Record Reviews - RecordDB

Artist	Title	Review
The Yardbirds	Greatest Hits
The Yardbirds	Remember
The Youngbloods	Earth Music
The Youngbloods	Elephant Mountain
The Youngbloods	Good And Dusty
The Youngbloods	Turning On The Sunshine
The Youngbloods	High On A Ridgetop
Toots Thielemans	Jazz in Paris: Blues Pour Flirter	<p>Although Toots Thielemans is far better-known for his virtuoso harmonica playing, he sticks exclusively to guitar on this pair of studio dates, initially taped in 1961 for Polydor. Accompanied by pianist Georges Arvanitas, bassist Roland Lobligeois, and drummer Philippe Combelle, Thielemans leads a primarily laid-back session with the focus on the leader, covering standards ("Willow Weep for Me" and "We'll be Together Again"), adding a soft wordless background vocal to "Satin Doll," and giving a loping treatment to Milt Jackson's "Bags' Groove." No matter that none of Thielemans' compositions have come close to matching the widespread popularity of his huge hit, "Bluesette"; two blues he wrote for this date, "Le Trottoir" and "Flirt" (the latter of which is the only track to feature his famous whistling), are very enjoyable. Even if this Verve CD reissue falls short of being an essential purchase, any fan of Toots Thielemans will want to acquire it.</p>— <b>Ken Dryden</b>
Henry Thomas	Sings The Texas Blues
Ramblin' Thomas	Complete Recordings
Rob Thomas	Something To Be	<p>Since Matchbox Twenty is a faceless group, recognizable for its hits rather than its image, it's easy to assume that the band is nothing more than a solo project in disguise for its frontman, lead singer and chief songwriter Rob Thomas (who should not be confused with Rob Thomas, the creator of UPN's 2005 cult TV series Veronica Mars). Not only is he prominent in the band's videos and press, but he scored the biggest hit of his career with "Smooth," a song he penned and sung for Santana's 1999 comeback, Supernatural. Even though Matchbox Twenty's 1996 debut, Yourself or Someone Like You, was a big hit and spawned four radio hits, "Smooth" was bigger than any of them, making Thomas famous, if not exactly a star. Instead of striking out for a solo career in 2000, he returned to his band, releasing Mad Season that year and More Than You Think You Are two years later. While both records had different moods -- the former was polished and radio-ready, the latter hit a little harder -- both found Thomas working as part of a unit, not as a flashy frontman. This may have illustrated how Matchbox Twenty worked as a band; in particular, More Than You Think You Are sounded like the work of a driven, cohesive unit, even the songs weren't quite up to snuff -- but they also had to sound a little workmanlike, and certainly not the product of the savvy cross-cultural crossover creator of "Smooth." Given the relatively lackluster reception of More Than You Think You Are, the timing was right for Thomas to launch his official solo career in the spring of 2005. It was time to give his music a new coat of paint, similar to how "Smooth" spun his career in a different direction, and that's exactly what his solo debut, Something to Be, is: a slick new variation on Thomas' signature sound.</p><p>With its anthemic choruses and achingly sincere sentiments, Something to Be is clearly the work of the lead singer/songwriter of Matchbox Twenty, yet it lacks the lean rock-oriented sound of the group's albums, even if it is helmed by Matt Serletic, who has produced all three of the band's records. Serletic and Thomas have made a conscious attempt to have this solo album feel lighter, brighter, and a little hipper than Matchbox Twenty's music, adding slight drum loops and electronic elements to the rhythms while taking Thomas away from strictly guitar-based arrangements. Heavy on keyboards, elastic guitars, horns, insistent rhythms, and even the occasional gospel-inspired backing chorus or worldbeat inflection, this is a far splashier affair than the average Matchbox Twenty album, and that alone would make Something to Be a noteworthy solo record, since it is indeed a different beast than Thomas' regular gig, but the fresher sound is married to a strong set of songs that play to his strengths as a craftsman of big, anthemic post-alternative mainstream rock. This isn't edgy work by any means -- and for as hooky and chorus-driven as it is, it's music that becomes memorable through repeated plays, never quite catching hold upon the first listen -- but it's more colorful and well-constructed than a lot of contemporary mainstream rock in the mid-2000s, and it's arguably more appealing than Matchbox Twenty's earnest guitar rock, which can occasionally seem rather drab. With Something to Be, Thomas delivers an album that is at once familiar and fresh. It may not be something to win over the doubters, but it's enough to give him a promising new beginning to the second decade of his recording career, not unlike how "Smooth" helped propel him through the post-grunge fallout of the new millennium. [Something to Be is one of the first albums to be released solely as a DualDisc -- a disc that contains a CD of the album on one side and a DVD of the album with extras on the second side. The DVD contains a 5.1 mix of the album, lyrics for the 12 songs (these lyrics are also printed in the album's booklet), a link to Thomas' website, a plug for his charity Sidewalk Angels Foundation, a photo gallery containing nine photos, and a 20-minute making-of-the-album documentary that contains footage of Thomas writing, Thomas singing a lead vocal, John Mayer recording his cameo, and, finally, a photo shoot with Thomas.]</p>— <b>Stephen Thomas Erlewine</b>
