One could sum this up with a single sentence: Miles is cool. This CD is subtitled "The Very Best Of," which is somewhat of a stretch, but this one succceeds as a great single-disc selection of Davis' cool jazz for a party.
Miles Davis' career covers 50 years and encompassed roles including bandleader, trumpeter and composer. His Kind of Blue is often cited as the ultimate jazz album, the one jazz CD a music fan should have in his collection if only one were an option. Given his influence on classic jazz, it's hard to imagine condensing his best work into a skimpy 13 track CD. Only in its extreme ambition does this collection fail; it succeeds glowingly as a teaser, an overview of the great man's work that is easy to listen to and includes enough well-known material to keep a casual fan interested. It adds other quality album tracks and lesser known material that both help respect the artist's "cool" reputation while being strong enough to motivate a new listener to explore.
The compilation starts with "So What" from Kind of Blue, that title's only representative here, which starts the album off with an easy swinging tone. Other well known tunes represented here include "Summertime," the Gershwin number from Porgy and Bess; and "Milestones," the fantastic up-tempo masterpiece. The fantasic "Seven Steps to Midnight" features an up tempo bass line and great interaction between Miles' horn and the piano, and shows his evolution after the disbandment of the Kind of Blue quintet. Mixed in with the other classic selections is a rarity for Davis single disc compilations, the relaxing track "Générique" from the 1957 French film Ascenseur pour L'Echafaud. Altogether, there's plenty of great music to keep listeners entertained, relaxed and amazed.
The material spans from 1956 to 1984, unfortunately skipping his earliest recordings for other labels. While most of the selections from the 1950s and 1960s are intriguing, the decision to skip Davis' jazz/rock experimental work in the 1970s and to feature two pop music covers from the 1980s is slightly surprising. "Time After Time," an interpretation of the Cyndi Lauper hit, and the Michael Jackson single "Human Nature," while part of Davis' exploration of pop music interpretation in his later career, add accessibility rather than coolness to the collection.
The CD ends on a high note with a remix of a 1969 track called "It's About that Time" featuring Carlos Santana on guitar; this is a nice touch that complements the fantastic sidemen featured in the rest of the album's work--such as John Coltrane, 'Cannonball' Adderley, Herbie Hancock, and Chick Corea among others. Overall, the disc is a great--if slightly unpredictable--collection of tracks from the most influential part of Davis' career, and is strongly reccommended.
Thursday, August 31, 2006
Monday, August 07, 2006
CD Review: Roy Orbison - Crying (reissue)
One of rock's great vocalists steps into the spotlight this week, as the Roy Orbison reissue project by Legacy Recordings has begun. The series leads off with three of his classic Monument titles on August 8: Crying, In Dreams and Lonley & Blue. Outside of the release of numerous permutations of "The Best of Roy Orbison" in the 17 years since his death, this marks the first remastering of his classic albums from the 1960s. Crying was Orbison's second album for Monument, and it features the classic Orbison sound of haunting, operatic vocals surrounded by lush orchestral arrangements and lonesome lyrics.
Crying was released in 1962, and featured 9 songs co-written with Joe Melson along with a few by outside songwriters. The title song, "Lana" and "Running Scared" became staples of Orbison's live performances, and the title track was named to Rolling Stone's "500 Greatest Songs of All Time." This new Legacy reissue adds four previously released songs that were recorded during the same time period as the songs on the album: "Candyman," "Let the Good Times Roll," "Dream Baby" and "The Actress." The sound quality on the reissue is excellent, and Orbison's voice benefits from the cleaned up recordings.
The original album's material, unfortunately, is somewhat uneven. The title track, "Love Hurts" and "Running Scared" rank highly among Orbison's classic work, and have aged much better than several of the filler tracks on the album. "She Wears My Ring"--written by Boudleaux and Felice Bryant who also penned classic hits like "Bye Bye Love" for the Everly Brothers--is a somewhat adolescent ode to the meaning of a girl wearing a boy's ring, which echoes a type of romantic feeling that would be impossible to market in such simple terms today. Orbison's cover of "The Great Pretender, like some of the other tracks on the album, is pleasant but not definitive or a must-have.
