The Nashville Sessions

The Nashville Sessions (770867)
Those who don't pay attention to the jam band underground may be excused for wondering why such luminaries as Del and Ronnie McCoury, Taj Mahal, B? la Fleck, Sam Bush, Jo-El Sonnier, Jerry Douglas, Lucinda Williams, and Waylon Jennings appear on an album by Leftover Salmon, but those in the know will be aware of the Colorado act's burgeoning reputation. Throughout the '90s, the group quietly built up a following with a series of solid records and constant touring. By the end of the decade, they had become a popular cult band and were on a major label, which gave them the opportunity to record the star-studded Nashville Sessions. Every song on the album features a duet of some sort, and producer Randy Scruggs was able to secure the big names, which certainly gives the album character. Still, the set wouldn't be much more than glorified stunt casting if it didn't give Leftover Salmon an opportunity to flex their muscles, to illustrate how far they've come over the years. Not only are they working with strong material (something that hasn't always happened on their previous albums), but Scruggs keeps things clean and simple, putting the spotlight on the music itself. Throughout it all, Leftover Salmon successfully keep pace with their heavyweight guests and, in the process, they turn in the most charming album of their career to date. ~ Stephen Thomas Erlewine, Rovi

James Dean: The First American Teenager

James Dean: The First American Teenager (71785287)
In this documentary, narrated by Stacy Keach, the tragic screen-icon James Dean is remembered. Footage from early television appearances, stills from his life, and clips from his three Warner Brothers films are interwoven with interviews with his co-workers. The soundtrack includes music from Elton John, David Bowie, and the Eagles. ~ Clarke Fountain, Rovi

Girls Gone Wild: Hottest Texas Coeds [Blu-ray]

Girls Gone Wild: Hottest Texas [Blu-ray] (69304459)
This installment in the Girls Gone Wild franchise features several female attendees of various Texas area universities and technical colleges, performing nude and semi-nude antics at a number of parties and bar events. ~ Cammila Albertson, Rovi

It's Bad for You But Buy It

It's Bad for You But Buy It (2834303)
The Ace of Cups never released a record, but this 73-minute CD was compiled from late-'60s "rehearsals, demos, TV soundstages, and in-concert tapes," according to the liner notes. (Unfortunately no dates are given for any of the tracks, except the 1966 Denise & Company single "Boy, What'll You Do Then," a garage rock rarity with future Ace of Cups member Denise Kaufman on lead vocals.) It might not be fair to judge a band on recordings that were not originally intended for wide circulation, and did not benefit from truly professional studio production (though the fidelity's fine). However, simply to judge the music that's here, it's frankly pretty erratic, and not a convincing argument that they might have developed into a first-rate band had they gotten a real record deal. Rawness is not always a bad thing, but at its most raw -- particularly on the bluesy garage rockers -- the group often teeter on the line of sloppy amateurism. There's some promise here in some of the unusual song construction -- "Glue" detours into a commercial satirizing consumerism mid-song, and other tunes unpredictably change tempo and stretch out into long instrumental sections -- and in some of the eerie harmonies and melodies, particularly on the fragile tunes like "Music," "Simplicity," and "Taste of One." There's also some plain-speaking toughness reflective of a middle-class generation starting to truly express what was on their mind in popular music, somewhat reminiscent of the most straightforward blues-rockers by a San Francisco band that slightly preceded them, the Great Society. There's also a cool if not quite totally polished rock vocal cover of Mongo Santamaria's jazz classic "Afro Blue," and some interesting gospel-rock fusion of sorts in the most mature-sounding compositions; it's easy to imagine that the group might have headed in that direction had they started to record around 1970. But much of this is interesting, with off-kilter ideas in search of some h...

