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Morgan - Organized
Source 7243 5 26303 18 Reviewed by JH
Here's a band with a decent record collection, and they've pillaged it liberally when it's come to constructing their own album, which makes for a bewildering variety if nothing else. But, if one thing ties all the songs together it seems to be the judicious application of Hammond organ. And no ordinary Hammond at that. This example if you'll allow a short antiques roadshow moment, apparently once belonged to, and survived Pete Townsend. Besides, Hammonds are a damn site heavier than guitars, and if it's good enough for Pete. So, apart from the famous organ what else can Morgan deliver? The album starts with a lovely old sounding track which has obviously grabbed the currently popular Beach Boys / West Coat influence, and follows this with a road trip through some James Brown style soul and out & out funk (!), along with Ska from the 80's, all driven in some miraculous way by baggy beats mixed with a Lo-Fi twist. Predictable this is not. Morgan are not afraid to mix their sounds either, with ambient effects, massed strings, samples and megaphone distortion all making an appearance in a triumphantly irreverent fusion of sound that celebrates its influences rather than simply milking them

Stephen Malkmus - Eponymous
WIGLP90 Reviewed by JH
This album has been eagerly awaited by yours truly. It is the first solo album from the Pavement front man and being a big Pavement fan I was hoping for the best. First thing to strike you, if you know Pavement's recent output, is the complexity. In the last few long-players Pavement seemed to be producing songs which were very simple, not lyrically but in the restricted melodies and instruments; stripped of pretensions. With this album however, Malkmus has returned to older Pavement, reiterating what an influence he has been on Damon Alban. For this outing Malkmus is supported by a straight out rock band; you know, drum kit type percussion, electric guitars. It has to be said that he uses very strange material on which to construct his songs. Yul Brinner, piracy, Stoke on Trent anybody? But the funny thing is, it seems to work, and it doesn't fall into the trap of over emphasising how very strange it really is. Will Malkmus ever enter the mainstream? On this showing, no way, and perhaps this is for the best for the rest of us, because I would hate for his talent and inventiveness to be blunted by the need to conform. More power to you Mr. Malkmus.

Idlewild - 100 Broken Windows
FOOD CD32 Reviewed by MC
100 Broken Windows stood as a landmark on its release last year. In the middle of a pop wasteland four intelligent young men from Scotland broke the top thirty time and again with powerful guitar driven punk anthems. Just two years ago Idlewild could barely play their instruments, resorting to destroying them in interesting ways to distract the audience, but nevertheless possessed a strange spark of excitement in their music. Now, on only their second album, they have exploded into something much, much more. This album is a fully mature piece of punk-fuelled rock. The band have not only learned how to use the guitars they once smashed, but have also learned about production and orchestration. As such the album sounds full and sculpted, without once losing the energy of their older material as the music moves seamlessly from white noise hurricanes to bare emotion. Like many truly wonderful discs, the single releases are in fact the lower points of the album, whereas 'Idea track' fuses the soft/loud dynamic with harmonies to die for, and 'Let me sleep next to the window' sees Idlewild become REM. However it is on the last track 'The Bronze Medal', sounding for all intents and purposes like it was recorded in my garage, stripped down and live, that the band sound strongest. Buy it, buy it now; they could be huge.

The Good Sons - Happiness
Pinnacle Records/Floating World FW009 Reviewed by RG
This is the fourth album from alternative country pioneers The Good Sons and after a break of two years, it finds them treading impressive new ground. Having done so much to re-establish the genre, paving the way for a British musical revolution, this time out the country influence is confined to the craft and tender skill that shapes the songs. Just as Rock'n'Roll grew from the roots of country, The Good Sons have crossed over, approaching that great tradition of British pop songwriting from its soft underbelly. The result is a series of (mainly) gentle rock ballads, laced with intelligence and honestly presented emotion. Given the quality of his writing it has always mystified me that Michael Weston King isn't more widely known. Once again he's produced a cycle of songs which are intricate yet apparently simple, powerful without appearing to try. Here we have Costello without the obvious mannerisms, Tilbrook without the relentless cleverness. The results pay homage to his roots while building on them; the band provide exactly the right weight of support, and whilst the recording is merely adequate the music is sublime. The beautiful construction of Tim Hardin '65; the simple, perfectly paced progression of 'Both Sides Of The Faith', both reveal the consummate capabilities of a master songsmith. And if they are highlights, then their selection is purely personal, such is the consistent excellence of this album as a whole.

