Retro Reviews: Love: Love

          I decided to launch a new series to imagine myself as a critic at the end of the 60s and start of the 70s, and to rectify certain reviews from Rolling Stone magazine and Creem. This not meant to be contrarian, but to offer a more balanced perspective. All the albums reviewed are indeed classic albums. 

Love – Love (1966)

***

Producers: Mark Abramson, Jac Holzman

Musicians: Authur Lee, Johnny Echols, Bryan MacLean, Ken Forssi, Alban “Snoopy” Pfisterer, John Fleckerstein, Don Conka

Songs and music: My Little Red Book, Can’t Explain, A Message To Pretty, My Flash On Your, Softly To Me, No Matter What You Do, Emotions, You I’ll Be Following, Gazing, Hey Joe, Signed D.C. Colored Balls Falling, Mushroom Clouds, And More

Reviewed by Matthew Anthony Allair

    Love, the new southern California band has launched their first album for Elektra records, and it’s an interesting release that seems to aim to compete with the likes of The Byrds, but the sound has elements that remind me of another European band, The Monks, there’s an underground edge and a slight raw feeling that comes through that makes Love interesting. It’s leader Authur Lee drives the sound with brash vocals or a melodic sense. There’s plenty of 12 string guitar, but pockets of an heavier bass tone than you’d expect from Ken Forssi. The lead guitar work from Johnny Echols is steady and varied on most numbers, as well as rhythm guitar work from Bryan MacLean and Bryan and Johnny blend well together. Lee also plays Harmonica on some of the blues-based numbers. Within the electric folk setting, the album stays interesting, if a little uneven.

    The opening number and single “My Little Red Book” have a playful drive, and sardonic melody, but yet it’s a memorable number. The Byrds influence is evident with “Can’t Explain”, an original that has no relation to The Who. The folk ballad “A Message To Pretty” has a harmonica that will harken to Dylan, but it’s unavoidable, the ease of the number has a good feeling, probably a plea to an ex-beau. “My Flash On You” has a rave up drive to the number and rolling bass. “Softly to Me” has a pop jazz feeling and guitar work that substitutes a jazz organ, Byran takes the lead vocal and he differs from Lee. “No Matter What You Do” is probably the number that has a local club feeling. The instrumental “Emotions” has a surf music feel and textured tremolo guitar.

    Side two opens with the whimsical “You I’ll Be Following”, some good vocal harmonies are undercut with some frivolous lyrics. “Gazing” is another folk ballad and some more nice vocal harmonies. The blues number “Hey Joe” has become a popular one on the scene, and Love offers up their version that isn’t dissimilar to their peers, but I can’t say it’s all that distinctive. “Signed D.C.” is an acoustic blues ballad that is one of the stronger numbers, more introspective that comments on the new drug culture scene. “Colored Balls Falling” brings the tempo up again, and manages to be another strong song. “Mushroom Clouds” is another acoustic ballad with some rich harmonies that take on an unsettled quality. The up tempo closer “And More” manages to wrap up the tone of the album.

    While the bulk of the songs are concise and focused, this album could have used a little editing, as some songs don’t distinguish themselves from others. Still, this is a talented band, and I am interested to see what unfolds next for them.  

Retro Reviews: The Grateful Dead: Live / Dead

       I decided to launch a new series to imagine myself as a critic at the end of the 60s and start of the 70s, and to rectify certain reviews from Rolling Stone magazine and Creem. This not meant to be contrarian, but to offer a more balanced perspective. All the albums reviewed are indeed classic albums. 

The Grateful Dead – Live / Dead (1969)

***1/2

Producers: Grateful Dead, Bob Matthews, Betty Cantor

Musicians: Jerry Garcia, Bob Weir, Phil Lesh, Tom Constanten, Ron “Pigpen” McKernan, Micky Hart, Bill Kreutzmann

Songs: Dark Star, St. Stephen, The Eleven, Turn On Your Love Light, Death Don’t Have No Mercy, Feedback, And We Bid You Goodnight