Beethoven: Septet in E flat, Op. 20; Serenade in D, Op. 25

Beethoven: Septet in E flat, Op. 20; Serenade in D, Op. 25 (88442333)
Though the music on this disc may not fit the stereotypical vision of Ludwig van Beethoven as a heaven-storming Prometheus, it may be all the more appropriate for casual listeners exactly because of that. Played with supple virtuosity and evident delight by the English chamber group Ensemble 360, the German master's Septet for winds and strings and Serenade for violin, viola, and flute have rarely been performed with such charm and style. Nothing here is especially deep; even the septet's Adagio cantabile and the serenade's Andante con Variazioni, as lyrically effusive as they are, do not touch the profundities of the composer's piano sonatas and string quartets of the same period. But with Ensemble 360's effortless technique and sympathetic interplay, the pieces emerge as beguiling as any of Mozart's lighter work, though with the rougher accent and more robust sense of humor for which Beethoven was known. Captured in clean but evocative sound, this disc will likely please longtime fans of the composer, as well as listeners who only know his greatest hits but are looking for something more. ~ James Leonard, Rovi

Dixie Dregs: Live at Montreux 1978

Dixie Dregs: Live at Montreux 1978 (8860750)
This program contains two live variety show performances by jazz fusion band Dixie Dregs. Both on Don Kirshner's Rock Concert and Dick Clark's American Bandstand, the band plays to enthusiastic audiences. ~ Cammila Albertson, Rovi

Beat Route: Around the World With Jools Holland

Beat Route: Around the World With Jools Holland (7981171)
Follow host Jools Holland as he embarks on a whirlwind tour of major cities all across the globe to put a finger on the pulse of contemporary culture while showing viewers just what life is like in such places as Dublin, Chicago, Budapest, Havana, Beirut, and Seville. Additional interviews with such internationally-known figures as Van Morrison, Ruben Gonz? lez, and The Chieftains offer an artistic perspective on day to day life in these world class locales as well. ~ Jason Buchanan, Rovi

Cinderella

Cinderella (79539570)
The Opera Australia mounted this production of Gioachino Rossini's 1817 Cinderella (aka La Cenerentola), in 1987. Though the opera itself generally follows the dramatic arc of the original Cinderella story, Rossini distinguished himself via his insistence on omitting fantasy elements and thus creating a more plausible tale. This particular version stars Bernadette Cullen, Anne-Maree McDonald, Suzanne Johnston and Gary Bennett. The Australian Opera Chorus and The Elizabethan Sydney Orchestra provided added musical accompaniment. ~ Nathan Southern, Rovi

Voila [Bonus Disc]

Voila [Bonus Disc] (7955100)
Belinda Carlisle's career has had several twists and turns, but none has been quite as interesting as her 2007 album Voila, a collection of luxurious covers of classic French pop tunes, all sung in French. Certainly, the very concept of the former new wave queen singing French pop qualifies as one of the more intriguing projects in her solo career, but it's also interesting that she's chosen this idea for her first solo album in ten years. Given that long gap between new albums, it's clear that Voila is no stunt or novelty, it's a passion project for Carlisle and it plays that way: it has the complexity and richness of a labor of love. Which doesn't necessarily mean that this album is filled with surprises, apart from its very existence. Brian Eno may contribute keyboards, but that doesn't mean that these are radical reinterpretations, nor are the selections necessarily left-field: there are a pair of Serge Gainsbourg songs, a Jacques Brel, and a few other songs that should be familiar to rock and pop listeners with a fairly deep grasp of '60s and '70s pop. Those listeners who were raised on punk, new wave, and alt-rock, but with a deep love of the '60s, are clearly the target audience for Voila, and the best thing about the album is that it will not disappoint. This is an elegant, stylish collection of adult pop, gliding by on its sleek synth textures and cabaret atmosphere. Even when it dips into Eurodisco -- as it does on occasion, as on Edith Piaf's "La Vie en Rose" -- it does so gracefully, and there's an appealing sly decadence to the feel of Voila; it may be a decadence sculpted out of films, LPs, and old photos, one that's knowing but affectionate, but that doesn't mean it's not an alluring, effective mood for the album, particularly because Carlisle sustains it from beginning to end, a problem that she didn't manage to conquer on her big hits of the late '80s. That is a change for her, but the true revelation of Voila is her singing: it's relaxed, assu...

