Dolenz Sings Nesmith (2021), by Micky Dolenz

The Monkees may be winding down with their anticipated 2021/2022 farewell tour, but if this amazing album is any indication, remaining members Micky Dolenz and Michael Nesmith still have a bright future ahead of them as singer and songwriter, respectively.

A rousing and invigorating mix of pop, rock, folk, country and western, Americana, ragtime, and even Indian music complete with tablas and sitars, this is indeed an awesome album, one of the best of all time and certainly far better than most new recordings from veteran artists of the 1960s.

 

At 76 years old, Dolenz still sounds as vibrant and energetic as he ever has, perhaps even more so on this album, which highlights his youthful and elastic vocals more effectively than the Monkees albums of the last decade.

 

This is probably the strongest selection of songs Dolenz has sung on any album, most likely because Nesmith is the songwriter.

 

Even though these are covers of Nesmith originals, the songs are both fresh and familiar, thanks to the crisp production of Nesmith’s musician son, Christian.

 

If you’re already acquainted with these classic Nesmith tunes, you will dig Christian’s thoughtful, sensitive, and rocking new arrangements.

 

If they’re new to you, you’re still in for a musical treat for your ears.

 

Based on the high quality and enjoyment factor of this album, I want to hear Dolenz sing more Nesmith songs, both old and new.

 

--Raj Manoharan

Legs Eleven (2004), by Chad Wackerman

On his fourth solo release – the second of his two albums recorded during the ten years he lived in Australia – American virtuoso drummer Chad Wackerman pounds and clangs his way through a solid set of jazz fusion instrumentals that showcase his strong compositions and spotlight the tight interplay of his Aussie band members.

The returning lineup from Wackerman’s previous outing includes Daryl Pratt on synthesizer, vibraphone, and marimba, Leon Gaer on bass, and James Muller – the Australian version of Allan Holdsworth and Andy Summers – on guitar.

 

In addition to his Holdsworth/Summers-like tone and style, Muller ventures into Pat Metheny territory and even a little bit of progressive rock. And yet with all these influences and inspirations, Muller manages to maintain his unique voice on his instrument.

 

Wackerman keeps things moving with his typically and engagingly busy and fidgety percussion, placing his kit front and center without ever detracting from the fluidity of his compositions and the sonic contributions of his versatile and dynamic players.

 

--Raj Manoharan

Scream (2000), by Chad Wackerman

Powerhouse drummer Chad Wackerman’s third solo release – the first of his two albums recorded during his decade-long residency in Australia – features a mostly new lineup of musicians from down under, most notably Allan Holdsworth-sound-alike guitarist James Muller.

Wackerman holds court as primary composer and bandleader, with his drums and percussion hustling and bustling throughout and providing the driving force of the music.

 

The Aussie players new to the mix include Daryl Pratt on synthesizer, vibraphone, and percussion and Leon Gaer on bass.

 

Some of the recording sessions took place back in Wackerman’s native California, with veteran band members Jim Cox on synthesizer, piano, and organ and Walt Fowler on flugelhorn.

 

The 25-year-old Muller is right at home with Wackerman, sounding like a clone of Holdsworth with his piercing tone and lightning-quick leads, with a little bit of Andy Summers thrown in for good measure. All the while, Muller manages to forge his own sonic stamp with his blazing guitar lines.

 

Chad Wackerman once again proves that he is as adept at crafting appealing tunes as he is at rattling his drum kit, resulting in yet another fine fusion offering.

 

--Raj Manoharan

Happy 90th Birthday, William Shatner!

I know, The Shat turned 90 in March.

But better late than never!

https://archive.org/details/starlog_magazine-257/page/n41/mode/2up/search/raj+manoharan?q=raj+manoharan

--Raj Manoharan

May the 4th Be With You!

https://archive.org/details/starlog_magazine-236/page/n43/mode/2up/search/236?q=236

--Raj Manoharan

Dreams Nightmares and Improvisations (2012), by Chad Wackerman

For his fifth solo album – his first since returning to America after ten years of living in Australia – powerhouse drummer Chad Wackerman reunites his stateside studio cohorts from two decades earlier for a collection of expansive and experimental jazz improvisations.

Returning to the fold are Jimmy Johnson on bass, Jim Cox on keyboards, and – in his last original studio recording before his passing five years later – fusion legend Allan Holdsworth on electric guitar, synthaxe, and keyboards.

 

As usual, Wackerman gives his band members the space to flaunt their musical chops, which they all do without overshadowing each other. In his final studio performance, the 65-year-old Holdsworth remains a revelation and a wonder to behold.

 

Wackerman keeps it all together with solid and consistent drumming throughout, cooking up a simmering cauldron of four unique virtuosos and serving a sumptuous feast for the ears.

 

--Raj Manoharan

The View (1993), by Chad Wackerman

Powerhouse drummer Chad Wackerman’s second solo album boasts bold melodies and triumphant anthems that result in a spirited, buoyant, and lively sound.

 

A big part of that sound are the blaring horns – courtesy of Walt Fowler on trumpet and flugelhorn – that steer Wackerman and his band to the jazzier side of fusion, without letting up on the driving force and kinetic energy propelled by Wackerman’s pulse-pounding percussion and snappy beats.

 

Legendary fretboard virtuoso Allan Holdsworth unleashes one of his best performances on record with a dazzling display of his lightning-fast leads on “Close to Home,” and Supertramp guitarist Carl Verheyen threads compelling distortion lines on “Across the Bridge” and “Black Coffee.” Holdsworth and Verheyen split up six-string duties throughout the album, but it’s never hard to tell who’s playing on which tracks since both have very distinct styles.

 

Also returning from Wackerman’s debut solo album along with Holdsworth are Jimmy Johnson on bass and Jim Cox on clavinet, synthesizer, piano, and organ.

 

Once again, the unique talents of each musician both stand out and blend together seamlessly to yield a satisfying whole.

 

And it all comes at the behest and service of the individual musical vision of Chad Wackerman.

 

--Raj Manoharan