Hardly have we savoured the full taste of “Rhythm ’n’ Bluesin’ By The Bayou” than here comes another bucketful of steaming South Louisiana gumbo and this time it’s “Bluesin’ By The Bayou” – a spicy mix of guitars, harmonicas, and even the occasional accordion, accompanying those tales of despair or machismo that are the recipe for the blues. All the tracks stem from the studios of J.D. Miller in Crowley and Eddie Shuler in Lake Charles. These two men were wonders at spotting talent and getting the best out of the performers, as illustrated on the 28 tracks on this CD.
There's no arguing his sincerity when Trever Keith bellows "I don't want this to end!" to finalize Three Chords and a Half Truth. Face to Face started in the early '90s, opening for bands like the Offspring and the Mighty Mighty Bosstones, and yet they continue to go strong. After a few minor road bumps, for the 2010s they have managed to release an album every year, and for their 2013 outing the energy is still fully intact. Aside from some weightier production, there isn't much to separate the sound of the band from the early days, and that's a good thing.
Hailed by some as the third primary figure among great Russian pianists of the twentieth century's second half, Lazar Berman has occasionally lived up to that reputation, but frequently has not. Emil Gilels, the first genius-level Soviet pianist to become well-known in the West, insisted that there was one artist, yet unheard in the West, who was the greater artist. Later, after Sviatoslav Richter's arrival in Europe and America, most felt Gilels had been correct. Still later, however, Gilels maintained that yet another pianist, Lazar Berman, was the finest of the three. After the initial stir created by Berman's 1976 American tour and other appearances in the West, critical opinion held that, while he was an extraordinary if uneven artist, he was not superior to the protean Richter or to the clear-minded Gilels. Still, his art was of an order by no means common.