Foo Foo and the Boy - H2C
Naim CDO57 Reviewed by RG
"I'm gonna tell you exactly how I'm feeling. Read my lips - I wanna get a fix of you. I'm as guilty as a fallen angel, delirious - danger in the thought of you:" So croon the twin female voices of Foo Foo, overlaying their supporting guitars, sparse drums and occasional bass. There's no mistaking the focus of these deceptively simple songs. It's all in the words: Words full of intelligence, and a wry, self-deprecating humour. The clear, uncluttered arrangements allow the vocals plenty of space, while adding their own splash of life and humour. Imagine if you will, a strange meeting of Latin and traditional rhythms, offbeat vocal harmonies with an almost girlish appeal, yet concealing a sharpened, unmistakably adult point. Kind of like The Raincoats meet The Mavericks, singing songs of love, and want, and loss. Unlikely as it may seem, Naim appear to be cornering the market in homegrown women with attitude. Following hard on the heels of Thea Gilmore comes this wonderful disc from Salisbury's finest. And whilst I haven't always been convinced by Naim's recordings, this one definitely works. Direct and immediate, what it lacks in finesse it more than makes up for in terms of spontaneous enthusiasm, adding mightily to the simple drive(s) of the music. Buy it now, and maybe we can have a second helping soon!

Tony Joe White - One Hot July
TUPELO / MERCURY 558 894-2 Reviewed by RP
Rootsy, gravel textured vocals, where you can feel a depth of emotion around the rough hewn edges of each crease, fold and wrinkle present in Louisiana-born Tony Joe White's assured delivery of a line, is just one of this CD's great strengths. Another, certainly, has to be the songwriting excellence heard through lyrics like, "Me and my shadow on the wall I Radio playing softly somewhere down the hall / And over in the next room / The hollow sound of a cigarette cough / Oh I'm sitting across from midnight / And morning's a long way off ('Across From Midnight'), which work on lonely and claustrophobic themes with striking images of anonymous hotels in seedy towns, where trash cans burn in alleys and winos sip away their lives. Here, his rich Southern cadences, drawn from those swamp rock days during the 60's and 70's, wash up against this evocative lyrical backdrop. Sharp guitar interplay between White and bass man, Eric Watkins, has a clearly reproduced and sweat-dripping intensity, which suits these songs from the swamps. Juicy tracks include an opening 'Crack The Window Baby', 'The Delta Singer', 'Ol' Black Crow' and 'Selena'.

Low - Things we lost in the fire
Tugboat TUGCD027 Reviewed by MC
This latest offering from the Minnesota miserablists offers no surprises: this is an album for those who like their music depressing. When the Verve decided to sing about how uncaring the world could be, they elected to build layers of strings and deep orchestration to cushion the blow. Low, however, take the opposite view, they have stripped their songs down to the bare minimum to make the message that much clearer. Sometimes the songs drop down to near silence, leaving you straining to catch a murmured word, before swelling back into the foreground, and every time its that much more satisfying. Unfortunately if you are hoping to come away humming the tunes you will almost certainly be disappointed. In fact, if you are hoping to be anything but bored by the album the first few times you hear it, you may well also be disappointed. This is an album for those people willing to work at it. But rest assured, it is worth working for. Low's songs are beautiful, and their beauty is never diluted by the need to purely entertain, to please the masses. For songs of such startling bleakness (and bleak really is the word here) the whole experience is surprisingly uplifting. Every sound on this album is there for a purpose, and every sound is fantastic. Things we lost ... is hard work, but will leave you feeling strangely refreshed.