Reviewed By Matthew Anthony Allair

    The band, The Grateful Dead is in an interesting place. A bay area psychedelic, and counterculture band, that chasing the heels of their Northern California peers. Jefferson Airplane, and Big Brother, yet those bands may have a slight leg up the dead as far as songs, but that might be changing. Those who have been able to see them live often offer up a different point of view over anyone who is just familiar with their three studio albums. The second, the experimental Anthem Of The Sun, had moments of whimsy, but the quality of the material felt uneven and lacked focus. This years Aoxomoxoa had some more focused material, and the presence of lyricist Robert Hunter has given them a more narrative thrust, however lose it may be. They are trying to put across more songs, while still dedicated to the ensemble sound. Their decision to release a live album, and a two disc set, may have been the most beneficial move yet. Let's acknowledge the album cover, the Dead has been one of the few bands to produce the most vibrant album designs yet, and this is no exception, 

    The principle of jazz and free jazz is to build from the inside out, find the core of a piece and build from there. The opening number “Dark Star”, which was a very short form single previously, encapsulates this notion well. It’s a slow burn, exploration, Jerry Garcia and Bob Weir’s guitars weave together, alternating between lead and rhythm and at moments blur into one. Phil Lesh’s bass work acts as a lead instrument that counterpoints the guitars. The first vocal verse comes in at around six minutes. Then progresses, Tom Costanten’s Organ eggs the band onward, one of the guitars goes out of tune, so they play with that in real time. The drums often take on an ambience in the freer second half.  The guitars hedge out of control until the 21-minute mark when the second verse vocal comes in. A guitar abruptly ends the track.

    Side Two’s “St. Stephen” opens with a laid-back tone, a track from the third album that is allowed to grow here as it moves into its heavy groove. The lyrics have a certain whimsy and the interplay between the band has a certain vibrancy Some of the organ work hints at an Irish dirge, the drums jump from a march to more free form. The shift to “The Eleven” just effortlessly falls into place, the number almost fall into chaos in the beginning, but they fall into sure footing fairly quickly, The chord structure of “The Eleven” will harken back for some people to the late fifties or very early 60s. Way past the five minute point do we get the vocal, but it’s a pleasant ride. 

    Side three dominates with “Turn On Your Love Light”, another RNB cover that has a spirited opening, the guitar interplay manages to substitute for a horn section. There are moments with the Dead that remind me of this other new duel guitar band folks have been hearing about, The Allman Brothers Band. While their vocal channels Bobby Blue Bland, it also channels the spirit of Elvis. Hart and Kreutzmann really stretch things out with the drumming around the mid-point. They manage a fun audience rave up with the number. 

    Side four closes it up by toning it down, their spiritual cover of “Death Don’t Have No Mercy” settles into a slow blues, the number also allows “Pigpen” McKernan to showcase his excellent blues organ work, Phil stretches out the bounds over the bass can do in a blues setting. Like all good blues, the number builds with intensity. Weir’s vocal is quite good throughout. The album takes it’s psychedelic turn with the barrage noises on “Feedback”, this is about as free form as you could expect, with the guitars playing a mournful violin role at moments with the volume swells, but it is all just merely interesting. The brief vocal hymn. “And We Bid You Goodnight” brings it back to some grounding. 

    This all makes for an interesting, if slightly uneven, experience as a album, but then again the journey seems far more interesting than the destination, thus making this an colorful time to be used it you turn it on. 

Retro Reviews: The Call: The Call

     I decided to launch a new series to imagine myself as a critic at the end of the 60s and start of the 70s, and to rectify certain reviews from Rolling Stone magazine and Creem. This not meant to be contrarian, but to offer a more balanced perspective. This is a lesser-known album.

The Call – The Call (1982)

*** 3/4

Producer: Hugh Padgham

Musicians: Michael Been, Tom Ferrier, Greg Freeman, Scott Musick, Garth Hudson

Songs: War Weary World, There’s a Heart Here, Doubt, This is Life, Fulham Blues, Who’s That Man, Upperbirth, Bandits, Flesh and Steel, Unbearable, Waiting For the End

Reviewed by Matthew Anthony Allair

    In the Pantheon of what is considered new wave, the band The Call has managed to find a new sound that connects to the traditions of the past, while offering up something fresh. But it’s a little deceptive with how to get there – it’s a slow burn, based on one’s initial impression. Producer Hugh Padgham has given the band an impressive sonic sheen to offer with this material. There’s a simplicity and directness on certain tracks and a complexity with other tracks, and a lot of nuance. Lead singer Michael Been has a passion that is equal to U2s Bono, but a dramatic edge that might even rival Bono – it’s hard to say. Tom Ferrier’s work runs the gambit as a lead player and seems to serve the material well. One of the most notable aspects in the inclusion of guest keyboardist Garth Hudson from The Band – it is a testament to the quality of this new band that Hudson would even be involved. But make no mistake, this is a guitar driven band.