For those looking to complete a collection of Roy's early recordings, this set is essential. For the casual fan, there are more balanced and interesting titles available--though it must be noted that the added bonus tracks provide more quality material than the original track listing by itself.
Crying was released in 1962, and featured 9 songs co-written with Joe Melson along with a few by outside songwriters. The title song, "Lana" and "Running Scared" became staples of Orbison's live performances, and the title track was named to Rolling Stone's "500 Greatest Songs of All Time." This new Legacy reissue adds four previously released songs that were recorded during the same time period as the songs on the album: "Candyman," "Let the Good Times Roll," "Dream Baby" and "The Actress." The sound quality on the reissue is excellent, and Orbison's voice benefits from the cleaned up recordings.
The original album's material, unfortunately, is somewhat uneven. The title track, "Love Hurts" and "Running Scared" rank highly among Orbison's classic work, and have aged much better than several of the filler tracks on the album. "She Wears My Ring"--written by Boudleaux and Felice Bryant who also penned classic hits like "Bye Bye Love" for the Everly Brothers--is a somewhat adolescent ode to the meaning of a girl wearing a boy's ring, which echoes a type of romantic feeling that would be impossible to market in such simple terms today. Orbison's cover of "The Great Pretender, like some of the other tracks on the album, is pleasant but not definitive or a must-have.
For those looking to complete a collection of Roy's early recordings, this set is essential. For the casual fan, there are more balanced and interesting titles available--though it must be noted that the added bonus tracks provide more quality material than the original track listing by itself.
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Technorati Tags: Crying, Roy Orbison, Traveling Wilburys, Monument, Everly BrothersSaturday, July 29, 2006
Muse Grows into 'Black Holes and Revelations'
Muse, a British three-piece with tremendous following in the UK and winner of multiple "Best Live Act" awards in 2004 and 2005, recently topped the UK charts and further introduced itself to American audiences with its new CD Black Holes and Revelations. The album surprised some by debuting at #9 on the Billboard 200 album chart--proof that their profile is increasing in the States.
Muse first gained radio airplay here with "Muscle Museum" from its first album Showbiz, which reached number 25. Their second album, Origin of Symmetry, showed a great deal of growth, and is probably their most cohesive and consistent record--although their American label allegedly considered the work "too European," so it was not released Stateside until after their subsequent album Absolution, which reintroduced the band to America. The heavy hook-laden single "Hysteria" from that album broke the top 10 on modern rock radio, and the band toured small clubs followed by somewhat larger ones in an effort to bring their powerful live show to the audience and thereby to develop interest in their work.
Four years later, Black Holes is released and is easily the band's most diverse and most developed work to date. It both shows the maturation of a gifted act and simultaneously overwhelms some listeners with its diverse instrumentation. Lyrically, the band continues on It's definitely worth ignoring the naysayers, as this is a brilliant work that establishes the band among the upper echelon of modern rock acts.
The first single in the UK, "Supermassive Black Hole," is a sparingly-arranged dance-rock/disco tune sung in falsetto--which though debuting at #1 in the UK, was not chosen to be released here. This is perhaps due to the perception as unpleasant of singer Matt Bellamy's high-register vocals. The single chosen instead is the epic "Knights of Cydonia," which has thus far peaked at #19 on the Alternative charts. I find this a peculiar choice as the first two minutes are instrumental-only, reminiscent of early Genesis--its driving instrumentation is a good choice for heavy rockers among the audience, but the song lacks the sing-along chorus that gave "Hysteria" wider appeal.