Eddie Reader - Simple Soul
Rough Trade Rtradecd011 Reviewed by MC
Did someone mention folk? This latest offering from Eddie Reader sees her depart from her old major label and join Rough Trade Records. Rough Trade have been getting quite a bit of press recently and on any list of their current bands she seems to be the square peg in a round hole. Alongside new guitar sensations Terris and The Strokes a middle aged female folk singer doesn't quite fit. The album is a departure for Eddie, leaving the rich emotions behind and aiming for a more airy, laid back feel. It is stripped back in sound, loosing that major label gloss and richness and replacing it with acoustic guitars and drums. But Eddie's voice is smoother than ever and Boo Hewerdine is still in residence to hold the thing together. Eddie Reader remains a rare natural talent, and the album is delicate, light and gentle, Simple Soul will sound fantastic this summer with a cool drink and plenty of open space. Even the artwork acknowledges this, with soft focus shots of water, sun and fields. As with her previous albums a few songs feel like filler, but the rest sparkle wonderfully with some indiscernible quality. In truth it simply cannot match the overwhelming emotional weight of her previous albums Eddie Reader and Angels And Electricity, but then again, it doesn't try to.

Bob Harris Presents ... Calexico - Volume 1
Assembly Records ASEMCD001 Reviewed by RG
"Whispering Bob" might have been eased off of the airwaves, but he's not going quietly. This compilation represents his views on Real Music, and is presented as an antidote to the brain-dead mediocrity that dominates the radio and its playlists. There's no Shania, Britney, Ricki or Westlife (and it's no coincidence that my spell check has flagged each and every one of those names!). Instead, you get 15 tracks from a cross section of intelligent, adult performers, and it's difficult to argue with the selection - more than a few have already featured in our review section. Alongside the likes of Emmylou Harris and Judie Tzuke (yes, I raised an eyebrow until I listened to it) you get tracks from the (then unknown) Eva Cassidy and Sinead Lohan. Likewise, Steve Earle and the brilliant Vigilantes Of Love are joined by the unsung blues talent of Walter Trout. There's even space for audiophile favourites Eric Bibb and Alison Krauss. In fact, such is the spread of styles and quality on this musical tour de force that if you can't find at least three tracks that send you straight to the local record shop then it's probably too late: your musical taste buds have already been lobotomised!

Mike Plume Band - Song And Dance Man
Gigantic Records- MPB40002 Reviewed by AH
The Mike Plume Band are natives of Alberta, Canada who musically have a firm foothold in that most fertile of Rock/Blues/Country territory-Texas. Their sound is a fusion of giants like Steve Earle, Joe Ely, Guy Clark and Townes Van Zandt, and in frontman Plume they have a singer of Great expression who can belt it out one minute, as on the rasping opener 'Rattle The Cage', or come across all tender and emotional the next, as he does on the album's best track, the slow burning 'Silver Lining: At times I could swear it was Steve Earle at the microphone. Certainly 'Something To Say' wouldn't sound out of place alongside any of the tracks on the classic Exit 0 album. Don't be fooled into thinking this is Mike Plumb with a bunch of session musicians making up the numbers though. The rest of the band are first class, especially guitarist Dave Klym who really rips up a storm on the frantic country honk of 'Rich Man', and adds a lovely bluesy tinge to the laid back rocker 'Oblivion: The band create terrific energy in these grooves and what comes over quite clearly is just how much fun these guys are having. Song and Dance Man is infectious and it bloody well kicks arse - can't wait to see him live.

Sergio Mendes & Brazil '66 - Look Around
Speakers Corner A&M SP 4137 Reviewed by DD
Hmm. The thing is that's it's a Sunday morning and we had a bit of a dinner party last night. The wine was great, especially the Viognier and the Errazuriz Cabernet Sauvignon Reserve, but maybe the '78 Ardbeg malt wasn't such a good idea. So here I am nursing a mild hangover, slightly befuddled, wanting some music but in no mood for anything in the least bit challenging. Gentle, soothing, undemanding. What do I reach for? This has proved a bit of a problem in the past but Sergio Mendes seems to have delivered just the remedy with this album. Totally undemanding and a very pleasant experience throughout - as long as you don't listen to the English lyrics, and there's no need to - it's the overall 'cool bath' of sound I crave. There's enough drive to keep the album from being soporific and the gentle wash of Brazilian sound is better than any Radox bath. The recording is very good and 30 minutes with this has set me up beautifully for more challenging fare. Now where's that Pixies album?
Supplier: Vivante Tel:0208-977-6600

