Reuniting 3 alumni of British hard rock/progressive band, Colosseum, JCM stick to what they know best, but in a power trio format. The members have ventured far and wide since those days. Clem Clemson is most recognized in the States as a member of the ultra heavy Humble Pie from the Smokin’ period onward. Before bassist Mark Clarke formed a second edition of Colosseum with Jon Hiseman, he did stints with Tempest (a jazz rock outfit that also included Hiseman), Mountain, and Rainbow. He received his highest degree of radio exposure as a member of Billy Squire’s band in their glory years. Drummer Hiseman continues to be best known for his work in Colosseum and the United Jazz & Rock Ensemble. Although the latter band received significant exposure (14 album releases) in Europe, that never translated to much of an American audience.
JCM continues to create the kind of music their core audience expects- a hard mix of rock, jazz, and blues. Clarke handles the vocals more than adequately, often influenced by the blues renderings of Jack Bruce (Cream’s strongest vocalist). JCM is a collective of musician’s musicians, and Heroes does nothing to change that perception. For American listeners, the closest comparable is West, Bruce & Laing with jazz overtones. It’s great music derivative of the early ‘70s, but it might leave modern audiences wondering “where’s the funk?”
(Rating: B)
A soundtrack sorely in need of the visuals. Although the Netflix movie (I’ve finally seen it) was worthy of all the accolades, as a 2 1/2 hour soundtrack album, this simply doesn’t work. Folks do not listen to music the way they watch film and I’m no exception. Once you’ve heard (and seen) the stories, you’ll find yourself programming past the extended storytelling the next time around. And like with any exceptional movie, you’ll dial it up on Netflix a number of times when you’re ready to plant your ass in a seat for another look. A single disc version, please.
(Rating: C+)
The latest offering from the rocking side of Nashville, Let's Do This doesn’t so much tone down the social narrative as it does move it between the lines. The ongoing side project of Will Kimbrough and Tommy Womack, Daddy rocks more on this outing – closer to Rolling Stones guitar interplay than the more roots renderings of Muddy Waters and Chuck Berry (a Daddy staple) – Kimbrough reestablishes throughout why he is one of the most sought after session musicians in Nashville. Womack reestablishes why he one of the regions finest songwriters. And fans finally get a finished version of “When Disney Takes Jerusalem,” a song that has been occupying space as a demo on Womack’s website for a couple of decades. Womack, who received his second diagnosis of cancer in as many years, seems anxious to finish of some lingering projects. This is a fantastic one, with hopes for many more.
Rating: A-
DeWolff: Thrust
This Dutch retro metal (‘80s edition) has received numerous accolades around the blogosphere. It just goes to show that living in the past is nowhere to live - especially if it's a flawed version of the past. At best (“Tombstone Child”) this is entertaining. But mostly a higher rating is just wishful thinking. Judas Priest got it right the first time around. This doesn’t.
Rating: D
Washington carves his way through this collection of New Orleans soul like a spoon through hot butter. There is a kinship between My Future Is My Past and late-‘60s Isaac Hayes (Hot Buttered Soul) that frequents this record. Maybe the finest blend of deep southern soul and blues to emerge this year, My Future Is My Past, doesn’t exactly dwell on the past – rather it builds on it. The duet with Irma Thomas, “Even Now,” is pure salivation.
Rating: A
A more front porch-sounding record than anything by Gillian Welch if you can imagine that. That’s a plus for fans of Welch who enjoy her vocal duets with David Rawlings in concert. This is truly a duet album. - no more so than on “I Wanna See Something New.” Take advantage.
Rating: A-
[All reviews by Bill Glahn]
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