Allan Holdsworth is an English guitarist and composer. He has released twelve studio albums as a solo artist and played a variety of musical styles spanning a period of more than four decades, but is best known for his work in jazz fusion. All Night Wrong is Allan Holdsworth's first official live album, released in 2002 through Sony Music Entertainment Japan.
Don't read too much into the title of Young in All the Wrong Ways, Sara Watkins' third solo album. Certainly, the Nickel Creek singer/violinist isn't necessarily acting deliberately youthful here – the record isn't as brightly pop as its 2012 predecessor, Sun Midnight Sun – but that doesn't mean that bluegrass factors heavily into the equation either. Young in All the Wrong Ways does make feints to roots music – if it weren't for the stylishly sculpted fuzz guitar, "The Truth Won't Set Us Free" could be suited for a honky tonk hardwood floor, while "One Last Time" contains some fleet-fingered picking – but the record feels settled and assured as it leans into its maturation.
Excellent addition to any prog rock music collection.
A definitive recording for this player and a well balanced showcase of his other-wordly gifts, 'Secrets' revealed an artist that had evolved beyond even the highest expectations and well past the most accomplished in his arena. Each cut holds a part of the strange alien path Allan Holdsworth takes the listener on, a ride with many turns of jazz style and phrases that seem to have been passed-over by other guitarists. His unstoppable cohorts Jimmy Johnson (bass), Alan Pasqua and Steve Hunt (keys), Vinnie Colaiuta (drums) and an appearance by Chad Wackerman make this an extra special record and Holdsworth's playing is at a creative and tonal high.
Excellent addition to any jazz rock music collection.
I don't understand the hate, or at least disdain directed at this album. Is it the incredible nerdiness of the cover, which has a painting depicting Allan Holdsworth in a Star Trek-like uniform, holding his new toy, a Synthaxe MIDI controller? It can't be the music, which is similar in structure to most of Holdsworth's releases, and as usually, expertly performed.
This album is quite unusual for Holdsworth guitar sound fans, but it doesn't mean it's bad one. Main difference is there are only one full size classic Holdsworth's guitar composition ("Pud Wud", with Alan Pasqua's great keyboards on it). All others are very experimental, and the listener will be surprised because many of them don't sound as guitar- based jazz-fusion at all.
"Metal Fatigue" was released back in 1985 and still sounds great after all these years.
Despite some obvious sound quality problems, I actually like this recording quite a bit. It sounds not so much like an Allan Holdsworth album, but more like a band brought together to sound like the Mahvishnu Orchestra.