Mixing a Gothic vibe with experimental sounds and a remarkably versatile voice, Danielle Dax left a lasting mark on Classic Alternative music. Her expression was highly visual as well, as depicted on her record sleeves, music videos and in photographs. Musically, there were no boundaries. Her voice could waver up to beautiful highs or down to menacing lows as she strummed a guitar over a dark dance tune or plucked a banjo over a quirky country-tinged number. Her lyrics could tackle the hypocrisy of religion with the catchy dance beat of Big Hollow Man, or address a cheating partner with the bouncy toe-tapper Touch Piggy’s Eyes. She could conjure a Glam rocker on the single Cat-House, or show an Eastern influence on the experimental Sleep Has No Property. Originally released in 1988, this 30th anniversary edition of the compilation Dark Adapted Eye represents the always captivating Danielle Dax from 1985-1988. In additional to the original 12 album tracks, this newly remastered edition includes additional B sides and remixes, some making their debut CD appearance.
This particular John Fahey side is a personal favorite of many of his devout fans for several reasons. And although such a judgment is tough, if one were looking to own only one album by this unique guitarist, The Yellow Princess could be the one. The recording sound is among the best of his many releases; at the proper volume, the effect is as if one had taken up residency inside the sound hole of a giant acoustic guitar. The program of pieces is marvelously emotional and varied, with many moments of precisely stated harmonies moving at courageously slow tempos. The second piece on the first side, "View (East from the Top of the Riggs Road/B&O Trestle)," is surely one of his masterpieces, on a par with Charles Ives for musical Americana.
Focusing on the '80s, Cleopatra continues to document the history of gothic rock with this two-CD set. Progressing through the discs, the tracks get basically more obscure. Starting off is the pop-goth of the Cult ("Spirit Walker," similar to the Skeleton Family track), then on to the odd, desert goth of Theatre of Hate's "Do You Believe in the Westworld." Fields of Nephilim adds riff-rock goth (&"Blue Water"). With sound ready to open for Psychedelic Furs or Modern English is March Violets. Truly unique is the bouncy, glam goth of Danielle Dax' "Yummer Yummer Man." The obligatory track of '80's goth kings, Bauhaus, is "Passion of Lovers." Other big names in the genre found here include Christian Death, New Model Army, Red Lorry Yellow Lorry, Gene Loves Jezebel and Alien Sex Fiend. Lesser known is a catchy cut from Sexbeat, "Sweat.
A project long in the making, Across the Tracks finds tenor saxophonist Scott Hamilton pairing with journeyman blues guitarist Duke Robillard for a set of burnished lesser-known standards, ballads, and blues. As Rhode Island natives, Hamilton and Robillard crossed paths early on in their careers, with the younger Hamilton drawing inspiration for his own straight-ahead jazz from Robillard's brand of vintage swing, blues, and R&B.
Veteran tenor Flip Phillips is heard leading a jam session during what was dubbed the 1986 Floating Jazz Festival since the music took place on the S.S. Norway somewhere in the Caribbean Sea. Phillips and his fellow tenors Buddy Tate, Al Cohn and Scott Hamilton (along with pianst John Bunch, guitarist Chris Flory, bassist Major Holley and drummer Chuck Riggs) clearly had a good time stretching out on the five pieces (which all sport fairly basic chord changes); fluegelhornist Clark Terry dropped by and joins in on three of the pieces. Unfortunately the liner notes do not tell who solos when but veteran collectors should be able to tell the tenors apart. The only minus to this CD is a surprisingly boring monologue by Phillips (one of Chiaroscuro's few unsuccessful "Jazzspeaks") at the conclusion of this disc. However his nine minutes of talking is preceded by 64 minutes of hot jamming, making this CD easily recommended to fans of Jazz at the Philharmonic and straightahead jazz.
On this CD reissue, Bob Wilber (who triples on clarinet, soprano and alto) meets up quite successfully with the relatively young swing stylist Scott Hamilton (heard near the beginning of his career) and the tenor's rhythm section of the period (guitarist Chris Flory, bassist Phil Flanagan and drummer Chuck Riggs). Together they perform melodic and swinging renditions of six of Wilber's originals along with six veteran standards; the logical arrangements help to set up the solos. Also included on the reissue is a seven-minute "Jazzspeak" in which Wilber remembers how the date came about. Easily recommended to mainstream and small-group swing fans.