Time Out Take Five is a regular column comprised of pithy takes on recent jazz releases, spotlighting titles deserving attention that might otherwise go unnoticed. Charles Mingus: The Lost Album From
The combustible chemistry between Neil Young and Promise of the Real has never been fully captured on record prior to Noise & Flowers. Certainly studio efforts like The Monsanto Years and The Visitor contain glimmers
It is an ever-so-fitting sign of circular closure that Midnight Oil’s final world concert tour concludes right around the three-and-a-half-decade milestone of Diesel and Dust (released 8/2/87). With the exception
By the time the Grateful Dead signed with Arista Records, their foray into independent record-making had left them almost as frustrated as their dealings with their initial major label Warner
With nearly a half-century hindsight, the breakthrough that is Elvis Costello’s My Aim Is True (released 7/22/77) seems all the more like an ultra-savvy marketing campaign. While just the year
The Jeff Beck/Johnny Depp alliance as captured on 18 benefits both men creatively and otherwise. For one thing, the album has received more advanced attention than recorded work by either
The steady stream of releases Neil Young has been issuing over the last couple of years can be daunting, even for his most devoted fans. But there are some real
If the Grateful Dead weren’t already skeptical enough about studio recording by the mid- Seventies, their initial forays into that arena for Arista Records certainly confirmed their well-grounded suspicions. After
It is entirely fitting Gary Lambert writes the essay within the twenty-four-page booklet accompanying the two CDs of GarciaLive Volume 18. The erudite writer/historian’s writing has the natural and unforced
During the Replacements’ approximately five-year and four-album tenure at Minneapolis’ Twin Tone Records, the band gathered a rabid fan following whose passion grew in almost inverse proportion to its size.
