by Brigitte Fontaine (1969)

The strange and beautiful album Comme à la Radio by Brigitte Fontaine is like a marvelous magical mash up of some of my favorite things:

Take the sultry french vocals of Francois Hardy, add the discord of Morricone‘s jazzier scores, throw in the baritone tones of Nico at her most avant-garde and toss in the bizarre moodiness of Amon Duul II and you’ve got one album I simply cant resist getting excited about.

That such an interesting talent is not more well known is both a surprise and a fact that makes me happy with the world. If someone as cool and amazing as Fontaine was unknown to me, just imagine how many more gems are out there for my discovering.

This is another find I have my Pandora app to thank for. Le Goudron, one of the albums most universally listenable and fantastic tracks came on during a Quick Mix and I was beside myself.
Fontaine herself is fascinating. Not only was she a major figure in the French underground art scene of the 70’s, she’s relevant and active today incorporating electronic sounds into her music and collaborating with such artists as Sonic Youth, Jarvis Cocker and Grace Jones.

I might just be in love.

See more: Albums,Style Icons: Female 1960s Experimental French Musicians

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Posted on August 19, 2011

by Ella Fitzgerald and Louis Armstrong (1956)

I usually like my albums, particularly jazz ones, a little messy. I always think artists, like Ray Charles for instance, suffer from over production and accompaniment, but the 1956 album Ella and Louis benefits from the clean sound.

The duos’ unique voices, which are in stark complimentary contrast to each other, are the centerpiece with limited but beautiful musical arrangement. Even Satchmo’s signature trumpet only makes brief appearances.

In what is arguably the pinnacle of vocal duet albums, Ella and Louis perform with love and joy some of the era’s greatest songs by, among others, Berlin and Gershwin. Isn’t It a Lovely Day?, They Can’t Take That Away From Me, and Cheek to Cheek are some of my favorites that have been filling my apartment with musical sunshine as I prance around with Mr. Van.

This is genuine and heart swelling feel good music that sounds as wonderful as the album cover photograph would suggest.

An easily accessible album to those weary of vocal jazz. Even Jim, not so much a fan of the genre has been requesting it get replayed.

See more: Albums 1950s Jazz

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Posted on June 14, 2011

Various Artist (1962-1972)

If you were to play Cartagena! Curro Fuentes and the Big Band Cumbia and Descarga Sound of Colombia album outside your window on a rainy, dark afternoon, the sun would come out and people in the streets would be compelled to start dancing.

Definitely on the short list of the greatest things I have recommended this year, this compilation is joyous, unusual, and all around awesome.

I have been a huge cumbia fan since I was in Jr High, when I used to listen to an album called Cumbia Cumbia Dos. It was never easy finding an equally interesting compilation of the Colombian genre – that was influenced by Africa and Spain.

Soundway Records, described as “a UK-based label, dedicated to re-releasing lost and forgotten recordings from the world’s most vibrant musical cultures” has found some absolute gems. I found them on emusic, which is a great site for discovering the obscure, particularly (non-lame) world music.

Every track is excellent, you could easily put this one on a loop for any margarita filled party and not worry about things slowing down.

Soundway has a slew of other releases I look forward to hearing including Afro-Psychedelia and the sounds of Siam. If small indie labels finding old, out of print amazing music is a new trend (see the fantastic Numero Group and their soul catalog), then I am one happy lady.

Below are images of the original albums of some of the artists included.

See more: Albums 1960s 1970s South America

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Posted on May 26, 2011

by Judas Priest (1979)

“Down on your knees and repent if you please!” – Judas Priest‘s Unleashed in the East begins with the highest point of the live set with an exciting “Exciter“. Not that the rest is “down hill” but it’s almost impossible to top the opening number, though Sinner and The Ripper (possibly my favorite Priest song depending on the day) come pretty close. In fact, the whole set, recorded during their 1979 live show in Tokyo is incredibly rocking and sounds great… perhaps too great?

Nicknamed “Unleashed in the Studio” by sceptics, many claim this can only be called “live” in the loosest terms. Holford, after years of denial even admitted that some vocals were re-recorded in a concert like setting. But really, who cares. It’s fun to listen to, it’s exhilarating and showcases the band at the height of their popularity in front of an adoring audience.

See more: Albums 1970s Concerts Heavy Metal

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Posted on April 2, 2011

by Grinderman (2007)

Grinderman’s self titled debut swaggers. It sways and struts around the stage in tight pants while extravagantly yanking the mic around thrusting its hips. It is pretty much the embodiment of most of the rock and roll fantasies of most of the men I know.

It’s racous, simple rock and roll and the world absolutely loved it when it was released. I enjoy it too, though if I had to pick, I am more partial to the weirder, genre bending stuff from Nick Cave and the Bad Seeds.

It’s interesting seeing this other side to these musicians though. Grinderman is made up of Cave plus various “Bad Seeds” and it sounds like they’re having fun; leaving behind some of the signature gloom while still retaining enough to set this apart from other rock albums out there.

Now that I’ve finally got caught up with this release, I need to look into Grinderman 2, released last year.

See more: Albums 2000s Rock

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Posted on February 17, 2011