Inexplicably, and unfairly, less celebrated than his colleague Bert Jansch, John Renbourn‘s career was every bit as interesting, and when the famously acoustic guitarist plugged in and increased the rock component in his oeuvre, primarily in the ’70s, things became even more arresting. This is what a three-disc collection titled “Kokomo Blues: Gone Electric 1970-1979” and scheduled for release on December 4th concentrates on.
For a band who put out only four albums back in the ’70s, the legend of UNICORN is still going strong, the quartet’s platters, like the David Gilmour-produced "Too Many Crooks" from 1976 reissued time and again, and archival tapes such as those collected on "Shed No Tear" two years ago, drawing a lot of attention too. Glaringly missing from all these releases were live recordings – and now these are to take pride of place on the ensemble’s “alternative anthology” that will see the light of day on September 25th.
Given the scarcity of Lee Ritenour’s official concert releases, each time the jazz guitar giant issues a stage report, fans have a reason for festivities. So while it would have been great to see an archival recording making its way to the stores – Lee’s first proper such platter, “Alive in L.A.”, didn’t see the light of day until 1997, and 1984’s “RIT/Special” can be found only on old laserdisc and DVD – Ritenour’s “Live At Ronnie Scott’s” is more than welcome.
When Mick Ralphs, a founding member of BAD COMPANY, had a stroke, it was mere days after he graced the stage with the band in England’s capital, at the O2 Arena on October 29th. That night the veterans performed an interesting set, which featured, alongside their usual classics, such rarity as “Crazy Circles” and a piece titled “Trouble Shooter” they didn’t seem to have ever recorded in the studio. And now this set is ready for release.
One of the greatest American songwriters, whose pieces – such as “Wichita Lineman” and “MacArthur Park” – have long become part of the global musical vernacular, Jimmy Webb may have released only thirteen studio albums over almost six decades, but each of these platters is precious, especially when it comes to a new one. His last album of original material hit the shelves as far back as 2013, but “Still Within The Sound Of My Voice” was a collection of Webb classics performed by a plethora of guests, and its follow-up, “SlipCover” from 2019, found Jimmy playing other composers’ gems on a piano. That’s why the veteran’s forthcoming offering “Yours For The Taking” – subtitled “The Found Songs” – feels so welcome.
