Listen Or Die? #13 - Kenya...

KENYA

by Machito (1957)

Running Time: 35:46

1. Wild Jungle

2. Congo Mulence

3. Kenya

4. Oyeme

5. Holiday

6. Cannonology

7. Frenzy

8. Blues A La Machito

9. Conversation

10. Tin Tin Deo

11. Minor Rama

12. Tururato

All-instrumental, African inspired Cuban jazz. This should be interesting and I mean that. If Sabu's Palo Congo taught me anything a couple of weeks ago, it's that 50s jazz combined with Latin flavours makes for a much more exciting listen than your standard 50s jazz album. Machito's orchestra adds a well-developed personality to their performance that maintained my interest in spades. 'Wild Jungle' is quite manic; conga and bongo drums drive the rhythm into a tribal frenzy. 'Congo Mulence' offers a stark alternative. This one is all Havana nights, sneaky and mysterious until the horn section enters, backing up a mighty fine saxophone solo. 

'Frenzy' takes the manic nature of 'Wild Jungle' and sends it into overdrive, while 'Conversation' proves an appropriate title as a whole host of instruments chime in and out like constant chatter. 'Tin Tin Deo' is sure to get all of us faux-Salsa dancers on our terribly uncoordinated feet. For some of us, it's best to listen to this one alone. Which means, why yes... Kenya is worth a good 'ole LISTEN boys and girls. Put it on and watch your inner dancer come to life.


The tally...


LISTEN - 7
DIE - 6  

Listen Or Die? #12 - Birth Of The Cool...

Listen Or Die? Our weekly examination of the albums listed in the book, 1001 Albums You Must Hear Before You Die. Must you hear them? We'll be the judge of that...

Birth Of The Cool

by Miles Davis (1957)

Running Time: 37:56

Reviewed by Matt Bond

1. Move

2. Jeru

3. Moon Dreams

4. Venus De Milo

5. Budo

6. Deception

7. God Child

8. Boplicity

9. Rocker

10. Israel

11. Rouge

12. Darn That Dream

One would assume it's safe to say everyone knows Miles Davis is cool. The questions is, do most people know he's cool because of his game changing improvisational jazz? A more likely reason for the general belief he is 'cooler than cool' would be the line, "if peeing your pants is cool, consider me Miles Davis." Adam Sandler certainly had it going on for awhile there. Let's see if Miles Davis had it 'going on' too. This isn't our first 50s jazz experience. Let's hope it's better than the last. 

Birth Of The Cool scores points for creating that dank, dimly lit, smokey hole-in-the-wall establishment jazz atmosphere. Take 'Venus De Milo' for instance. You feel like you've just stumbled upon a bar in New York that you're really not cool enough to be in. A trumpet player stands on stage, a lone spotlight keeping the focus solely on him until the saxophonist enters with a snappy improvised solo. The double bass player is at the back, probably wearing a beret and smoking a cigarette without the use of his hands. Drunkards, down on life, sit at the bar downing shots of whiskey. The bartenders look like fancy waiters. Audience members not coked out of their brains direct a look at you that screams, "join our depressing collective of lost souls." To me, that's good jazz and that's the feel of 'Venus De Milo.'  

Don't despair, it's not as gloomy as the picture I poorly attempted to paint with words. For 'Boplicity' (which sounds like a terrible movie title), 'Rocker' and 'Israel' we're treated to fairly breezy orchestrated jazz arrangements. They retain Davis' penchant for the improvisational, but waiver dangerously close to falling into the 'haven't I already heard this?' trap. A bit too samey-samey for my liking. Thankfully 'Rouge' picks things up nicely, leading into the only song featuring vocals, 'Darn That Dream.' Those drunkards at the bar have burst into tears and begun lamenting their gal walking out on their sorry behinds. You've started to back away slowly to the exit... it's time to go. 

At the very least, Birth Of The Cool confirms Miles Davis is one cool cat. Nope, not jazz savvy enough to pull of calling someone a cool cat. Maybe one day? Maybe not. Let's say this one's worth a LISTEN. 

The tally...

LISTEN - 6

DIE - 6

We have a tie! With Billie Holiday, Little Richard and Ray Charles still to come in the 50s, will the listen's finally pull into the lead? Stay tuned... 

Listen Or Die? #11 - Palo Congo...

Listen Or Die? Our weekly examination of the albums listed in the book, 1001 Albums You Must Hear Before You Die. Must you hear them? We'll be the judge of that... 

