Patrick Watson & l'Orchestre Cinema l'Amour / The Barr Brothers - "Live" (2017)

When I a week ago bought the album 13 with Lee Hazlewood on the nearest record shop, Aux 33 Tours, the shopkeeper put something in the bag when I paid, said something quickly in French, of which I only caught pieces, "Je mets ... dans la sac ... gratuite ... ". Since I still understood the essentials, I smiled and responded, "Comme noël." Outside the store, I examined the bag and found to my surprise that there was an extra album there. What a lovely day. Two albums for the price of one. They must have realized that I was a Very Important Person, with a Very Important Blog. Didn't think it was that visible.

The record is a so-called promo, which must be handed out for free by shops, it cannot be sold. After my initial hybrids, I thought maybe they gave it away if you bought for a certain amount of money, but through the internet, I realized that the artists created this record in conjunction with this year's Record Store Day, and Aux 33 Tours' 10th Anniversary. It was to be handed out to the first 1500 customers after the release. I managed to be among the first 1500. The official release date is April 22, 2017, so it's really smokin' fresh.

Patrick Watson

The artists are two local bands that I didn't know before. I had no expectations of the content, but was very pleasantly surprised. As the name suggests, it is a live recording with each artist. Patrick Watson is both an artist and a band (where the artist is, of course, a member / founder). On internet, the band's music is described as a mix of cabaret pop, classical music and indie rock. And the record opens up with something that makes me associate with Jacques Brel and Mackie the Knife. The music is from a concert in 2013 at Église Saint-Jean-Baptiste (a church), and on stage there is an orchestra and a choir in addition to the band. The four songs are a rather eclectic mix, with everything from beautiful, calm songs to cabaret influenced stuff. The band is apparently known for using odd "instruments" in the studio, such as a bike. Interesting side of the album, which definitely makes me want to explore the band further.

The Barr Brothers

On side B you'll hear the two brothers Barr and Sarah Pagé, who are the foundation of The Barr Brothers. On stage there are also other musicians joining them. Their music is described as eclectic modern americana, a music style they are considered to be one of the more important performers of. Different than the A-side, but absolutely listenable. They got to know each other when they were neighbors in Montreal, and Sarah's experimental harp playing was heard through the thin walls. And from there it continued. This music is more back to the American roots, something I don't have much of in the shelf. The closest thing might be Dr John, even though The Barr Brothers don't dive as deeply into the voodoo swamp. Three good songs, and also here I get curious to hear more of the band. The concert was recorded in 2015 at the Montreal International Jazz Festival.

It was fun to get this album, which made me discover two new local bands that seem interesting. When I read about them on internet, I realize that they are quite famous and successful in their respective genres, and no longer only local artists. Of the two bands, Patrick Watson is currently the one that arises most curiosity, but the Barr Brothers are also worth remembering.


Tracklist

Side A - Patrick Watson & l'Orchester Cinéma l'Amour
1. Wooden Arms 3:23
2. Beijing 5:53
3. Man Like You 5:03
4. Where The Wild Things Are 5:13

Side B - The Barr Brothers
1. Even The Darkness Has Arms 4:11
2. Beggar In The Morning 7:23
3. Half Crazy 8:01

James - "Girl at the End of the World" (2016)

James delivers, as usual, on their 14th studio album. Three weeks together in Scotland, with Max Dingel as producer, results in a record with a more electronic sound than usual, something found on a couple of early 2000's albums with the group.

A source of irritation, however, was the label's idea to put a sticker directly on the cover, a sticker that tells which singles are found on the album. When the album is wrapped in plastic. And the sticker has a glue that makes it virtually impossible to peel off without leaving ugly marks on the cover. Why not put it on the plastic surrounding the LP? I was so upset that I wanted to contact the label and ask questions, but on the website no phone number or email address were given. Writing a handwritten letter felt like going to extrems. So they wont have to fear my anger. This time.