The album starts with "Take a Bow," featuring arpeggiated keyboard reminiscent of "New Born," the concert staple that opened Symmetry. This song expands into vocal histrionics, an electronica break, and then heavy guitar--in essence a good introduction to the band. Other themes and sounds are explored as the album progresses, including some Depeche Mode-style keyboard riffs in "Starlight" and "Map of the Problematique," some broad and precise Queen-like background vocals on "Soldier's Poem," military-march drumwork on "Invincible," and an infectious flamenco rhythm on "City of Delusion." In keeping with its modern rock roots, several other tracks honor the band's alternative-rock influences, which are said to include Rage Against the Machine.
Muse has outgrown its earlier comparisons to Radiohead, and is no longer simply what Radiohead might have become had it continued in its OK Computer direction. Bellamy's classical piano interludes, prominently featured in Absolution, are only the beginning of the band's experimentation on this album. Muse has truly grown into its own.
Muse first gained radio airplay here with "Muscle Museum" from its first album Showbiz, which reached number 25. Their second album, Origin of Symmetry, showed a great deal of growth, and is probably their most cohesive and consistent record--although their American label allegedly considered the work "too European," so it was not released Stateside until after their subsequent album Absolution, which reintroduced the band to America. The heavy hook-laden single "Hysteria" from that album broke the top 10 on modern rock radio, and the band toured small clubs followed by somewhat larger ones in an effort to bring their powerful live show to the audience and thereby to develop interest in their work.
Four years later, Black Holes is released and is easily the band's most diverse and most developed work to date. It both shows the maturation of a gifted act and simultaneously overwhelms some listeners with its diverse instrumentation. Lyrically, the band continues on It's definitely worth ignoring the naysayers, as this is a brilliant work that establishes the band among the upper echelon of modern rock acts.
The first single in the UK, "Supermassive Black Hole," is a sparingly-arranged dance-rock/disco tune sung in falsetto--which though debuting at #1 in the UK, was not chosen to be released here. This is perhaps due to the perception as unpleasant of singer Matt Bellamy's high-register vocals. The single chosen instead is the epic "Knights of Cydonia," which has thus far peaked at #19 on the Alternative charts. I find this a peculiar choice as the first two minutes are instrumental-only, reminiscent of early Genesis--its driving instrumentation is a good choice for heavy rockers among the audience, but the song lacks the sing-along chorus that gave "Hysteria" wider appeal.
The album starts with "Take a Bow," featuring arpeggiated keyboard reminiscent of "New Born," the concert staple that opened Symmetry. This song expands into vocal histrionics, an electronica break, and then heavy guitar--in essence a good introduction to the band. Other themes and sounds are explored as the album progresses, including some Depeche Mode-style keyboard riffs in "Starlight" and "Map of the Problematique," some broad and precise Queen-like background vocals on "Soldier's Poem," military-march drumwork on "Invincible," and an infectious flamenco rhythm on "City of Delusion." In keeping with its modern rock roots, several other tracks honor the band's alternative-rock influences, which are said to include Rage Against the Machine.
Muse has outgrown its earlier comparisons to Radiohead, and is no longer simply what Radiohead might have become had it continued in its OK Computer direction. Bellamy's classical piano interludes, prominently featured in Absolution, are only the beginning of the band's experimentation on this album. Muse has truly grown into its own.
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Technorati Tags: Muse, Black Holes and Revelations, Matt Bellamy, Origin of Symmetry, Absolution, ShowbizThursday, July 27, 2006
Concert Review: Elvis Costello and Allen Toussaint, Chastain Park, Atlanta, July 17, 2006
Elvis Costello recently made his second appearance in Atlanta within three months, and true to his reputation as a musical chameleon, he put on a two and a half hour show of almost entirely different material than he did back in May. In a different vein than his classical-and-pops show in April, Costello put an energetic and sometimes angry voice to the entire song list of his collaboration with legendary New Orleans R&B producer Allen Toussaint. To that album’s worth of material was added a number of tunes from Toussaint’s back catalog and eight of Costello’s songs—some well known and some album tracks—augmented by Toussaint horn arrangements. Four of those eight songs--plus the title track of the pair's current album The River in Reverse--were the entirety of the material repeated between both shows.
