My Amazon Reviews: Traveling Wilburys "Volume One"

A Really Super Supergroup
5 Out Of 5 Stars

Roy Orbison. Bob Dylan. George Harrison. Tom Petty. Jeff Lynne. A cross generational, odd musical but stunningly workable combination, they dubbed themselves The Traveling Wilburys and cut this one off, one of a kind album. Each man brought their A-game and checked their egos. Ultimately, "Volume One" became a surprise hit, going Top Ten and generating a hit single via "Handle With Care."

Even as odd as the combination seemed, the members all had connections. Dylan toured with Petty and the Heartbreakers, Harrison had just wrapped up "Cloud Nine" with Lynne at the helm as producer, who had also produced Orbison and Petty. "Volume One" somehow managed to use the best of each member, making the album a light, fun affair. It's easy to feel the joy the band gets as they plow through "Tweeter and The Monkeyman," which is so Dylan, it could be mistaken for a Dylan parody. Or Orbison's ranging vocal on "Not Alone Anymore," using that mammoth voice of his to enchant the listener.

But the capper is "Handle With Care," where each member gets a turn at the mic for an utterly charming piece of rootsy rock. Same with the second single, "End Of The Line." Given the amount of talent in the room, it's amazing just how seamless this all is. Lynne's polished production job makes the blending also feel effortless. There weren't many supergroups that could flaunt the title without having a shoving match for the spotlight, but "Volume One" was that rare triumph.

Sadly, Orbison died shortly after the album came out, and the surprise success pretty much guaranteed a second try, but the chemistry was not there and the self-referencing (like "The Wilbury Twist") became obvious instead of effortless. You can get "Volume One" without worry, "Volume Three" is a fielder's choice.

     

My Amazon Reviews: Avett Brothers "The Carpenter"

Epic Avetts
4 Out Of 5 Stars

I was lucky enough to catch the Avett Brothers live at the 50th Newport Folk Festival, where they were previewing songs from the forthcoming "I and Love and You." I was immediately taken by their range and scope, as well as their impact as a band. I thought I&L&U was one of the best albums of the year, and it's taken them since 2009 to create this follow-up. "The Carpenter" takes those intense, acute moments of the last album and gives them a glossier sound without losing any of the emotional wallop. In fact, if the longing and sadness of "A Father's First Spring" doesn't tug your heartstrings, you're reading the wrong review.

The Avett Brothers are into making epic music. There's not as much bombast here as there is on, say, Mumford and Sons' "Babel," and "The Carpenter" might be better for it. "Live and Die" plucks Scott Avett's banjo while swinging on a sing-along chorus. They also make great use of their harmony singing, with an almost doo-wop go at "Pretty Girl From Michigan" (the latest in a series of "Pretty Girl..." songs) or the oddly rocking "Paul Newman Vs The Demons." (The most unsubtle song here, and proof that these men have no issues with their eccentricities.)

The meat of the album remains the brothers' folk-band style, the stuff that got them and Mumford and Sons behind Bob Dylan. Rick Rubin adds the polish but doesn't make things run outside the album's limits. You can get "Down With The Shine," take a roll on the 90 second "Geraldine" or wax philosophical on the title song, but you'll never miss out on some tasty licks and lyrics. I don't feel "The Carpenter" quite measures up to the previous album, however, you'll not walk away dissatisfied. If you're one of the trendy folkies that snapped up "Babel" the first week out, "The Carpenter" should be in your playlist, too.

     

My Amazon Reviews: Bob Dylan "The Essential Bob Dylan"

The Basics of Bob
4 Out Of 5 Stars

At two discs and 30 songs, The Essential Bob Dylan is about as basic a primer to America's Greatest Living Songwriter. Thing is, as O write this, it is 50 years ago this week that "Blowin' In The Wind" was first released, and that means your 30 songs doesn't even merit a song per year. Dylan-Philes would not be satisfied with that few songs, but then Dylan-Phobes might get a better notice of what all the fuss is about.

Despite the mythic mumble mouth of legend, Dylan has a killer knack for melodies, which is why some of his songs have made surprisingly odd cover versions. "If Not For You" was an early hit for Olivia Newton John, "Mr Tambourine Man" helped define The Byrds, and Rod Stewart did a heck of a version of "Forever Young." There's even the covers that outshine Dylan's own, like "Mr Tambourine Man" and Jimi Hendrix' definitive version of "All Along The Watchtower." After all the years, the songs of Bob Dylan can still hold relevance, as "The Times They Are a Changing" making an appearance in the movie "Watchmen" opening credits.