PALO CONGO

by Sabu (1957)

Running Time: 40:52
Reviewed by Matt Bond

1.El Cumbanchero

2. Billumba-Palo Congo

3. Choferito-Plena

4. Asabache

5. Simba

6. Rhapsodia Del Maravilloso

7. Aggo Elegua

8. Tribilin Cantore

Say goodbye to the brassy big band jazz sounds, at least for this week, and say hello to some spicy Latin jazz! Louis Martinez aka Sabu delivers a forty minute, non-stop percussive assault of Cuban rumba goodness, random Spanish rants (one assumes as one does not speak much Spanish - hola, bitchola) and world class conga drumming. Places you can expect to hear the music of Palo Congo these days include your fave local Mexican dining establecimiento, motion pictures that feature exciting/exotic dance sequences south of the border and that's about it. 

Given Sabu's mixed heritage (Spanish, African and West Indian), Palo Congo percussive influences leap from Latin to African and beyond throughout. The tribal beats of Africa are most prevalent on 'Simba,' which should come as no surprise to anyone who has seen The Lion King and has a basic understanding of geography. Don't get used to the pre-'Circle of Life' circa-1957 Zulu chanting though, as you're bounced right back to a sunny, tequila-infused Sunday afternoon in Tijuana for 'Rhapsodia Del Maravilloso.' Percussion takes a backseat to the tres guitar, which favours latter day funk as much as the timeless sounds of classic Spanish music. 

This back and forth between African and Spanish themed tracks keeps the listener invested. If the focus had been limited to strict Cuban rumba, Palo Congo would command just as much attention as your standard 50s jazz album. Did I mention how happy I am to be big band jazz free for a week? That fact alone would have earned Sabu a LISTEN for Palo Congo. Thankfully, the album's percussive genius does a lot more to earn it. 

The tally...


LISTEN: 5
DIE: 6
 

Listen Or Die? #10 - Brilliant Corners...

Listen Or Die? Our weekly examination of the albums listed in the book, 1001 Albums You Must Hear Before You Die. Must you hear them? We'll be the judge of that...

BRILLIANT CORNERS

by Thelonious Monk (1957)

Running Time: 43:08

1. Brilliant Corners

2. Ba-Lue Bolivar Ba-Lues-Are

3. Pannonica

4. I Surrender Dear

5. Bemsha Swing

While I know the man's name, I can't say I've ever taken the time to listen to Thelonious Monk. That all changes tonight as I listen to the jazz pianist and composer's album, Brilliant Corners. The idea of listening to another 50s instrumental music album isn't exactly making me scream, "BEST TUESDAY EVER," but open heart, open ears... que sera sera or something. Let's do this, so I can see if you should give it a listen as well or just wander through life thinking Thelonious Monk is the title character of the Tony Shalhoub television series, Monk. It's plausible. Do you know anyone who actually watched Monk? 

(Excuse me for forty-three minutes, as I listen to Brilliant Corners)

Now, I've made it no secret that 50s instrumental jazz holds no special place in my heart, but Thelonious Monk... his music might have slightly softened that once hard stance. Recording not with an orchestra like his contemporaries (Duke Ellington and Count Basie), but with a smaller jazz band spares the listener from being bombarded with too much at any given time and it works. It works quite well. You can focus your attention on Monk's brilliant piano work and single out Ernie Henry on the alto sax when listening to the album opener and title track, 'Brilliant Corners.' We're also treated to a piano solo from Monk on the album's most memorable track, the beautiful ballad 'I Surrender Dear.'

At just over thirteen minutes, you'd be forgiven for reaching for the skip button after reaching the halfway mark in 'Ba-Lue Bolivar Ba Lue-Are,' but getting to the downward mood-altering 'Pannonica' that follows is worth it. At times the 'Bemsha Swing' sounds like a big jam, by which I mean a bunch of muso's just doing whatever they feel like without any real sense of cohesion. However, these are minor negatives. The good outweighs the bad, three excellent tracks to two average ones and on that ratio I'd say you're good to give Brilliant Corners a LISTEN. 

The tally...

LISTEN - 4

DIE - 6 

Listen Or Die? #9 - The Atomic Mr. Basie...

Listen Or Die? Our (mostly) weekly examination of the albums listed in the book, 1001 Albums You Must Hear Before You Die. Must you hear them? We'll be the judge of that...