The show was part of the 2006 Delta Concert Series, and many of the series ticket holders who attended were too busy eating and drinking to notice the passionate musical creativity taking place on stage between two members of the Rock and Roll Hall of Fame. This is a consistent complaint among performers at this venue, and Costello made note of the distractions by pointing out that the audience should take time away from its imported cheese and such to pay attention to the great Allen Toussaint, of whom it was obvious Costello was in awe.
Costello allowed—or prodded, as he put it--Toussaint to take the lead on several numbers, and Toussaint’s smooth soulful voice did not disappoint. The first bit of the encore features Toussaint playing piano with Costello standing and watching. Toussaint plays some variations of the Professor Longhair classic “Big Chief,” and this leads into the reworked minor key variation of “Tipitina” to which Costello added words to create “Ascension Day.” The show featured the dancing and blowing of Toussaint's Crescent City Horns, and their impassioned playing led one to think that the 9-piece combination of Elvis’ Imposters and Toussaint’s horns would have created an even better album by recording it with more live playing under their belts—perhaps after this tour rather than before.
Though the album was inspired by the tragic events of Hurricane Katrina in New Orleans, home to some of the musicians who strongly influenced Costello such as Dave Bartholomew, the political implications were kept within the music for the most part--except when Costello mentioned his one stage prop, a tiny George Bush doll. The rest of the time, the band let the music do the talking--and it was powerful!
Outside of the reserved tables, there were only 6 or 8 rows of seats filled—it’s as if people didn’t recognize that this would be a nontraditional Costello performance. As it was truly an R&B show more like Costello's early '80s album Get Happy! than anything else he’s recorded, those who did attend were tapping their feet throughout the performance. Don’t miss it—this one’s worth catching!
The show was part of the 2006 Delta Concert Series, and many of the series ticket holders who attended were too busy eating and drinking to notice the passionate musical creativity taking place on stage between two members of the Rock and Roll Hall of Fame. This is a consistent complaint among performers at this venue, and Costello made note of the distractions by pointing out that the audience should take time away from its imported cheese and such to pay attention to the great Allen Toussaint, of whom it was obvious Costello was in awe.
Costello allowed—or prodded, as he put it--Toussaint to take the lead on several numbers, and Toussaint’s smooth soulful voice did not disappoint. The first bit of the encore features Toussaint playing piano with Costello standing and watching. Toussaint plays some variations of the Professor Longhair classic “Big Chief,” and this leads into the reworked minor key variation of “Tipitina” to which Costello added words to create “Ascension Day.” The show featured the dancing and blowing of Toussaint's Crescent City Horns, and their impassioned playing led one to think that the 9-piece combination of Elvis’ Imposters and Toussaint’s horns would have created an even better album by recording it with more live playing under their belts—perhaps after this tour rather than before.
Though the album was inspired by the tragic events of Hurricane Katrina in New Orleans, home to some of the musicians who strongly influenced Costello such as Dave Bartholomew, the political implications were kept within the music for the most part--except when Costello mentioned his one stage prop, a tiny George Bush doll. The rest of the time, the band let the music do the talking--and it was powerful!
Outside of the reserved tables, there were only 6 or 8 rows of seats filled—it’s as if people didn’t recognize that this would be a nontraditional Costello performance. As it was truly an R&B show more like Costello's early '80s album Get Happy! than anything else he’s recorded, those who did attend were tapping their feet throughout the performance. Don’t miss it—this one’s worth catching!
Saturday, July 22, 2006
Concert Review: Pete Yorn, July 18, 2006
Pete Yorn brought his "Acoustic Tour" to Atlanta, and wowed an appreciative crowd that was happy to see Yorn in an intimate setting of approximately 150. "Acoustic" is in quotes because while the show starts off with just Pete and his guitar, it expands to include the rest of his band (Minibar from the UK) by the fourth or fifth song.
