Jackson Browne & David Lindley "Love Is Strange"
(Inside Recordings)
"Wow. I'm sitting here with a promo copy of the new Jackson Browne/David Lindley collection 'Love Is Strange: En Vivo Con Tino'. I listened to it a couple of times yesterday and again this evening and I'm not even sure where to start... so maybe I'll start at the beginning.
This 2-CD set was recorded live in Spain during a duo acoustic tour March 9-22, 2006. As with the two recent 'Solo Acoustic' releases, this collection does not break down which track was from which show and blends them all seamlessly. Like the "Solo Acoustic" releases, this collection was produced by Jackson Browne and Paul Dieter.
Also like the 'Solo Acoustic' releases, the CD includes a number of song introductions that are separated into distinct tracks, which is very nice in case you get tired of hearing the song introductions after a few listens. The sound quality is flawless. Whatever Jackson Browne and Paul Dieter are doing at Groove Master studios to make these recent live releases sound so good, they have left no room for criticism. Put on the headphones and you are immediately transported to the show!
The CDs come in a very creative, fully recycled package. No plastic. No center "hub" to hold the disks in place. It opens in 'gatefold' style to 4 panels. A couple of nice black and white images form the concerts fill the space in a very intimate way, almost as if inviting you into the show. The images show Jackson and David with the various guest performers who they invited onstage during these concerts.
There is also a 12-page booklet included. The cover is all black with the title of the album on it. Five pages are photos. Two pages are Jackson's description of the tour. The remaining pages are song credits and production credits. Dianna is credited with the 'Bananas Photo', which in some way harkens back to the "Desperado" days... (You have to see it for yourself; guaranteed to bring a smile.) No lyrics.
The first disk starts out with applause as Jackson Browne and David Lindley enter and take their places. Jackson welcomes the crowd in Spanish, thanking everyone for coming. It then moves right into 'I'm Alive', the title track from his 1993 album. I've always thought that this is a great song to begin a concert with; it starts things off on a nice upbeat note.
'I'm Alive' features great dual guitar playing by Jackson and David and the subtle cajón of Tino di Geraldo. In many ways this track immediately captures the underlying strength of the album: the wonderful guitar playing and beautiful acoustic arrangements of a selection of great songs. There's an intimacy that is deeply felt and an obvious joy in performing that is truly profound. David's Hawaiian guitar and Tino's cajón (an Afro-Peruvian drum box) oddly providing an almost Latin flavor to the recordings.
Jackson's song introductions offer a mix of English and Spanish. He leads into the next song in Spanish. My Spanish isn't great, but I believe he is telling the audience that this is a song he wrote together with David Lindley. For 'Call It A Loan', David plays the bouzouki and sings harmony. It's nice how the acoustic arrangement really brings the song to the front, showing how the song - originally recorded for 1980's 'Hold Out' album - still holds up so well 30 years later!
'Looking East' - the title track of Jackson's 1996 album - is not one of those songs that stands out for an acoustic treatment. In it's original form, it is a band song, co-written by Jackson's longtime band. The far eastern flair given to this version with David Lindley playing the oud (a pear-shaped stringed instrument commonly used in Middle Eastern music) and Tino's tabla (a popular Indian percussion instrument) give this one a completely different feeling than the original recording.
Galician musician Carlos Núñez joins in as a featured guest for 'The Crow On The Cradle' playing a haunting whistle while David Lindley switches to fiddle. (Jackson stays on guitar and Tino returns to the cajón.) Jackson's vocals are warm and deep. There's almost an Irish or Celtic lilt to this arrangement. The song was originally adapted by the English musician Sydney Carter from an old folk song. (Carter died a few years ago.)
'Mercury Blues' is where David Lindley gets the spotlight and first lead vocals of the collection. He plays the Hawaiian guitar, Jackson plays a baritone guitar and Tino backs them on cajón. After a very world music flavor on the previous couple of songs, this track finds its roots in Lindley's rock and roll side... which is interesting considering it was written way back in 1949 by KC Douglas and Robert Geddins as a tribute to the American automobile. Lindley first included it on his 1981 album 'El Rayo-X'. Great guitar solos by David Lindley on this track.