Dolly Varden - The Dumbest Magnets
Vital/Flying Sparks TDBCDO52 Reviewed by RG
One of the most widely praised albums of 2000 in its native USA, The Dumbest Magnets finally gets a UK release. Dolly Varden are based around the talents (and voices) of husband and wife team Steve Dawson and Diane Christiansen, producing songs of impeccable poise and great beauty. Built on a straight forward rhythm section and carefully layered guitars the recording is refreshingly under-produced, never cluttering the effective arrangements and melodies, never intruding on the deeply personal space of the perfect vocal harmonies. These are simple songs, yet with a deep intelligence, carried on the intimate relationship of the two voices. The harmonies aren't overdone but weave around each other, dropping in and out at will with an intuitive, almost telepathic sense of what's right. But don't get the idea that all is sweetness and light. There's spark and bite aplenty when required, applied with a deftness of touch that's reminiscent of the brothers Finn at their considerable best. Dolly Vanden are America's best kept secret in years, and it's criminal that we've been kept waiting to enjoy their music. Sadly, it's going to stay that way unless we vote with our wallets. But rest assured, this is one statement that you can make without fear of disappointment. If this is an investment in the musical future, then things are looking bright. This is a fantastic album.

Terry Collier - Alive
Mr BongoRecordings MRBCD 19 Reviewed by RP
Remember Fire On Ice that soulful 1978 album on which Terry Collier traded vocals with a soaring, multi-octave, Minnie Ripperton? Well, listen to those tracks again and you'll quickly realise they're so brimming over with kitsch that a side order of salad and chips should be on the menu. More than most, this is a record which shows its age. Today, a reprise of 'African violet' on his new, live outing recorded in London's Jazz Cafe, barley exhibits a passing resemblance. Whereas many musicians (in times of anonymity) reclusively turn towards obscure religious doctrines, Terry Collier just kept playing until he was rediscovered by the U.K. acid jazz movement of the early Nineties. There then began a long and productive association between Collier and the London scene - culminating in this recording made during the Cafe's Tenth anniversary celebrations. Alive, has the spontaneity, pace and scats you'd expect from a singer who simply thrives on adulation. His magnificently rich inflexions gee up the audience right from an opening, 'ordinary joe', through to some scorching harmonies which feature the delicious Veronica Cowper on a closing, 'I don't wanna see myself. Jim Mullen has, since the late Sixties, bent wire with the best of them. Dave Trigwell's rhythm and timing proves he's a master drummer. While keyboardist, Chris Kibble, and ivory man, Mark Edwards, both add a modern sparkle from their pop/light jazz backgrounds.

Tom Ovans - Still in the World
Evangeline CDGEL4019 Reviewed by AH
Tom Ovans released one of the year 2000's best albums with the sublime The Beat Trade, a record of stark, desperate beauty. Now he's gone and done it again with Still In This World, an album full of haunting road songs which further enhances his growing reputation as one of America's finest undercover songwriters. Ovans was born in Boston, Massachusetts but left in his early teens and has been a wandering troubadour ever since. His songs have a weary, gritty feel, as you would expect from someone who has spent a lifetime on the road. Living in cheap, seedy motels and walking the dusty and dangerous trails of America's back yard. Ovans has a unique vocal style. Imagine a slightly higher registered Tom Waits infused with a touch of Lou Reed and Bob Dylan and you're getting closer. He Favours the singing/ talking approach, using this style to great effect on tracks like 'Cool Daddy', a song that breaks the back of the American Dream and hammers home the hypocrisy that exists in the so-called land of the free. The sound is generally stripped back to Ovans acoustic guitar and Harmonica with minimal backing of bass and occasional backing vocals, although electric guitar and drums are added to a few songs, giving them a more urban, menacing feel. Tom Ovans is a lost American treasure. I get the impression that's the way he wants it to stay.