Yorn sings and plays with emotion, and is considered a rising talent in the singer-songwriter world. On Tuesday, he brought a subtle confidence to the stage, arriving in all-black and looking as relaxed as he might in his living room. He proceeded to preview Nightcrawler, the third in his "full day" trilogy of Musicforthemorningafter, Day I Forgot and the new album scheduled for release next month.
Pete wowed the crowd with a few of his better known songs, and a few interesting covers to keep everyone entertained. The show moved at a good pace, and the backing band's bass player added a whole dimension to the songs on which he played--fast, nimble fingerwork and interesting countermelodies. He was worth the admission price alone!
The show was pointedly in reference of possible recent events in Yorn's personal life, as several references to divorce were made within the banter between the opening few songs. Yet, though there is some melancholy in Yorn's work, he also includes a bit of hopefulness--a standout tune called "The Good Advice" from his recent EP Westerns features an infectious melody and had the crowd dancing in their limited personal space! Yorn comments, "I've been in this lonesome cowboy phase for a while...I've been really inspired by guys like Roy Orbison and Johnny Cash. ['Westerns'] has a twang to it and is a real departure for me [but] 'Nightcrawler' is most definitely the rock record."
The "Acoustic Tour" is winding up, so you'll have to wait until next go-round to see this one. Don't miss it!
Yorn sings and plays with emotion, and is considered a rising talent in the singer-songwriter world. On Tuesday, he brought a subtle confidence to the stage, arriving in all-black and looking as relaxed as he might in his living room. He proceeded to preview Nightcrawler, the third in his "full day" trilogy of Musicforthemorningafter, Day I Forgot and the new album scheduled for release next month.
Pete wowed the crowd with a few of his better known songs, and a few interesting covers to keep everyone entertained. The show moved at a good pace, and the backing band's bass player added a whole dimension to the songs on which he played--fast, nimble fingerwork and interesting countermelodies. He was worth the admission price alone!
The show was pointedly in reference of possible recent events in Yorn's personal life, as several references to divorce were made within the banter between the opening few songs. Yet, though there is some melancholy in Yorn's work, he also includes a bit of hopefulness--a standout tune called "The Good Advice" from his recent EP Westerns features an infectious melody and had the crowd dancing in their limited personal space! Yorn comments, "I've been in this lonesome cowboy phase for a while...I've been really inspired by guys like Roy Orbison and Johnny Cash. ['Westerns'] has a twang to it and is a real departure for me [but] 'Nightcrawler' is most definitely the rock record."
The "Acoustic Tour" is winding up, so you'll have to wait until next go-round to see this one. Don't miss it!
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Technorati Tags: Pete Yorn, Orbison, Johnny Cash, Atlanta, Acoustic Tour, NightcrawlerSunday, June 25, 2006
CD Review: Elvis Costello and Allen Toussaint - The River in Reverse
Elvis Costello shifts genres yet again, this time into emotional and driven New Orleans R&B. His partner on this voyage is Allen Toussaint, a prolific songwriter and producer of his own right who is also in the Rock and Roll Hall of Fame. Together, they pay respectful homage to a number of classics from Toussaint's catalog as well as to several new tunes written by the pair.
The title track was written solely by Costello in a quick session after he heard about the tragedy destroying the city whose musical legacy he has long respected; the collaborations were written by the pair in October, and the recordings took place in late November and early December. The first week of sessions was in California, while the second week of recording took place among the ruins in New Orleans. This no doubt added an immediacy and a deluge of emotions, as Costello insisted that he be shown the hardest-hit 9th Ward when he arrived.
