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Music: Current count 25326 [25277] rated (+49), 426 [432] unrated (-6).
Huge rated count. I got off to a fast start when I decided to fill in the records I hadn't previously heard by Kurt Elling and Alan Jackson, both with new records last week. I've never cared for Elling, but he has a huge reputation, including four Penguin Guide 4-stars. Main thing I found out was that his exuberance on the first two albums makes his mannerisms more palatable. After Elling, Jackson cleaned my ears out, and the albums were so short they piled up fast. Still best, I think, to approach his early work through compilations, like 1995's The Greatest Hits Collection, or 2007's more economical 16 Biggest Hits. His new one, Angels and Alcohol, was A- last week. (Elling's new Passion World came in at C: by my reckoning his worst ever, not that Night Moves or 1619 Broadway were much better.)
The next thing that happened was that Phil Overeem posted a list on Facebook of his top 50 albums so far this year. I jotted them down in my notebook, and tallied up that 25 of the 34 I had heard were rated B+(***) or higher. That's close enough to my taste that I tried tracking down the rest. I managed to find 11 of the missing 16, and the first three (79rs Gang, Nots, Mdou Moctar) came in at A- (as did, later on, Dead Moon). Overeem's list also included the new Sonics album (***), which led me to their back catalog and a belated A- for their 1965 debut. Of the remaining five, I managed to find bits of Big Chief Don Pardo and Golden Comanche (New Orleans Indians) and the Reactionaries (pre-Minutemen D. Boon from 1979) -- not enough to rate but both sounded promising. That leaves three albums to keep an eye open for: Jack DeJohnette, Made in Chicago; Iris DeMent, The Trackless Woods; and J.D. Allen, Graffiti.
I had, by the way, tracked down Coneheads (***) and The Red Line Comp (*) from earlier Overeem notices -- I would never have known about them otherwise. One thing I had trouble with was hip-hop: three albums (two from Overeem's list -- Doomtree and Vince Staples -- plus Future) wound up at B+(***). I gave them two plays each, all were pretty good, but they didn't come through quite clearly enough to grade higher. That seems to be happening a lot -- others on my 2015 list: Joey Badass, Action Bronson, Cannibal Ox, Rae Sremmurd. Or maybe that's just a normal break: A- hip-hop so far: BBNG/Ghostface Killah, Heems, Kendrick Lamar, Murs.
Michael Tatum, who's resumed his A Downloader's Diary, recommended Songhoy Blues -- a close second, I think, to Moctar's soundtrack. Overeem also recommended the new Tamikrest (**), so I went back and filled in the old ones, netting Toumastin. Mamman Sani (Overeem picked his 2013 album) is also from Niger, but not in the dessert blues genre -- more like spacey electronic minimalism. It was a big help for me finding Sahel Sounds on Bandcamp -- will probably explore some more older titles later on.
That didn't leave a lot of time for my current jazz queue, but I moved Irène Schweizer to the front and was dazzled: not a surprise given that her previous record with Han Bennink was an A -- one of 4 A records I credit her with (plus 5 A-). A really great pianist, and a pretty great percussionist too. The one I still recommend to start with is her 2006 2-CD compilation, Portrait. Maybe I should change its grade to A+.
Biondini (*), Braden (*), Halvorson (***), Harris (**), Letizia (**), Maestro (*), Mazzarella (***), and Orozco (**) also came from the new jazz queue, but I had to grab James Brandon Lewis (A-) from Rhapsody. I did find some mail on the record, apparently with a watermarked download link I never bothered with. No telling how many records like that slip past me. My pre-crash system for dealing with download links is still broken -- Firefox refuses to connect to a mail server that has self-signed SSL certificates, even after storing the exception, so my message-passing mechanism is broken. Also, all the ECM links I had are stale now, and I find myself not caring enough to get them refreshed. Similarly, I hardly ever deal with the world music links I get from Rock Paper Scissors: true that a high percentage of important world music comes through them, but also true that that's a small slice of what they promote. I keep getting disabused of the concept that I can cover it all. There needs to be some meeting of the willing for this to work, but this week at least it seems to have worked pretty well.
Robert Christgau found a new outlet for his Expert Witness -- I still think of it as The Consumer Guide -- column, at Noisey, promising a new one every Friday. Last week's covered three "love men" he likes more than I do: Miguel (***), Jason Derulo (*), and (most surprising) Sam Smith (B- last time I heard it), with Tinashe (**) and Oceaán (* -- the only one I hadn't previously checked out) in the HMs. Once again, he's catching up to make up for the downtime since Medium sacked him in early June. I've noticed, for instance, that there were 17 albums on his 2013 Dean's List that he never caught up with when he moved from MSN to Cuepoint. (My plan is to add stubs in his website database for those records -- presumably all A- or A, but not my place to say. I'm also looking through earlier lists to see if anything else should be stubbed -- thus far I've found three albums, but it's a slow slog to check everything.)
By the way, I am getting closer to doing an update of Christgau's website. I've already uploaded a number of fixes since the ISP's server change ("upgrade") broke some old code, but the long delay demanded by Medium and my own procrastination kept me from doing an update to the CG database. Right now, I have everything from Medium in my local copy, and I'm working through some proofreading (my heroes there are George Allan and Lucas Fagen). Probably later this week, assuming I don't hold it up to do more stub work. (I've long thought that the artist pages should list albums that don't have proper CG reviews but do have significant mentions in lists or ACN, so that's a long-term project.)
I should also mention that I got a notice today that Carola Dibbell's recent novel, The Only Ones, is now available as an audiobook, narrated by Sasha Dunbrooke.
New records rated this week:
Recent reissues, compilations, and vault discoveries rated this week:
Old records rated this week:
Unpacking: Found in the mail last week: