UNKLE - Never, Never Land - Island/Mo Wax - 986 554-3

Minus DJ Shadow, this is the second outing of James Lavelle’s orchestrated trip-hop behemoth, UNKLE. Never, Never Land is an album with a vastly different outlook to its predecessor, 1998’s Psyence Fiction. Gone is the ‘Shadowesque’ eccentricity so apparent in UNKLE’s first outing, instead replaced with a far greater focus on melody.

The guest appearances are still present, although their input serves to aid the album’s cohesion as oppose to undermining it. Josh Homme (Queens of the Stone Age), 3D (Massive Attack), and Ian Brown all make worthwhile contributions which maintain the standard of quality you might associate with such artists.

If you were seeking for a soundtrack to set a dark, provocative, and occasionally awe-inspiring film to, this would be it. It has tracks for establishing the equilibrium, disrupting it, subverting it, and establishing a new one, and makes Never, Never Land an album immense in stature.

Robert Plant and Strange Sensation - Mighty Rearranger SANCD356

I've resisted reviewing this as it's been given so much coverage in the press and, frankly, I'm taking a little heat for it among some acquaintances. However it's rarely out of the CD player at the moment. As my neighbour said, it's what Led Zeppelin would sound like now if they were still together and doing great things. And what you think of that should determine whether you listen to it or not. A lot of rhythm, eastern promise, relentless drive...Another Tribe and the title track are among the best in my view. The Guardian review said in his heyday he was not so much a frontman, more a singing erection. He's looking a little droopy these days, but the voice still has it...

(By the way my neighbours work colleague's sister is married to the guitarist. My but it's a small world ...)

Cover Me

I've more than occasionally referred to my penchant for cover versions on here (and I feel been in receipt of some silent derision for it - but then I'm professionally paranoid!) However in the hope of yet making converts I should alert you to Coverville a weekly podcast from the states which unearths some great re-interpretations and shines new light on the old and familiar. Go on, give it a try....

If this site ever gathers momentum, a podcast is the next obvious step. We could circumnavigate the globe...

James Brown - Black Caesar Soundtrack - Polydor 517135; Bernard Purdie - Lialeh Soundtrack - Lita 003

I don’t often buy soundtracks, but I can understand why people buy albums like The Sound of Music or The Benny Goodman Story in enormous quantities. (Perhaps RL might put in a good word for Lift to the Scaffold - see Comments). I’ve had two soundtracks of early 1970s Blaxploitation films for decades; The Final Comedown by Grant Green and The Dynamite Brothers by Charles Earland. Last year, I bought two more, doubling my soundtrack collection.

Much of Black Caesar, from 1974, was written and arranged by Fred Wesley, and much of the music clearly relates to the presumed plot; tracks like Paying The Cost to be The Boss and Down and Out in New York City have obvious connections. Other tracks are less plot-related but do stand up without the film; in particular Brown’s new take on Memphis Slim’s Messin’ with the Blues (which he had already recorded in 1957), has some fine Ellington-style piano playing from him. Brown rarely recorded on piano, so any of the few tracks he made are valuable.

The 1973 soundtrack to Lialeh used to be an incredibly rare item only affordable by Acid Jazz DJs. It has been reissued by an obscure Seattle label, so it looks like the CD will become rare soon. Apparently Lialeh was the first Blaxploitation porn film. The soundtrack is not only very good soul jazz but the inclusion of a very New Orleans funereal version of Pass Me Not, Oh Gentle Saviour reveals, astoundingly, that the film must have had a plot!

Purdie and his band actually performed in the film, in a club scene; there’s a shot on the cover of him trying to play drums with a naked lady grabbing him. Oh, the trials of a jazz musician! - AM

Beck - Guero - Interscope 988027

You never know quite what to expect from Beck, except that, in the words of another Real Reviewer, he is hideously talented so it‘s likely to be good. His previous album Sea Change was slow and sad and one or two of the tracks on Guero have the same dreamy, melancholic quality but the rest are upbeat and hideously catchy.