Dark Star - "twenty twenty sound"
Harvest 497 2012 Reviewed by MC
20:20 sound was mentioned in passing in Issue 9, however the album deserves a much closer look. Dark Star are the biggest sounding three piece you'll ever hear, playing what is essentially psychedelic progressive rock, relying on huge vistas of sound to take listeners on journeys through dark and seedy places. Layers upon layers of effects turn Bic's (guitarist, Christian Hayes, prefers to be known by the moniker of France's favourite ballpoint) incredibly simple guitar lines into an entire orchestra of noises, whilst David Francolini is possibly the best rock drummer in existence. 'About Sam' and 'Graceadelica' show this off to best effect. Thundering drums, impeccably recorded, are key to Dark Stars sound and give an incredibly hard edge to the album. Francolini remains the only drummer I have ever seen drum with maracas in order to get even more sounds out of four limbs. Although the album relies so heavily on effects it is actually deceptively simple in form. Veteran producer Steve Lilliwhite caught the sound of the band playing almost live, and there is no doubt that this comes across. In the three minute blast of] am the sun' the band positively bristle with energy. 20:20 sound is unlikely to ever be re-released, and the longer the band remain silent the slimmer the chances of this become, but it's well worth a listen for a glimpse of something innovative and refreshingly different.

Aynsley Lister - Everthing I need
Ruf Records - RUF1055 Reviewed by AH
Aynsley Lister is a 23 year old from Leicester who is going to give Jonny Lang and Kenny Wayne Shepherd a serious run for their money in the blues/rock Stakes. Anyone who has witnessed this remarkable young man live will testify that he's a special kind of talent, a true master of the blues/rock guitar, whose reputation will be further enhanced by this fine album. 'What I need', the opening self-titled track, kicks in hard with a huge, chunky tiff. It's catchy, insurgent and exciting and it's definitely rock n' roll! ' Angel 0' Mine' follows hard on it's heels, all bluesy and sexy with fine vocals from Lister. 'Soundman' starts off as a Texas shuffle and then cuts back, Lister throwing in some lovely guitar licks over a really gritty vocal. 'As the Crow Flies' finds him in acoustic mode, the song reminiscent of 'Seagull' from the first Bad Company album. However, the real Tour-de Force is the 7 minute slow blues epic 'Need Her So Bad', a song to rival Stevie Ray's 'Tin Pan Alley' for sheer, dripping emotion. Lister's playing and singing throughout this album belies his 23 years, and the production by ex-Hoax guitarist Jesse Davey is truly sparkling. If you're fed up with the manufactured tripe this country has been churning out of late, then go and purchase this -It'll restore your faith in the British Music scene.

Counting Crows - Recovering The Satellites
Mobile Fidelity UDCD 750 Reviewed by MM
Before the summer of 1994 the Counting Crows were virtually unknown to the record buying public. The band had completed their first album August ft Everything After early in 1993, but it was the consistent play of the video for their hit single "Mr. Jones" on MTV that turned them into an overnight success (along with a great deal of radio play of course). Soon the band's lead singer Adam Durvitz found it increasingly difficult to lead his private life (his face dominated the video and was all over the press). The attention caught Durvitz and the band by surprise, leaving them in a pensive state of mind. Recovering The Satellites, their second album release in 1996 captivated their distaste for fame and the subject matter was not a surprising one. August and Everything After was, after all, a dark record full of despondent lyrics and eerie vocals. 'Mr. Jones' happened to be the only upbeat song on the record, which explains the band's discontent with their overwhelming instant stardom. Throughout Satellites the band contemplates their sudden loss of privacy. The record is full of sombre phrases such as 'leave my sister alone', 'fm not sleeping anymore' and 'Have You Seen Me Lately?' 'Miller's Angels' is a morose ballad, with dreary piano rifts and torn vocals. Durvitz delivers a powerfully expressive performance on 'Good Night Elizabeth' a song that seems to serve as closure for a failed relationship. Though definitely not an up-lifting album, it's certainly a well-crafted collection of folk-rock, soulful lyrics and good tunes. Well, the folks at Mobile fidelity attempted to extract more painful details from this record than the original Geffen release. They certainly achieved their goal (if that goal means bringing out the nuances in the music that were previously undetected). After numerous A/B tests with the re-issue and the original, one factor was abundantly clear. There is an airiness to the Mofi CD that is wholly unmatched by it's predecessor. One can actually distinguish space between instruments, and the warmth of Durvitz's lyrics fill the soundstage without losing specificity. The strumming of guitar strings is vibrant and full of texture. Percussion is tight and focused, without overwhelming the piano and other instruments. The conclusion being; if you are a fan of the Crows there is no reason not to drop the extra money on the 24-Karat pressing by Mobile Fidelity if you can find one. Much to this reviewers dismay the label has folded. This piece may seem an exercise in futility, but you can still find these Mofi albums in catalogues like Acoustic Sounds or Vivante, and others like them. Be resourceful if you're a true fan. This re-issue may be the closest you'll ever get to being in the studio with the band.

