| | Jeff Golub Out Of The Blue CD Jeff Golub Discography of CDs
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Jeff Golub is categorized in the smooth jazz genre because he's an instrumentalist; at heart, though, he's an Eric Clapton styled rockin' blues guitar player who, on Out of the Blue, finds himself stumbling happily into Tower of Power-like jam sessions. He pulls no punches from the start, rocking hard and furious with his distorted electric thrust darting around and over Ricky Peterson's brooding B-3 and a three-piece horn section on "Wanna Funk?" Same idea, south of the border style, on the similarly hard-hitting Latin blues hurricane "Manteca," where Golub explores some improvisational territory in between sizzling solo sections by his longtime friend Rick Braun. Golub co-produced the album with keyboardist Philippe Saisse, whose comparatively laid-back style keeps Golub in the cool on more mid-tempo, easy to latch onto pieces like "Indiana Moon"; the guitarist gets more aggressive as the song progresses, but the hooky piano harmony line stays a constant. Saisse helps bring out Golub's completely meditative side on "The Velvet Touch" for about half the tune before the electricity rises once again. It's as if Golub just can't keep his virtuosity to himself, no matter how emotionally restrained the trappings. "Groanin'" is a unique departure which plays as though Golub got up one night in a straight-ahead jazz club and tried his hand (pretty convincingly, at that) at the bebop quartet thing. ~ Jonathan Widran
Audio Mixers: Eddie King ; Roy Hendrickson.
Recording information: Avitar Studios; Jeff Levine's; Live Wire; Out Of The Closet; Rick Braun's; Ricky Peterson's; Unique; Valerian.
Editors: Jean Hébrail; Steve Martinez; Steven Miller ; Sammy Merendino.
Photographer: Kate Garner.
Personnel: Jeff Golub (guitar); Vaneese Thomas, James "D-Train" Williams (vocals); Dave Woodford (saxophone, flute); Kirk Whalum, Tim Ries (saxophone); Rick Braun, Jim Hynes (trumpet, flugelhorn); Michael Davis (trombone); Jim Biggins (flute); Jeff Levine, Leon Pendarvis, Ricky Peterson (Hammond B-3 organ); Kenny White (Wurlitzer piano); Philippe Saisse (keyboards, percussion); Marc Antoine (nylon string guitar); Lincoln Goines (acoustic bass); Tony Levin (bass, Chapman stick); Neil Jason (bass); Steve Ferrone, Steve Barbuto, Shawn Pelton (drums); Richie Flores, Roger Squitero (percussion).
Personnel: Jeff Golub (guitar); James "D-Train" Williams (vocals); Marc Antoine (nylon-string guitar); David Woodford (flute, saxophone); Jim Biggins (flute); Tim Reis, Kirk Whalum (saxophone); Rick Braun, Jim Hynes (trumpet, flugelhorn); Kenny White (piano, Wurlitzer organ); Philippe Saisse (keyboards, percussion, programming); Tony Levin (Chapman stick); Steve Barbuto, Shawn Pelton, Steve Ferrone (drums); Roger Squitero, Richie Flores (percussion).
Jeff Golub Out Of The Blue Songs Out Of The Blue Music Review Purchase Out Of The Blue CD To buy, Click on price to add to cart | Jeff Golub Dangerous Curves CD (2000)
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| | Manic Street Preachers Lipstick Traces: A Secret History Of CD (2003) Bonus Tracks; Japan
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Everything wrong with the Manic Street Preachers boils down to this: they took the name of their B-sides and rarities collection, Lipstick Traces, not from Benny Spellman's classic New Orleans R&B single, but from Greil Marcus' academic book on punk rock, which borrowed the title from Spellman. In other words, they come from the head, not the heart; they're beholden to platitudes and the texts that are traded between earnest college freshman and sophomores as they realize that the world is so much larger than what they've known before. Of course, this doomed romanticism has an appeal, even for those who have outgrown it, and at their best, the Manics embodied that spirit: the fleeting moment when all possibilities were endless but also tragic, every choice theoretical, not practical. This can be heard in the band's music, but not too clearly on Lipstick Traces, even if it's billed as a "Secret History of the Manic Street Preachers." The problem is, the Manics put so much energy into their albums ...
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A deliberately plotted and executed project involving a combination of intentionality and improvisation, this solo debut recording by the pianist of avant-garde jazz outfit Triosk is the result of a brief three-week compositional period, a single five-hour recording session (it was all the studio time he could afford) conducted with a single piano and microphone setup, and a few months of post-production processing. Comparable in tone and texture to Adrian Klumpes' work with Triosk (particularly their third and final recording, The Headlight Serenade, whose release predated Be Still by only a few months) -- which is to say organic and electronic in equal measure, and vividly emotionally evocative ...
| | Residents Bunny Boy CD (2008) (Import)
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The Bunny Boy is the newest project from the Residents, but it's much more than just an album. The album was inspired by the Bunny Boy Internet series (available at residents.com), which will also extend into the tour. Here's the supposed story: a friend of the Residents' has had his brother go missing, apparently on the island of Patmos in Greece. This friend ("Bunny") is a (mostly) computer illiterate man who spends most of his time in his "secret room." He's got some clues: postcards from Patmos and the contents of his brother Harvey's computer. From the secret room, he posts video messages (the webisodes) on the Internets hoping that people will help him find his Armageddon-obsessed brother (who went to Patmos because that's where St. John supposedly received the Book of Revelations). But the story became more than just clues on the website. Bunny (seemingly portrayed by the Singing Resident) gives out an e-mail address asking for help. In the weeks since, Bunny has been responding to individual e-mails giving further clues, or not, as the case may be. Bunny seems disturbed and confused, but is it just over his missing brother? Is Harvey really missing? Is Harvey dead? Is Bunny crazy? Is Bunny Harvey!?!?! There are certainly myriad clues, but which ones unlock the mystery? It's a brilliant multimedia story line. Musically, this is a more stripped-down effort than their recent offerings. Songs are short, and they're more "rock" than the last few albums, although they seem to get more electronic as the story progresses (a symptom of Bunny's deteriorating mental condition?). Toward the end, they employ some cool programming and almost techno beats. The album doesn't advance the story line too much, although there appear to be further clues in the sparse lyrics and photos in the booklet. And as opposed to the last several releases, The Bunny Boy features the Singing Resident almost exclusively on vocals (and mostly singing, too; not the screaming of old).
But here's the part that really has the Residents community buzzing: many of the objects in Bunny's secret room seem strongly connected to Residents history/lore. Many of the direct questions asked of Bunny are given answers known to coincide with views already offered by the Residents themselves (like "What's your favorite Residents album?"). The addresses listed on the postcards ...
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