Album
PhishFeugo
For their latest studio album, Phish tried something they’ve never done before. Instead of leaving the bulk of the writing to guitarist Trey Anastasio and lyricist (and unofficial fifth member) Tom Marshall, they locked themselves in Anastasio’s barn in the Vermont woods and hashed out the tunes. Then they surprised everyone at their Halloween show by playing the entire album (plus a few more tunes) as their “musical costume.” The move surprised even the most jaded Phans.
With the exception of the title track (recorded in part during a soundcheck during the Halloween run), the band leaves behind longer explorations and focuses on developing sonic landscapes. These tunes will inevitably evolve over the next tour. (Anastasio has mentioned that the band wants to focus less on playing covers.) Producer Bob Ezrin, whose fingerprints are all over albums by everyone from Taylor Swift to Pink Floyd, gives the band a wider sound, utilizing each member to their full potential and spreading around vocal duties a bit more. Keyboardist Page McConnell's vocals on the slyly grooving “Halfway to the Moon” are a perfect balance for Anastasio’s warbly tremolo fills.
Album
Marcus Hook Roll BandTales of Old Grand-Daddy
It’s hard to imagine Angus and Malcolm Young pre-AC/DC. I always assumed that AC/DC sprang fully formed from Beelzebub’s head while blasting Highway to Hell. Turns out, the young Young brothers’ first foray into professional music was the Marcus Hook Roll Band, featuring their brothers George Young on vocals and Alex Young on sax. In 1973 (Malcolm at the tender age of 17, Angus at 20), the brothers Young released their first album ever—Tales of Old Grand-Daddy, which immediately sank like a stone into the ocean of obscurity. But like a starlet sex tape, given enough time and fame, this hidden gem is now available for the masses. The album was made in Australia after George Young met guitarist Harry Vanda at a hostel and the musicians spent the summer boozing it up on Old Grand-Dad bourbon. (Except Angus, who was too young and reportedly drank milk.)
Admittedly, it’s odd hearing Angus and Malcolm mixed with sax, boogie-woogie beats, and straight I-IV-V chord changes, but it works beautifully. Perhaps Malcolm became the melodic player we all love rather then a dweedlely dweedle player (like so many of his peers who’ve come and gone) because he cut his teeth working with a horn that blew melodious lines. Even the ragged tone of Angus’ SG sounds a bit like the snarl of a classic soul sax. Malcolm’s driving rhythm propels the tracks forward, a premonition to his important contribution to one of the greatest rock bands of all time.
Album
Rich RobinsonThe Ceaseless Sight
The End Records/Circle Sound
The ’80s took the strut and swagger of ’70s rock and turned it into a soulless parody of itself, trading Les Pauls and velvet for pointy guitars and spandex. The Black Crowes thankfully closed that decade with glorious, ragged rock ’n’ roll that made you want to trash the dump and bring home a waitress. Rich Robinson’s Keith Richards-esque riffs and harmony singing were a driving force behind much of the overall sound of those classic albums. Now 25 years and over 25 million albums sold later, Robinson is releasing his third solo album.