Dave Ralph - Love Parade: Berlin
Kinetic Records 2-54664 Reviewed by MM
Berlin's Love Parade could very well be the biggest gathering of electronic music fans in the world. For an entire day the streets of the German city are transformed into one tremendous dance party. DJs and ravers from all over the globe come to get loose and have a bangin' time. The geographical significance of the event may seem null and void to some, but I feel it stems far beyond just another European street party. Germany has, and still does to a certain degree, instil hate and fear in some people. For the new generation to be able to come together and celebrate through dance in a place where Hitless beliefs were once embraced is indicative of what we can do when we stuff our inhibitions and fear in the closet, and stand together side by side in peace. Dave Ralph has been quoted saying 'This is the biggest party in the world. It's the biggest gathering of people through music that I can think of. It's the single most significant party on the planet" Strong words. When I read about Ralph's passion for this event I knew his album Love Parade: Berlin was going to be a labour of love. According to the press the tracks for the record were compiled months before the grand party and the set was tested on various crowds prior to the actual event. Dave Ralph spun the chosen selection at the closing of the 2000 Love Parade. Once again an artist has attempted to bring fans to an area of the globe they may never see through music. Trying to capture the pure magnitude of this gathering must have been quite an under-taking, and the result is wonderful. The CD is packed with great tracks, including cuts from Moby, Nuclear Ramjet, and Green Velvet ('Flash', a classic from Velvet, was remixed by musical wizard Timo Maas). Ralph is seamless on the decks and the sequencing creates a spectacular flow of energy. Sonically speaking: The upper frequencies are clean. Midrange could be a bit richer and more coherent. This is, however, forgivable as the bottom rocked my living / listening room with tight, poignantly delivered bass lines. The sound on the compact disc is not fantastic but the music certainly is. It left me craving a version on vinyl. The album includes an enhanced video, which is a cool added bonus. An essential disc for any dance fan's collection.

John Digweed Global Underground - Los Angeles 019
Boxed GU 019CD Reviewed by MM
John Digweed's two previous Global Underground endeavours, Hong Kong and Sydney, were true testaments to his turntable craftsmanship and his innate ability to capture the energy of a packed dance floor. The vibe for his Los Angeles release was set on a damp night in October at the Mayan Theater. Though the event occurred on a weekday, the Digger managed to sell out the venue weeks before. After experiencing the album a few times over it's clear why those people decided to troop it out on a school night. According to the press Digweed spun for a good six hours, with the owner of the club allowing him an extra 90 minutes for his finale. Global Underground Los Angeles 019 is a looking glass into the darker and less conventional side of this world class DJ. Incremental bass lines blend seamlessly with tweaked out chord progressions and eerie melodies. The first disc sets the pace with an ascending set of driving beats and a serious attitude. Digweed's meticulousness behind the decks is shockingly clear here: The beat matching is aggressive and precise: His record selection is packed with great under-ground producers and artists. With tracks like Photek's atmospheric 'Mine To Give' and Medway's 'My Release' the listener is in for a true journey through the dark heart of electronic music. He also manages to throw in the ethereal The Fall' from the Way Out West camp, which breaks the intensity with dreamy riffs and emotive vocals. The production on the record does a fine job of articulating the energy behind the music. The grooves are transparent and detailed. Percussive elements are poignant and clear. There is a solid balance between the midrange and the bass, which is uncommon for recordings in this genre. Looking for a LA dance experience and short on cash? Pick up this record and heat up that solid state. You're in for a good time.

