![]() Intermission is really jazzy, with a strong Charlie Christian feel and a guest vibraphonist and you regret that there aint no more guests on this album to enhance the final result. " Far Noir East" seems to have been written for the Brian Setzer Orchestra album " Songs From Lonely Avenue" like a cross between Harlem Nocturne and the Stray Cats little known jewel Jade Idol. Let's quickly forget Go-Go Godzilla that sounds like a self-parody to concentrate on the few good numbers of the albums. And the lack of interaction between the rhythm section and the solist doesn't help either. The sound is way too clean, totally disembodied and for the most part evokes the cd one can find with guitar methods. Cherokee is a bit better but reveals the major flaw of the album: its production. Instead of that what you have is a clean (in the sense of "sterile") version of Earl's Breakdown a song he plays live since 1983. Seriously who wants to hear another version of Blue Moon Of Kentucky or be Bop A Lula, even by Brian Setzer? And when he picks his banjo you can expect something new, why not a real bluegrass number with mandolin or dobro or whatever. Some songs are just quick reworking of classics that Setzer plays for years and really don't bring anything to his glory. This is not bad but it just sounds like a missed opportunity. Well, fine, Brian Setzer is a damn good picker but how I wish I could have loved this album more. Give me a call Brian, I have some records you really should listen.īlue Moon Of Kentucky - Cherokee - Be-Bop-A-Lula - Earl's Breakdown - Far Noir East - Intermission - Go-Go Godzilla - Lonesome Road - Hillbilly Jazz Meltdown - Hot Love - Pickpocket One last thing: I still wonder why this album has been recorded in Nashville instead of Sun studio? The liner notes also surprised me when I read Setzer saying “Isn’t it funny how modern rockabilly rarely incorporates acoustic guitar”. At leats it proves that Rockabilly and Rock'n'roll are the kind of music that Setzer plays the best. Sure there's no betrayal, and if you dig the originals you'll like Setzer's but in the end this album lacks of originality (which is often the case with tribute albums). ![]() They remain very faithful to the original versions which is both a strenghth and a failing. Even the Jordanaires join in on a couple of songs. He’s perfectly supported by Mark Winchester on double bass and Bernie Dresel on drums (the best rhythm section Setzer ever worked with) and Kevin McKendree adds a solid pumping piano to the ensemble. Though the fans of his flashy style could be deceived, Setzer serves the songs rather than his own glory. His voice is very good and it goes without saying that his guitar play is top notch. What you have is a very inspired Brian Setzer, and if you want to compare to another all cover album it’s far better than Stray Cats’ Original Cool. Well, this is a noble cause, so let’s give him credit for that, and we know that he didn’t make it for money, NOBODY makes money with rockabilly. Setzer claims that he made it to introduce these songs to a new generation. One can wonder what the use of recording such a record, especially with tracks like Blue Suede Shoes, Boppin’ the Blues, Just Because and Red Hot. The idea of this album is simple, and lays in the title, it’s a tribute to the greatest rockabilly label, the one that started it all: Sun records. ![]() Red Hot - Slow Down - Real Wild Child - Rockhouse - Put Your Cat Clothes On - Lonely Weekends - Get It Off Your Mind - Just Because - Glad All Over - Flatfoot Sam - Rock N Roll Ruby - Blue Suede Shoes - Tennessee Zip - Mona Lisa - Peroxide Blonde (In A Hopped Up Model Ford) - Get Rhythm - Stairway To Nowhere - Boppin' The Blues - Rakin' & Scrapin' - Sweet Woman - Flyin' Saucers Rock N Roll - Lonely Wolf - Red Cadillac & A Black Moustache
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