Articles in section: 'Music Reviews'

The Lost Notebooks of Hank Williams

Review of The Lost Notebooks of Hank WilliamsHank Williams’ voice is a unique and a gigantic one in American culture, which means that it is also one familiar to those who listen to popular music all across the world. Hank Williams is recognizable singing, say, “I Saw The Light,” or “I’m So Lonesome I Could Cry,” even by people who couldn’t remotely be described as fans, in the same way as Bing Crosby is instantly recognizable singing “White Christmas,” or John Wayne is instantly recognizable in a cowboy hat saying, “The hell I will!” Hank Williams is just there as a reference point like the pyramids of Egypt or the Grand Canyon.

In speaking of Hank Williams’ voice, however, I very much mean it both in the sense of the instantly-recognizable product of his vocal cords and in the sense of what that voice has to say: how Hank Williams in singing a song describes the world, captures an emotion, issues a plea.

Although he died at the age of 29, Hank Williams is a patriarch of country music (if it’s legal to use the term patriarch anymore) but he is also much more than that: he is both patriarch and patron saint to songwriters everywhere, and to discerning aficionados of the art of song across all genres. No one lays it out there quite like Hank Williams did over and over again in his short songwriting career, with such a devastating combination of depth, honesty and economy. Even his more light and humorous songs are models of how to write a tune that’s instantly accessible, unpretentious and utterly timeless. [Read more →]

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Tony Bennett Sings the Rodgers and Hart Songbook

Tony Bennett Sings the Rodgers and Hart SongbookTony Bennett isn’t very well known for whispering. He’s a big singer—not in the sense that he over sings, but he certainly is known for the power to belt it out above muscular backing bands, and through his career he’s done plenty of that, and to good effect. And even in the plethora of latter day albums he made with the Ralph Sharon Trio, there’s a sense of grandeur to the backing that belies the actual simplicity of piano, bass and drums, and Tony often sings on those albums as if in front of a big orchestra. And that’s something in itself. But for true flat-out intimacy, there’s nothing he’s ever done that exceeds the Rodgers and Hart Songbook..

In 1973, Bennett saw trumpeter Ruby Braff and guitarist George Barnes leading a quartet in New York, with Wayne Wright on another guitar and John Giuffrida on bass. He sat in with them live, it went well, and one thing led to another. They went into the studio and over the course of a few days recorded twenty songs by Richard Rodgers and Lorenz Hart. [Read more →]

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Ron Sexsmith: Long Player Late Bloomer

Ron Sexsmith - Long Player Late BloomerBehold, you delight in truth in the inward being,
and you teach me wisdom in the secret heart.
(Psalms 51:6)

I remember when I first heard Ron Sexsmith; not in a JFK-getting-shot sense, but generally that it was in the first half of the 1990s and the song was Secret Heart. It seemed like a good song, and the singer of it seemed likely to be a solid sort. Some people were saying that he was “the new Bob Dylan.” Well, just like all the other new Bob Dylans, he was nothing of the kind and that manner of talk didn’t help him; he was, instead, the current Ron Sexsmith. And that wasn’t such a bad thing at all. Sexsmith is a (Canadian) songwriter with a gift for an instantly seductive pop/folk/rock melody, a facile way with a lyrical narrative and the ability to produce really charming and sometimes deeply poignant turns-of-phrase. Better yet, he can combine all those elements into a whole that seems utterly unforced. (That seamless combination may be the toughest trick for would-be pop songwriters — not to mention some practicing ones.) He’s essentially a confessional-type songwriter, but one who generally avoids tripping into the excessively lugubrious or precious. [Read more →]

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Lou Reed: New York

Lou Reed: New YorkFormer mayor of New York City Ed Koch must have been feelin’ pretty groovy when the 59th St. Bridge was renamed in honor of Hizzoner. Koch is a big, likeable personality and a quintessential New Yorker without any doubt. Yet, it’s a little bit funny, this renaming of a bridge for him. Were the Koch years (1977 – 1989) such great ones for the city of New York, honestly? There were 2,246 murders in New York City in 1989 – the final year of Koch’s third and final term as mayor. By comparison, in 2009, there were 778 [the source I'm referencing doesn't have figures for 2010 yet]. Crime isn’t everything, but in New York City, it’s a helluva lot. The insecurity that rising crime gave to the city, from the mid-1960s on, fostered a sense of decay and futility, which fed itself and led to more crime. It ate at the city economically and spiritually; how could it not? It wasn’t all Koch’s fault, by any means, but he had three terms to make a dent in it. He didn’t. The annual murder rate remained well over 2,000 during the term of Koch’s successor, David Dinkins, but then started dropping dramatically under Rudolph Giuliani and his revamped policing strategies, beginning in 1994. [Read more →]

