Four new CDs are among state-of-the-art jazz, rock, classical and pop: add a string quartet to the Danny Green Trio and you’ve got some impressive European classical despite the band being from San Diego. Then there’s Kendra Lou’s personal pain, Jim Rotondi’s manifestation of being blue and Jim McKinley’s penchant to just rock out.
Come May in Memphis and it’s my educated guess that 64-year old singer/guitarist Johnny Rawls will be picking up yet another blues award from The Blues Foundation. The Mississippi native has just had his “Tiger In A Cage” released by Catfood Records out of El Paso, Texas, and it’s a damn fine barn-burner of old-school soulman-styled rhythm’n’blues.
The release of “Today (Legacy Edition)” contains not only the original 1975 release but a stripped-down “naked” version of that still-pure Presley voice without all the glitz and glamour: No strings, no background choirs or kitchen sink heavy-handed studio trickery.
Tom Johnston tells Goldmine: “We want to do another studio album.” But that should be no surprise, as The Doobie Brothers
prove to be as productive as ever.
He was an international rock star. The problem was he was also bi-polar and eschewed treatment for acceptance of his condition. Thus, he lived to 35. But what he accomplished in that short time will never be duplicated again. “Jaco,” the movie, lays it all out.
Kinky Friedman is a bit of an outlaw and a whole lot of Renaissance man. And his new album, “The Loneliest Man I Ever Met,” speaks for itself.
John Batdorf proves the timelessness of the Beatles; The Who reach their expiration date; the `Songs Of Aloha’ soundtrack is better than that awful movie.
Goldmine scribe Mike Greenblatt interviews the guitar legend — the same creative genius he was enlightened by as a teen in 1969, the year of Woodstock.
Randall Bramblett: “What? Me Worry?” Johnny Mathis fans strike a mother lode, Plus, horror-pop and New Wave ’80s compilations stoke the fire of nostalgia.
In a world filled with choices, it is my contention that listening to the heavy metal screeching bombast of Cradle Of Filth makes the soothing sounds of James Taylor all the more profound. Likewise, Taylor’s beauty, “Before This World,” makes me yearn for the alt-rock of 311. And vice-versa. It’s all good, as they say.