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THE ROLLING STONES Blue & Lonsone
( Interscope )
Put four British geezers who have been disciples of Chicago blues since before most of us were born into a room for three days , supported by a few touring cohorts , and out comes the most essential Rolling Stones album in at least 27 years . Blue & Lonesome presents the famous blues evangelists as the master craftsmen they dreamed of being as hungry youngsters , while soaking up the tutelage of their Chicago blues heroes and returning those sounds to their point of origin . The band ’ s interplay is sharp , intuitive , and the perfect kind of loose , thanks to steady touring during the past four years . The core four of Mick , Keef , Charlie and Ronnie are augmented only by longtime sidemen Darryl Jones on bass and Chuck Leavell on piano and organ , plus Steel Wheels veteran Matt Clifford on more keys . It ’ s a shame that the late Bobby Keys wasn ’ t around to add a few greasy saxophone licks a la “ Brown Sugar ,” and Mick Jagger carries the vocal ( in knockout form ) without aid from Bernard Fowler and Lisa Fischer – so , no spine-tingling female vocals a la “ Gimme Shelter .” But sticking to the fundamental elements of a rock and roll rhythm section draws comparisons to the Stones ’ scrappy youth and albums like Out of Our Heads and the group ’ s self-titled debut – 52 stunning years ago . That first record included songs by blues legends Willie Dixon and Jimmy Reed , and so does Blue & Lonesome . The band throws sparks on Dixon ’ s blues stroll “ I Can ’ t Quit You Baby ,” as Jagger lets rip with a surprisingly youthful howl and trades licks with guest Eric Clapton . Reed ’ s sorrowful “ Little Rain ” lurches heavily on Charlie Watts ’ grim , brushed shuffle , and Jagger ’ s lonesome harmonica wails from behind the band . Harp hero
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Little Walter ’ s “ Hate to See You Go ” jumps with a cocky guitar lick and the rooster crow of Jagger ’ s harmonica . Leavell adds sparkle with a parlor piano solo on Magic Sam ’ s “ All of Your Love .” Jagger growls with indignation through Howlin ’ Wolf ’ s knife-edged “ Commit a Crime ” while Watts swings and Wood ’ s guitar ping-pongs with Keith Richards ’ meaty riffs . Richards clearly has a ball with the jump blues of “ Just Like I Treat You .” Blue & Lonesome was allegedly recorded as a palette-cleanser when the band hit a wall during sessions for an upcoming album of new material . This set of spirited covers is so satisfyingly shotthrough with electricity and urgency , it sets a high bar for anything that follows . Get the vinyl if you can . This gritty romp would go well with just a hint of needle scratch and dust .
– Jeff Elbel
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RUSH 2112 40th Anniversary Edition
( Universal )
Bassist Geddy Lee has described Rush as “ the world ’ s biggest cult band .” Among the trio ’ s most devoted followers , you ’ ll find fans claiming any one of the Canadian prog-rock powerhouse ’ s twenty albums as their favorite . To the world at large , however , it all comes down to 1976 ’ s 2112 and 1981 ’ s Moving Pictures . The trio ’ s fourth studio album , 2112 found the band ’ s vision realized and won the band its creative independence . The band had been shedding comparisons to influences like Led Zeppelin over previous albums Caress of Steel and Fly By Night , but the combination of hard rock , top-flight musicianship and drummer Neil Peart ’ s thought-provoking concept about totalitarianism and individuality were singularly Rush ’ s own territory . Side one ’ s 20- minute concept suite boasts thrills and chills aplenty , including fascist bad guys , a naïve hero ’ s joyful discovery , tragedy , and a fierce space battle . During 2112 ’ s “ Overture ,” guitarist Alex Lifeson quotes Tchaikovsky ’ s “ 1812 Overture ,” and naturally , the homage extends to cannon fire . Side two includes standalone songs like the strident anthem “ Something for Nothing ,” the druggy road-trip fantasy “ A Passage to Bangkok ,” and a tribute to Rod Serling ’ s “ The Twilight Zone .” The album ’ s 40th birthday is being celebrated
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with a fresh remaster from Abbey Road Studios . Differences to previous remasters are subtle , but the results are excellent . Lifeson ’ s guitars are meaty , Lee ’ s bass is deep and strong , and Peart ’ s tom fills will perform chiropractic adjustments if you lie down on your headphones . Expanded packages include heavyweight 200 gram vinyl for ultra-stable spins , and one side features an etched “ Starman ” logo by longtime Rush artist Hugh Syme . Other extras include a lithograph , buttons , reproduction ticket and tour handbill . Bonus tracks include live audio recorded on the original 2112 tour dates from 1976 . Also featured are tribute tracks from various musical fans . Alice in Chains perform a lush version of ballad “ Tears .” Steven Wilson of Porcupine Tree sounds right at home in “ The Twilight Zone .” Foo Fighters ’ Dave Grohl and Taylor Hawkins join recent Rush producer Nick Raskulinecz for “ Overture .” The most refreshing and original take is by Canadian indie-pop artist Jacob Moon , who made an internet sensation of his sololooped cover of 1982 Signals track “ Subdivisions .” Here , his acoustic approach morphs into a loping , bluesy electric version of “ Something for Nothing .” The best bonus is a DVD of live material from 1976 , featuring black and white video footage of Rush as a scrappy young band playing songs spanning their first four albums . Here , Lee ’ s keening tenor still possesses the razor edge that fans loved and critics maligned . Lee and Lifeson sport high-heeled boots in fine ' 70s fashion , but alas , no kimonos .