Van Gogh: A Museum for Vincent

Van Gogh: A Museum for Vincent (7981218)
The post-impressionist Dutch painter whose remarkable life would have a lasting impact on the world of art is profiled in a visually arresting documentary showcasing the world class collection of the Rijks Museum Vincent Van Gogh in Amsterdam. ~ Jason Buchanan, Rovi

Ask the Night

Ask the Night (81845927)
When Azure Ray disbanded in 2004, Orenda Fink had little trouble regaining her balance. The songwriter had already juggled multiple bands during her golden years with Maria Taylor, and she continued bouncing from project to project after the split, exploring Haitian music with her 2005 solo debut and wrapping herself in lush pop arrangements during her lone album with Art in Manila. Released several years later, Ask the Night finds Fink in a rare state: restful, leisurely, and unadorned. This is a stripped-down album, devoid of computers and electronics of any kind, and Fink uses the opportunity to flex her muscles as a competent Southern Gothic-styled songwriter. Flanked by little more than her guitar, vocal harmonies, and a sparse Appalachian string band, she steers her voice through tales of Greyhound bus rides, the South, and swampy landscapes. The mood is hushed throughout, although songs like "The Mural" build up to towering climaxes before resuming their serene, earthy pitch. All of this is a far cry from Azure Ray's work, perhaps, but Ask the Night is often gorgeous in its simplicity. Consider this the intimate, moody cousin to Maria Taylor's LadyLuck, an equally endearing (but wildly dissimilar) solo album that came out several months prior. ~ Andrew Leahey, Rovi

We Hear You

We Hear You (79879203)
Luke Vibert, as experimental techno's most reliable veteran, probably doesn't have a singer/songwriter record in him anymore, not after close to 20 years of acid-tinged hip-hop under a garden variety of aliases. His third record for Mike Paradinas' Planet Mu imprint is a Luke Vibert solo record, which usually means cleaner, academic acid techno (at least compared to his deeply stoned Wagon Christ material). The production is spot-on as usual, if less surprising in 2009, with musical references to acid and drum'n'bass as well as straight-up IDM, and vocal samples lifted from golden age hip-hop, horror films, and monster movies alike. ~ John Bush, Rovi

801 Live: Collectors Edition

801 Live: Collectors Edition (82054870)
801 provided Roxy Music guitarist Phil Manzanera with one of his most intriguing side projects. Although the band only played three gigs in August and September 1976, this album captures a night when everything fell right into place musically. That should only be expected with names like Eno and Simon Phillips in the lineup. (Still, the lesser-known players -- bassist Bill MacCormick, keyboardist Francis Monkman, and slide guitarist Lloyd Watson -- are in exemplary form, too.) The repertoire is boldly diverse, opening with "Lagrima," a crunchy solo guitar piece from Manzanera. Then the band undertakes a spacy but smoldering version of "Tomorrow Never Knows"; it's definitely among the cleverest of Beatles covers. Then it's on to crisp jazz-rock ("East of Asteroid"), atmospheric psychedelic pop ("Rongwrong"), and Eno's tape manipulation showcase "Sombre Reptiles." And that's only the first five songs. The rest of the gig is no less audacious, with no less than three Eno songs -- including a frenetic "Baby's on Fire," "Third Uncle," and "Miss Shapiro"'s dense, syllable-packed verbal gymnastics. There's an unlikely cover of the Kinks' "You Really Got Me," while Manzanera turns in another typically gutsy instrumental performance on "Diamond Head." This album marks probably one of the last times that Eno rocked out in such an unselfconsciously fun fashion, but that's not the only reason to buy it: 801 Live is a cohesive document of an unlikely crew who had fun and took chances. Listeners will never know what else they might have done if their schedules had been less crowded, but this album's a good reminder. Later reissues of 801 Live added two more Eno songs as bonus tracks, "Golden Hours" and "The Fat Lady of Limbourg," tilting the album more toward the singer/synthesizer player. In 2009, MacCormick unearthed a tape of an 801 band rehearsal at Shepperton Studios 11 days before the show heard on 801 Live, and the recording was reissued yet agai...

