Sunday, November 21, 2010


Over a career of jazz, R&B, and crossover recordings, husband-and-wife duo Tuck & Patti have produced a remarkable amount of music, especially considering that they rely on the textures of only guitar and voice. Tuck Andress was born in Oklahoma and studied classical guitar at Stanford University before traveling to Las Vegas to audition for a show band in 1980; also there was Patti Cathcart, a San Francisco native who was classically trained in the Bay Area. The two hit it off immediately, and began to perform as a duo around California beginning in 1981. They were married in 1983, but resisted recording contracts so they could cement their unique sound. Finally, in 1987, Tuck & Patti signed to Windham Hill Jazz, recording albums for the label in 1988 (Tears of Joy), 1989 (Love Warriors), and 1991 (Dream). Tuck Andress also released several solo albums for Windham Hill, and the duo signed to Epic in 1995.Tuck & Patti's first album for Epic, Learning How to Fly, alternatedCathcart originals with several covers of contemporary standards.Paradise Found followed in 1998. Taking the Long Way Homeappeared two years later. In 2002 Chocolate Moment, only their second album of original songs, and the first on their own label, was released, followed the next year with A Gift of Love, a collection of romantic covers originally intended solely for the Asian market, though the success it found there prompted Tuck & Patti to also issue it in Europe and the U.S. In 2006, the third Windham Hill compilation, Pure Tuck & Patti, was released.

Tracks :

Friday, November 12, 2010


What can a man do with a guitar?
Being referred to as one of the best guitarist on the globe this moment had to come: the ultimate guitar solo record. To be more specific: the ultimate guitar side of a record.
Side one is filled with the Fresh Air piece, roughly based on some strange concept I don't understand really well. The sub-parts itself however correlate with their titles. The song opens with psychedelic keys played by Akkerman himself on Fender piano, a great atmospheric start. Soon the Wrestling to get out part begins and a non-melodic jazz extravaganza is about to unfold. The title being the best way to discribe Akkerman's guitarplaying: it's like a mad rage to do the extreme. You will hear sound you've never heard before and speed beyond the imaginable. The basslines by Bert Ruiter (Focus) and drums by the masterfull Pierre van der Linden guide us to the best of hard jazz/rock or heavy fusion (which do you prefer?). I love the groovin' bassplaying. Fresh air - blue notes for listening is again a track with a title that doesn't need no explanation when you've heard it. One of the few relaxing tracks of the album. Jan Akkerman drops the speed for atmospheric guitar play, reminding me a bit of Robert Fripp. This is a welcome piece of music between two storms. For after this we'll get to hear some more Akkerman solo's of mad musicianship. This is the best track Jan Akkerman ever recorded in my opinion.
Side two. I don't listen to it very often but it is a midiocre collection of lute and blues songs which don't mach at all. I'm not even goin to tell something about it.
Conclusion. Now.. can a one side record make a masterpiece. I think in this case it does. The Fresh Air suite is a progressive masterpiece, a Fusion end point (this is fusion in the extreme) and a guitar axeman track of the highest skill. One of my most important records in my collection. Five stars! (but just for side one).

Tracks :

01. "Fresh Air" 19:55
a. Must be my land
b. Wrestling to get out
c. Back again
d. The fight
e. Fresh air - blue notes for listening
f. Water and skies are telling me
g. Happy Gabriel ?
02. "Kemps Jig" 1:34
03. "Etude" 1:33
04. "Blue Boy" 2:26
05. "Andante Sostenuto" 4:09
06. "Maybe Just a Dream" 2:35
07. "Minstrel/Farmers Dance" 1:46
08. "Stick" 3:39


Breaking away from Savoy Brown to form this band, the members of Foghat knew from the start what sort of record they wanted to make. With heavy emphasis on the hard boogie, Foghat got down to work with the help of Dave Edmunds and crafted a hard rock gem. Covering Chuck Berry's "Maybellene," they goosed the beat up until it was almost a precursor of the heavy metal yet to come. Interspersing covers with original material, they immediately found a place for themselves in the rock world. ~ James Chrispell, All Music Guide

Tracks :

1. "I Just Want to Make Love to You" (Willie Dixon) - 4:21
2. "Trouble Trouble" (Dave Peverett) - 3:20
3. "Leavin' Again (Again!)" (Peverett, Tony Stevens) - 3:36
4. "Fool's Hall of Fame" (Peverett) - 2:58
5. "Sara Lee" (Peverett, Rod Price) - 4:36
6. "Highway (Killing Me)" (Peverett, Price) - 3:51
7. "Maybellene" - 3:33 (Chuck Berry)
8. "A Hole to Hide In" (Peverett, Price, Roger Earl) - 4:06
9. "Gotta Get to Know You" (Deadric Malone, Andre Williams) - 7:44