'El Rayo X' is another track originally from that great 1981 album. This one was co-written by David Lindley and Jorge Calderón and some of Jorge's Puerto Rican influence may be felt in the arrangement, which has a Latin American flair. The dual guitars are great. Lindley's falsetto vocals are typically upbeat and fun! Anyone who loves great guitar work will love this album.
I'd like to know what arrangement of 'Sit Down Servant' Jackson was thinking of when he chose to include this one. (I'm guessing The Staple Singers.) The guitar licks really make it shine. Sometimes he finds old songs that he just likes the guitar parts for and works them into his set - like he did many years ago with 'Cocaine' by Reverend Gary Davis. Jackson does not perform or record many covers, but you can be sure that the ones he does will have some great guitar work. There's also the feeling of spontaneity in this track... just some old friends getting together to jam. We are lucky to be along for the ride.
Then it's on to a folkie version of 'Take It Easy'. On the original recording of this song on 'For Everyman' back in 1973, David Lindley played electric guitar. On this version he plays a very Appalachian flavored fiddle.
The liner notes say that 'For Taking The Trouble' was taken from a sound check in Oviedo, Spain. David plays bouzouki, Jackson plays guitar and Tino plays tablas. It's always interesting to hear how David Lindley fits in and influences Jackson's newer songs, which were recorded after he
left Jackson's band... This is a very pretty version of the song.
Side note: David Lindley performed and recorded consistently with Jackson Browne and his band from 1972 (shortly after the release of Jackson's debut album) through the 1980 'Hold Out' tour. In 1981 when 'El Rayo-X' was released, Lindley focused more on his own career and wasn't often available for Jackson's tours and recordings, though he did make the occasional date. They have done short duo tours before in 1987 (with Bonnie Raitt), 1990 and 1997 in particular.
The second CD starts with 'For Everyman', the classic title track to the Jackson's second album from 1973. It's hard to say that Lindley's guitar playing changes or affects the song. After all, they both played guitar on the original! But the arrangements on the guitars here are much more sophisticated on this version and there is something special as they weave the guitars and rhythm into something much more complex, while still allowing Jackson's vocals to showcase the song in what on the surface sounds more simple in the this acoustic setting.
For the song 'Your Bright Baby Blues' (originally from 'The Pretender' in 1976), Jackson invites Javier Mas to join them on stage. Javier plays the bandurria on the song. This is a Spanish instrument that looks like a short, squat guitar (similar to the cittern and the mandolin) that is primarily used in Spanish folk music. The bandurria solo is lovely and gives the song a Spanish flavor.
'Tu Tranquilo' is Kiko Veneno's version of 'Take It Easy', which Jackson introduces here as 'a very famous Eagles song'. Kiko sings lead and Jackson sings harmony. It sounds nothing like the 'Take It Easy that I know (Jackson's version or the Eagles version... or the one on the first disk of this set!). But it's a nice song.
'Late For The Sky' comes next. It's a nice version of one of Jackson's true classics. This one features David Lindley on guitar, Jackson on piano and Tino on cajón. This one sounds closer to the traditional arrangement - always a hauntingly beautiful song.
'These Days' features Spanish pop singer Luz Casal on lead vocals and David Lindley on fiddle. It's the second of two songs in this collection that feature a guest vocalist rather than Jackson Browne or David Lindley. Having followed Jackson's career, I know how he likes to put his friends center stage. He is just as happy playing host and showcasing the talents of his friends. So it comes as no surprise that he features some talented guests on the CD. This truly beautiful version of the song harkens strongly back to Nico's version on her 1967 album 'Chelsea Girl', but the addition of Lindley's fiddle injects an interesting twist.
As the concert is winding down, the album again gives a strong feeling that the artists on stage are having a great time... just jamming and playing great music together. This is one of the keys to the beauty of this collection and it comes from listening to it as a whole rather than any particular track.
'Running On Empty' - the title track from Jackson's late 1977 album - has been a rock and roll classic for more than 30 years. Surprisingly, the track was not included in the two recent 'Solo Acoustic' CDs. Maybe Jackson felt that his solo acoustic treatment of the song didn't do it justice -- or maybe he was just waiting to release this compelling version. David Lindley's guitar work is riveting. The crowd clapping along brings extra energy.