Twelve Pieces

Twelve Pieces (8709090)
Mike McClure's music isn't easy to pin down. He composes singer/songwriter lyrics like "the hotel band played 'Hotel California'" in "Hotel Band," but kicks out the jams like a '70s rocker on "In My Ears." "Haunt Me No More" begins like a classic folk song and then, following the first verse, adds drums and bass. Like folk, McClure's songs carry a message, but like country, he praises the simple things in life. To top all of this off, the closing song, "Between Two Thieves," adds a Christian point of view. While the sum of these many parts may sound disparate, McClure's raspy vocals and songwriting bring all the parts together to form a satisfying whole. On the opening number and "World Go Round," McClure decries the fast pace of contemporary life. The narrator of "Haunt Me No More" advises one to "go make some changes, this is your canvas to paint/and don't let nobody, try to tell you that you can't." In "World Go Round," the singer recalls a simpler life without answering machines and e-mail. He's joined by vocalist Susan Gibson for nice duets on "Wicked Game of Hearts" and "Harder to Ignore." Twelve Pieces achieves a good sound with basic arrangements and McClure's music will appeal to anyone who enjoys a good Texas-style singer/songwriter. ~ Ronnie D. Lankford, Jr., Rovi

Brahms: Symphony in Cm No1, Op68; Academic Festival Overture in Cm Op80

Brahms: Symphony in Cm No1, Op68; Academic Festival Overture in Cm Op80 (9314785)
Arte Nova's reissues of its recordings from the 1990s may not be for the connoisseurs who bypassed them the first time out, but others may find that many of these CDs offer perfectly fine performances and that they are quite suitable for building a classical library at a reasonable cost. Of course, there are many excellent versions of Johannes Brahms' Symphony No. 1 in C minor, Op. 68, and anyone who cares to compare classic and modern interpretations can choose from a long list, from historic 78s to contemporary digital discs, by practically any famous conductor and orchestra you can name. But this 1996 performance by Cristian Mandeal and the "George Enescu" Bucharest Philharmonic Orchestra is a good choice for listeners who aren't put off by unfamiliar names and who merely want a performance that is intelligently conducted, solidly played, cleanly recorded, and affordably priced. Everything in the score is audible in this polished studio session, and the orchestra is big hearted in expression, warmly Romantic in tone, and glorious in sonority. Mandeal and his musicians deliver a mainstream interpretation that would be hard to distinguish from any of the prominent recordings of the late twentieth century, and their grand presentation of the Academic Festival Overture, Op. 80, gives added value to the package, so at half the cost of any major label's release, this budget disc is a real bargain. These performances are also available in Mandeal's box set of Brahms' complete symphonies and other orchestral works, released by Arte Nova in 2001. ~ Blair Sanderson, Rovi

Paganini: 24 Caprices

Paganini: 24 Caprices (88386212)
While many violinists have made recordings of the venerable 24 Caprices of Paganini, far fewer have recorded the set more than once. Albanian-born violinist Tedi Papavrami is truly unique, then, with his 2009 Aeon release that includes two complete recordings of the caprices on a two-disc set. The 1997 studio recording, which was previously released on the Pan Classics label, is accompanied by a live performance given in Tokyo in 2001. At first, it may seem a bit redundant or even narcissistic to produce such a release, but on closer examination it really offers a unique opportunity to hear the differences inherent between studio and live performances. Both versions represent the most musical playing of the caprices in memory, focusing more on making an earnest musical statement than merely demonstrating pyrotechnical abilities. It is not surprising that the studio version is the most polished and free of errors; Papavrami discusses the use of multiple takes and splices in studio recordings. The live Tokyo version, by contrast, finds Papavrami having noticeable difficulties with intonation when playing extended octave sessions. Overall, though, the live version features a great deal more spontaneity and freedom. In either case, Papavrami's uniquely musical interpretation of the caprices makes for a welcome addition to any collection. ~ Mike D. Brownell, Rovi