    The opening track “War Weary World” sets up the tone after a Segway of ominous tones, Been’s vocals are passionate, desperate,  while the chorus is complacent, jaded. We have seen this all before. At the start of the new decade and we are no closer to ending the cold war. The next track opens with the line: “I’m at Odds with this World” as Been delivers “There’s A Heart Here”, a conflicting relationship number with an interesting middle section break. With “Doubt” there’s a moody, simple groove as Been excoriates everything in front of him. There’s a hint of Nihilism, but a fight to not give into it.  The gradual build-up of keyboards really keep this compelling. The clever waltz shuffle of “This Is Life” feels like an Irish folk number in spirit. “Fullham Blues” is the closest to feeling like a punk number, but with far more contrast and drama. “Who’s That Man” has a reggae feel with a heightened paranoia lyrically, before switching towards a bolero, all is which is refreshing to see such risks. 

    The side two opener “Upperbirth” keeps up the energy with some great drama from Been, as much as it isn’t the strongest track. On “Bandits” there’s a real rhythmic drive between the bass and drums and interplay between the guitars, and a real disgust for ‘collateral damage’. With “Flesh and Steel” Garth really is showcased and offers some fascinating flavors. The fast tempo of “Unbearable” again connects to the punk ethos, but Been sounds tormented, with a push and pull between the guitars . The ominous closer heightens an apocalyptic sense of  dread  from the character if a vagabond who confronts a passer- by, but the track distills that sense of fragmentation that is looming in society. Some guitar trade- offs and keyboards bring the track, and there’s a kind of venomous agonist from Been closes out the proceedings. 

    One might be tempted to compare this to the pop leanings of The Cars, or the experimental adventures of Talking Heads, but that would be erroneous, they are their own band. I don’t know if this will find enough of an audience, but it distils social conscience and spiritual justice in the best sense of what new wave should represent. All is not right in the world and this is a plea for figure it out. Recommended.   

Retro Reviews: Neil Diamond: Stones

     I decided to launch a new series to imagine myself as a critic at the end of the 60s and start of the 70s, and to rectify certain reviews from Rolling Stone magazine and Creem. This not meant to be contrarian, but to offer a more balanced perspective. All the albums reviewed are indeed classic albums. 

Neil Diamond – Stones (1971)

***1/2

Producer: Tom Catalano

Musicians: Same line-up as prior album, Neil Diamond, Al Cassey, David Bennett Cohen, Neil LeVang, Don Peake, Louis Sheldon, Red Rhodes, Randy Cierley, Joe Osborn, Ray Pohlman, Artie Butler, Larry Muhoberac, Marty Paich, Don Randi, Hal Blane, Larry Bunker, Sandra Crouch, Earl Palmer, Gary Coleman,  Gene Estes, Emil Richards, Lee Shamburger, etc…

Songs: I Am…I Said, The Last Thing On My Mind, Husbands and Wives, Chelsea Morning, Crunchy Granola Suite, Stones, If You Go Away, Suzanne, I Think It’s Gonna Rain Today, I Am…I Said (Reprise)

Reviewed by Matthew Anthony Allair

    Neil Diamond’s follow up to last year’s Tap Root Manuscript, at points, may not be as compelling, but there’s little doubt that Neil’s writing keeps showing a marked evolution as the opening track acts as the emotional anchor, but we’ll get back to that shortly, it has a mixture of other’s songs Joni Mitchell, Roger Miller, Randy Newman, Jacques Brel, Neil’s few originals are what keep this album interesting, There’s more a selection of ballads and mid tempo numbers, with one original that comes to life, such is the way Neil works there days, and I have a strong hunch that producer Tom Catalano lead some of the safer selections. Arrangers Marty Patch, Lee Holdridge and Larry Muhoberac offers up a good balance between the rock and pop backing and orchestras, there’s some good playing throughout as much as little of it is intrusive to the vocals.

