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Instrumental guitar albums can wear out their welcome very fast, as they often take far too many detours into long stretches of fatuous dissonance or pander to traditional pieces that have been done a hundred times before by far better players. Twenty-four-year-old native Californian Sean Smith manages to not only command the listener's attention from the very first note, but keep it fixated throughout his auspicious debut. Recorded alone in a local gallery, Smith is that rare bird of a guitarist who keeps things melodic enough for the novice and just unpredictable enough for the seasoned progressive folk fan. Even on a marathon number like "Someone Somewhere Has Sensed That I Am a Frightened Man," Smith keeps things moving at such a human pace that like a good novel, it's impossible not to try and fit another chapter in before going to bed. ~ James Christopher Monger
Monterey's own Sean Smith, a three-finger guitarist of extraordinary talent, delivers an instrumental guitar record of exquisite composition and melody, recorded solo in a gallery. For fans of John Fahey, or for anyone interested in talent. Sean Smith Review
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Cream's set of reunion shows in May 2005 was a justly hot ticket. The legendary rock trio of Ginger Baker, Jack Bruce, and Eric Clapton--two jazz ...
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This 4 CD/DVD boxed set spotlights career-spanning rarities and favorites from the legendary artist, who personally selected every track. Included are previously unreleased material, duets with a host of stars, live cuts, demos, videos, and more. The DVD includes 2 videos with the Hot Band from BBC's Old Grey Whistle Test, plus choice clips including selections from a 1978 edition of PBS's Soundstage and a duet with Elvis Costello recorded at the Grand ...
| | Love Is The Song We Sing: San Francisco Nuggets 1965-1970 CDs (2007)
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As the fourth Nuggets box from Rhino, LOVE IS THE SONG WE SING: SAN FRANCISCO FRANCISCO 1965-1970 is easily the most specific and idiosyncratic yet, a set devoted to a time and a place: namely the Bay Area that sowed the seeds of the Summer of Love in 1967. Released in conjunction with that 40th anniversary, LOVE IS THE SONG WE SING is surely a time capsule, but it may not be as much interest to those who lived ...
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| | Alexis Korner Sky High CD (1966) (Import) Bonus Tracks; United Kingdom
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Sky High was a typically uneven Alexis Korner album on several accounts. First, the literally sky-high level of talent among the backup musicians -- including future Pentangle rhythm section Danny Thompson (bass) and Terry Cox (drums), as well as Duffy Power on harmonica -- was not matched to universally high-caliber material. Too, while admirably eclectic, the array of styles on display -- from down-n-dirty R&B to acoustic blues, out-there jazz, and almost traditional jazz blues -- seemed to indicate as much directionless as adventurousness. There was, too, no getting around Korner's severe limitations as a lead vocalist, a chore he undertook for five of the album's fifteen tracks. Fortunately, first-class blues-rock vocalist Duffy Power took lead vocals on four of the other tracks, and for that reason alone, Sky High is a worthwhile release. "Long Black Train" (which Power and Korner co-wrote) is a genuine lost British R&B gem, and the very best track Korner cut in that style, with its ominously echoing guitar, pummeling rhythm, and Power-ful vocals and harmonica.
Sadly, nothing else on the record comes close to matching it, though the album's not without its merits. There are, to start with, those four other tracks with Power on lead vocal, which are respectable R&B, though none of them are nearly as good as "Long Black Train" (and one of them, "I'm So Glad (You're Mine)," would be recorded by Power in a better version under his own name). There's also a raucous cover of Charles Mingus' "Wednesday Night Prayer Meeting," though this and other jazz instrumentals on the record (including a horn section) are so different from the Power-led cuts that they could easily be mistaken for the work of a different band. The numbers on which Korner takes lead vocals, however, make one wish he'd had the humility and wisdom to let Power be the lead singer for most of the LP, though Korner does okay with the nicely swinging jazz blues tune "River's Invitation." Too, the three Korner solo guitar instrumentals that end ...
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