Only John Mellencamp, whose career began with a series of wrong turns, raw determination, and the audaciousness to demand he be taken seriously could create a box set as strange, representative, and labyrinthine as On the Rural Route 7609. In the era of the “track,” Mellencamp has issued a massive, beautifully packaged, and exhaustively annotated four-disc career retrospective that doesn’t lean on his hits (many aren’t here), but rather on more obscure album cuts, outtakes, rarities (17 selections make their debuts here), and more recent material – numerous selections come from 2007’s Freedom’s Road and 2008’s Life Love Death and Freedom. In Anthony DeCurtis' excellent liner essay/interview, Mellencamp claims he isn’t “trying to prove anything. . . it was a way for them to discover songs of mine that perhaps were overlooked because of the songs that were so popular on the radio.” Given his choice of material, he may not feel that his career-long demand has been met yet.
"Rambler's Blues," the shuffling hip-shaker that opens Charlie Musselwhite's The Well, is the most autobiographical statement he's ever made – until you listen to the rest of the record. Despite his large catalogue, this is his first record of all original material. Musselwhite's back with Alligator after a sojourn of 14 years, during which he recorded some stellar material for various labels, including the stellar Delta Hardware for Real World in 2006. Musselwhite is accompanied here by a stellar band: guitarist Dave Gonzales, bassist John Bazz, and drummer Stephen Hodges. His own harmonica playing and vocals are everywhere and top-notch. The most compelling thing about The Well is its lack of pretension; Musselwhite has risen to the task of recording a completely autobiographical album that refuses easy cliches, or resting on laurels; its energy is infectious.
Coinciding with the 500th anniversary of the birth of Saint Francis Borgia, Fourth Duke of Gandia, Jordi Savall and Alia Vox offer a visually lavish and artistically comprehensive new release entitled Dinastia Borgia. Savall’s latest musicological/historical quest focuses on music from the time of the Borgia dynasty, including works by composers such as Isaac, Dufay and Morales, from Pope Alexander VI/6 and two of his children, Cesare and Lucrezia, through to Francis Borgia, Jesuit priest and, perhaps, composer. For five centuries, scholars have studied and debated the role of the Borgias in Renaissance history. Although their name is synonymous with Papal corruption and they were undoubtedly malevolent and immoral, as patrons of the arts, the Borgias were also instrumental in the period’s explosive growth of culture.