'Love Is Strange' was an old top 40 hit by Mickey & Sylvia from 1957. The song was written by Mickey Backer, Sylvia Robinson and Ellas McDaniel. It reached #11 on the pop charts in the US and became their only Top 20 hit. Paul & Linda McCartney covered the song on their 1971 album 'Wild Life'. Others who has covered it include The Everly Brothers, Peaches & Herb, Sonny and Cher, Buck Owens & Susan Raye, Kenny Rogers & Dollly Parton and even Buddy Holly did a solo demo version. On this collection, Jackson Browne and David Lindley use it as a playful introduction that segues into a rather lose version of the Maurice Williams penned, 'Stay'.
The album winds up with an extended version of 'The Next Voice You Hear' with many of the musical guests back for the encore. Kiko Veneno on vocals and Carlos Núñez on whistle are given center stage in a fun jam session. Javier Mas plays an archilaúd for this track. Everyone on stage gets a solo, and the album concludes with some great music by a group of world-class musicians.
All in all, 'Love Is Strange: En Vivo Con Tino' is a very fun collection that is both enjoyable to listen to and musically interesting enough that you genuinely want to pay attention. For fans of Jackson's early collaborative efforts with David Lindley (particularly the albums 'For Everyman', 'Late For The Sky', and 'The Pretender') this album is an essential purchase. But I also highly recommend it for those who like great songwriting and brilliant guitar playing!
'Love Is Strange: En Vivo Con Tino' is scheduled for release on May 11, 2010, on Jackson's own Inside Recordings label."
- JRP Graphics / May 2010 -
Josh Rouse "El Turista" (Bedroom Classics)
"The new album 'El Turista' is a really fine album, containing several shimmering pearls of songs!"
- Musikindustrin / April 2010 -
Joel Rafael "The Songs Of Woody Guthrie" (Inside Recordings)
"Joel Rafael is a very pleasant acquaintance, 'Way Over Yonder In A Minor Key' is a remarkable song, and Rafael does it superb!"
- Lira Musikmagasin / March 2010 -
The Coal Porters "Durango" (Prima Records)
"The Coal Porters have been called 'the Clash of Bluegrass' and 'the first alt-bluegrass band in the world'. Maybe it's because of the front figure's background, the former Kentucky resident Sid Griffin. His band from the 80's, The Long Ryders, was after all the precursor and source of inspiration to the wave of alternative country that swept in about ten years later.
Now this London-based quintet's fourth album doesn't really have that much of an alternative sound. Instead it's quite traditional, with covers of 'Pretty Polly', Neil Young's 'Like A Hurricane' and a bunch of self-composed bluegrass-pieces.
Tim O'Brien and Peter Rowan guests on a couple of tracks, and what's possibly lost in production, is recovered in fresh and skillful musicality, and a musical joy that is easily caught by the listener!"
- Borås Tidning / February 2010 -
I See Hawks In L.A."Shoulda Been Gold 2001 - 2009"
(American Beat/Collector's Choice)
"Fiddles and psychedelics, humor and twang, harmony-singing and politics, cajun, bluegrass, honky tonk and hippies. Yes, this Californian quartet respectfully carries the heritage from Gram Parson's Cosmic American Music - Here's a scent of Flying Burrito Brothers, Poco, New Riders of the Purple Sage, Byrds, and various illegal substances. They've made it, successfully, on four albums now, and this is the summary of their first decade.
They call it a collection of greatest hits without hits, and these could very well have been hits in a more fair world. With tight three-part singing, glimmering pedal steel, twangy electric guitar and well-written songs filled with soul and confidence it's hard not to be charmed. And, if someone might wonder, this is true quality, not a gimmick.
The singer Rob Waller and the guitar player Paul Lacques, the main song writers, pick out grains of gold from the American roots tradition and put the pieces together into a lively unity. A unity that shamelessly slips by every label applied by reviewers : alt-country, country rock, americana, cosmic country, roots rock.
It's a well-chosen collection of songs, to be enjoyed by the new listener and it's also a generous collection for those of us who have heard the earlier albums. Nearly half of the tracks are previously unreleased. For instance, we're offered three newly recorded songs, of which I must mention the tex mex piece 'Laissez Les Bon Temps Roulet' with great vocals by a visiting Carla Olson.
Retro, some might say. Well, I'd like to believe that these hawks serve a purpose here and today. Even this century must need a dose of long-haired cowboys, especially as they've been blessed with humor, as well as feeling for harmonies!"
- Rootsy / January 2010 -
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