The Beatles - On Air - Live at the BBC Volume 2
On Air - Live at the BBC Volume 2' features a total of 37 new music tracks and 24 new speech tracks. Between March 1962 and June 1965, no less than 275 unique musical performances by The Beatles were broadcast by the BBC in the UK. The group played 88 different songs on national radio - some were recorded many times; others were played just once. Ten of the songs on this album were never recorded by the group for EMI in the sixties. Two of those are released for the first time ever: The Beatles' version of the old standard "Beautiful Dreamer" and the group's direct-to-air performance of Chuck Berry's "I'm Talking About You". 'On Air' also features BBC recordings of 30 well-loved songs from The Beatles' catalogue, including five n umber ones. The Beatles lively radio banter is heard throughout the album and there are also four candid interviews dating from November 1965 and May 1966. Only three songs have previously been released in any form: "Boys" and "I'll Follow The Sun" on the short-lived Baby It's You EP released in 1995 and "Lend Me Your Comb" on The Beatles Anthology 1 first issued later that same year.
Two-time Grammy Award-winning pianist Alan Broadbent, called “one of the greatest living jazz pianists” by the LA Times and “one of the most original improvisers in the world of jazz” by Charlie Haden, comes to the Rubin Museum for the first time, and on the heels of a rare five-star rating from DownBeat Magazine for his latest album, “Heart to Heart.”
Broadbent was born in Auckland, New Zealand and in 1966, at the age of 19, received a Downbeat Magazine scholarship to attend Berklee College of Music in Boston. In 1969 he was asked to join Woody Herman's band as his pianist and arranger for 3 years. In 1972 he settled in Los Angeles, beginning a musical relationship with the legendary singer Irene Kral (no relation to Diana Krall). Soon he was also invited into the studio scene as a pianist for the great Nelson Riddle, David Rose and Johnny Mandel. In the early 90s he was asked to be a part of Natalie Cole's famous "Unforgettable" cd, at which time he toured as her pianist and, a little while later, as her conductor. At this time he wrote an orchestral arrangement for her second video with her dad, "When I Fall In Love", which won him his first Grammy for "best orchestral arrangement accompanying a vocal".
Heart to Heart was recorded in Portland and produced by KMHD jazz on-air personality (& friend of the store!) George Fendel.
Self-produced, The Coincidentalist is a mostly low-key affair with a stellar mix by John Parish. As has been his M.O. for most of the last three decades, Gelb enlists a fine cast of co-conspirators: longtime bassist Thoger Tetens Lund, former Sonic Youth drummer Steve Shelley, M. Ward on lead guitar, and the Silver Thread Trio (Gabrielle Pietrangelo, Laura Kepner-Adney, and Caroline Isaacs) on chorus vocals. Gelb plays acoustic and electric pianos, guitar, and chimes. The guest list is impressive, too. Bonnie "Prince" Billy duets with Gelb on set-opener "Vortexas." His warbling, soft croon juxtaposes perfectly with Gelb's laid-back, deep baritone, underscored Rhodes piano, slithering guitars, a cooing, Leonard Cohen-esque backing chorus, and Shelley's rolling lounge bar shuffle. A winding pedal steel (courtesy of the Mekons' Jon Rauhouse) floats in between Gelb's piano lines in a melodic yet arid, first-person morality tale. KT Tunstall trades verses with Gelb and their voices are perfectly suited to one another -- especially coming together in the refrain. The title track walks a series of lines between country, age-old AM radio pop, mutant flamenco, and mariachi, with Andrew Bird contributing a fine violin solo. There is real tenderness, as well as confusion, humor, and wry observation on The Coincidentalist; Gelb's clearly inspired by the past as well as the present and puts it all out there in an intriguing, quizzical, even iconoclastic way ~ Thom Jurek, Rovi
Catch Gelb in Portland at Mississippi Studios Nov. 25!