THE ATOMIC MR. BASIE

by Count Basie (1957)

Running Time: 39:30

1. Kid from Red Bank

2. Duet

3. After Supper

4. Flight of the Foo Birds

5. Double-O

6. Teddy the Toad

7. Whirlybird

8. Midnite Blue

9. Splanky

10. Fantail

11. Lil' Darlin'

Welcome back to the 50s! Only nine albums in and I'd sell my soul to the devil himself to get to the 60s. You'll have to excuse me... it's the instrumental jazz albums. They're not made with little 'ole me in mind, groovers and shakers. I'm thinking The Atomic Mr. Basie won't be for many of you either, but there's sure to be some annoying jazz fan out there dying to tell me that my tiny brain can't understand the complexity of the emotion seeping through the toot-toot of the horns and scattered piano lines. 

Regarded as Count Basie's piece-dee-resistance (I never said I was French), The Atomic Mr Basie is sure to satisfy the needs of any true jazz fans. There's the right mix of upbeat numbers you'd expect to see in some terrible 50s black-and-white film. That's right... I don't like old cinema either! Audrey Hepburn movies suck! Sorry... sorry. This is what jazz does to me. Where was I... right mix of upbeat numbers with some very pleasing piano led ballad-y tracks. 'After Supper' in particular stands out, with the band capturing that romantic, after-dinner date mood. Get your minds out of the gutter though; there's not bow-chicka-wow-wow dirty sax going on here. I said sax, perv! 

'Midnite Blue' is quite nice, albeit a little similar in tone to 'After Supper.' You know those songs they play when moving sets around in musicals? That's closing track 'Lil Darlin.' So, um, yeah... it has that going for it? The other songs are alright. I guess. I don't know, they didn't do much for me. Let's stop delaying the inevitable (and put us both out of our misery), shall we? The Atomic Mr. Basie is an album you don't really need to hear before you DIE. See you next week for another trip to the 50s. Oy. 

Listen Or Die? #8 - The "Chirping" Crickets...

Listen Or Die? Our weekly examination of the albums listed in the book, 1001 Albums You Must Hear Before You Die. Must you hear them? We'll be the judge of that...

THE "CHIRPING" CRICKETS

by The Crickets (1957)

Running Time: 25:59

1. Oh Boy!

2. Not Fade Away

3. You've Got Love

4. Maybe Baby

5. It's Too Late

6. Tell Me How

7. That'll Be The Day

8. I'm Looking For Someone To Love

9. An Empty Cup (And A Broken Date)

10. Send Me Some Lovin'

11. Last Night

12. Rock Me My Baby

And on this day, we find ourselves still trapped in the 1950s listening to Buddy Holly's very first album, The "Chirping" Crickets. Yes, he was in a band called The Crickets, a four-piece precursor to the far superior Beatles. Now I'm not that big of a Holly fan, but I (sort of) get why people dig him. Dude had those massive nerd glasses and was a snappy dresser. Hipsters of today essentially worship at his alter. The terrible nature of his death and short yet memorable tenure in the public eye provided him with a certain mystique that still leaves certain music critic's wetting their pants at the thought of placing him disgustingly high on whatever list they can. In 2004, Rolling Stone decided Holly was the 13th greatest artist of all time, ahead of icons like Michael Jackson (#35) and Madonna (#36); artists with successful careers that spanned decades. Unfortunately, Madge and Wacko (as a solo act) dominated the 80s and you needed to peak in the 50s and 60s to be considered for a Rolling Stone top 20. Duh. 

The "Chirping" Crickets is lauded as a blueprint for pop-rock and I'm willing to agree, but only if I can compare the evolution of music to that of the mobile phone. I like to think that what we get on this album is akin to one of those old brick Nokia phones; it performs the very basic duties like calling and texting (and that original version of Snake was a lot of fun at the time), but the ringtones are pretty boring and reception is poor. In a couple of years you'll get phones that allow you to browse the internet and come with a built in camera - that's the Rolling Stones and Beatles in the 60s, Fleetwood Mac in the 70s etc. After that will come the smart phone - Prince and Nirvana and Eminem... whatever popular act that delivered jaw-dropping, incredible music. With me? No? Let's press on anyway. There's always going to be something better just around the corner, but there's also going to be a very vocal group that can't be satisfied and will compare everything to the past. The music industry is the same. The "Chirping" Crickets might be the blueprint, but it's for a very basic model and other acts looked at it, decided they could do better and guess what... they did. 