Rachmaninov: Symphonic Dances; The Isle of the Dead; The Rock

Rachmaninov: Symphonic Dances; The Isle of the Dead; The Rock (90570272)
These may not be the greatest performances of these three Rachmaninov works ever recorded, but they are very close. Some might point to Eugene Ormandy's smoothly seductive recording of the Symphonic Dances, or Fritz Reiner's soul-smashing recording of The Isle of the Dead, or Evgeny Svetlanov's heartbreaking recording of The Rock. Nonetheless, Vasily Petrenko and the Royal Liverpool Philharmonic deliver extremely well-played performances of extraordinary energy, soul, and dedication. Though not the best orchestra in England, the Liverpool orchestra is still quite fine, and more than up to the demands of these works both individually -- for example, the saxophone solo in the central portion of the first Symphonic Dance or the flute solo that opens The Rock -- and collectively -- the surging rhythms and gargantuan chords at the climax of The Isle of the Dead, for instance. While Petrenko is not yet an Ormandy, Reiner, or Svetlanov, he is well on his way, with confidently assured readings that bring out the power and pathos of these works without succumbing to either brutality or bathos. Avie's digital sound, though clear enough, doesn't have sufficient impact, but the performances almost overcome that deficiency. ~ James Leonard, Rovi

Opera Australia: More Favorites

Opera Australia: More Favorites (70971603)
The Australian Opera performs some of the timeless works of opera, including excerpts from La Traviatta, Cosi Fan Tutte, and Carmen, as well as performances from Joan Sutherland, Luciano Pavarotti, Yvonne Kenny, and Victoria Vergara. ~ Robert Silva, Rovi

Eldon Taylor: Change Without Thinking

Eldon Taylor: Change Without Thinking (70971553)
Eldon Taylor created -- and patented -- the InnerTalk method, and he shares his discovery with a live audience in Malaysia, including a number of notable people. As a companion piece to Taylor's book Choices and Illusions, this day-long seminar provides insight into the human mind and the paths to success. ~ Kimber Myers, Rovi

Overloaded: The Singles Collection

Overloaded: The Singles Collection (7110570)
During the seven-year span covered on Overloaded, Sugababes released four albums and 16 singles, while they lost -- and replaced -- two members. Twelve of those singles, in addition to a pair of new songs, make up the disc. It's an ideal introduction to the group since its four omissions (three of which made up their formative debut) were the four lowest-performing chart-wise, and it just so happens that they were also the least memorable of the bunch. Each of the 12 songs that form the basis of the disc placed in the U.K.'s Top Ten; four of them reached the very top, from the Richard X-produced "Freak Like Me" to the Dallas Austin-produced "Push the Button" -- two of the most clever and suggestive pop singles of the decade. "Good to Be Gone" and "Easy," the first two completely new songs recorded with Amelle Berrabah, indicate that the group hasn't lost any of its momentum. Unfortunately, despite their tremendous amount of appeal and popularity across Europe, they've never been given much of a chance in the States. A domestic issue of Three was planned and then scrapped, though "Hole in the Head" and "Round Round" did impact the dance charts. ~ Andy Kellman, Rovi

Klimt

Klimt (7312152)
Klimt documents the life and work of the influential painter Gustav Klimt who, in addition to creating some of the most well-known pieces of his time, helped create the artistic movement known as the Vienna Secession. ~ Perry Seibert, Rovi