There are all sorts of influences - hip-hop, Latin and dance - all on display in the first few tracks and he shifts effortlessly from one to other. Listen on the move and he’ll put a new bounce in your stride. Listen somewhere quiet and you’ll be sobered by lines like “I prayed heaven today/would bring down its hammer on me/and pound you out of my head/I can’t think with you in it”.

Etta Jones & Houston Person - A Night In Roppungi - Absorb Music ABCJ338

I am SO glad this album was reissued (November 2004). It first appeared, in Japan only, on the All Art label and this incarnation (also only in Japan) is to be deleted in May 2005. This is Etta’s only live album. She sang on a couple of tracks on Houston’s album “The Real Thing”, at Watts Club Mozambique, Detroit, in 1973, and a couple more with Jug and Sonny at the Famous Ballroom, Baltimore, the same year. That is it for live Etta Jones recordings. So this is an important CD in her career.

It was recorded in March 1990. I saw the same band two months later, in New York. Then, Etta became one of only two musicians who have literally brought tears to my eyes, when she sang I’m Through With Love (the other was Prez). She sings it on this album, with almost the same effect. The other ace track on this is I’m In The Mood For Love which has a wonderful tenor solo which Houston, unlike most other saxophonists, doesn’t try to make into Moody’s Mood For Love.

In addition to Houston, one of the greatest sax players to back singers, there is the little known but inestimable Stan Hope on piano. Hope’s inspiration stems mainly from Garner, not Powell. Live, when he pulls off a particularly felicitous line, he leans back from the piano, a great big, surprised, smile on his face, as if to say, “My! Didn’t that work out nicely?” It’s impossible not to like a guy like that. And there are quite a few felicitous lines in this CD.

You can get it from Mundo, at $25; cheap at half the price -AM

Allan gets Editor's Dispensation on length for anything to do with Etta Jones, Etta James or Houston Person. My apologies for the late posting in view of the deletion date but you should still be able to buy it. I would if I were you.

Johnathan Rice - Extended Player 24:26 - Warner Brothers - 48783

Now while a lazy reviewer (especially one restricted to 150 words) might attempt to review Extended Player 24:26 simply by drawing comparisons with Rice’s namesake Damien. But no not I. This six-track EP is ideal for anyone seeking a talented, single (?) white male, influenced by Joni Mitchell, Bob Dylan, and Neil Young, who’s both reflective and earnest.

Released in the spring of 2004, prior to his first full length LP, 2005’s Trouble is Real, this EP reaches great heights with variation between soft melancholy (Break so easy), up-beat intimacy (if such a thing is possible, Mid November), and bittersweet timidity (standout track the Acrobat). Rice’s unique, almost rustic voice melds contentedly with simplistic, moving guitar rhythms, occasional violins (minus the periodic Irish lilt of Damien’s violins mind) and makes this EP well worth a try.

Not The Same Old Blues Crap 3 - Fat Possum - FP1016-2

I discovered the Fat Possum label from an article in the Sunday Telegraph magazine, of all places. I can only assume it was a mistake of some kind but I remain grateful. In the words of the Telegraph, the label is run by two men who thought that a toothbrush was for cleaning their pistol and, yes, the output is all pretty uncompromising.

This compilation is worth buying for the sleeve notes alone, a sustained rant about the unfairness of life, the selfishness of their top-selling artist who has decided to stop touring (he's 72 and has led, well, a colourful life) and the perversity of his replacement who rapidly contracted a terminal disease and, well, died.

As for the music - it's definitely not the same old blues crap. There's Bob Log, Iggy and The Stooges, and The Black Keys among others and, I'm glad to say, two tracks by R L Burnside. There's a marvellous photo of R L on one of his LPs, in his kitchen, beaming from ear to ear because he's wrapped a heavy chain and padlock around his fridge to stop his relatives stealing his food. You see where they're coming from?