Bob Dylan, "Blood on the Tracks" (1974)

NICK DERISO: His most upfront, emotional recording, this great album marks Bob Dylan's First Comeback.

WE'VE MOVED!: Dablog by DaSlob is now ... SOMETHING ELSE. Find the remainder of this review through the new link.

One Track Mind: Avishai Cohen, "Nu Nu" (2006)

by Pico

The lead off track "Nu Nu" from Avishai Cohen's Continuo has been played several times at enhanced volume levels in the Pico Piddler over the last few days.

WE'VE MOVED!: Dablog by DaSlob is now ... SOMETHING ELSE. Find the remainder of this review through the new link.

Bob Dylan, "The Freewheelin' Bob Dylan" (1963)

NICK DERISO: As I continue digesting downloaded snippets from the soon-to-be-released Bob Dylan record "Modern Times" (which was "leaked" by Sony on Friday), I got to digging through the old stuff.

Thought I'd pass along the occasional thought until Dylan's first CD in five years is officially distributed on Aug. 29 ...

Taken of a piece, there are few who can match the pure artistry of his career - whether folk is your bag or not.

WE'VE MOVED!: Dablog by DaSlob is now ... SOMETHING ELSE. Find the remainder of this review through the new link.

Johnny Cash, "American V" (2006)

Derrick: Four large letters printed across the top of a black and white photo on a CD cover: CASH. A picture of him sitting quietly, microphone hanging before him, head bowed, eyes closed and listening to the music track over headphones.

Waiting for his cue to sing it is hard to tell if the expression on his face is one of humility, impatience, reverence or disappointment, but was it ever really possible to tell with Johnny Cash? The covers of the American Records' Cash series all look much the same and are likely intended to play into the common perception of Cash as an artist, but in truth they say just as much about how Rick Rubin has chosen to present the music of an undeniable American music legend.

Simplicity - it is hard to believe no one ever really thought of using it again regarding the art of J.R. Cash.

The fifth American release of Cash music (properly and logically titled Johnny Cash - American V: A Hundred Highways) has hit a store near you. Rubin picked Cash up off the trash heap in 1993, mostly ignored if not forgotten by the Nashville money making machine, and promptly went about what seems like common sense now but then seemed like a complete waste of time and energy to many. Rubin let Cash do what he does best: honesty. Thankfully, the public was interested enough that Cash recovered a little of what he was due and we the public recovered Cash although almost a little too late.

From his early days as a pioneer of rockabilly and rock and roll in the 50s to his country and gospel work there has always been more than just a pinch of the dangerous and contentious with Cash. Anyone paying attention lately are already aware the frailer, older and at peril man often carries more emotional punch in his songs than the younger, more pissed off version for the simple reason that Cash was now endangered himself.

Obviously Cash came to be a man capable of accepting the concept of the world without him in it and was willing to put it down for the record how a life lived and soon to be lost made him feel.

There is nothing here quite as bleak as Hurt from American IV, (and maybe that is a good thing) but there is plenty capable of shaking you up such as the first track:

Help Me

A plea to God for the strength to take just a few more steps or at least a little understanding of why things have to be the way they are.

God's Gonna Cut You Down

A bluesy reminder of the inevitable and obvious.

Like The 309

Appropriately enough is the last song Cash ever wrote. It is about a train, a coffin and taking that last ride we all have to eventually take.

American V follows the blueprint of the previous work including remakes of his own earlier released material as well as songs made notable by others including Bruce Springsteen, Hank Williams, and Gordon Lightfoot. Frequently these covers make it apparent just how capable Cash was at making a song his own and the scope of his ability to tell a story or conjure up emotion long faded away.

If You Could Read My Mind

Further On Up The Road

On The Evening Train

The bedrock of faith and hope Cash possessed even in the face of uncertainty show up in the middle portion of the recording.

I Came To Believe

Can almost certainly be taken as an explanation of the duel state of faithful and fallen where Cash often seemed to exist.

Cash also reminds us of the trials, tribulations and simple joys of love.

Love's Been Good To Me

A Legend In My Time

Rose Of My Heart

Finally the last two tracks hit the themes of moving on and finally becoming free which are perhaps meant to speak to us of acceptance and redemption.

Four Strong Winds

I'm Free From The Chain Gang Now

American V is a simple, dignified and beautiful yet challenging album capable of dealing with the harsh truths all the while not forgetting the simple pleasures. The body and voice may at this point have become ruined instruments but no attempt was made to pass Cash off as anything but what he still was. For the music industry these recordings should give them reason to stop and ponder some of the “artists” they artificially produce on the mixing board instead of how much money they can make.

We all know that is none too likely to happen. According to Rubin, Cash left behind enough material that there will be at least one more installment in the "American Recordings" series. The legacy was already set in stone but the work Rubin and Cash have done together has certainly made its mark.

Something miraculous happened with Johnny Cash and his music at the end of his life and that is a very good thing. Like the rest of his work, this will stick.

More people would learn from their mistakes if they weren't so busy denying them. - Harold J. Smith

Miles Davis, The Complete ‘In A Silent Way’ Sessions (1968-9)

By Pico

In 2001, Columbia released a three CD set, The Complete In a Silent Way Sessions by Miles Davis (it was reissued again three years later). Not every box set containing a bunch of 18 minute long outtakes is worth the $40-$50 asking price. But this one is.

WE'VE MOVED!: Dablog by DaSlob is now ... SOMETHING ELSE. Find the remainder of this review through the new link.

Whack Jazz: Pharoah’s Journey

By Pico

When Nick’s article on that badass Idris Muhammed started name-checking all the jazz heavyweights that this great dummer had been associated with, I then realized how many records with his imprint that are among some of my all time favorites. Which of course got me thinking about which of these records I should be pimpin’ on this blog next. It would easy to launch into a gush-fest over John Scofield’s Groove Elation, but Sco’ has been covered here a lot already (and will likely be touched on again if I can help it).

Tell you what, let’s talk about Pharoah Sanders for now.

WE'VE MOVED!: Dablog by DaSlob is now ... SOMETHING ELSE. Find the remainder of this review through the new link.

DaSlobTribute: Sweet Sam's lasting legacy

NICK DERISO: Throat cancer got Sam Myers today, all the sadder since he was nothing if not this throaty, memorable blues singer and harpist.

A towering, nearly blind seer, Myers (almost always with Anson Funderburgh and the Rockets as his accompaniment) used to practically burn down the stage at a club I once owned, smoking both literally and figuratively. Then we'd talk, and he'd smoke some more.

Who knew what those cigarettes were doing to him?

WE'VE MOVED!: Dablog by DaSlob is now ... SOMETHING ELSE. Find the remainder of this review through the new link.

Forgotten series: Idris Muhammad, "Power of Soul" (1974)

NICK DERISO: Was grooving to a 2002 reissue of the titanic groovefest 'Power of Soul' tonight, and got to thinking about Idris Muhammad - a funk and jazz drummer of the first order, born in New Orleans as Leo Morris.

WE'VE MOVED!: Dablog by DaSlob is now ... SOMETHING ELSE. Find the remainder of this review through the new link.

DaSlobInterview: Aaron Neville

NICK DERISO: It's hard to define Aaron Neville's music.

Even for Aaron Neville.

Rhythm and blues? He nods. Soul? He nods. Gospel? Now more than ever.

But country?

He and his brothers do it all. In fact, Neville's signature move is pure country: a falsetto, yodel-like tremolo.

WE'VE MOVED!: Dablog by DaSlob is now ... SOMETHING ELSE. Find the remainder of this review through the new link.