Sigur Ros - Agaetis Byrjun
Fat Cat Records 946.0001.20 Reviewed by MM
Stunning pop performances are not on Iceland's top export list (excluding Bjork). Low and behold, Agaetis Byrjun landed on American shores full of musical treasures. This record is a vast collection of emotional power ballads with arching melodies, ethereal vocals, and airy instrumentation. Led by the gentle moans (I don't pretend to understand the language) of guitarist and lead singer Jon Thor Birgisson this foursome cranks out more sounds then most bands twice their size. The sombre energy that lingers thoughout all ten tracks makes for very engaging late night listening, but not recommended for the cured-by-Prozac depressives out there looking for some music to relate to. The album can get downright sad it times, but beautiful nonetheless, and worth the occasional teary eye. Unfortunately the artwork and insert are more aesthetically pleasing than they are informative, and the sparse information that does exist is in Icelandic. The intricate guitar distortion and eerie bass lines create a looming audible landscape that is both exquisite and multi-dimensional. It seems the engineer threw the vocals and bass way up front and over the top of the drums (more so than usual) which creates an interesting oval effect in the soundstage. As twisted as this may seem it works very well. There is continuity to all the songs on Agaetis Byrjun. Most are sombre ballads with dreamy vocals and eclectic arrangements. Audio buffs should dig this record. The guitar, while distorted, is enveloping and detailed: Bass lines are clear and low, without rumbling over the rest of the instruments. The drum kit can get a little lost in the mix at times, but it's coherent and wonderfully tight. Notice to all Spiritualized fans: Go out and buy this record, you won't be disappointed.

Joe Pass - Virtuoso
Pablo/ XRCD VICJ 60256 Reviewed by DD
This album recorded in '73 was Joe Pass' debut for Pablo, a label he subsequently went on to record some of his finest work for, including three more 'Virtuoso' titles. This is generally regarded to be his best solo album. Running through a series of standards including 'Stella by Starlight' and "Round Midnight' Pass displays his consummate musicianship throughout. And whilst he might be accused of being a little too slick and unadventurous his ability to hold the essential melody and feeling of the tune, his precision and sheer skill are on display from start to finish. The recording, one of Pablo's best efforts on the original LP is superbly lively and 'in the room' on this XRCD. There's real precision and attack in his playing, every note, every string and the body of the guitar are clearly rendered, and yet there's an entirely natural, mellow feel overall. For once there's not a seven-foot wide guitar between the speakers, just a realistically proportioned and very tangible image. This one is a real winner both sonically and musically.
Supplier: Vivante Tel:0208-977-6600

The Dizzy Gillespie Quintet - An Electrifying Evening With ...
Speakers Corner/Verve V/V6 8401 Reviewed by DD
Recorded in '61 live in concert at The Museum of Modern Art, New York, this four track set lives up to its title from the very first notes. Fronting a quintet including Leo Wright, Chuck Lampkin, Bob Cunningham (none of these are 'top of mind' names to me) and surprisingly Lalo Shifrin on piano, it's a straight-ahead and storming set from the off. The band charges through 'Kush' 'Salt Peanuts' 'Night in Tunisia' (of course), and Ellington's 'The Mooche', and if I had to use a single word to describe the album it'd be dynamic. The energy levels here are extraordinary and the recording does the music full justice. A touch bright maybe, but who cares, it suits the music. There's tangible presence and real power with a truly deep and wide soundstage. The guts and drive here got my foot tapping from the first bars and the album energises like a litre of red bull. If you can sit still whilst this is playing you're probably clinically dead. At less than 36 minutes, it may seem like poor value but don't you believe it. This is a storming and truly 'live' set.
Supplier: Vivante - www.vivante.co.uk

