts by Keith Jarrett or Miles Davis’ electric 70s ensemble, Springsteen’s reworking of numbers on Live 1975-1985 or Johnny Cash At Folsom Prison all truly provide amazing insight and return fantastic listening experiences.

I was recently reflecting on which live albums had made the deepest impression on me - and as they are lesser known and a bit off-the-radar, I thought I’d briefly highlight them here. 

Tom Waits / Nighthawks At The Diner

Released: October 21, 1975

Technically, there could be arguments made regarding this being an actual live album, but I’ll count it just the same. Released as Waits’ third album - with a desire to capture his unique performance style, but without the right venue to record in - a studio in Los Angeles’ Record Plant was transformed into an intimate jazz club setting - complete with a burlesque stripper opening the show, atmospheric lighting, & a bar. As part of his initial intro, Waits dubs the space Raphael’s Silver Cloud Lounge. 
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Backed by a tight quartet of serious jazz players, the performance unfolds as part lounge act, part performance art. Tom’s delivery is manic and hilarious and touching - like a possessed street-corner beat poet.

The material ranges from the more traditional lounge-act numbers that dotted Waits’ early career. But what carries this record to the next level is his, seemingly, rapid-fire improvisation and colorful con-man speak - colorful and alive with one intriguing image after another. It really is a thing to witness and his mastery of language delivery is as stunning as any world class musician. 

In many cases, his set-up dialogue before the songs are as entertaining as the numbers themselves. Intros to “Eggs and Sausage” and “Better Off Without A Wife” are two prime examples.

All of the numbers featured are Tom Waits originals with the exception of a cover of Red Sovine’s late 60s minor hit, “Big Joe and Phantom 309” - which Waits delivers with surgical precision towards the end of the set. It matches his storytelling talents to the utmost.

If I had to pick just one, this would probably be listed as my all-time favorite live album. No matter how many times I’ve listened to it and dissected its many layers, I always feel like I pull away some new shade of appreciation.

Joe Jackson / Live 1980/86

Released: April 25, 1988

One of the main things that has always drawn me to the records of Joe Jackson is his very clear commitment to following his muse. I have found him to be one of the most complete musical explorers - always willing to completely reinvent himself musically while always maintaining such a dedication to craft. 

He has fully committed, quite comfortably, to everything from New Wave punk-pop to swing to latin rhythms to musical theater (he has even tried his hand at classical formats). The fact that he has maintained a thriving forty-plus career is a testament to his reputation as a risk taker and a brilliant songwriter. That is, when he has had hits, it seems like the world catches up to him instead of the other way around.

This fantastic live collection features songs collected from four different tours supporting different albums and the sonic approaches found within match the exciting restlessness of Jackson as an artist.

Look no further than the three completely different readings that his first hit “Is She Really Going Out With Him?” receives - from a humorously loose faithful take to a fully acapella version to a street corner accordion and acoustic ramp. Each is more enjoyable than the last.

Following suit, the album contains an intriguing collection of performances that seem to highlight each of Jackson’s many faces - from a playful extended-piano solo version of “Cancer” to the intimate and mournful reading of “Be My Number Two”. The achingly drawn-out take on one of Jackson’s most potent torch songs, “Slow Song”, builds in thoroughly complete ways - lifting the original studio version of the track to new heights. When he finally hits the intentionally delayed crest at 6:43 you feel drawn to the point of breaking (in all the most satisfying ways).

Another major highlight is the slow burn treatment given to his 80s MTV hit “Steppin’ Out”. It rolls in on dreamy waves and delivers a completely intimate take. This version seems to have stuck as it continues to be the way Jackson still performs the song live this way now. 

Varied, but still very much connected - this is a rewarding sample platter always seems to return new and exciting little discoveries.

Boogie Down Productions /

Live Hardcore Worldwide

Released: March 12, 1991

Live hip-hop albums are a rarity. 

Public Enemy’s indisputable ‘88 masterpiece, It Takes A Nation Of Millions To Hold Us Back, hinted at it with pre/post song snippets of the group in concert, but always cut to studio recordings when the songs kicked in.