Round Midnight

'Round Midnight (1907228)
Of all the string instruments, the cello is the one that is most self-sufficient when heard en masse. Villa-Lobos knew it -- his "Bachianas Brasileiras Nos. 1 and 5" are the results -- and The 12 Cellists of the Berlin Philharmonic have been proving it for some 30 years before the release of this album of American music of several stripes. No one needs to be told that this is a crossover special; after all, it has been released as a joint EMI Classics/Blue Note project. But this is no rah-rah album of patriotic pieties, for the CD explores the dark side of "America" as well as its soul-lifting show tunes, spirituals, and jazz tunes. Using all kinds of extended techniques that prod and scrape at the instruments, the opening "Caravan" sounds truly dangerous, capturing the dissonant strands that stick out of the Ellington 78 of the 1940s and have seldom been heard since. Bob Brookmeyer, the jazz trombonist/arranger/composer, surprises us all with "Amerika 2002: In Memoriam," a troubled two-part meditation on the state of the union, inspired by the events of September 11. On the other hand, Leonard Bernstein's "America" is turned into a neo-classical piece, while the "Pink Panther" theme emerges remarkably unchanged in its essential sneakiness. In what turned out to be the album's principal coup, the cellists managed to persuade their new chief conductor, Sir Simon Rattle, to supply the "rap" for Sergio Cardenas' hilarious "The Flower Is A Key (A Rap For Mozart)." Rattle obliges with his deep, mischievous Liverpudlian accent, putting his stamp on an album which serves notice that the tenures of Herbert von Karajan and Claudio Abbado at the Berlin Phil are going to look awfully stodgy in comparison to the Rattle era. ~ Richard S. Ginell, Rovi

The Early King Sessions

The Early King Sessions (1883493)
A career-spanning best-of compilation will be a satisfactory helping of Little Willie John for most listeners. But for devoted fans of the singer, and indeed of 1950s R&B in general, this more specialized anthology is useful, gathering both sides of all 12 of his first singles, all originally issued in 1955-1957. The only really well-known songs here are the original version of "Fever," "All Around the World" (adapted by Little Milton into "Grits Ain't Groceries," his 1960s soul hit), and "Need Your Love So Bad," and they are the best tunes on this collection. John's vocals are uniformly rich and moving, but the material is just too similar to place it in the same league as recordings during the same era by, say, Ray Charles. Still, these are sides in which you can hear R&B, blues, rock & roll, and bits of pop (particularly in "Fever" and its sound-alike follow-up, "My Nerves") coming together in a form that hints at early soul, on songs that were more apt to dip into minor keys than much other R&B of the time. Hardcore completists will note that the version of "I'm Sticking With You Baby" is actually a different take that eventually showed up on an LP, and not the one from the original 45. ~ Richie Unterberger, Rovi

Live at Slim's, Vol. 2

Live at Slim's, Vol. 2 (189021)
More from Joe Louis Walker's searing Slim's engagement, Live at Slim's, Vol. 2 includes Joe Louis ripping through Ray Charles' "Don't You Know," and Little Milton's "Love at First Sight," and Rosco Gordon's overworked "Just a Little Bit," along with his own gems. Huey Lewis turns up again as the harpist on Walker's version of Haskell Sadler's "747." ~ Bill Dahl, Rovi

Puccini, Wagner, Montsalvatge and others

Puccini, Wagner, Montsalvatge and others (2269027)
The Very Best of Victoria de Los Angeles is a superior representation of the soprano's career. The two-disc set begins with a well-rounded selection of arias, from Mozart to Gounod to Wagner to Puccini, followed by examples of her concert and recital repertoire. The recording dates also cover her full career, from the Wagner and Mozart arias recorded in 1950 to her memorable Songs of the Auvergne recording from 1975. The fact that some of these are mono recordings really isn't as noticeable as you might expect, thanks to the magic of digital remastering. The arias are some of the most familiar, but the true highlight of the opera selections is her vocal skills. Listen to "Ebben? Ne andr? lontana" from La Wally or "Una voce poco fa" from The Barber of Seville to hear the way she moves from the top to the bottom of her range with little trouble at all and the way she performs fast scales or ornaments without blurring notes together. In addition to these skills, her interpretations are affecting, particularly in the songs, and her voice is warm and strong. The second disc contains the complete Cinco Canciones negras by Montsalvatge and songs from Falla's El Amor brujo, two works for which her interpretations are usually considered the standard. Other songs range from Handel to Grieg to Ravel, along with other Spanish works. An extra treat is Adios, Granada, in which de los Angeles accompanies herself on the guitar as she sings. ~ Patsy Morita, Rovi