Odd Sound

Unhappy with the slicker approach of Setting Sons, the Jam got back to basics, using the direct, economic playing of All Mod Cons and "Going Underground," the simply brilliant single which preceded Sound Affects by a few months. Thematically, though, Paul Weller explored a more indirect path, leaving behind (for the most part) the story-song narratives in favor of more abstract dealings in spirituality and perception - the approach stemming from his recent readings of Blake and Shelley (who was quoted on the sleeve), but more specifically Geoffrey Ash, whose Camelot and the Vision of Albion made a strong impression. Musically, Weller drew upon Revolver-era Beatles as a primary source (the bassline on "Start," which comes directly from "Taxman," being the most obvious occurrence), incorporating the occasional odd sound and echoed vocal, which implied psychedelia without succumbing to its excesses…

Unhappy with the slicker approach of Setting Sons, the Jam got back to basics, using the direct, economic playing of All Mod Cons and "Going Underground," the simply brilliant single which preceded Sound Affects by a few months. Thematically, though, Paul Weller explored a more indirect path, leaving behind (for the most part) the story-song narratives in favor of more abstract dealings in spirituality and perception - the approach stemming from his recent readings of Blake and Shelley (who was quoted on the sleeve), but more specifically Geoffrey Ash, whose Camelot and the Vision of Albion made a strong impression. Musically, Weller drew upon Revolver-era Beatles as a primary source (the bassline on "Start," which comes directly from "Taxman," being the most obvious occurrence), incorporating the occasional odd sound and echoed vocal, which implied psychedelia without succumbing to its excesses…

Unhappy with the slicker approach of Setting Sons, the Jam got back to basics, using the direct, economic playing of All Mod Cons and "Going Underground," the simply brilliant single which preceded Sound Affects by a few months. Thematically, though, Paul Weller explored a more indirect path, leaving behind (for the most part) the story-song narratives in favor of more abstract dealings in spirituality and perception - the approach stemming from his recent readings of Blake and Shelley (who was quoted on the sleeve), but more specifically Geoffrey Ash, whose Camelot and the Vision of Albion made a strong impression. Musically, Weller drew upon Revolver-era Beatles as a primary source (the bassline on "Start," which comes directly from "Taxman," being the most obvious occurrence), incorporating the occasional odd sound and echoed vocal, which implied psychedelia without succumbing to its excesses…

On his album „Odd Wisdom“, drummer Diego Piñera, together with a stellar cast of musicians, united the groove and vibe ot three different worlds: The percussive variety of his Latin-American origin, the urge for constant renewal of his current home Berlin and the energy of the metropolis New York City where the music was recorded. And with saxophonist Donny McCaslin, guitarist Ben Monder and bassist Scott Colley, three representatives of the top of current US-American jazz join Piñera and form an absorbing exchance of extraordinary enegry, sound, complexity and suspense.

Jerry Lee Lewis - I-40 Country (1973) & Odd Man In (1975) {BGO Records BGOCD1216 Digitally Remastered rel 2015}
EAC rip (secure mode) | FLAC+CUE+LOG -> 366 Mb | MP3 @320 -> 147 Mb
Full Artwork @ 300 dpi (jpg) -> 50 Mb | 5% repair rar
© 1973, 1975, 2015 Phonogram Inc. / BGO Records | BGOCD1216
Rock & Roll / Rockabilly / Honky Tonk / Country

BGO's 2015 two-fer pairs two mid-'70s albums from Jerry Lee Lewis – 1974's I-40 Country and 1975's Odd Man In – on a single CD. Jerry Lee Lewis didn't get much of a boost out of his 1973 return to rock & roll – a revival arriving on two separate LPs, one recorded in England (The Session) and one back home (Southern Roots) – so he slid back to country, scoring a hit with "Sometimes a Memory Ain't Enough" from the album of the same name. I-40 Country arrived a year later, easing into stores in 1974 under the guise of a truck-driving country LP. While these 11 songs do sound good on the open road, none of them are about big rigs or highways, nor do they roll along to a Bakersfield beat. No, they're straight-ahead barroom weepers punctuated by the very occasional novelty – so occasional, it doesn't extend beyond "Alcohol of Fame."

This is a very unusual–and pleasurable–collection of 20th century works for assorted percussion for solo performer. The soloist in question here is Odd Borge Sagland and it's clear that he is thoroughly familiar with a wide range of instruments, particularly the marimba–and he also knows how to choose a program that will demonstrate his artistry while offering strong listener appeal. Rather than the predictably showy, gimmicky kinds of pieces we usually find on percussion recordings, each of these six works has a solid meditative character–no can banging here.