Thus, I have always pointed to  Live Hardcore Worldwide as being the first fully live hip hop album - and doing thorough research to confirm, I wasn’t able to find anything suggesting otherwise.

Groundbreaking MC KRS-One definitely seems on a mission throughout. Pulled from shows in NYC, London & Paris - the performances are simply electrifying. Because of when I came across this album, I came to know many of the tracks as the definitive version of the songs - and still, to this day, feel that they clearly outshine the studio versions.

The beats are stripped down and deliver such an effective punch when serving KRS-One’s commanding MC work. When I was first exposed to this album, I had almost no knowledge of Jamaican Dance Hall traditions, but it is now clear that the DNA connections are there - with KRS-One serving as proud host, partymaster and voice of consciousness simultaneously. 

Standout tracks include “Reggae Melody (including 9mm)”, “Jack of Spades” and “My Philosophy” - but the real joy is hearing the performances work their combined magic on the crowd - especially the tracks recorded in NYC. They definitely bring heightened energy to the numbers and serve as a key piece to the success of these recordings.

I was fortunate to see a number of excellent hip hop shows in the late 80s/early 90s, but nothing (at least in my memory) came close to hitting such an elevated place.

Van Morrison / A Night In San Francisco 

Released: May 17, 1994

I have had a soft spot for Van Morrison since discovering (and being completely won-over) by both Astral Weeks and Veedon Fleece when I was in college. His albums since 1990 have been (mostly) earnest tributes (whether including songs he’s written or well-worn covers of classic) to the various stylings of rhythms & blues that are the consistent fuel of his particular fire.

The recordings on this 2-hour plus collection are, quite literally, a masterclass in the performer’s songwriting talents and life-long passions. 

Some of his biggest hits (“Moondance”, “Tupelo Honey” & “Gloria”) are at the party, but even as stunning as they are - they are far from the main attraction. What never fails to pull me in and astound me with this recording are the rich and tightly-woven textural soundscape that Van and his band creates. He skillfully combines snippets to suit the rise of infectious grooves and thoughtful valleys of soulful contemplation. Great numbers by everyone from Ray Charles, James Brown & Sonny Boy Williamson to Gene Vincent, Roy Orbison & Sam Cooke.

Your particular taste for this sort of music aside, the band is so damn talented and completely on fire, that I just can’t imagine even the most passive listener not getting completely swept-up by the talent, deft handling & convincing dedication to craft. 

Like the song list, his band for these incredible performances are as impressive as they are important to the dramatically vibrant sounds created. Georgie Fame, John Lee Hooker, Junior Wells & Jimmy Witherspoon are joined by younger musicians - Kate St John (Dream Academy), Candy Dulfer (Prince) & John Savannah (Squeeze). The instrumental prowess is simply astounding.

The entire album is a pure joy to listen to. You can hear that the musicians are having a blast and the radiation of that bouncing back from the enthusiastic audience is infectious.

MOLLY / PICTURESQUE

MOLLY / Picturesque

I admit it, I approach vetting new music at an almost fanatic pace. I look forward to ‘New Music Fridays’ (when labels usually release new albums) and quickly earmark (in dedicated playlists) any tracks from collections that catch my attention - usually a fairly equal combo of artists I know and those brand new to me. I also try to keep an eye on a range of genres - though I am certainly guilty of paying greater attention to those artists that fit into those categories I most appreciate.

With that, as is this case with this sophomore release by the Austrian duo MOLLY, I sometimes stumble across a band that - while not necessarily putting out strikingly original or groundbreaking music - manages to use familiar sound approaches and styling to create a wholly satisfying end-product.

I had not heard of MOLLY prior to Picturesque being released a month ago. Before I was finished with the first complete listen of the album, I knew that they fit into a textural style that I am extremely open to - a sort of hazy and minimal musical landscape that is punctuated by epic-reaching bursts and atmospheric rock leanings.

