blackleatherbookshelf: (Flames)
A Really Super Supergroup
5 Out Of 5 Stars

Roy Orbison. Bob Dylan. George Harrison. Tom Petty. Jeff Lynne. A cross generational, odd musical but stunningly workable combination, they dubbed themselves The Traveling Wilburys and cut this one off, one of a kind album. Each man brought their A-game and checked their egos. Ultimately, "Volume One" became a surprise hit, going Top Ten and generating a hit single via "Handle With Care."

Even as odd as the combination seemed, the members all had connections. Dylan toured with Petty and the Heartbreakers, Harrison had just wrapped up "Cloud Nine" with Lynne at the helm as producer, who had also produced Orbison and Petty. "Volume One" somehow managed to use the best of each member, making the album a light, fun affair. It's easy to feel the joy the band gets as they plow through "Tweeter and The Monkeyman," which is so Dylan, it could be mistaken for a Dylan parody. Or Orbison's ranging vocal on "Not Alone Anymore," using that mammoth voice of his to enchant the listener.

But the capper is "Handle With Care," where each member gets a turn at the mic for an utterly charming piece of rootsy rock. Same with the second single, "End Of The Line." Given the amount of talent in the room, it's amazing just how seamless this all is. Lynne's polished production job makes the blending also feel effortless. There weren't many supergroups that could flaunt the title without having a shoving match for the spotlight, but "Volume One" was that rare triumph.

Sadly, Orbison died shortly after the album came out, and the surprise success pretty much guaranteed a second try, but the chemistry was not there and the self-referencing (like "The Wilbury Twist") became obvious instead of effortless. You can get "Volume One" without worry, "Volume Three" is a fielder's choice.


   
blackleatherbookshelf: (Default)
I'll Follow The Sun
3 Out Of 5 Stars

Early in Chris Isaak's career, there was a common critical dig that Chris was a slavish Elvis impersonator with a jones for Roy Orbison heartache. His videos for "Dancin'" and "Blue Hotel" did little to dispel that notion, despite that his second album had already shown Chris to be an astoundingly good singer and rapidly coming into his own as a songwriter. "Wicked Game," which out-Orbisoned Roy finally pushed the comparisons aside and made Chris a star. But he never shed that love of the Sun Sound, which followed his albums as he delivered them over the last three decades.

It's on "Beyond The Sun" that Chris pays homage to his old 45's. A chance comment by Sam Phillips that he was a fan of Chris' musical style and sincerity made Chris decide to gather his band, bone up on those classic Sun Studio 45's and make a trip to Memphis to record them on their home turf. I went for the double disc edition as a long-time fan and, while not disappointing, feel a bit awkward at rating the set higher than 3 stars. If you're going to dig into classics from Elvis Presley, Johnny Cash, Carl Perkins, Roy Orbison, or Jerry Lee Lewis, you have to wonder if Chris wanted to claim them for himself or just make a record of tributes? "I Can't Help Falling In Love" (Presley) is such a stunning recreation that you could easily fool friends into thinking it's the King himself. Johnny Cash isn't quite the same, but Chris takes "Ring of Fire" and does little to change the song from the sound of its original single.

Lesser known material fares better. Songs like "Dixie Fried" (Carl Perkins) or "So Long I'm Gone" (Warren Smith) help to balance the familiarity factor. Chris also chips in an original titled "Lovely Loretta," a cool bit of Memphis swing. Michelle Branch shows off her chops with a duet on "My Happiness" (Presley), a highlight on the set. All across "Beyond The Sun," Isaac delivers convincing performances and shows his reverence for the material. It's thoroughly enjoyable, just don't expect transcendence.


   

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September 2015

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