Costello has approached the New Orleans sound before, and recorded with Toussaint in the past on his 1989 album Spike. Costello's 2003 hit "Monkey to Man" referenced a song by Toussaint contemporary Dave Bartholomew, "The Monkey Speaks his Mind." The love Costello has for this genre of music shows in the vocal performances. Toussaint's lengthy career includes piano-playing sessions with Fats Domino; producing the Meters and songs such as "Right Place, Wrong Time" by Dr. John; as well as authorship of well-known songs such as "Workin' in the Coal Mine," "Mother-in-Law," and "Southern Nights" (made famous by Glen Campbell).
Musically, the teaming of Costello's Imposters as the rhythm section with Toussaint's Crescent City Horns and A.B. Brown on guitar makes an interesting musical gumbo, deftly handling the Toussaint R&B rhythms atypical of Costello's own work. Toussaint takes vocal duties on "Who's Gonna Help Brother Get Further," his smooth voice expressing a question Costello can't quite morph into form to pose himself. On the other twelve tracks, it's Costello's voice and Toussaint's piano-playing that take the lead. One standout track is "Ascension Day," the marriage of new lyrics by Costello with Toussaint's minor-key inversion of "Tipitina" by Professor Longhair.
Costello's vocals are in the spotlight throughout, and they hold up generally well. Costello's vocal abilities have improved greatly in the latter part of his career, and the improved delivery serves him well here on material that's somewhat outside his typical range. His vocals fit well with his strong expression of anger and frustration at the scene that he and Toussaint reflect with this artistic statement.
It is because of Hurricane Katrina that this collaboration took place at all, and given the situation it's impossible to listen to this record outside of the influence of that massive event. For Costello, this is an inspired collaboration--one with more energy and passion than some of his others in the past. The pair manage to convey frustration and anger, but they express just as much hope and light-heartedness, as if to hold onto and protect the threatened spirit of New Orleans. That spirit infuses this record, and makes it a very special title worthy of adding to one's collection.
The title track was written solely by Costello in a quick session after he heard about the tragedy destroying the city whose musical legacy he has long respected; the collaborations were written by the pair in October, and the recordings took place in late November and early December. The first week of sessions was in California, while the second week of recording took place among the ruins in New Orleans. This no doubt added an immediacy and a deluge of emotions, as Costello insisted that he be shown the hardest-hit 9th Ward when he arrived.
Costello has approached the New Orleans sound before, and recorded with Toussaint in the past on his 1989 album Spike. Costello's 2003 hit "Monkey to Man" referenced a song by Toussaint contemporary Dave Bartholomew, "The Monkey Speaks his Mind." The love Costello has for this genre of music shows in the vocal performances. Toussaint's lengthy career includes piano-playing sessions with Fats Domino; producing the Meters and songs such as "Right Place, Wrong Time" by Dr. John; as well as authorship of well-known songs such as "Workin' in the Coal Mine," "Mother-in-Law," and "Southern Nights" (made famous by Glen Campbell).
Musically, the teaming of Costello's Imposters as the rhythm section with Toussaint's Crescent City Horns and A.B. Brown on guitar makes an interesting musical gumbo, deftly handling the Toussaint R&B rhythms atypical of Costello's own work. Toussaint takes vocal duties on "Who's Gonna Help Brother Get Further," his smooth voice expressing a question Costello can't quite morph into form to pose himself. On the other twelve tracks, it's Costello's voice and Toussaint's piano-playing that take the lead. One standout track is "Ascension Day," the marriage of new lyrics by Costello with Toussaint's minor-key inversion of "Tipitina" by Professor Longhair.
Costello's vocals are in the spotlight throughout, and they hold up generally well. Costello's vocal abilities have improved greatly in the latter part of his career, and the improved delivery serves him well here on material that's somewhat outside his typical range. His vocals fit well with his strong expression of anger and frustration at the scene that he and Toussaint reflect with this artistic statement.
It is because of Hurricane Katrina that this collaboration took place at all, and given the situation it's impossible to listen to this record outside of the influence of that massive event. For Costello, this is an inspired collaboration--one with more energy and passion than some of his others in the past. The pair manage to convey frustration and anger, but they express just as much hope and light-heartedness, as if to hold onto and protect the threatened spirit of New Orleans. That spirit infuses this record, and makes it a very special title worthy of adding to one's collection.