“Ballerina” starts things off with a simple and well-pronounced statement of the duo’s intentions. Think Sigur Ros melded with the whir of classic shoegaze bands like My Bloody Valentine and early The Jesus and Mary Chain - touched with definite art-rock leanings of Pink Floyd and you’re on the right track.

The album’s undeniable high-point is the gorgeous “The Golden Age” - all swelling waves over an alluring, hypnotic drum rhythm. Layered echo and tons of natural reverb keep things just cloudy enough to be mysteriously interesting.

The rest of the album contains enough variety and experimentation - including two tracks that crest eleven minutes - to allow for just enough wandering to keep the listener engagedly curious. 

CONCLUSION: MOLLY do a fine job of using the sonics and inspirations they employ throughout Picturesque. If you like these particular sounds, I would imagine this collection will hit the same positive place it did with me. This isn’t reinventing the wheel music, but I found it completely attractive and felt return listens definitely delivered deeper appreciation. I give it an impressed Thumbs Up and an inspired Grade of B-. 

DE LA SOUL / DE LA SOUL IS DEAD

DE LA SOUL / DE LA SOUL IS DEAD

INDIVIDUAL ALBUM REVIEW

Hearing the sad news that David Jolicoeur (the fantastic De La Soul MC known as both Trugoy the Dove & Plug 2) had passed, I got caught up in reflecting on the group’s incredible 1991 album De La Soul Is Dead.

Like a ton of suburban kids bred on rock radio and going through their teenage years in the ‘80s, there was so much that was strikingly attractive about hip-hop. I found myself instantly hooked by the groundbreaking albums of RUN-DMC, the ferocious militant stance of Public Enemy, the streetwise hustle of Ice-T & NWA, and the comic joy of Beastie Boys.

As I consumed everything I could get my hands on and became more deeply connected, I took real pride in knowing these bands and artists as well as I did the rock, punk & alternative music that I also loved. Additionally, the samples used in rap totally served as the gateway drug to a whole new level of exploration of funk & soul artists that I had only known of in a fringe way previously. I absolutely credit the love I feel for the music of artists like James Brown, Stevie Wonder, Isaac Hayes, George Clinton, & Curtis Mayfield with those rap albums I was devouring.

Along with this deeper discovery came the ability to more fully dissect what I was listening to. Not all hip-hop albums were created equally. And when considering this, I began to especially appreciate those collections that stood above the crowd. One such album was De La Soul’s sophomore effort, De La Soul Is Dead.

Simply put, De La Soul provided an alternative in hip-hop. De La Soul Is Dead, is a highly infectious collection - and even after hundreds of listens, it still sounds like no other rap album made.

The chemistry of the group is undeniable, but there is so much more at work here than just winning charisma and a well-presented package. The loose umbrella concept, the humor, the great sound, and the inventiveness of how it all came together was just something to behold.

I had equally been just previously won-over by the Beastie Boys’ masterpiece collage Paul’s Boutique - but to be honest, that album took a bit longer to grow on me in earning the incredibly high ranking it now holds in my mind. De La Soul Is Dead was an immediate reaction. From the first listen I was absolutely transfixed and, best of all, like Paul’s Boutique, repeat listens only improved the experience.

There is just so much to unravel. 

The ‘read-along-next-slide’ beep that connected the skits instantly connected to any kid who was in elementary school in the 70s. And the skits themselves?? They were the perfect glue to really make the collection feel like a complete collection - and funny as well (I still call a few friends ‘hamster penis’ every now & then). The inclusion of the skits can’t be overstated as a conceptual milestone in rap. De La wasn’t the first to feature something on an album more than just tracks, but the through-line created on this album would be picked-up and used as almost a regular inclusion on rap albums moving forward. Hard to imagine The Chronic, Doggystyle or pretty much every Eminem album without them.