It's only a matter of opinion... but this isn't one of the greatest albums of all time, the only standout ('Last Night') wasn't even written by Holly and the majority of the songs sound like 'Peggy Sue.' Since we're being honest... 'Peggy Sue' sucks. If I was to list one positive, it would be the short running time. Wasting less than half an hour is better than wasting more than half an hour. Always look on the bright side of life, right? Sorry Buddy fans... this one is a great big DIE. And yes, this was all just a convoluted way of saying music is definitely better today than it was in the 50s.

The tally...

LISTEN - 3

DIE - 5 

Listen Or Die? #7 - Songs For Swingin' Lovers!...

Listen Or Die? Our weekly examination of the albums listed in the book, 1001 Albums You Must Hear Before You Die. Must you hear them? We'll be the judge of that...

SONGS FOR SWINGIN' LOVERS!

by Frank Sinatra (1956)

Running Time: 45:00

1. You Make Me Feel So Young

2. It Happened in Monterey

3. You're Getting to be a Habit with Me

4. You Brought a New Kind of Love to Me

5. Too Marvelous For Words

6. Old Devil Moon

7. Pennies From Heaven

8. Love is Here to Stay

9. I've Got You Under My Skin

10. I Thought About You

11. We'll Be Together Again

12. Makin' Whoopee

13. Swingin' Down the Lane

14. Anything Goes

15. How About You

It only took a year for Frank Sinatra's mood to dramatically improve. What am I talking about? You might remember the first album we looked at in this series, In The Wee Small Hours, the ultra-depressed and ultimately satisfying 1955 Sinatra LP. That was a Frank Sinatra I was unfamiliar with; all woe is me and down in the dumps. Released eleven months later, Songs For Swingin' Lovers is Sinatra's light to his previous album's dark. Where stood tracks like 'Mood Indigo' and 'When Your Lover Has Gone' is now occupied with 'Love Is Here To Stay' and... 'Makin' Whoopee.' The evolution of sex in popular culture; 'Making Whoopee' becomes 'Afternoon Delight' becomes 'Put It In My Mouth' becomes 'Down A** B*tch.' Thank heavens the subtle 50s is long gone, am I right?! 

Songs For Swingin' Lovers is the return of the smooth talking, classy Sinatra. It's all sunshine, lollipops and rainbows everywhere. Personally, I want to hate it, but Sinatra makes this impossible; the man's too damn good at what he does. 'You Make Me Feel So Young' isn't the greatest album opener in the world and it's lost in translation 50s innocence just comes across as creepy. Potential double entendres abound. "The moment that you speak, I want to play hide and seek, I want to go and bounce the moon, just like a big toy balloon." Now imagine Kanye West rapping that line. Not so cute now! Alternatively, 'It Happened In Monterey' holds the right kind of charm with its 'days gone by' Mexican love story. You can't even find ways to twist the words into potentially new boudoir antics. Sinatra had just hit the 40 mark when the album went into production and the rich vocal tone he's got going on sells a song like this much better than a younger Frank could have.  

What separates the great songs from the decent ones can be found in the composers and lyricists. You'll find yourself immediately won over by the Gershwin's jazz standard, 'Love Is Here To Stay.' Perfectly dreamy strings and piano alongside Sinatra's equally mesmerising, deep voice make this one an easy winner. It would have been a hard task for what followed, if it wasn't Cole Porter's 'I've Got You Under My Skin.' Sinatra's rendition is fairly breezy, but that works with his lighthearted style. It's not as powerful as Ella Fitzgerald's version (released the same year), but the song is one of the all-time greats and ole Blue Eyes does it justice. For all of its lame innuendo, 'Makin' Whoopee' is actually the most boring track on the album. This song goes out to all the lamenting fathers out there. "He's washing dishes and baby clothes, he's so ambitious he even sews, but don't forget folks, that's what you get folks, for makin' whoopee." If you have sex, you will have a child and regret it! So says Frank Sinatra. 

While Songs For Swingin' Lovers is a step down in quality and a departure from the more adventurous In The Wee Small Hours, I'd still give this a LISTEN. Frank Sinatra knew how to deliver the goods and Songs For Swingin' Lovers proves to be no exception.  


The tally...


LISTEN - 3
DIE - 4  

Listen Or Die? #6 - Ellington At Newport 1956...

Listen Or Die? Our weekly examination of the albums listed in the book, 1001 Albums You Must Hear Before You Die. Must you hear them? We'll be the judge of that...