All of Dylan's periods are represented, including the Christian moment and his latter day resurgence ("Jokerman," "Everything is Broken"). What is amazing is just how consistent Dylan is. No covers albums, no attempts at lounging it, no albums of "revised" materials (live albums discounted). There are far two many songs omitted to make this perfect, but this Essential is perfect for a casual music fan.

   

My Amazon Reviews: Jimi Hendrix "Experience Hendrix: The Best Of Jimi Hendrix"

Quintessential
5 Out Of 5 Stars

I usually try not to give 5 star reviews to best of packages, but "Experience Hendrix" does everything right. Let us also face a dubious reality; Jimi Hendrix has been repackaged and reissued as much as, if not more than, The Doors, The Beatles or any other great artist to have ceased to be. How many versions of "Hey Joe" do you need, after all? However, with 20 songs from 5 albums, extensive liner notes, a lot of great pictures, "Experience Hendrix" beats any other single disc Hendrix anthology out there. It's also given a loving remaster, with the squeals of Hendrix guitars and the phase-crazy production in all its experimental glory.

All the songs you'd expect would be here ("Foxy Lady," "Purple Haze" and - even though I could go the rest of my life without hearing it again - the Woodstock version of "Star Spangled banner"), along with chocks of Hendrix incredible work. The delicate "Little Wing" always gets my juices going, "All Along The Watchtower" is one of those rare moments where an artist completely claims another writer's iconic work (Dylan) and the not as frequently heard songs from the uncompleted "First Rays of The New Rising Sun" show what Hendrix was imagining his future to be like. This is classic stuff, and issued in a classy set.

   

My Amazon Reviews: Josh Ritter "The Historical Conquests Of Josh Ritter"

Riding in Victorious 
4 Out Of 5 Stars

Josh Ritter pulls off a neat trick on "The Historical Conquests." His earliest work drew the usual Dylan/Springsteen comparisons of literate singer songwriters. On this album, his fourth, Ritter brings in the rock and keeps the comparisons coming, while drawing in more. At some points on the album, I kept thinking of English wits like Nick Lowe and Elvis Costello. It happened for me on "The Temptation of Adam," which contemplates being the man who has to decide the fate of the planet (or as he puts it, "w w i i i"). It's the peak moment of "Conquests," and moves Ritter to a high plain of songwriters.

The rest of the CD is pretty darn good, but never matches "Adam" in originality or cleverness. Ritter makes a good Dylan on the opener, "To The Dogs or Whoever," where the lines spit out in machine gun rapidity, or "Empty Heart," which could be a pop single. The sense of humor pops up again on "Next To The Last True Romantic." "The Historical Conquests of Josh Ritter" is another collection that moves Ritter foreword progressively as an artist.

   

My Amazon Reviews: Don McLean "American Pie"

I remember how the music used to make me smile  
4 Out Of 5 Stars

To this day, all you have to do is sing "And good old boys were drinking whiskey and rye," and someone will either smile or sing the next verse. Don McLean recorded a defining moment in American songwriting history when he delivered "American Pie" to radio in 1971, which remains his magnum opus. A sprawling metaphysical poem that covered the pop-music scene through the 60's but starting at the death of Buddy Holly, the near nine minutes of "American Pie" rivals the likes of "Let It Be" or "Subterranean Homesick Blues" for epic singles.

It also kind of dwarfs Mclean's same titled album. he described it as a collections of songs about the USA and people he'd known, and the music reflects that. While mostly folk-rock in the singer-songwriter vein, McLean also visited the realm of war protesters (the poetic "The Grave"), the flirtatious ("Everybody Loves Me, Baby") and the spiritual ("Babylon," a traditional hymn McLean re-arranged for this album). This is also the album that contains McLean's second best known hit, "Vincent." Also known as "Starry Starry Night," "Vincent" was a tribute to Van Gogh and misunderstood artists everywhere, and reached number 15 on the charts after "American Pie" ended its 17 week stay at number one.
 
McLean had a couple more hits after this ("Dreidel" and a cover of Roy Orbison's "Crying" probably the best known), but never again reached the immaculate creation that is this album. Still, what better way to be remembered than a song that will make an entire bar full of people break into song if the jukebox brings it up? It's also worth noting that this 2003 remaster sounds fantastic.