Here are some tunes to listen to while you prepare your Thanksgiving feast!
Genuine Negro Jig is perfectly recorded, balanced between the best sound this century can deliver and the rustic, throwback feel of an old-time string band in action at a picnic, dance or rent party in the ’30s. That’s the accomplishment here. The next step, if the Carolina Chocolate Drops are willing to go there, is to stretch things from being a great facsimile to being a natural extension of an ongoing tradition. That’s when revival changes into evolution.-allmusic.com
Quibbles aside, everything about this package is richly detailed, immensely pleasing, and overall a wonderful experience. All of the CD editions include copious bonus tracks, such as nine minutes of a cappella vocals (“SMiLE Backing Vocals Montage”), whose beauty and fragility will help listeners realize that the Beach Boys obsessed just as much over their vocalizing as their music. Deluxe editions add essays from several angles, reminiscences from those who were there, and original artwork and photos from the period. True, no one will ever know what effect a SMiLE release in spring 1967 would have had on music or pop culture, and with the music so circular and the lyrics so obtuse, it’s likely that SMiLE would have become merely a curio of psychedelic excess rather than a work that transformed culture. But regardless, it shows Brian Wilson’s mastery of pure studio sonics and his ability to not only create distinctive pop music, but give it great beauty as well. Those qualities have inspired musicians for decades, and it’s clear they will continue to do so.-allmusic.com
“Hot and heavy pumpkin pie… Ain’t nothing please me more you,” Edward and his Magnetic Zeros profess. This song has all the charm in the world, and sounds like something the settlers would have sung while caravanning along the Oregon Trail. Formed in 2007 by Ima Robot frontman Alex Ebert, the mammoth 11-piece outfit embraces “the Summer of Love” with enough period beards, fonts, and Eastern mysticism to launch a thousand “Magical Mystery Tours,” but despite all of the analog equipment and peacenik grandstanding, standout tracks like “Home,” “Desert Song,” and the aforementioned “40 Day Dream” sweep you up in their grandeur like a patchouli tornado and dare you to take your clothes off and jump in the lake with them.-allmusic.com
What do an indie rock quartet and a professional wrestler have in common? No, this isn’t the beginning of a groaner, but rather a genuine inquiry about what inspired Brooklyn band Caveman to reference WWE Hall of Famer Koko B. Ware with the title of their full-length debut, Coco Beware. No immediate connections emerge upon listening, but the moods and textures of the record prove every bit as colorful as the pugilist namesake’s costumes and novelty parrot. Combining the sparkling majesty of later-era Animal Collective and the lush experimentation of TV on the Radio with the warm yearning of the Shins, Caveman cover an ambitious territory in the album’s ten-track, 36-minute run, balancing potentially conflicting elements like four-part harmonies, tribal drums, trickling keyboard, hazy guitars, and a lyrical focus on friendship and growth. Summer fades into fall with the moody, Talking Heads-meets mantra mashup “Thankful,” enveloping the mysterious refrain “Thankful all my friends with remorse” in shimmering guitar and propulsive conga drumming.-allmusic.com
Combining the whimsical yet elegant compositions of Vince Guaraldi and the mellow, restrained playing of George Winston, Linus & Lucy: The Music of Vince Guaraldi is a mostly happy marriage of the composer’s and performer’s styles. On much of the album, Winston tends to tone down the breeziness of Guaraldi’s performances, opting for a gentler, reflective approach that sparkles on “Skating” and “Young Man’s Fancy,” but tends to make “The Great Pumpkin Waltz” and “Treat Street” sound a bit washed out. However, sprightly renditions of “The Masked Marvel,” “You’re in Love, Charlie Brown,” “Peppermint Patty,” and “Eight Five Five” more than make up for the occasional lag and spotlight Winston’s virtuoso piano playing. Though it’s not necessarily intended as a best-of Vince Guaraldi collection, Linus & Lucy could certainly be used as one; however, it’s Winston’s distinctive style that makes it one of the best solo piano new age albums of the ’90s.-allmusic.com
While 1,000 Kisses finds Griffin blending covers in with her own compositions for the first time, she proves to be a first-rate interpretive singer (her version of Bruce Springsteen’s “Stolen Car” actually improves on “the Boss”‘ original), and her own songs are splendid, especially the moving widow’s lament “Making Pies” and the moody lead-off track “Rain.” And regardless of who wrote the material, Griffin’s voice — a tower of strength capable of expressing remarkable emotional vulnerability — remains a wonder to behold. 1,000 Kisses finds Patty Griffin at the top of her game, and one can only hope we don’t have to wait four years for the follow-up.-allmusic.com
The Drive-By Truckers are a band that likes to do things the old-fashioned way. They proudly proclaim that they record their music “on glorious two-inch analog tape,” they still think in terms of albums with two (or four) sides, and their sound is firmly rooted in the traditions of Southern rock and the blues. They also hark back to a time when rock bands made an album every year followed by a tour, and if the DBTs haven’t quite held firm to that schedule, since they broke through with Southern Rock Opera in 2001, they’ve managed to release six studio albums, a live CD/DVD, another DVD-only live set, and a collection of rarities and unreleased tracks, all while keeping up a demanding touring schedule. Any band that busy is likely to believe it deserves a rest every once in a while, and in a sense, 2011’s Go-Go Boots feels a little bit like a working vacation.-allmusic.com
Vocalist Josh Groban delivers his first Christmas themed album with 2007’s Noel. Once again produced by longtime “man behind the curtain” David Foster, the album features more of Groban’s dewy, supple vocals set to Foster’s cinematic orchestrations. As per the holiday theme, these are primarily classic tunes of the season including such chestnuts as “Silent Night,” “Ave Maria,” and, of course, “The Christmas Song.” However, also included are a few lesser-known traditional songs as “Panis Angelicus” and “Angels We Have Heard on High.” Similarly, while most of the productions here should appeal to longtime fans of Groban’s particular classical-crossover sound, some cuts like soft rock inflected “It Came Upon a Midnight Clear” and the Celtic folk leaning “Little Drummer Boy” do expand upon the Groban/Foster palette in a pleasing way. Notably, also showcased here are guest appearances by country superstar Faith Hill, R&B stalwart Brian McKnight, and perennial holiday backing band the Mormon Tabernacle Choir.