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Technorati Tags: Elvis Costello, River in Reverse, Allen Toussaint, New Orleans, KatrinaSaturday, June 24, 2006
CD Review: Stereophonics - Live from Dakota
Stereophonics strike me as the Matchbox 20 of Welsh rock--well-written melodic pop-rock marketed as "alternative," earnest and genuine, hugely successful on their home country's radio charts, but barely making a dent overseas. No Matchbox 20 song has never reached past #38 in the UK, and Stereophonics have never charted in the US. In the UK, mimicing Matchbox 20's success here in the States, Stereophonics have scored four successive #1 albums, numerous top 5 singles, and finally hit #1 on the UK singles chart with "Dakota."
Live from Dakota is a solid, if not flashy, snapshot of Welsh stars Stereophonics on tour supporting their 2005 studio album called Language. Sex. Violence. Other? The band is in fine form, with Kelly Jones' raspy vocals highlighting energetic performances of "Maybe Tomorrow" and recent hit "Dakota." The band is tight, and their material is generally well represented. The sound is mixing board quality, but still a little distant; in some spots, the vocals are hard to distinguish as they blend with the frequencies of the crunchy guitar work.
The song selection is a bit heavy on Language selections, and with only 20 tracks over 90 minutes is a bit short for a two-disc collection; in that respect, this collection passes on the opportunity to showcase some of the band's better known songs, such as the Beatlesque UK top 5 "Have a Nice Day." With one or two more of the band's previous Top 5's from the UK, it would be a stellar introduction and recap of the band's output so far. Sadly, it's just a bit below that mark.
As a companion piece, the band is preparing to release a DVD also titled Language. Sex. Violence. Other?. The DVD will document the making of L.S.V.O?, and is slated to include videos and live performances of some of the songs from the band's 2005 tour. It is unclear whether the live performances on the DVD are the same ones from which the audio on Live from Dakota is taken.
Live from Dakota is a solid but not stellar live compilation, and a reasonably good (though not great) choice for someone seeking a single Stereophonics title for their collection. If a comprehensive single-title collection is desired, a possible future "Greatest Hits" might be worth waiting for. For fans, it's a likeable live release that makes a good addition to the Stereophonics catalog.
Live from Dakota is a solid, if not flashy, snapshot of Welsh stars Stereophonics on tour supporting their 2005 studio album called Language. Sex. Violence. Other? The band is in fine form, with Kelly Jones' raspy vocals highlighting energetic performances of "Maybe Tomorrow" and recent hit "Dakota." The band is tight, and their material is generally well represented. The sound is mixing board quality, but still a little distant; in some spots, the vocals are hard to distinguish as they blend with the frequencies of the crunchy guitar work.
The song selection is a bit heavy on Language selections, and with only 20 tracks over 90 minutes is a bit short for a two-disc collection; in that respect, this collection passes on the opportunity to showcase some of the band's better known songs, such as the Beatlesque UK top 5 "Have a Nice Day." With one or two more of the band's previous Top 5's from the UK, it would be a stellar introduction and recap of the band's output so far. Sadly, it's just a bit below that mark.
As a companion piece, the band is preparing to release a DVD also titled Language. Sex. Violence. Other?. The DVD will document the making of L.S.V.O?, and is slated to include videos and live performances of some of the songs from the band's 2005 tour. It is unclear whether the live performances on the DVD are the same ones from which the audio on Live from Dakota is taken.
Live from Dakota is a solid but not stellar live compilation, and a reasonably good (though not great) choice for someone seeking a single Stereophonics title for their collection. If a comprehensive single-title collection is desired, a possible future "Greatest Hits" might be worth waiting for. For fans, it's a likeable live release that makes a good addition to the Stereophonics catalog.
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Technorati Tags: Stereophonics, Live From Dakota, Matchbox 20
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