ELLINGTON AT NEWPORT 1956

by Duke Ellington (1956)

Running Time: 44:00

1. Festival Junction

2. Blues to Be There

3. Newport Up

4. Jeep's Blues

5. Diminuendo and Crescendo in Blue

Who's ready to hear some 50s jazz?! Anyone? How you answer that question will go a long way in determining your own reasoning for giving Duke Ellington's Ellington At Newport 1956 a listen. We could talk and talk about how talented Ellington's merry band of instrumentalists is, but the only way you're going to get through over forty minutes of uninterrupted jazz music is if you're a genuine fan of the genre.


Out of the five original album tracks, only the closing number 'Diminuendo and Crescendo in Blue' left a lasting impression. It powers along, building to a 'get up offa that thing' conclusion; saxophonist Paul Gonsalves stealing the show with a solo that just keeps on going, never losing steam. An album can't rest on the laurels of one song though and everything else on Ellington At Newport 1956 is ultimately forgettable to this non-jazz aficionado.

 

Like I said towards the start, there's no denying how talented the performers are, but strict jazz - no singers, no words, extensive and exhausting solos - it's a niche market these days. In the 50s it was all the rage, but it isn't the 50s anymore (can I get a "hell yeah?"). If you're a fan of jazz, you'll love this. If, like me, your dabbles into instrumental albums tend to sound a little something like Pirates of The Caribbean soundtracks, you're going to live a happy life and DIE without ever needing to hear Mr Ellington's opus.


The tally...


LISTEN - 2
DIE - 4  

Listen Or Die? #5 - This Is Fats...

Listen Or Die? Our weekly examination of the albums listed in the book, 1001 Albums You Must Hear Before You Die. Must you hear them? We'll be the judge of that... 

THIS IS FATS

by Fats Domino (1956)

Running Time: 27:11

1. Blueberry Hill

2. Honey Chile

3. What's The Reason (I'm Not Pleasing You)

4. Blue Monday

5. So Long

6. La-La

7. Troubles Of My Own

8. You Done Me Wrong

9. Reelin' And Rockin'

10. The Fat Man's Hop

11. Poor, Poor Me

12. Trust In Me

There's just something about an album called This Is Fats I find so... unappealing. This uneasy feeling isn't improved when I spy the opening track is 'Blueberry Hill,' a song I've long held disdain in my heart for (sorry, Mum and Dad). "Tho we're apart you're part of me still, for you were my thrill on Blueberry Hill." Urge to barf (50s slang), rising. 'Blueberry Hill' plods along, making two minutes feel like an eternity, even in Fats Domino's talented hands. Next up is 'Honey Chile' which dials up the excitement level ever so slightly; the horns and brass getting moments to shine alongside Domino's inexpressive vocal line. A problem I have with many of the tracks on This Is Fats is the lack of emotion or any real feeling that comes across in so many of the songs. Domino has a great tone in his voice, but there's not much behind it. 

Take a track like 'So Long' as an example. The band plays their part perfectly, with the saxophone solo perfectly carrying the emotional weight of the track. Then there's Domino's vocal line with pleading lines like, "goodbye, please tell me why," and "oh why, why are you never satisfied," sung in the most dispassionate way. I've been told the 50s weren't such a great time for expressing one's feelings (explaining why this kind of performance would have gone down a treat), but this is R&B music on the threshold of the birth of rock and roll. Where's the emotional punch? By the time you get to 'Poor, Poor Me,' arguably the biggest 'feel sorry for me' song of all time, I found myself ready to give up on This Is Fats. Thankfully I didn't, because closing number 'Trust In Me' was the most satisfying listen on the album. Don't think of that as too glowing a recommendation though. It's the right kind of boogie-woogie number to keep you just happy enough to not be completely bored. 

Now, Fats Domino is an artist that definitely has appeal to a huge music loving population. Most of them are old. The rest are probably jazz students. I just couldn't find the love for This Is Fats, so if you're unfamiliar with Domino, you could just live your life and DIE without ever missing out on anything. 

The tally...

LISTEN - 2

DIE - 3  

    

 

Listen Or Die? #4 - The Wildest!...

THE WILDEST!

by Louis Prima (1956)

Running Time: 32:00

1. Medley: Just A Gigolo - I Ain't Got Nobody

2. (Nothing's Too Good) For My Baby

3. The Lip

4. Body and Soul

5. Oh Marie

6. Medley: Basin Street Blues - When It's Sleepy Time Down South

7. Jump, Jive, An' Wail

8. Buona Sera

9. Night Train

10. (I'll Be Glad When You're Dead) You Rascal

Welcome back to the 1950s. That's right, we're still in that real swell decade and we're having a ball. Not completely true though... last week we were having a bit of a barf with The Louvin Brothers. Why am I talking like this? I found a 1950s slang site... that's why. I'll stop now, you filthy beatniks. I'm about to listen to Louis Prima's The Wildest! Going in, I know absolutely nothing about Mr Prima and his typical sound, so your guess is as good as mine as to whether or not this album will fall into the most excellent LISTEN category, or the dreaded DIE. 