    One of Neil’s greatest strengths has been his introspective nature with his writing, and the opening, and the heart of the album “I Am…I Said” has a profound sadness, it’s the kind of self honestly you hope from Dylan, and get from Mitchell at various times. The ballad “The Last Thing On My Mind” is a good choice and fitting for the tone of the album, filled with regret. The country ballad by Miller “Husbands and Wives” does seem to channel the spirit of Jimmy Webb at moment. Mr. Diamond does a good read here, and sprinkles of saloon piano keep it interesting. Joni Mitchell has become one of the best out there, and Neil does a brisk, upper tempo read on the number, it gives a trace of hope from the bleakness. Neil’s “Crunchy Granola Suite” has a real life with the electric guitar, and bright shifts with the arrangement. Again, it represents the dark and shade that is necessary. 

    The second half opener and title track is another Diamond original has a sympathetic recollection has some memorable musical phrases. French pop songs has had a large impact in the pop firmament, Neil’s take on the pleading “If You Go Away” is good, and I recall that Streisand had done the record on her sixties French album. Leonard Cohen’s “Suzanne” is another fitting choice for the album’s tone, the spiritual take about romance gives something interesting for Neil to work with. Newman’s “I Think It’s Gonna Rain Today” has become a popular number to cover, but it’s a tricky number as some focus on the wistfulness but not on the bottomless sadness of the piece, Nail manages to handle this well. The reprise of “I Am…I Said” just sounds like another take that accents the strings, but it makes for an interesting coda for the album.

    The biggest frustration with the album is it doesn’t give Neil room to showcase where his original writing is going, and I will be curious to see if he can meet the challenge and deliver more original compelling work. This sounds like a stopgap.  

 

Retro Reviews: The Replacements: Hootenanny

    I decided to launch a new series to imagine myself as a critic at the end of the 70s and start of the 80s, and to rectify certain reviews from Rolling Stone magazine and Creem. This not meant to be contrarian, but to offer a more balanced perspective. This is a lesser-known album.

The Replacements – Hootenanny (1983)

**1/4

Producers: Paul Stark, Peter Jesperson, The Replacements

Musicians: Paul Wetserberg, Bob Stinson, Tommy Stinson, Chris Mars

Songs and music: Hootenanny, Run It, Color Me Impressed, Willpower, Mr. Whirly, Within Your Reach, Buck Hill, Lovelines, You Lose, Hayday, Treatment Bound

Reviewed By Matthew Anthony Allair

    This album is a contradiction. On one hand there’s a talented band in there, but they seem like a band conflicted between their punk ethos and their melodic instincts, I am not really all that convinced by the punk material itself, but Paul Westerberg shows real ability as a composer when he is focused. There’s a devil may care feeling with much of this material along with informal chatter, and that chatter doesn’t always work. Aside from do-It-yourself sensibility, within segments of the punk scene there’s a ‘anti music’ instinct with some acts, and this band feels like they are trying to embrace that. Yet their love of The Beatles and acts like Badfinger betray that ethos. This is their second album for the independent label Twin/Tone and so the stakes aren’t very high, they can create music for it’s own sake without commercial pressure. They have aways to go.

    The opening number “Hootenanny” feels like a ragged pastiche of a blues number, a parody, but it is a little amateurish, I can’t really tell if this is intentional. The next track, “Run It” a more punk number is an improvement, but not by much. But the next track “Color Me Impressed” is the strongest number and the likely single, Paul reveals his real potential here. At least, the more ambient “Willpower” allows the bass and drums to drive it, while the guitars weave around, and Paul’s delay vocal is eerie. “Mr. Whirly” is mostly a revved-up nod to “Strawberry Fields Forever” and “Oh, Darling!” with some original inserts. There’s a certain rock n roll shuffle from Westerberg on “Take Me Down To The Hospital” and outside leads from Bob Stinson that make it interesting, but John Lennon had already covered the screams on his “Cold Turkey” track over a decade before. Paul pretty much plays everything on “Within Your Reach”, a beat box, several flanged guitars and a simple synth part make this a fairly interesting piece, and reveals his song writing focus once again.

    The second half opens with the surf rock of “Buck Hill”, an instrumental that is pretty standard issue, some of this material feels like things you’d hear in a club, and there’s no shame in that. Bob Stinson’s guitar work on “Lovelines” is outside as Paul offers some off kilter spoken muses. While “You Lose” feels standard, there’s some adept and good guitar work. With “Heyday” Bob offers up some interesting guitar work. The closer and acoustic “Treatment Bound” feels like a Stone pastiche from 72’ Exiles, it’s ragged and falls apart, but it’s commendable and interesting. Tommy and Chris are a solid rhythm section.  

