Music
NEW RELEASE
Angels Aweigh
DICK SIEGEL
SCHOOLKIDS' RECORDS
Reviewed by William Shea
A friend of mine said it isn't fair that this recording will inevitably be compared to Siegel's classic late 70s recording "Snap" (also on Schoolkids' Records). I assured her that was true but it was not necessarily a bad thing, especially when the second recording continues a well-established path of excellence. "Angels Aweigh" does just that
For instance, both "Aweigh" and "Snap" are eminently listenable. For the most part the tunes are catchy, fresh and memorable. Although on "Aweigh" the song quality is not as even as on "Snap," the more one listens to "Awiegh" the stronger it becomes. The subtlty of Siegel's lyrical interplay, his masterful use of different musical styles (from Dixieland to Rap), and the breadth of his emotive range all become stronger and more appealing upon each listen. There's little doubt that Siegel is still the best songwriter in town.
He has again surrounded himself with excellent musicians. Siegel's solo rhythm guitar has always been the musical center of his songs, but on this recording he augments that sound with Mexican-American songwriter Tish Hinajosa's guitarist, the incomparable Martin Denton Dykhuis. Percussionist Paul Pearcy, also of Hinajosa's band, keeps steady time and co-produces this work with Siegel. Siegel is further supported by Jeff Haley, bass; Freddie Mendoza, trombone; Stan Smith, clarinet; Ponty Bone, accordian; Dave Froseth, saxes; and Brandon Cooper, trumpet. Tracey Leigh Komarmy sings and arranges the background vocals.
The recording starts out strong. "Red" is a good example of Siegel's expertise at word play. We're not sure if Red is a man, woman, or simply the color, it all depends on how one interprets these catchy lyrics. The result is a tune that takes on different connotations each time it is heard. Siegel uses a Dixieland combo on cut two, "Happy." The rhythms are jaunty, the word play is fun, and the excellent combo leaves one feeling. . . happy.
If I have a gripe with Siegel's songs it's about his slower numbers. Generally the music and phrasing is strong, but often the lyrics become more introspective. This leaves the listener with the feeling that we're intruding into Siegel's musical mind thus the songs aren't as accessible as his faster tunes. Where cuts like "I Gotta Cat" and 'Train Song" steadily push and bounce the listener, tunes like 'The Secret" drag; interrupting the energetic flow of the recording.
Siegel's skill at combining witty lyrics with strong melodies is never better than on back-to-back cuts: "Let Me Touch your Dress" (the old Tracey Leigh & the Leonards' standard) and the rocking "The Silvertones." On "Dress," when Siegel claims that "It's so simple really/Please don't make me guess/Just turn around and/Let me touch your dress," one can almost smell the perfume and feel the yearning. The rockabilly-embellished 'The Silvertones" is a clearnod to Siegel's old musical pal, George Bedard. lts a great up-tempo, rocking, sweaty, tune.
Siegel's masterful word play is never better than on rap-inspired "Mother's Plaint." This musical style seems a departure for Siegel. Although he can rap and scat with the best of them, this genre often requires a certain politics that a mere duplication of technique can't quite reach. Siegel's piece is impressive not because he dares to attempt this style but because he's captured the spirit of rap so well.
'Tic Toe" and "Heeby Beeby Boo" are two cuts that genuinely reflect Siegel's personal style. The melodies are catchy. The phrasing is magnificent The lyrics are compelling. The slow ballad "Someone's Crossing Over" suffers much the same malady as Siegel's earlier slow tunes: the rhythms and melodies do not couple well with Seigel's personalized lyrics.
Fortunately, there is one exception to my criticism of Siegel's slower tunes: the extraordinary title tune "Angels Aweigh." The melody is flowing and elegant; the lyrics are melancholy. The singing and playing is strong yet understated. The result is a near perfect popular tune which transcends any time period and is sure to appeal to a wide audience. This entine recording is highly recommended.
NEW RELEASE
The Bradley Barn Sessions
George Jones
MCA
Reviewed by William Shea
Tom Rule, manager of Tower Records on South University suggested I listen to Jones' latest release. I'm thankful to him! This great recording is a compilation that Jones recorded at the rural Tennessee studio of famed country and western producer Owen Bradley.
This is not the first compilation Jones has made. It seems every country singer, and a few pop ones as well, have sung with Jones. On the 1979 recording "My Very Special Guest," Jones teamed up with Waylon Jennings, Willie Nelson, Emmylou Harris and Johnnie Paycheck plus pop and rock artists James Taylor and Elvis Costello. He now teams up with some of the most current country stars- Marty Stuart, Alan Jackson, Ricky Skaggs, Vince Gill, Travis Tritt, Mark Chestnutt, and Trish Yearwood - and some country legends like Tammy Wynette, Emmylou Harris, and Dolly Parton. He also includes some unusual country music fans/rock artists - Mark Knopfler of Dire Straits and Keith Richards of Rolling Stones.
Unlike Jones' earlier work, which consisted of his more obscure material, here he offers mostly tunes he's made famous over the years: "Why Baby Why"; "The Love Bug": "The Race is On"; and "White Lightning." The result is quite exceptional.
There are at least five reasons for "The Bradley Bam Sessions" success. First, the material is strong. Ten out of the eleven songs were top-ten country hits. Although the silly "Love Bug" could have been left out, songs like "Where Grass Won't GRow" and "Bartender Blues" are beautiful, first-rate country laments. Second, Jones' legendary phrasing and emotie singing is excellent. Third, for the most part, the artists who accompany Jones are strong and seem genuinely inspired by Jones' powerful delivery. Most notable is Alan Jackson's work on "A Good Year for the Roses." It's wonderful. The most forgettable singing is by Keith Richards on "Say It's Not You (who invited him anyway?).
Fourth, the instrumental ensemble is exciting and top-notch, especially Jerry Douglas' dobro work on "Why Baby Why" and "Gold Ring." Mark Knoefler's guitar playing (who made a fine country-tinged recording with country legend Chet Atkins a couple of years ago) is noteworthy as well.
Fifth is Brian Ahern's production work. It is brilliant. Each tune jumps from the speakers. They're well balanced and fresh, particularly the tight harmonies between Dolly Parton, Emmylou Harris, and Trish Yearwood on the beautiful "Where Grass Won't Grow."
My one complaint of this "must-have" recording is that at a little over 34 minutes it's entirely too short.
Buy it today!