The record's nearly 45 minutes are generously distributed on two discs. It's said to be good for the sound quality with a greater distance between the tracks. There is a tendency of getting somewhat spoiled when buying new vinyl with various add-ons, like cool booklets, gatefold covers, etc., so I noted a bit disappointed that this album contains no more than both the discs and a mp3 download. But that's OK, and probably the reason the album has got a relatively affordable price to be a newly released vinyl. The downloading of the mp3 just gave me just over two minutes of each song, I blame it on technical issues during the download. It's nothing I usually listen to, anyway.

It's a good album. Not James's best, but neither one of the less good. If you like the band, I definitely think it should be acquired. Personally, I like the band better when it's a slightly less electronic focus, and Tim Booth's voice doesn't go through various effects, as it does on some songs here. But this doesn't go to exaggeration, and it feels without doubt like a solid James album. As a balance to the electronic sound, you get, amongst others, the Edward Sharp smelling Nothing But Love, which finishes side A. James have been around for a long time, and I am pleased that they continue to create great records. It can be mentioned that it was almost James's first # 1 album in England, but in the last moment they were put down to the second place by Adele.


Tracklist

Side A
1. Bitch - 4:52
2. To My Surprise - 4:21
3. Nothing But Love - 3:29

Side B
1. Attention - 4:08
2. Dear John - 4:04
3. Feet of Clay "- 2:37

Side C
1. Surfer's Song - 3:51
2. Catapult - 4:02
3. Move Down South - 5:19

Side D
1. Alvin - 2:13
2. Waking - 2:44
3. Girl at the End of the World - 3:00

Lee Hazlewood - "13" (1972)

Somewhat an odd bird in Lee Hazlewood's catalog. The story behind the record is described in a two-sided, groovy, serie strip that comes with the album. The background is also described with more words in a text that is also found within the album. The story is as follows:

A man named Larry Marks worked as a producer at Hazlewood's record company (LHI) a few years before the release of the album. Larry liked Hazlewood's music, and had this project in which he chose his favorite songs with Lee, remade them in his favorite flavor - soul, funk & blues - and recorded it with himself singing. Top musicians from Los Angeles were brought in to the recording sessions. But the record company vanished, Lee moved to Sweden and the album was never released. In Sweden, maybe Lee didn't have a lot to do, so he started to go through what was hidden in the vault of his former label, and found this recording. So by re-recording the song with himself singing (and deleting Larry's song) he had an entire album with a minimal effort. I get a feeling one can discuss the morality in this. Anyway, the album was only released in Sweden and attracted not much attention.

Larry Marks

That background means that this sounds different from what Lee usually does. Of course, it's a lot more soul and funk, much more horns than usual. In addition, the music is recorded in a tone that is adapted to Larry's voice, not Lee's deep voice. It also means that this is a pretty fun and interesting album.

Actually, I like Lee better in his more "regular" version, with his own arrangements, but it's fun to break habits sometimes. It's a lot more uptempo here, and perhaps the closest one will get to a party album with Lee. Of course, I've bought a reissue, and with the LP comes a mp3 download as well. Here you'll find the original album, where Larry sings, and the outtakes for the album. Personally, I actually like the music better with Larry's song, maybe because the music is adapted to his voice, and that it actually is the musical style he loves. Perhaps it affects the performance in a positive way. It's really groovy stuff. The LP contains some extra tracks where Larry Marks sings, including some previously unreleased songs.

If you want a slightly different Lee Hazlewood album, with a lot of horns, a clear smell of the early 70's, this record might be something. Especially if you like soul. But one must have an open mind, it sounds different from what Lee usually does, even though his deep baritone nevertheless makes you feel at home. It sets its clear mark on the songs, as always. The photo on the cover is one of Lee's favorite photos, he though the dartboard looked like a halo, and the backrest like angel wings.


Tracklist

Page A
1. You Look Like A Lady 2:10
2. Tulsa Sunday 2:15
3. Ten Or Eleven Towns Ago 2:36
4. Toocie And The River 4:35
5. She Comes Running 2:26
6. Rosacoke Street 2:41

Page B
1. In Move Around 2:24
2. And I Loved You Then 3:30
3. Hej, Me I'm Riding 1:58
4. Cold Hard Times
5. Drums
6. The Start
7. Suzie