Danny Brown is a Detroit MC who embraced his unique hood/hipster personality, took full advantage of social media, and -- fueled by his experiences with drug dealing and drug taking, as well as a wicked sense of humor -- delivered some of the most vivid and side-splitting rhymes of his era. Brown eventually linked with the Fool’s Gold label, where he issued XXX, his highest-profile mixtape up to that point. At the end of 2012, Brown announced that the follow-up to XXX had been recorded.
Danny jumps from "artist to watch" to undeniable icon with his magnum opus, Old. This emotionally-charged concept album is an intoxicating mix of Danny at his most experimental AND most accessible, balancing hip-hop grit with electronic club sonics and much, much more. Featuring guest appearances from A$AP Rocky, Schoolboy Q, Freddie Gibbs, Purity Ring, Charli XCX, and more overproduction from the likes of A-Trak and Rustie, Old is a psychedelic portrait of rap's most vital and exciting new star. Pitchfork named it Best New Music and Stereogum reviewed it under their Album of the Week.
A popular artist on the Syrian folk-pop circuit, Omar Souleyman is a wedding singer specializing in a high-octane version of dabke, a traditional style of music performed during line dances at weddings and other celebrations. Cutting a striking figure with his oversized sunglasses and mustache, Souleyman, a soulful but fairly conventional vocalist, is better known for his outlandish live performances -- bizarre, carnivalesque affairs featuring breakneck techno-style synths and beats, with collaborator and multi-instrumentalist Mahmoud Harbi whispering lyrics into Souleyman’s ear.
After an estimated 500 bootleg wedding recordings, three compilations, and a live album issued by Sublime Frequencies, Omar Souleyman's modern dabke is finally captured in a recording studio with Four Tet's Kieran Hebden producing. Of course, accompanying him is his not-so-secret weapon, keyboard wizard Rizan Sa'id. Wenu Wenu contains seven selections, clocking in at a little under 40 minutes. There are re-recordings of favorites, traditional songs, and a couple of new tunes. Souleyman's fluid, innovative dabke style walks its own loopy tightrope between baladi and shaabi styles and pushes the boundaries to create some new ones. ~ Thom Jurek, Rovi
Between the Roots and Elvis Costello, they have a grand total of four Billboard Top 40 hits -- two apiece -- which suggests that their instincts run against the grain. This sensibility thrives on Wise Up Ghost, which quickly dismisses its two potential crossover singles -- the ominous "Walk Us Uptown," which is the greatest indication of the album's vibe, then the slyly funky slow groove "Sugar Won't Work" -- before getting down to the hard work of recontextualizing forgotten music from Costello's Warner years while offering barbed social commentary in the vein of What's Going On or There's a Riot Goin' On. Here, the project's origin as a wildly imaginative reinterpretation of Costello's back catalog is evident, but it also speaks to how Elvis rose to the challenge of working with a live hip-hop band. Lacking the context of heavy samples, he nevertheless embraced hip-hop's postmodernism by jamming together the lyrics of "Hurry Down Doomsday (The Bugs Are Taking Over)" and "Pills and Soap" for "Stick Out Your Tongue," while "Refuse to Be Saved" evokes the ghost of the Dirty Dozen Brass Band's appearance on "Chewing Gum" and "Tripwire" suggests "Satellite." These two songs were on Spike -- which would've been the Costello album on the charts while ?uestlove was in high school, also not entirely a coincidence -- and much of the sensibility of Wise Up Ghost derives from those sometimes underappreciated early Warner albums Spike and Mighty Like a Rose, two albums overly dense in sonic and lyrical detail. So too is Wise Up Ghost, a record that flaunts its cerebellum as it progresses, but the Roots' emphasis on smart, textured grooves grounds the album even if it hardly widens the album's potential audience. This is an exquisitely detailed, imaginative record that pays back dividends according to how much knowledge, either of Costello or the Roots or their idols, a listener brings to the album. It's not exactly alienating but Wise Up Ghost does require work from its audience, and the more you know -- and the more you listen -- the better it seems. ~ Stephen Thomas Erlewine, Rovi