Total Guitar June 2018

It’s back. The debut album that blew up the ’90s blues scene. The songs that announced the touchdown of a major new talent. In modern times, as an established solo star and former member of the globally acclaimed Royal Southern Brotherhood, Mike Zito’s reputation precedes him. But turn back the clocks. Rewind the film reels. Slip through the wormhole to 1998, when a 27-year-old punk kid took his first shot in the studio. “Blue Room,” he reflects, “is the beginning of me becoming an artist.” By 1998, Zito had been around the block. Raised at the sharp end in St. Louis, Missouri, he’d witnessed the lean years of the ’70s, as his father – a union employee at the local Anheuser-Busch brewery – grafted to support five kids in a cramped apartment.

Esoteric Recordings is proud to announce the release of a 5CD clamshell boxed set anthology by legendary guitarist, composer and instrumentalist ANTHONY PHILLIPS. Anthony was a founding member of Genesis alongside Peter Gabriel, Mike Rutherford and Tony Banks with whom he recorded the albums From Genesis To Revelation and Trespass. After leaving the group in 1970, Anthony studied orchestration and harmony externally at the Guildhall School of Music and Drama in London. After passing his LGSM exams, he taught music at Reeds School and Peper Harrow whilst continuing to compose and record in his home studio.

Recorded at Seibu Theatre, Tokyo (June 3rd and 4th 1977). This album packs a wallop! Lots of outstanding music and playing from everyone in the group - Jun Fukamachi, Randy & Michael Brecker contributing songs from the Brecker Bros albums. The 2CD set is a must - the song Triangle Session is actually a note for note cover of John Lee & Gerry Brown's song Rise On from the recently reissued album Still Can't Say Enough that the Brecker Bros played -recommended along with the companion album Mango Sunrise! Kenji Ohmura nails the guitar on this song and the whole performance. The drummer, Martin Willweber, and bassist Kenji Takamizu are also excellent.

Prudence was one the most important bands on the Norwegian prog scene in the '70's, which included the likes of Aunt Mary, Junipher Greene, Titanic, Popol Vuh (Ace), Ruphus, Folque and HØST. They fused rock with old party/dance music from Trøndelag and (on their last album) sang in their local dialect, and thereby created a rock style dubbed Trønderrock.

Chapellier’s own tribute to the legendary Fleetwood Mac guitar player (BB King used to say that he gave him chills) concentrated on his 1967-1970 period. Fred brings his own personal touch to the master works, staying as close as possible to the sound of the times and to the spirit of the original versions. Total success! Fred Chapellier has been playing music for more than 20 years and has now joined the ranks of the top French blues rock guitarists. Semi-finalist at the International Blues Challenge in Memphis (the largest gathering of blues musicians in the world) he has toured with some of the best French vocalists and many american artists as Tom Principato or Billy Price. He has recorded eight solo albums and contributed to innumerable discs by some of the best artists in the field.

We all dreamt or wished to explore imaginary & far away grounds, between no man’s lands and intangible panoramas. Border 50 is an hymn to this laid-off concept, when frontiers and delineations dissipate to a wilder breadth, where, as Baudelaire would say, "Everything is beauty, luxury, calm and intense pleasure". Swiss-born artist Moreno Antognini aka Master Margherita treats us to a mystical and meditative album driven by low-end quiet pulses, swaddling guitar basslines, dense granular pads, giving a powerful homage to a certain definition of Doom Jazz, Stoner Rock and Nordic Ambient with influences from Pink Floyd, Miles Davis, Bill Laswell or Biosphere’s works. Carefully crafted over the course of two years, this Border 50 album stands apart, a return to the source for the artist, hallmark of Master Margherita’s irrefutable multi-instrumentist and storyteller talent.

Thumbscrew demonstrates their unique collective musical vision in contrasting but complementary ways on two exciting new CDs. Ours and Theirs are the first to be released on a newly revamped Cuneiform Records, just returning from a hiatus. Comprised of longtime collaborators Michael Formanek, Tomas Fujiwara, and Mary Halvorson, Thumbscrew is a true collaborative effort with all three members contributing at an equal rate both in terms of composition and improvisation.

Tom Waits’ Glitter and Doom Live doesn't fall into the various traps that many other concert recordings do, though it does have its problems. This double-disc set marks his third live effort in his nearly 40-year career, each one summing up his career to the point of its release. The first, Nighthawks at the Diner, issued in 1975 on Asylum, is regarded by many as one of the greatest live albums of all time. Big Time, released during his tenure at Island in 1986, is hotly debated in fan circles. It is likely that Glitter and Doom Live will be too, but for different reasons. The musical performances here were culled from Waits’ historic sold-out tour of the U.S. and Europe. He compiled and sequenced the tracks himself, intending to make them sound like a single show. The material leans, understandably, on his recordings with the Anti label…

Bad as Me is Tom Waits' first collection of new material in seven years. He and Kathleen Brennan - wife, co-songwriter, and production partner - have, at the latter's insistence, come up with a tight-knit collection of short tunes, the longest is just over four minutes. This is a quick, insistent, and woolly aural road trip full of compelling stops and starts. While he's kept his sonic experimentation - especially with percussion tracks - Waits has returned to blues, rockabilly, rhythm & blues, and jazz as source material. Instead of sprawl and squall, we get chug and choogle. For "Chicago" - via Clint Maedgen's saxes, Keith Richards' (who appears sporadically here) and Marc Ribot's guitars, son Casey Waits' drums, dad's banjo, percussion and piano, and Charlie Musselwhite's harmonica (he appears numerous times here, too) - we get a 21st century take on vintage R&B…

Following a notorious flirtation with alternative rock, Moby returned to the electronic dance mainstream on the 1997 album I Like to Score. With 1999's Play, he made yet another leap back toward the electronica base that had passed him by during the mid-'90s. The first two tracks, "Honey" and "Find My Baby," weave short blues or gospel vocal samples around rather disinterested breakbeat techno. This version of blues-meets-electronica is undoubtedly intriguing to the all-important NPR crowd, but it is more than just a bit gimmicky to any techno fans who know their Carl Craig from Carl Cox. Fortunately, Moby redeems himself in a big way over the rest of the album with a spate of tracks that return him to the evocative, melancholy techno that's been a specialty since his early days…