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THE ROLLING STONES Blue & Lonsone
( Interscope)
Put four British geezers who have been disciples of Chicago blues since before most of us were born into a room for three days, supported by a few touring cohorts, and out comes the most essential Rolling Stones album in at least 27 years. Blue & Lonesome presents the famous blues evangelists as the master craftsmen they dreamed of being as hungry youngsters, while soaking up the tutelage of their Chicago blues heroes and returning those sounds to their point of origin. The band’ s interplay is sharp, intuitive, and the perfect kind of loose, thanks to steady touring during the past four years. The core four of Mick, Keef, Charlie and Ronnie are augmented only by longtime sidemen Darryl Jones on bass and Chuck Leavell on piano and organ, plus Steel Wheels veteran Matt Clifford on more keys. It’ s a shame that the late Bobby Keys wasn’ t around to add a few greasy saxophone licks a la“ Brown Sugar,” and Mick Jagger carries the vocal( in knockout form) without aid from Bernard Fowler and Lisa Fischer – so, no spine-tingling female vocals a la“ Gimme Shelter.” But sticking to the fundamental elements of a rock and roll rhythm section draws comparisons to the Stones’ scrappy youth and albums like Out of Our Heads and the group’ s self-titled debut – 52 stunning years ago. That first record included songs by blues legends Willie Dixon and Jimmy Reed, and so does Blue & Lonesome. The band throws sparks on Dixon’ s blues stroll“ I Can’ t Quit You Baby,” as Jagger lets rip with a surprisingly youthful howl and trades licks with guest Eric Clapton. Reed’ s sorrowful“ Little Rain” lurches heavily on Charlie Watts’ grim, brushed shuffle, and Jagger’ s lonesome harmonica wails from behind the band. Harp hero
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Little Walter’ s“ Hate to See You Go” jumps with a cocky guitar lick and the rooster crow of Jagger’ s harmonica. Leavell adds sparkle with a parlor piano solo on Magic Sam’ s“ All of Your Love.” Jagger growls with indignation through Howlin’ Wolf’ s knife-edged“ Commit a Crime” while Watts swings and Wood’ s guitar ping-pongs with Keith Richards’ meaty riffs. Richards clearly has a ball with the jump blues of“ Just Like I Treat You.” Blue & Lonesome was allegedly recorded as a palette-cleanser when the band hit a wall during sessions for an upcoming album of new material. This set of spirited covers is so satisfyingly shotthrough with electricity and urgency, it sets a high bar for anything that follows. Get the vinyl if you can. This gritty romp would go well with just a hint of needle scratch and dust.
– Jeff Elbel
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RUSH 2112 40th Anniversary Edition
( Universal)
Bassist Geddy Lee has described Rush as“ the world’ s biggest cult band.” Among the trio’ s most devoted followers, you’ ll find fans claiming any one of the Canadian prog-rock powerhouse’ s twenty albums as their favorite. To the world at large, however, it all comes down to 1976’ s 2112 and 1981’ s Moving Pictures. The trio’ s fourth studio album, 2112 found the band’ s vision realized and won the band its creative independence. The band had been shedding comparisons to influences like Led Zeppelin over previous albums Caress of Steel and Fly By Night, but the combination of hard rock, top-flight musicianship and drummer Neil Peart’ s thought-provoking concept about totalitarianism and individuality were singularly Rush’ s own territory. Side one’ s 20- minute concept suite boasts thrills and chills aplenty, including fascist bad guys, a naïve hero’ s joyful discovery, tragedy, and a fierce space battle. During 2112’ s“ Overture,” guitarist Alex Lifeson quotes Tchaikovsky’ s“ 1812 Overture,” and naturally, the homage extends to cannon fire. Side two includes standalone songs like the strident anthem“ Something for Nothing,” the druggy road-trip fantasy“ A Passage to Bangkok,” and a tribute to Rod Serling’ s“ The Twilight Zone.” The album’ s 40th birthday is being celebrated
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with a fresh remaster from Abbey Road Studios. Differences to previous remasters are subtle, but the results are excellent. Lifeson’ s guitars are meaty, Lee’ s bass is deep and strong, and Peart’ s tom fills will perform chiropractic adjustments if you lie down on your headphones. Expanded packages include heavyweight 200 gram vinyl for ultra-stable spins, and one side features an etched“ Starman” logo by longtime Rush artist Hugh Syme. Other extras include a lithograph, buttons, reproduction ticket and tour handbill. Bonus tracks include live audio recorded on the original 2112 tour dates from 1976. Also featured are tribute tracks from various musical fans. Alice in Chains perform a lush version of ballad“ Tears.” Steven Wilson of Porcupine Tree sounds right at home in“ The Twilight Zone.” Foo Fighters’ Dave Grohl and Taylor Hawkins join recent Rush producer Nick Raskulinecz for“ Overture.” The most refreshing and original take is by Canadian indie-pop artist Jacob Moon, who made an internet sensation of his sololooped cover of 1982 Signals track“ Subdivisions.” Here, his acoustic approach morphs into a loping, bluesy electric version of“ Something for Nothing.” The best bonus is a DVD of live material from 1976, featuring black and white video footage of Rush as a scrappy young band playing songs spanning their first four albums. Here, Lee’ s keening tenor still possesses the razor edge that fans loved and critics maligned. Lee and Lifeson sport high-heeled boots in fine ' 70s fashion, but alas, no kimonos.