    The problem with the album is the sequencing: Certain songs like “Color Me Impressed, Within Your Reach,” and “Willpower” should have set the tone, as this undermines the overall impression at first listen with the running order. While the band has a way to go, their spirit feels refreshing as this decade is uncertain with where trends will go. My problem with the current punk aesthetic is that Punk isn’t really designed to last in its purist form, already, by the end of the 70s, The Clash were accused of ‘Selling out’, and the Sex Pistol’s imploded, this band is more accurately comparable to The Ramones than anyone else. If the band can follow their musical muses, they could really be something impressive. I await the next release. 

Retro Reviews: Neil Young: On The Beach

    I decided to launch a new series to imagine myself as a critic at the end of the 60s and start of the 70s, and to rectify certain reviews from Rolling Stone magazine and Creem. This not meant to be contrarian, but to offer a more balanced perspective. All the albums reviewed are indeed classic albums.

Neil Young – On The Beach (1974)

****

Producers: Neil Young, David Briggs, Mark Harman, Al Schmitt

Musicians: Neil Young, Ben Keith, Rusty Kenshaw, David Crosby, George Whitsel, Graham Nash, Tim Drummond, Billy Talbot, Rick Danko, Ralph Molina, Levon Helm, Joe Yankee

Songs: Walk On, See the Sky About To Rain, Revolution Blues, For The Turnstiles, Vampire Blues, On The Beach, Motion Pictures, Ambulance Blues

Reviewed By Matthew Anthony Allair

    Neil’s new album, coming off the heels of live Time Fades Away and the soundtrack to Journey Through The Past, is a fascinating picture of a musician reacting to a number of troubling issues. This album in essence is a blues record, not ‘blues’ in the sense of the conventions and cliches of that genre, but in spirit. The momentum for Young after joining Crosby, Stills and Nash for Déjà vu, the success of After The Gold Rush, and Harvest, and put Young in an interesting position. It sounds like the passing of a peer like Danny Whitten must have had an impact on him, no one can say. Yet Young had been around to see the passing of Brian Jones in 69, then Hendrix, Morrison and Joplin a year later, but to be directly affected by the passing of an associate due to addiction, may impact differently. Yet the album may also be a reaction to industry pressures, Buffalo Springfield had a certain rate of success - there’s little doubt - but Young was able to navigate through it all with less pressure. But fame has it’s price, there’s the cost of indulgence or expectation, and the new album reflects a loss of innocence. Joni Mitchell went through her own loss of innocence from 69-71, but that was more gentile. This loss feels harder and it’s reflected in the music.

    When you consider such lines from “On The Beach” as “I Need a crowd of people, but I can’t face them day to day, though my problems are meaningless, that won’t make them go away’. It seems like Neil realizes he has become trapped, and aside of whatever demons he is facing, he is taking stock and wanted to break out of a box. This album mirrors the eclecticism of Gold Rush or Harvest, but with a much bleaker tone. The opener, the outstanding “Walk On” features the crazy horse team of Talbot, Keith and Molina, as well as the classic vocal sound, but it acts as a defiant statement, perhaps a reaction to the two prior releases, the public perception or his band mates death 

    The electric piano of Neil on “See the Sky About To Rain” as well as the electric dobro give it a country pop sheen, but there’s a restless, unsettled and sad quality to it. Keith dobro work and Levon Helms drums offer tasteful support. The paranoia of “Revolution Blues” has Neil channeling a trace of Dylan, with Crosby on guitar and Helm offering support. The haunting “For The Turnstiles” has Young on Banjo, and Kieth on Dobro, where Young has a vulnerable and haunted tone to his vocal – it sounds desolate. “Vampire Blues” has almost dark, satirical quality in it, and country blues with Keith on Organ. It could be about our exploitation of the Earth, or the predatory nature of addiction. Neil sounds weary here.  

