Record Reviews - RecordDB

Artist	Title	Review
Tab Benoit	Standing On The Bank
Pierre Bensusan	Early Pierre Bensusan
Pierre Bensusan	Early Pierre Bensusan
Chuck Berry	Blues Berry
Chuck Berry	Greatest Hits
Chuck Berry	Bio
Kerri Biddell	Only The Beginning
Big Country	East Of Eden
Norman Blake	Home In Sulphur Springs	<p>Norman Blake had been a prominent performer and studio guitarist for over a decade before this solo debut was recorded, and although he had largely made his name playing backup to bigger stars, this is the first of a long string of albums that confirmed Blake's reputation as a master guitarist and songwriter. Joined by dobroist Tut Taylor, who had played with Blake on John Hartford's Aereo-Plain earlier in the year, the two run through a delightful mix of old-time songs and Blake originals, many of which show the progressive characteristics that would lead the guitarist to form the Rising Fawn String Ensemble to play what was called "hillbilly baroque." Although he only got better over time, this record is among Blake's best, demonstrating his nearly incomparable virtuosity, easygoing style, and broad repertoire, highlighted by "Cattle in the Cane," "Crossing No. 9," and the lovely closer "Spanish Fandango," which according to the notes is the first song he ever learned to play.</p><p>—<strong>Jim Smith</strong></p>
Norman Blake	Fields Of November	<p>Blake's second album is a thoroughly relaxed affair that did much to establish the sound he would follow throughout the rest of his career, mixing wistful ballads with controlled instrumental material. He demonstrates his musical prowess by playing fiddle, mandolin, and dobro, as well as composing all of the album's songs. His soon-to-be wife, cellist Nancy Short, makes her debut here, as does second guitarist/fiddler Charlie Collins, the partner with whom Blake would record most of his great early instrumentals. Later albums proved that he was one of the most electrifying guitar-pickers of his time, but Fields showed that Blake's overall muse was a gentle one.</p><p>—<strong>Jim Smith</strong></p>
Norman Blake	Old And New	<p>Originally released in 1975, Old & New follows the same muse as its predecessor, mixing traditional material with Blake originals. All of the musicians from Fields of November are present, but overall the energy is higher, especially on the instrumentals "Miller's Reel" and "Aljimina." "Sweet Heaven" is one of Blake's best performances, and it became one of his career touchstones. In 1992, Flying Fish coupled this album with Fields of November as a single-disc release.</p><p>—<strong>Jim Smith</strong></p>
Norman Blake	Live At McCabes	<p>Long cherished by Norman Blake's fans as one of the greatest flatpicking albums of all time, Live at McCabe's isn't as essential as some of the guitarist's studio records of the time (see Whiskey Before Breakfast), but there's a warm, ramshackle beauty about this concert that is every bit as charming. Originally released on Takoma in 1976, it was out of print for years before an overwhelming fan petition prompted a reissue of the album in 1999. The sound is marvelous and, as one would expect, there's a ton of fine flatpicking here, as well as a rare chance to hear Blake live and in his prime. Joined by then-wife Nancy on three cuts, Blake switches to fiddle for a few tunes, including the lovely "Border Widow." His rendition of "Nine Pound Hammer" is one of the best on record, and equally great is a loose arrangement of "Arkansas Traveler" that finds a number of other half melodies and improvisations darting in and out. Some of these tunes turned up on previous and later studio albums; some he would never record again.</p><p>—<strong>Jim Smith</strong></p>
Norman Blake	Whiskey Before Breakfast	<p>Blake's best album, and one of the finest bluegrass albums of the '70s. "Church St. Blues" and "Slow Train Through Georgia" are great originals that demonstrate Blake's natural ease with a sung ballad, while the fabulous medleys "Sleepy Eyed Joe/Indian Creek" and "Fiddler's Dram/Whiskey Before Breakfast" show off the graceful flat-picking that made him famous. All told, there have been many albums in the folk idiom featuring many a guitar virtuoso, but very few achieve such a mix of relaxed subtlety and eye-popping virtuosity, and Whiskey Before Breakfast will perhaps stand as the greatest achievement by this master picker.</p><p>—<strong>Jim Smith</strong></p>
Norman Blake	Blackberry Blossom	<p>Norman Blake had barely begun his solo career in 1977 when he recorded Blackberry Blossom. This album finds Blake's artistry already fully developed, with the material divided between traditional songs and instrumentals. All nine cuts feature Blake's nifty guitar and mandolin work, with occasional back up from Nancy Blake on cello. The album gets started with a Tin Pan Alley tune, "Are You from Dixie?," an upbeat song that plays off the motif of the lonely Southerner away from his homeland and longing for a friendly face. On the oddly titled "The Rights of Man Hornpipe" Blake is backed by Nancy Blake on cello, creating something akin to flatpicking Baroque. When the cello is combined with the fiddle on "D Medley," the sound comes much closer to a medium-paced Appalachian jig. The original "Lonesome Jenny" fits comfortably with the album's traditional material, drawing a portrait of the empty life of a woman who has been left a widow. This seven-minute portrait is filled with fascinating chord changes and tender lyrics. All of the songs on Blackberry Blossom are delivered in Blake's straightforward manner, both down-to-earth and emotive. It is perhaps easy to take an artist as uncomplicated as Blake for granted: he never seems to be going out of his way to impress the listener with fancy guitar licks or vocal hysterics. Instead, he imbeds himself in tradition, offering honest interpretations and fresh originals that are respectful of their roots. In this way, his true artistry grows each time the listener hears Blackberry Blossom.</p><p>—<strong>Ronnie D. Lankford</strong></p>
