In the early 1960s when soul star Sam Cooke had his own record label, SAR, he recorded songs by his younger brother, L.C. Cooke. Ten of the tracks were supposed to become L.C.'s debut album in 1964. The release was postponed, then Sam Cooke was killed, SAR went out of business and L.C.'s album fell into limbo. Now, 50 years later, The Complete SAR Records Recordings has appeared. Fresh Air critic Milo Miles examines this lost piece of history.
The New York City band Golem describe their music as punk-klezmer. Music critic Milo Miles says that on the group's new album, Tanz, they mange to find new ways to balance urban irreverence with folk tradition.
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The same week that Neil Young introduced his Pono music player designed to spark a huge boost in audio fidelity, I listened for the first time to a recording of a Grateful Dead concert I attended almost 40 years ago. And I realized that passions about good-sounding music go through cycles. Today, the lo-fi medium is MP3s through earbuds.
The appearance of Penny Penny's Shaka Bundu in the American market is welcome not only in itself, but also as a sign of a larger trend. Five or six years ago, it was clear the music business was going into long-term sales decline, and I was certain that a prime victim of that would be African pop. The established imports of the '80s and '90s would be available as MP3 downloads, but surely new discoveries and reissues would slow to a trickle, if not cease altogether. I'm grateful that that has simply not happened.
Yo La Tengo wouldn't seem to be very rock 'n' roll, given that it's a very stable and long-lasting operation. Since 1991, the lineup has consisted of a married couple — drummer Georgia Hubley and guitarist Ira Kaplan, along with bassist James McNew — and all three play additional instruments as needed. Yo La Tengo has been with the same label, Matador, since 1993. But if the band lacks rock dramatics, I would argue that it knows as much about the modes and manners of rock 'n' roll as anyone who has ever played the music.
The first thing to note about the collection of old-timey music Work Hard, Play Hard, Pray Hard is that it resulted from a record-discovery event that happens less and less often, and soon will likely never happen again. The music was recorded between 1923 and 1936. Most of the sides on the set are taken from 78s collected by the late Don Wahle of Louisville, Ky., and rescued from Dumpster destruction in 2010 by compiler Nathan Salsburg. Nineteen of the songs have never been reissued. Piles of moldy vinyl left behind by the deceased were once commonplace. No longer.
Ethiopia enjoys a rich tradition of enticing music, filled with asymmetric rhythms set to a haunting, five-note scale and sly double-entendre lyrics in the Amharic language. It's a shame that, for Western listeners, a full, clear picture of Ethiopian music has been elusive.
Albums made by collections of professional studio players once had a bad reputation with the traditional rock audience. Such works were supposedly arid and chilly — more like the results of a board meeting than the recorded adventure of an organic group of fabulous friends. Some music fans may still feel that way, but they are few. Nowadays, a tight-knit gaggle of session musicians like the Analog Players Society gets points from traditionalists simply because the music is made by flesh and blood.
A dozen years ago, if someone told me that one of the liveliest, most inventive party albums of the year would come from a band originally associated with wedding celebrations and beer festivals, I would have been all, "Yeah, sure, you bet." If it was further explained that the band's roots were much closer to polka than rock, funk or hip-hop, I would have responded, "Don't push it." But nowadays, I'm familiar with the Boban i Marko Markovic Orkestar, whose retrospective Golden Horns will lighten the heart and lift the feet as surely as anything you'll hear in 2012.
Cheb i Sabbah's life traces an almost fairy-tale perfect path through the evolution of what's now called world music. Born in Algeria in 1947, he absorbed the Judeo-Arabic Andalusian music of his local culture before he joined the '60s rebellion and became a 17-year-old DJ playing soul 45s in Paris. By the end of the decade, he'd moved to New York and become friends with trumpeter Don Cherry, famous for his association with Ornette Coleman and a pioneer in the concept of multicultural music.