Although their third American album was patched together (in the usual British Invasion tradition) from a variety of sources, it's their best early R&B-oriented effort. Most of the Stones' early albums suffer from three or four very weak cuts; Now! is almost uniformly strong start-to-finish, the emphasis on some of their blackest material. The covers of "Down Home Girl," Bo Diddley's vibrating "Mona," Otis Redding's "Pain in My Heart," and Barbara Lynn's "Oh Baby" are all among the group's best R&B interpretations. The best gem is "Little Red Rooster," a pure blues with wonderful slide guitar from Brian Jones (and a number one single in Britain, although it was only an album track in the U.S.). As songwriters, Jagger and Richards are still struggling, but they come up with one of their first winners (and an American Top 20 hit) with the yearning, soulful "Heart of Stone." ~ Richie Unterberger, All Music Guide

Tracks :

Side one

1. "Everybody Needs Somebody to Love" (Solomon Burke/Bert Berns/Jerry Wexler) 5:05
2. "Down Home Girl" (Jerry Leiber/Arthur Butler) 4:11
3. "You Can't Catch Me" (Chuck Berry) 3:38
4. "Heart of Stone" 2:58
5. "What a Shame" 3:03
6. "Mona (I Need You Baby)" (Ellas McDaniel) 3:35
Side two

7. "Down the Road Apiece" (Don Raye) 2:55
8. "Off the Hook" 2:36
9. "Pain in My Heart" (Allen Toussaint) 2:12
10. "Oh Baby (We Got a Good Thing Goin')" (Barbara Lynn Ozen) 2:06
11. "Little Red Rooster" (Willie Dixon) 3:04
12. "Surprise, Surprise"


Foghat essentially was a reversal of a band that didn’t include Kim Simmonds. Simmonds, the mainstay of Savoy Brown, had “Lonesome Dave” Peverett (who was in Savoy Brown for multiple albums), Tony Stevens, and Roger Earl in a configuration of Savoy Brown that produced the fine Looking In album before the three slipped the confines of the band in 1971 and formed Foghat. They brought in Rod Price, whose blues guitar and slide methods matched what the other three were feeling and the rest was history.
They produced the first album that yielded the classic interpretation of Willie Dixon’s “I Just Want to Make Love to You” as well as Chuck Berry’s “Maybellene.” But the real winner in Foghat’s career was the unsung Rock and Roll album, so named because of the cover shot of a rock and a roll. The album otherwise did not sport a title past the band’s name.
Rock and Roll was released in 1973 and contained a bluesy mix of rock found on 9 excellent songs. The album’s only cover tune, “Feel So Bad,” allowed Foghat to further define their sound, a trait that they took even further on Energized with a fiery version of Buddy Holly’s “That’ll Be the Day” and Big Joe Turner’s “Honey Hush.” While “Feel So Bad” doesn’t really show off Foghat’s capabilities to their fullest, it still is a welcome and enjoyable song. Price’s slide is all over on this song.
Other standouts in an already excellent album, perhaps their best, are “What a Shame,” a song that was already recorded and on the charts prior to this album’s release but remixed for inclusion here; the superb “It’s Too Late,” a cooker of a road song in “Road Fever,” and the untouchable “She’s Gone.”
All of Foghat’s albums should be revisited with Definitive Editions, especially replacing the meager releases that we have today with pumped up booklets and digipak casing.
Foghat would go on to bigger things – bigger stadiums, more album sales, and flashier lifestyles – but before they got there with songs like “Fool for the City,” “Slow Ride,” and other hits, they cut their teeth with albums that were never revisited in style. Rock and Roll is one of those. I call it their best achievement.
If you became a Foghat fan during their Fool for the City years and after, excellent. I encourage you to dig deeper and give Rock and Roll a try. If you were there from the beginning, following the boys from Savoy Brown to a new incarnation, dig the album out and enjoy some of the old days. But if you are younger than all of this, and need a “new” sound, let me suggest Foghat’s first three albums, Foghat, Rock and Roll, and Energized. Where you go from there is up to you.

( - Reviewed by - Matt Rowe)

Tracks :
  1. "Ride, Ride, Ride" - 4:24
  2. "Feel So Bad" - 5:09
  3. "Long Way to Go" - 5:07
  4. "It's Too Late" - 3:52
  5. "What a Shame" - 3:57
  6. "Helpin' Hand" - 4:41
  7. "Road Fever" - 4:22
  8. "She's Gone" - 3:12
  9. "Couldn't Make Her Stay" - 1:57

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