Approaching opening medley 'Just A Gigolo - I Ain't Got Nobody' with a measurable quantity of apprehension (for the title has the word 'gigolo' in it - never a good sign), I find myself instantly warming to the jazzy big band music of Prima and his badass trumpet skills. You see, badass is a 50s word. A website told me. '(Nothing's Too Good) For My Baby' brings in vocalist, Keely Smith (Prima's wife and stage partner) for a duet that will please anyone that found some satisfaction in Tony Bennett's recent duets albums. Just try not to pay attention to the lyrics. "And just for you I'd hit you in the eye, and just for you I'd like to see you try, and just for you I'd learn to bake a pie." Domestic violence at its weirdest. Surprisingly, the majority of tracks on The Wildest! manage to put a smile on my face. Even 'The Lip' which I'm assuming was the 50s version of 'Boom Boom Pow.' It's annoying, but if it came on in 1956 at the box social on Friday night around 7pm, I'd be dancing to it. Next up is jazz standard 'Body and Soul.' You'll remember this one - it was the last track Amy Winehouse recorded, alongside the aforementioned legendary Bennett. You don't have to worry about comparing vocals as Prima's trumpet carries the melody in one pretty amazing solo. The second medley doesn't match the opening number, but not to worry, 'Jump, Jive, An' Wail' makes up for it with its crazy jazz piano solo and lyrics like, "Jack and Jill went up the hill to get a pail, Jack and Jill went up the hill to get a pail, Jill stayed up she wanted to learn to jive and wail." Outstanding. 

Unnecessary Spanish-orientated track 'Buona Sera' shows that just like today and the 90s, Latin flavoured tracks are best left to South Americans... not Americans from the South. Alright, it's not 'La Isla Bonita' bad and features another banging trumpet solo. '(I'll Be Glad When You're Dead) You Rascal You' is an automatic winner because of its title. And because Prima is so angry because someone tried to steal the man's meatballs. Not even joking. More songs should be about food.  So, my first encounter with The King of Swing and I don't really have anything bad to say at all. A sarcastic line here and there, but nothing truly negative. That may be strange, but congratulations are in order for the late Louis Prima. Give this one a LISTEN and swing the night away. Not the Sting and Trudi way, but if you're into that, good for you! 

It must be about time we started keeping a tally, yes? Four weeks in and we're at a tie...

LISTEN - 2

DIE - 2 

   

Listen Or Die? #3 - Tragic Songs Of Life...

TRAGIC SONGS OF LIFE

by The Louvin Brothers (1956)

Running Time: 35:58

1. Kentucky

2. I'll Be All Smiles Tonight

3. Let Her Go God Bless Her

4. What Is Home Without Love

5. A Tiny Broken Heart

6. In The Pines

7. Alabama

8. Katie Dear

9. My Brother's Will

10. Knoxville Girl

11. Take The News To Mother

12. Mary Of The Wild Moor

Sweet... merciful... Zeus. Just look at those song titles. 'I'll Be All Smiles Tonight.' 'Take The News To Mother.' 'Alabama.' I can already tell we're in for a treat and you can already tell that this is going to be one sarcastic ride you won't soon forget. Yee-haw! 'Mary Of The Wild Moor' sounds like a book I'd rather stab myself in the eye with than read. Let's see if the song by Charlie and Ira Louvin is any different. Wait. Ira? Oy vey... Do I have to listen to this one? Did I mention this is a country album. Double the oy vey! 

Tragic Songs of Life opens with 'Kentucky.' What do we know of Kentucky? Well, at the time of this recording, Kentucky was home to many a redneck that knew the Colonel's secret herbs and spices. Which is pretty much what I know of Kentucky today. What do we know of the song 'Kentucky?' It blows, man. It blows. You know what? Let me save you a whole lot of time. You may DIE without ever hearing this album. It's 2013. The world has changed. Ain't nobody got time for this. 

Listen Or Die? #2 - Elvis Presley...

