The very thing that made Luther Allison noteworthy became an albatross around his neck. Years after his initial run of records in the '70s, he was known for the same thing he was at the time – he was the only blues artist on Gordy, or any Motown affiliated label. This was true and novel, but many focused on the novelty, not the truth, ignoring Allison's status as a terrific torchbearer of raw Chicago blues. Some of material illustrates some contemporary influence – dig that funky groove and organ on "Raggedy and Dirty," or the rock-oriented slow burn of Mel London's "Cut You A-Loose" – but as his original title track illustrates, he can also deliver a torturous, impassioned slow grind. Still, this isn't an album about originality, it's a record how tradition can remain alive in a contemporary setting. Apart from the slightly cleaner production and the extended running time, this could have been released 15 years earlier, since its heart is in classic Chicago blues, particularly Chess. He draws on Willie Dixon via Howlin' Wolf for the first two tracks, dipping into Elmore James and B.B. King's catalogs later on in the record.
The third album by Milwaukee jazz/pop chanteuse Roxi Copland delivers an unlikely mélange of vulnerability, self-refection, street savvy, humor and sultriness that works better than the combination might at first indicate. Her sultriness tends to inform most every other effect she’s going for, considering the breathy alto fronting her own piano work and the small combo behind her.
Abattoir Blues / The Lyre of Orpheus is the thirteenth studio album by the Australian alternative rock band Nick Cave and the Bad Seeds, released on 20 September 2004 on Mute Records. It is a double album with a total of seventeen songs—nine on Abattoir Blues and eight on The Lyre of Orpheus.
Albert King recorded a lot in the early '60s, including some classic sides, but they never quite hit the mark. They never gained a large audience, nor did they really capture the ferocity of his single-string leads. Then he signed with Stax in 1966 and recorded a number of sessions with the house band, Booker T. & the MG's, and everything just clicked. The MG's gave King supple Southern support, providing an excellent contrast to his tightly wound lead guitar, allowing to him to unleash a torrent of blistering guitar runs that were profoundly influential, not just in blues, but in rock & roll (witness Eric Clapton's unabashed copping of King throughout Cream's Disraeli Gears)…
Bad Vibes, Lloyd Cole's sixth new studio album, marks a big change in terms of sound. Producer Adam Peters and mixer Bob Clearmountain have tried to re-create the experimental days of the mid-'60s, employing a wide variety of studio gimmicks. But if Bad Vibes is Lloyd Cole's most produced record, it also is his earthiest. The singer's voice is recorded (sometimes with echo or double-tracking) especially high in the mix, and his singing is as stylized as it was on his first two albums, though in a different way. Here, he affects a sardonic, disengaged tone. All of this makes Bad Vibes Cole's most varied and most ambitious album, but far from his best. The odd sound stage and attitude are anything but accessible, and Cole himself has rarely been as vitriolic.