Linda Thompson	One Clear Moment
Richard Thompson	Strict Tempo
Richard Thompson	Small Town Romance
Richard Thompson	Small Town Romance	<p>Small Town Romance was compiled from three warts-and-all live recordings (originally produced for radio broadcast) of Richard Thompson performing solo acoustic in New York City in 1982. The above-mentioned warts (a cough here and there, a very occasional flubbed note) are tiny and difficult to spot, but Thompson was quite aware of them -- enough so that he persuaded Hannibal Records to delete the album from their catalog, though when the out-of-print album began fetching ridiculously high prices on the collectors market, he consented to a reissue in 1997. While the album is a hardly flawless recreation of the live Richard Thompson experience (and Thompson's solo acoustic shows would be noticeably stronger a few years down the line), it does capture Thompson's estimable charm as a stage performer with commendable accuracy, and the program is superb, featuring several Fairport Convention classics, a number of outstanding numbers from the Richard & Linda Thompson catalog, and a few otherwise unrecorded songs, most notably the devastating title track, which still stands as one of Richard's finest meditations on his favorite theme, love gone wrong. Small Town Romance may not be perfect, but it preserves a handful of passionate and impressive performances from one of the most gifted guitarists and songwriters around -- which puts it far ahead of the vast majority of live albums that will cross your path. Hopefully, though, one of Richard Thompson's even more dazzling solo shows from the 1990s will find it's way onto a widely available, non-bootleg CD some time in the future.</p><p><strong>—Mark Deming</strong></p>
Richard Thompson	Daring Adventures
Richard Thompson	The Old Kit Bag	<p>Richard Thompson is the sort of artist destined to be a cherished cult item rather than a bona fide star, which at the dawn of the 21th century puts him in an uncomfortable place in the music industry -- being able to reliably sell 100,000 copies of an album makes you too small for a major label, no matter how long they've kept you on the roster. In 2000, after a dozen years with Capitol Records, Thompson's contract was not renewed, and 2003's The Old Kit Bag found him recording for an independent for the first time since 1985. Creatively, this actually turns out to be a good thing; after the periodically excessive and self-conscious production Mitchell Froom imposed on nearly all of Thompson's releases for Capitol, 1999's Mock Tudor (produced by Tom Rothrock and Rob Schnapf) found Thompson going for a more lean and live sound, and with John Chelew at the controls, Thompson follows suit on The Old Kit Bag. Cut in a straightforward and stripped-down manner, with just bassist Danny Thompson, drummer Michael Jerome, and harmony vocalist Judith Owen along for company, The Old Kit Bag captures Thompson in spare but sympathetic circumstances; the performances are strong and confident, without a note or gesture wasted, and Thompson's interplay with his rhythm section is nothing short of superb. While Thompson eases back on the "wow, listen to that!" solos on The Old Kit Bag, his playing is fluid and superbly tasteful throughout, and his subtle overdubs show he's as good an accompanist as a bandleader. And Thompson's songwriting chops are still in superb shape; "A Love You Can't Survive" and "I'll Tag Along" are further meditations on Thompson's favorite theme, love and life gone wrong, and "Outside of the Inside" (which Thompson introduced on tour as "a song about how the Taliban see the West") is a chilling look inside a man blinded by his culture and his faith (and a bit of a surprise coming from a devout Muslim). The Old Kit Bag is Richard Thompson's simplest and most unadorned album since Shoot Out the Lights, and while it isn't an immediate masterpiece like that album, it confirms that this man's work is best presented at its simplest, and the result is a modest triumph.</p><p><strong>—Mark Deming</strong></p>
Richard & Linda Thompson	First Light
Richard & Linda Thompson	First Light
Richard & Linda Thompson	Shoot Out The Lights

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