Tatum, Webster, Callender, Douglass - Tatum Group Masterpieces
Pablo/ XRCD JVCXR - 0034-2 Reviewed by DD
Some recordings have the capacity, whatever your mood when you cue it up, to bring an instant smile to your face. This long-time favourite of mine is just such an album. It's a true masterpiece and the best of an almost uniformly excellent selection of Tatum Group Masterpieces. Although at first glance the combination of the nimble fingered Tatum with the breathy, laid-back tones of Webster might sound like an unlikely pairing, it turns out to be a marriage made in heaven. Each musician perfectly complements the other, with Webster's tenor floating above the fast moving river of Tatum's keyboard. The album takes in ten standards, including 'Night and Day' and two takes of 'Gone With the Wind', but frankly the playing is so superb throughout that these guys could cover 'I'm a Pink Toothbrush' and make it sound magnificent. The (mono) sound is very good, capturing fine nuances of technique without losing the essential analogue warmth and body. A major improvement on the already acceptable sounding standard CD issue. An essential purchase.
Supplier: Vivante Tel:0208-977-6600

Ted Sirota's Rebel Souls - vs. the forces of evil
naim cd051 Reviewed by DD
Since their last release, Propaganda, Geoff Bradfield has joined the band, filling out the sound with tenor and alto sax, and bass clarinet. One thing that hasn't changed is the propulsive drumming of Sirota powering, the sextet through this eight number release. I love the way he works his kit, managing to take in a wide range of percussive effects without indulging in unnecessary soloing, each beat contributing totally to the overall sound. Bradfield, who also contributes three compositions, is a welcome addition, his bass clarinet in particular adding a warmth that was sometimes missing in the earlier band. The whole set is strong, but I particularly like one of the more gentle tunes 'You Know Me' and the reggae influenced Tubby' ('King' not 'Hayes' I'm sure). The sound quality, recorded direct to two track by Ken Christianson is good and captures Sirota's drums well. However, the overall sound does feel very slightly anaemic to me - the bass slightly soft, with some loss of body overall - when compared to better naim recordings, or for example, to Mapleshade recordings. These are fine points though, and the CD, like Sirota's earlier releases, is a hugely enjoyable set.
Supplier: Naim - www.naim-audio.com

Sonny Rollins - The Contemporary Leaders
Contemporary XRCD VICJ-60244 Reviewed by DD
Originally released in 'S8, a year after he split with Max Roach to forge his own path, this album is entirely characteristic of the man. Covering a wide selection of tunes from Jerome Kern's 'Every Little Star', to 'How High the Moon', even a daft tune that few others would consider (shades of 'fm an Old Cowhand' here) 'Rock-a-bye Your Baby with a Dixie Melody'. As ever Rollins gets away with it, stamping his authority and turning in a highly enjoyable performance whilst sharing the joke. He's ably backed throughout by Hampton Hawes, Barney Kessell, Shelly Manne and Leroy Vinnegar, with Kessell shining with some particularly deft playing in 'How High the Moon: On many tracks Rollins feels a little laid-back, not as fiery as he can be although he does break free occasionally. Victor Feldman joins the band to add some great vibe work on 'You: Whilst I wouldn't place this in the top rank of Rollins work (it's not up there with Saxophone Colossus, The Bridge or Way Out West for example) it's still a fine album by any standards. The XRCD re-mastering is also fine, delivering plenty of detail, crisp, extended highs without undue brightness, good detail throughout and no obvious loss of analogue warmth.
Supplier: Vivante - www.vivante.co.uk

Bill Bruford's Earthworks- The Sound of Surprise
DGM 0101 Reviewed by DD
This CD follows a couple of years of constant playing and touring by the band, and is Earthworks' first fully acoustic album. The album's title comes from the New York music critic Whitney Balliett's classic book and was originally coined to describe the essence of jazz. The move to acoustic hasn't substantially altered the character of the band -why should it - but does result in a more organic feel, with the tunes more naturally flowing into each other. The standard of playing throughout is excellent, fm a sucker for acoustic bass and particularly enjoyed Mark Hodgson's contributions, but Bruford drives the band forward with his customary energy. It's actually pointless to single out any player since Patrick Glaher (tenor and soprano sax), and Steve Hamilton (piano) are equally fine, and what makes the whole thing work so well is the seamless integration of them all. The recording quality is good; dynamic and detailed underpinned with a rich, rounded bottom end. The CD also contains video footage of the band in concert and incidentally the album also has a fine sleeve by Dave McKean at Hourglass, who also designed the outstanding packaging for lain Ballamy's last two releases.
Supplier: Celebration/ DGM

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