    That disillusionment and weariness is heightened further on side two with the title track. Graham Nash plays the electric piano while Neil offers up some of his classic reverb guitar leads, while it has a slight Spanish feel, the track reinforces the album’s blues motif. “Motion Picture’s (For Carrie)” has a lovely, sad chord progression with some country twang, even the harmonica can’t mask the feeling the narrator is broken. The album closer “Ambulance Blues” begins as a folk lament, a slippery fiddle counterpoints the Harmonica, Some of the lines reinforce the comments of “Walk On” – ‘So all you critics sit alone, you’re no better than me from what you’ve shown, with your stomach pump and your hook and ladder dreams, we could Get together for some scenes’. It’s all relative, does criticism even matter when dealing with life (or death), in the end it’s Neil’s life he has to live, not to just meet expectations of strangers. 

    This may be a polarizing record and may not be for everyone, but it is also thematically consistent with his prior work. Mr. Young has not stumbled yet since 1969, outside platitudes won’t save someone from their demons, I think Neil sees this now, his salad days are long gone now. I will be curious to see where the journey takes him next.

Retro Reviews: Andy Summers, Robert Fripp: I Advance Masked

  I decided to launch a new series to imagine myself as a critic at the end of the 70s and start of the 80s, and to rectify certain reviews from Rolling Stone magazine and Creem. This not meant to be contrarian, but to offer a more balanced perspective. This is a lesser-known album.

Andy Summers, Robert Fripp – I Advance Masked (1982)

***1/2

Producers: Andy Summers, Robert Fripp

Musicians: Andy Summers, Robert Fripp

Music: I Advance Masked, Under Bridges Of Silence, China – Yellow Leader, In The Cloud Forest, new Marimba, Girl On A Swing, Hardy County, The Truth Of Skies, Painting and Dance, Still Point, Lakeland / Aquarelle, Seven On Seven, Stultified

Reviewed By Matthew Anthony Allair

    The idea of Andy Summers from The Police and Robert Fripp, formerly of King Crimson doing a collaboration is an intriguing one and they manage to deliver on the promise. But this doesn’t follow any of the conventions of what you’d expect from either, the exercise is more about setting up a mood and state of mental place. It’s often pensive and dark, full of mystique with music you can almost relax with but not quite. Every time there are pleasant moments, it’s off set by something uncomfortable, it requires attention, but if may be well worth it for those ready. I don’t say these things to suggest this is any more challenging that latter period John Coltrane – it isn’t, but you may have to walk away from preconceived notions. Andy and Robert split up the work with both playing - guitars, Moog and Synths, Bass and Percussion as a self-contained unit.

    The album opens with the title track, some characteristic distortion and drones from Fripp set up the tone, before a weaving pattern by Andy steps in, he also supplies the kind of synthesizer swells you’d expect to see from The Police, some incredible lead work creeps in from Fripp, and Andy manages some characteristic lead work as well. The ambient “Under Bridges Of Silence” is awash with percussion, and Andy’s moods. The next track “China – Yellow Leader” opens with another dexterous pattern and synths and a brief synth lead from Fripp, before shifting the tone into the more ambient Asian motif before another dueling guitars the final half. The impressionistic guitar work within ”In The Cloud Forest” is probably played by Andy while Robert plays the more dexterous leads, at times Fripp almost sounds like Steve Hackett, Playing with different time signatures is an important element of “New Marimba”, impressive while also serving a mood. The piano driven “Girl On A Swing” has the interplay of guitar to accompany and a synth lead that is all impressionistic 

    The second half opens with “Hardy County” with a guitar, synth bass driven number that offers some angular phrases and electric sitar, and dynamic percussion. “The Truth Of Skies” pretty much feels like an Andy where the structure hints at Mahavishnu Orchestra. “Painting and Dance” feels like another jazz duet between the both of them, a little more stripped down of a number. “Still Point” manages some more modulating shifts with some great Fripp work. The brief “Lakeland / Aquarelle” manages a Japanese setting that harkens back to the Bowie / Eno collaborations of the late 70s. The brief “Seven On Seven” takes a pensive, darker turn. The closer “Stultified” is a cascading blend of guitar and Keyboard that ends on a apocalyptic turn. 

    This isn’t what one might expect, it isn’t a pop record, but it isn’t a fusion rock record either, the emphasis is on ambient moods juxtaposed with some impressive playing from the both of them. The truth is that Andy may have options away from the police if that ever ends. For Robert Fripp, this simply expands the palate of his - already - impressive work. He has always pushed back on the definition of rock and pop music anyway. This is a worthwhile pairing.