ELVIS PRESLEY

by Elvis Presley (1956)

Running Time: 28:42

1. Blue Suede Shoes

2. I'm Counting On You

3. I Got A Woman

4. One-Sided Love Affair

5. I Love You Because

6. Just Because

7. Tutti Frutti

8. Trying To Get To You

9. I'm Gonna Sit Right Down (And Cry Over You)

10. I'll Never Let You Go (Little Darlin')

11. Blue Moon

12. Money Honey

Ah, Elvis the Pelvis. The King. That dude you see in movies at lunchtime on a Sunday who ushered in an era of rock and roll that changed the music industry and popular culture throughout the world. If, like me, one or both of your parentals enjoyed Elvis, you'll be aware of many of his tunes. That's not a guarantee you'll like them, but you'll be aware of them. If your parents weren't that big on the older and even druggier Presley, you'll at least know 'A Little Less Conversation' and the immortal line from from Eminem's 'Without Me;' "I am the worst thing since Elvis Presley, to do black music so selfishly and use it to get myself wealthy." Heeeeey! Now, this may have been recorded during the hilarious stage of Eminem's career, but that doesn't mean the man didn't check his facts. It was on the album Elvis Presley that the more country/rockabilly leaning Elvis took a couple of notes from his R&B contemporaries and produced the first rock album to top the Billboard Pop charts. What we get on Elvis Presley is a tale of two men; the country crooner and the bonafide rock star he would go on to become. Not that he was Slash or Keith Richards, but the sex, drugs and rock and roll were there. Then again, Slash and Keith Richards will outlive us all, so them - 1, Elvis - 0. 

'Blue Suede Shoes' is our entry track; a song at the time that many would have decried as the pinnacle of offensive music. Now? I'm pretty sure this is a standard at primary school dances throughout the world. It is what it is and that's a harmless piece of rockabilly fluff that managed to crack Rolling Stone's 500 Greatest Songs list... twice, with Presley coming in at #423 and Carl Perkins' original at #95. Why they would waste honouring another song by putting in the cover is bizarre, but we'll let that go. For now. 'I'm Counting On You' is a pop ballad that presents itself as an excellent showcase for Elvis' voice. You can say what you want about the drug addicted mess guy, but he had an incredible and versatile voice. A cover of Ray Charles' 'I Got A Woman' is up next. In a galaxy far, far away the song will be sampled to great effect by some fella named Kanye West on a track you've probably never heard of called 'Gold Digger.' Presley's effort doesn't pack the same punch as Charles,' but was certainly heard by a much larger (and much whiter) audience. If it was the 50s, I'd probably be loving it. Thankfully, it isn't the 50s. It also doesn't help that I've heard Texas Tea's live cover a couple of time over the past year and it's awesome. Go see Texas Tea. 

There's a whole lot of ballady filler over the next three tracks before the next R&B cover kicks the tempo up a notch with 'Tutti Frutti.' It's only a minute and fifty-nine seconds long, but you could use that time better by, oh I don't know, listening to Little Richard's much better original. You could also just skip ahead to country ballad, 'Trying To Get To You.' It's easy listening background music at its finest. "Ever since I read your letter, where you said you loved me true, I've been traveling night and day, I've been running all the way baby, trying to get to you." A letter is what people used before e-mail. You have to write on paper, I'm assuming at the time with a quill, put it in an envelope and take it to the post office where it is then delivered via postman. Crazy, right? 'Trying To Get To You' is easily the best song on the album. Next up, more fluff and then a bit of snoozefest in 'I'll Never Let You Go (Little Darlin'), before we get to 'Blue Moon.' You should know this one. Perfectly acceptable is one way to put it, but another is to say the Grease version is better. Do we even get the whole song in Grease? 'Money Honey' brings this brush with the King to a close and it's a quality track. A bit boppy, infinitely more memorable than the majority of the ballads. Well, there goes half an hour.

With that last sentence, you should be able to figure out if this is a listen or a die. That's right, it's... DIE. Mediocre and inconsistent would be the two best words for Elvis Presley. If you're a fan you'll probably love it, but I don't see it winning Presley too many new fans from the younger generations. Don't feel too bad for Elvis though; it's a pretty safe bet we'll encounter some of his better albums as we work our way through 1001 Albums You Must Hear Before You Die.

Listen Or Die? #1 - In The Wee Small Hours...

"Just ask Matt, he knows everything about music."


"Oh, you write for a music blog? You must know EVERYTHING about music then!"


"What do you mean you don't like (insert generic indie band or overrated rap artist *cough* Kendrick Lamar *cough* here)? Don't you have a music blog? I thought you'd have better taste in music!!!"