– Jeff Elbel
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MOTLEY CRUE The End Live in Los Angeles( DVD)( Eagle Vision)
What a way to go out in style! Mötley Crüe’ s last hurrah on New Year’ s Eve, 2015 before a sold-out Staples Center arena in their hometown of Los Angeles was recorded for this DVD + CD extravaganza. The End – Live In Los Angeles captures the band’ s final show ever, as their legal, binding“ cessation of touring” agreement was written in blood. The farewell concert consisted of ridiculous amounts of pyrotechnics – including Nikki Sixx’ s customized flame-throwing bass – balloons, confetti and Tommy Lee’ s mechanized“ Crucifier” drum coaster( which actually broke down).“ Girls,“ Girls, Girls” kicks things off in explosive fashion, while a raucous version of“ Primal Scream” follows it and features huge audience participation.“ Don’ t Go Away Mad( Just Go Away)” was a definite crowd pleaser and sounds very lively. The New Year’ s countdown was a special treat in which they released hundreds of balloons before blasting into“ Kickstart My
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Heart.” However, the back-to-back drum / guitar solo sort of kills the momentum.“ Live Wire” sounds really electric while“ Dr. Feelgood” is punchy and raucous. An emotional rendition of“ Home Sweet Home” ends the night perfectly with the band in the middle of the arena on a smaller second stage. It brought tears to some peoples eyes, and yes – even Vince looks a little misty-eyed. Speaking of Vince, he sounds out of breath at times, often skipping words and letting the audience or the female background singers handle the higher notes. However, he plays the part of a dynamic frontman to a T. The bonus material of interspersed interviews adds to the dynamic of the situation while the excited crowd shots adds to the overall excitement. The End – Live In Los Angeles accurately captures the spirit of Mötley Crüe. As the end credits are rolling, accompanied by Frank Sinatra’ s“ My Way,” it’ s a reminder that the Crüe did it their own way for 35 years, warts and all.
– Kelley Simms
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BOB MARLEY & THE WAILERS Live!( Deluxe Reissue)
( Island)
“ One good thing about music; when it hits, you feel no pain,” sings Bob Marley on his concert opening classic“ Trenchtown Rock.” Marley’ s most famous live document, Live! was first released in December 1975. 41 years later, it returns as a triplevinyl set to hit listeners with even more music. The set contains two complete shows at London’ s Lyceum Theatre during July 1975, including the July 18 show that provided the seven songs heard on the original release. The set even includes a reproduction of the Wailers’ 1975 tour program. In addition to alternate performances of the sublime, Gospel organ-infused“ No Woman, No Cry” and set-closing solidarity anthem“ Get Up, Stand Up,” five additional songs are featured in the set lists. Credited to bassist Aston“ Family Man” Barret – due to a contractual dispute between Marley and his publisher, the slinky reggae-funk of“ Rebel Music( 3 O’ Clock Roadblock)” is punctuated by the background vocals of Rita Marley and Judy Mowatt. The singers were two thirds of the I Threes, formed to support the Wailers following the departures of Peter Tosh and Bunny Wailer. Tyrone Downie’ s blissful electric piano solo elevates a lively“ Stir It
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Up.”“ Natty Dread” was
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