But the real bullseye are the tracks. “Oodles of O’s” starts things so strongly that there really is no turning back. The fact is, despite how intimate I am so with this album, it would be hard for me to criticize a single inclusion. Everything works and the high points are many. “A Roller Skating Jam Named Saturday”, “My Brother’s A Basehead”, “Let, Let Me In”, “Ring Ring Ring (Ha Ha Hey)”, & “Keepin’ The Faith” are, simply put, some of the finest constructed rap tracks ever assembled.

Another similarity to Paul’s Boutique is the mile-a-minute use of perfectly fitted samples - another piece that spoke to me as the band folded-in plenty of rock and pop (everything from Aerosmith to the Grease soundtrack) along with classic funk & soul records. The collection is a true tapestry and getting to know the layers makes repeated listens worth it even many times over.

CONCLUSION: De La Soul Is Dead is a masterpiece. And not just within the genre of hip-hop, but a true must-listen for any music fan that doesn’t want to live in a silo. This album gets a huge Thumbs Up from me and easily earns a Grade of an extremely high A.

NOTE: The good news is that De La Soul’s catalog - long held-up because of sampling rights & lawsuits - is finally being released to all major streaming services. Their fantastic debut, 3 Feet High & Rising, is already out and De La Soul Is Dead will follow soon. If you don’t already own it, do yourself a big favor and make sure to check it out as soon as it does.

INSTRUMENTAL RELEASES - INDIVIDUAL ALBUM REVIEW - 1/23/23

 

INSTRUMENTAL RELEASES -
INDIVIDUAL ALBUM REVIEW

Granted, I umbrellaed three albums into this first Individual Album Review post, but it made sense as these all-instrumental collections came on my radar at the same time - though each are very unique to its own sound.

Ryuichi Sakamoto / 12

This was, by far, my favorite of the three. Listening to these compositions, written during Sakamoto’s  recovery from major cancer surgery, it is hard not to reflect on the emotions of life’s fragility that he must have entwined in the core of the making of the album.

The various tracks feature an absolutely lovely acoustic & electronic hybrid. Like many Sakamoto releases previously, I was immediately pulled into this listening experience. The organic nature of this collection is sensational, and the entire album felt much more complex than the simplicity the music first conveys. As you allow yourself to be drawn more deeply into the alluring pool of sound, uneasy stillness exists alongside resolution and comfort. CONCLUSION: This is an album that I will return to again and again - confident that it will return high yields in maturing appreciation the more intimate I become with it. An easy Thumbs Up and a Grade of a strong A.

Mac DeMarco / Five Easy Hot Dogs

Composed & recorded as DeMarco traveled US & Canada, this collection is a musical travelog of sorts. In a convincing manner, these bedroom/computer tracks occupy a pleasant enough territory. They struck me as likable, if not necessarily super engaging. The songs would be a fine accompaniment to a documentary or as background music for a project around the house that you don’t want to be too distracted by.

CONCLUSION: This mostly winning instrumental collection earns a Thumbs Up and a Grade of a high C.

Kali Malone /

Does Spring Hide Its Joy

This one is a bit more challenging. Minimal layered on minimal. Malone is known as a minimalist classical composer/performer, but this project takes her past work to a new level. It is a full-press dive into sustained variations on a singular theme that clocks in at just over 2 hours (5 hours if you fold-in the additional tracks released through the Apple Music version). One of my initial thoughts was that the drone quality reminded me of experimental metal band Sunn O))) - only to realize that Sunn O))) guitarist Stephen O'Malley collaborated on the album with her (along with cellist Lucy Railton). It is definitely one of those occurrences in trying to appreciate complex music that you are forced to view it as an almost rare breed of performance art. I won’t lie, there were many times during my listening that I had to ask myself about its true nature - was this music just too deep for me to access or was I just not in on the joke? Though I admit I was strangely transfixed - and did, in fact, listen to the entire piece (in sections) several times - I'm still not quite sure what I think about it or, truthfully, how to even process it. I just can’t decide if it takes patience or fortitude to truly absorb.

CONCLUSION: With enough staying power, there may be bliss somewhere along the line. I’m just not sure that I’ll ever be able to find it. This one gets a Thumbs Down and a Grade of a D+.