Kim Deal

On That's Life, Kim Wilson's second solo album, the vocalist/harpist hits on the right formula of Texas roadhouse blues and gritty blues-rock, turning out a uniformly satisfying album. Some of the original songs are a little weak, but the performances are convincing and enjoyable, even if they don't offer a new spin on Texas blues-rock.

Singer and harmonica player Kim Wilson's blues set is a throwback style-wise to the 1950s. The jump blues really romp, whether they be instrumentals, novelties, or low-down blues, Wilson's harmonica solos are excellent, and his singing is quite expressive. He has a crack backup band, guitarist Troy Gonyea is a major asset, and there are occasional contributions from the horn section, but Wilson is the main star throughout, creating a great deal of musical fire. This infectious and driving set is highly recommended to fans of Chicago and swinging blues.

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Trade Mark "Bad Boy" - After all the experimental episodes the audience has faced in the field of New Music in recent decades, today the oeuvre of George Antheil will be welcomed with a great deal of sympathy and many a friendly smile. The American knew full well not only how to meet the expectations of an audience "prepared to protest", but also how even to challenge them more overtly. An excellent example is the Jazz Symphony, written in 1925, shortly after George Gershwin's Rhapsody in Blue, that bursting the limits of the customary listening experiences of teh age in a similar way to e.g. Stravinsky's Le sacre du printemps of 1913.