"You suck."


I present to you excerpts from the glamorous life of a music blogger. Alright I'm exaggerating quite a bit, particularly on that last one, but it seems that a lot of people grossly overestimate my knowledge of all things music. Sure I can tell you Lady Gaga's singles discography, I know the chart peaks Killing Heidi rose to in the early 2000s and I'm so close to being able to rap Azealia Banks' '212' in its entirety by heart. So very close. Awesome as that will be to master, it doesn't exactly make me the Ayatollah of musical enlightenment. Stumbling across the book 1001 Albums You Must Hear Before You Die last week, I decided it was time to explore some genres and artists I've expertly avoided (or just plain ole' haven't heard of) in the past. The challenge? To listen to each and every album presented in 1001 Albums... from start to finish with the intention of broadening my musical knowledge. Who knows, maybe I'll even listen to an album more than once if it warrants another go. Therein lies the point of this new feature; listen... or die? Are these supposedly incredible albums we MUST listen to before meeting the true death (sorry, been watching True Blood) really worth it? Or can I save you a potentially wasted forty-five minutes that you would never get back (like the forty-five minutes I'll never get back after watching True Blood)? Listen. Die. I'll be the judge of that. We start in a decade that saw the rise of rock and or roll through Elvis and his shakin' pelvis; the 1950s! Our first star? 'Ol Blue Eyes himself, Frank Sinatra...

IN THE WEE SMALL HOURS

by Frank Sinatra (1955)

Running Time: 50:25

1. In The Wee Small Hours of the Morning

2. Mood Indigo

3. Glad To Be Unhappy

4. I Get Along Without You Very Well

5. Deep In A Dream

6. I See Your Face Before Me

7. Can't We Be Friends?

8. When Your Lover Has Gone

9. What Is This Thing Called Love

10. Last Night When We Were Young

11. I'll Be Around

12. Ill Wind

13. It Never Entered My Mind

14. Dancing On The Ceiling

15. I'll Never Be The Same

16. This Love Of Mine

Song titles can tell you a lot about an album. One quick glance at the track listing for In The Wee Small Hours and you already know what you're in for. This is a break-up album. 'Glad To Be Unhappy,' 'When Your Lover Has Gone,' 'I'll Never Be The Same.' When I think of Frank Sinatra, it's all Christmas carols and 'South of the Border (Down Mexico Way)' and the theme from Married With Children. Dude brings the happy, right? In The Wee Small Hours is the exact opposite of everything I thought I knew about the late, great Frank Sinatra.

"In the wee small hours of the morning, that's the time you miss her most of all." And so begins the heartache, as Sinatra's deep, dreamy and incredibly lonely voice floats alongside real strings. Real strings? Yes. Remember, we are now in a galaxy far, far away and there's nothing electronic to be found. There is a real orchestra present and it's kinda beautiful, but mostly you'll just feel a little bit sad. That's Frank Sinatra the storyteller selling you the lyrics with the emotion in his voice. 'In The Wee Small Hours Of The Morning' sets the tone for the entire album; "there ain't nobody who cares about me" angst-filled lyrics, the deep, engaging vocals at the forefront and the supporting orchestra at the back with the jazzy piano lines, sweeping strings and brass. A small problem is, that's the entire album in a nutshell. Each song moves at the same pace with one track becoming almost indistinguishable from the next. The only thing stopping it from slipping completely into 'background music' territory is Sinatra himself singing lines like, "I thought I found the gal I could trust, what a bust, this is how the story ends, she's gonna turn me down and say, can't we be just friends?" and, "I love my ceiling more, since it is a dancing floor, just for my love." Ridiculous today? Perhaps, but the words from icons like Cole Porter and Rodgers and Hart capture the 50s perfectly. I know I'll be saying "whatta bust" in a terrible New York accent as often as possible for a week or two.

So, listen or die? That's the question of the day. After sitting through sixteen Sinatra ballads, I'm surprising even myself by saying go on, give it a LISTEN. There's a lot to love; old time charm, an emphasis on the singer with the real life orchestra supporting said singer, not dominating proceedings. You're probably not going to want to bust it out at a box social or club night or school dance or anything, but try it on a Sunday night with a glass of wine and you'll enjoy it. Maybe just take a break every four songs and get another glass of wine or something.       

Key Tracks: 'I Get Along Without You Very Well,' 'Can't We Be Friends?' and 'I'll Be Around.'