Portishead's third album is initially more a record to admire than to love, its muscular synthesisers, drum breaks and abrupt endings keeping the tension high. But after several listens, Third's majesty unfurls. Propulsive Krautrock rhythms and German radio samples conjure up Eastern bloc minimalism in Silence, Small and the jaw-dropping We Carry On, while soft, organic textures add depth to the icy shallows elsewhere. When Deep Water appears, it is shocking: a minute and 33 seconds of sweet ukulele doo-wop that bring to mind a 78 discovered in a nuclear fallout. Elsewhere, the ominously titled Threads and Plastic show how strong Portishead have become.–guardian.co.uk
“El Fantasma De Canterville” is the third album of study of the Argentine singer-songwriter León Gieco. It was released in 1976 by the label Music Hall.
The Third Rail are best remembered today because their closest brush with hit-single status, 1967's "Run Run Run," appeared on Lenny Kaye's pioneering original Nuggets compilation in 1972. But while that album was the shot that kicked off the great garage rock revival, the Third Rail's music was a far better example of the glorious products of the pop music factory that was the Brill Building rather than teenage rock & roll run wild and free. Group founder Artie Resnick was a seasoned pro in the music biz, having written "Under the Boardwalk" and "Good Lovin'," and vocalist and co-writer Joey Levine was a teenaged pop prodigy who (like Resnick) would later become a major player in Buddah Records' mighty bubblegum empire a few years down the line. But in 1967, Levine was just a bit too clever for his own good, which is a big part of the pleasure of the Third Rail's sole album, ID Music.
On their second album, Third World was still in the roots-reggae camp, but they had already laid claim to a singular sound: dreamy, free-flowing, and full of sweetly soulful vocals. The harmonic shadings on the opening cut, "Jah Glory," border on jazz, while the cover of Bunny Wailer's rocksteady nugget "Dreamland" is as ethereal as its title. Lyrically, they shift from the feel-good vibe of "Feel a Little Better" to the title track's social statement without breaking a sweat.
Hard to believe it will be twenty years ago next year that the hard bop ensemble One For All debuted with Too Soon To Tell on the fledgling Sharp Nine label. Formed as a group that regularly played together at an uptown Broadway club called Augie's, each member was just at the start of their own budding careers. Even today, it continues to be a surprise that these gentlemen still find the time to assemble for the occasional record date or live appearance. Over the course of The Third Decade's eleven generous tracks, we get to hear a well-honed machine operating at peak power. Even though distances often keep these six gentlemen apart, one can only hope their new home at Smoke Sessions will provide for further releases and the we won't have to wait another five years before the next one.
Full Sail is the third album by singer/songwriter duo Loggins and Messina, released in 1973. It showed the versatility of the duo, with everything from 1950s retro to island-style to soft ballads. The single “My Music” charted at #16, and the follow-up, “Watching the River Run”, made it to #71. The album as a whole did better, reaching #10 on the Pop Charts.
Midwest Farmer's Daughter isn't merely an autobiographical title for the retro country singer/songwriter Margo Price, it's a nice tip of the hat to one of her primary inspirations, Loretta Lynn. The connections between the two country singers don't end there. Toward the end of her career, the Coal Miner's Daughter wound up collaborating with Jack White for 2004's Van Lear Rose, and White's Third Man Records provides a launching pad for Price, releasing her self-financed solo debut as-is as Midwest Farmer's Daughter.
Essential: a masterpiece of progressive rock music
In my opinion, On the Third Day is the best album by ELO during their early progressive rock period. Even though this album started showing signs of Lynne's movement towards more radio-friendly material and simpler song structures, it still has masterpiece written all over it. The most major improvement was clearly the quality of production, Lynne's improved vocal delivery and even better guitar playing from a performer who would never be known for his prowess on this instrument. Richard Tandy is cut loose here and there providing some well-fitting keyboard work on New World Rising, Daybreaker, Dreaming of 4000 and the Grieg tribute In the Hall of the Mountain King.
Excellent addition to any prog rock music collection.
Although admittedly a posthumous release, I was very surprised at the rather dismissive tenor of many of the reviews of this album to date. Hopefully this record will be reappraised soon as being a release worthy of anyone's consideration as I feel it does enhance an already rich legacy left behind by this very fine and innovative band. (So what if Charisma wanted to ride the slipstream of the lucrative ELP juggernaut?)