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Bing (Crosby) Sings Whilst Bregman Swings

Bing Crosby Sings Whilst Bregman Swings Bing Sings Whilst Bregman Swings~ Bing Crosby (Polygram Records)

It’s 1956, and you’re Bing Crosby. (Would I lie to you? And isn’t it better this way?) You’ve been a recording artist for more than twenty-five years. You are one of the originators of popular singing in the age of the microphone and the gramophone record. In your day, you defined hip, and the name Der Bingle struck terror into squares everywhere. But it’s not quite your day anymore. Sinatra is wowing the world (in the third stage of his career, no less) with his lush and/or swinging long-playing concept records, arranged by brash young geniuses like Nelson Riddle and Billy May. Ella Fitzgerald just recorded her first songbook album (Cole Porter) with the barely pubescent arranger Buddy Bregman. It’s doing well. You are given the chance to do an album with Buddy Bregman yourself, on the Verve label. What do you say? [Read more →]

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Johnny Cash: Ain’t No Grave

It’s said to be the final song that Johnny Cash composed, titled “I Corinthians 15:55,” and the refrain goes like this:

Oh death, where is thy sting?

Oh grave, where is thy victory?

Oh life, you are a shining path

And hope springs eternal just over the rise

When I see my Redeemer beckoning me

The first two lines are the ones cited in the title, from St. Paul, but Paul in his turn was quoting Hosea 13:14 in that particular passage. As goes Scripture, so goes country music: The great lines are reused forever. Cash would have known well that he was invoking both the Old and New Testaments there, and the resonance of a promise that doesn’t fade.

 Review of Johnny Cash: Ain't No GraveThis song is the fourth track and the heart of the new, posthumously-released Johnny Cash album, American VI: Ain’t No Grave. (It is the sixth in Cash’s “American Recordings” series, produced by Rick Rubin, the first of which was released in 1994.) By itself, “I Corinthians 15:55” must make most listeners grateful for the [Read more →]

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Follow the light: The heart in Bob Dylan’s Christmas

Christmas In The Heart by Bob Dylan(Warning: Contains spoilers for those who still believe in Santa Claus)

Bob Dylan’s album Christmas In the Heart struck me both strongly and delightfully upon the very first listen, and it continues to strike me that way after many further spins. However, rather than try to make a grand case here as to why others ought to like the album (I know that some people love it and some people feel quite otherwise) I’m just going to explore why it seems to work better for me personally than most Christmas albums. I do suspect that how I have inwardly responded to it is true for quite a few others as well, whether or not they have analyzed it for themselves in the same way I do here. [Read more →]

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Bob Dylan: Keeping It Together

Together Through Life by Bob DylanI have a piece today on Bob Dylan’s new album, Together Through Life, and thoughts generated out of listening to it and through reading recent interviews with him. It’s in The New Ledger: Bob Dylan: Keeping It Together.

Together Through Life, the album just released by Bob Dylan, has entered both the U.S. and U.K. charts at the number one position, and is at or near the top of the charts in numerous other countries across the world. Dylan appears to be doing something very right, in commercial terms, at the ripe old age of 68, but I question whether even he has any firm idea of what that might be. One thing for which he doesn’t get much credit, but which I think has paid off for him in the end, is his consistency. The curious thing is that his kind of consistency has often been portrayed instead as a mysterious and chameleon-like series of transformations, perhaps largely because of a failure by commentators to grasp the nature of the steadiness at the core of his work. Average listeners may well appreciate it better than the storied rock critics who have filled shelves with books on his songs and his various phases and incarnations.

Click to read it all.

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Frank Sinatra’s In the Wee Small Hours

Frank Sinatra In The Wee Small Hours(This was originally published May 14th, 2008. )

Frank Sinatra passed on ten years ago today. I recall thinking at the time that with Sinatra gone, all bets were off — anything might now happen in this sad old world. (And I think the record would show that my fear in this respect has proven largely correct.) [Read more →]

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