– Jeff Elbel
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MOTLEY CRUE The End Live in Los Angeles ( DVD ) ( Eagle Vision )
What a way to go out in style ! Mötley Crüe ’ s last hurrah on New Year ’ s Eve , 2015 before a sold-out Staples Center arena in their hometown of Los Angeles was recorded for this DVD + CD extravaganza . The End – Live In Los Angeles captures the band ’ s final show ever , as their legal , binding “ cessation of touring ” agreement was written in blood . The farewell concert consisted of ridiculous amounts of pyrotechnics – including Nikki Sixx ’ s customized flame-throwing bass – balloons , confetti and Tommy Lee ’ s mechanized “ Crucifier ” drum coaster ( which actually broke down ). “ Girls , “ Girls , Girls ” kicks things off in explosive fashion , while a raucous version of “ Primal Scream ” follows it and features huge audience participation . “ Don ’ t Go Away Mad ( Just Go Away )” was a definite crowd pleaser and sounds very lively . The New Year ’ s countdown was a special treat in which they released hundreds of balloons before blasting into “ Kickstart My
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Heart .” However , the back-to-back drum / guitar solo sort of kills the momentum . “ Live Wire ” sounds really electric while “ Dr . Feelgood ” is punchy and raucous . An emotional rendition of “ Home Sweet Home ” ends the night perfectly with the band in the middle of the arena on a smaller second stage . It brought tears to some peoples eyes , and yes – even Vince looks a little misty-eyed . Speaking of Vince , he sounds out of breath at times , often skipping words and letting the audience or the female background singers handle the higher notes . However , he plays the part of a dynamic frontman to a T . The bonus material of interspersed interviews adds to the dynamic of the situation while the excited crowd shots adds to the overall excitement . The End – Live In Los Angeles accurately captures the spirit of Mötley Crüe . As the end credits are rolling , accompanied by Frank Sinatra ’ s “ My Way ,” it ’ s a reminder that the Crüe did it their own way for 35 years , warts and all .
– Kelley Simms
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BOB MARLEY & THE WAILERS Live ! ( Deluxe Reissue )
( Island )
“ One good thing about music ; when it hits , you feel no pain ,” sings Bob Marley on his concert opening classic “ Trenchtown Rock .” Marley ’ s most famous live document , Live ! was first released in December 1975 . 41 years later , it returns as a triplevinyl set to hit listeners with even more music . The set contains two complete shows at London ’ s Lyceum Theatre during July 1975 , including the July 18 show that provided the seven songs heard on the original release . The set even includes a reproduction of the Wailers ’ 1975 tour program . In addition to alternate performances of the sublime , Gospel organ-infused “ No Woman , No Cry ” and set-closing solidarity anthem “ Get Up , Stand Up ,” five additional songs are featured in the set lists . Credited to bassist Aston “ Family Man ” Barret – due to a contractual dispute between Marley and his publisher , the slinky reggae-funk of “ Rebel Music ( 3 O ’ Clock Roadblock )” is punctuated by the background vocals of Rita Marley and Judy Mowatt . The singers were two thirds of the I Threes , formed to support the Wailers following the departures of Peter Tosh and Bunny Wailer . Tyrone Downie ’ s blissful electric piano solo elevates a lively “ Stir It
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Up .” “ Natty Dread ” was
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