Blind Faith	Blind Faith (Deluxe Edition)	<p>Blind Faith's lone album is often considered vivid proof as to why superstar collaborations simply don't work, but that is a little unfair -- in contrast to, say, Chess Records' various Super Blues releases, which stuck top musicians such as Muddy Waters and Howlin' Wolf together in awkward combos that they didn't really want to be part of, the guys in Blind Faith really were trying to work together on a long-term basis, and had an affinity for each other's work; the group just never had the time to evolve properly. And in retrospect, the album does have something to offer, including two songs that are touchstones of classic late-'60s rock: "Can't Find My Way Home" and "Presence of the Lord," not to mention the bracing "Sea of Joy." "Had to Cry Today" is also pretty effective, as is the Buddy Holly cover "Well All Right." Still, for those who subscribe to conventional rock critic doctrine, it may seem a little strange that an album as muddied as Blind Faith was given this lavish Deluxe Edition, containing basically everything capable of being released that the group cut during these sessions. This expanded edition will not change any minds; just on principle, it may even sour some open-minded listeners who have a distaste for extended, seemingly endless jams; in the latter regard, anyone so inclined should probably skip all but the third track on the second disc entirely, since three of the four jams that comprise the nearly hourlong platter are the least interesting of the bonus materials, even if some moments work well -- Eric Clapton's electric guitar playing is always interesting, and when Steve Winwood's organ kicks in there's a fair degree of excitement, though not without a lot of meandering before and after.</p><p>But the bonus tracks appended to the basic album on the first disc -- which runs a whopping 75 minutes -- are a different matter. These include two previously unreleased versions of "Sleeping in the Ground" (the one on Crossroads is missing), an electric version of "Can't Find My Way Home" that's just about worth the price of admission, and "Time Winds." If one compares this double-disc set to, say, The Layla Sessions triple-CD box, there's more here, if only because this group still had so many rough edges to work out that are worth a listen, whereas the completed Derek & the Dominos Layla album did, indeed, distill down the best of that band's work. With Blind Faith, there was still a lot of ground to cover musically, although "Acoustic Jam" will probably not be on too many listeners' playlists more than once or twice, except for some aspects of Eric Clapton's and Rick Grech's playing -- this track may be the earliest instance (albeit an unintended one, as it wasn't ever supposed to see the light of day) justifying the criticism that sometimes gets hung on Steve Winwood's multi-instrumentalist status, that he is a jack of all trades and master of none, because his piano playing here just isn't very interesting. The fact remains that -- even with these new tracks and the lavish presentation -- this is a muddled album, but like The Layla Sessions it's still a hell of a set for the dedicated, filled with unheard music, good liners, and beautiful packaging. Those who do love the album or the work of the musicians involved will not be disappointed by this, and may well find new moments of fascination in the best of the jams. [The two bonus tracks that appeared on the original late-'80s CD release of Blind Faith are not here, as it was subsequently discovered that they were Rick Grech demos that didn't involve the rest of the band.]</p><p>—<strong>Stephen Thomas Erlewine</strong></p>
Blind Faith	Live In Gothenburg
Rory Block	Blues Walkin' Like A Man	<p>That Rory Block is an astonishingly capable blues artist has been evident for many years, but with this tribute to the legendary Eddie J. "Son" House Jr., her cache is elevated even further. The shifty and slinky flexible slide work of House, and his preachy, shout chorus style vocalizing is perfectly exemplified on his tunes by Block. What is wondrous is that Block loses nothing of her personal sound and identity, as if she is mystically channeling the acoustic blues icon through some higher powered means. Block's pure and simple solo persona is electrified through many of House's classic tunes and some well chosen others, and she does them all proud. Everyone will enjoy and appreciate her spot-on take of "Death Letter," 12-bar train inspired "Depot Blues" featuring her immaculate slide guitar work, and the inspired devices, phrasings, and fervent singing on the energetic "Preachin' Blues." "Grinnin' in Your Face" is perhaps the most beloved tune of Son House, the tale of two-faced, untrustworthy people she sings with a slight echo or reverb in her voice that is truly haunting. Tales of a bad luck lover on "Jinx Blues" is as deep and personal as authentic blues gets, while the back porch moanin' "Low Down Dirty Dog Blues" echoes the pre-Howlin' Wolf style House founded. Listeners need to be advised that Rory Block is not photocopying these songs as much as she is assimilating them with her own voice, but in the pure and unique original voicings Son House invented. The loping "Country Farm Blues" and signature tune "Shetland Pony Blues" show the extreme passion and depth Block feels in this music. There are asides away from the guitar/vocal approach, as overdubbed vocals on "Dry Spell Blues," the more folksy "I Want to Go Home on the Morning Train," or an occasional harmonica insert by John Sebastian add a little variety. A most highly recommended recording that easily stands next to her previously recorded tribute to Robert Johnson, Blues Walkin' Like a Man ranks among Rory Block's very best efforts in her long, satisfying career, and is a welcome reminder of how a handful artists like Son House truly revolutionized American music.</p><p>—<strong>Michael G. Nastos</strong></p>
Eric Bogle	Now I'm Easy
Eric Bogle	Plain And Simple
Eric Bogle	Scraps Of Paper

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