Oct 1, 2003 12:00 PM

The Mix Staff Members Pick Their Current Favorites

Warren Zevon: The Wind (Artemis)

Even if this were not the “final” work by one of the most intriguing songwriters rock has produced, it would still be considered among Warren Zevon's very best work. As on most of his albums, the songs are relatively simple and direct, with minimal ornamentation. An astonishing cast of famous friends stopped by to help out and, alas, to say goodbye, and each adds an interesting stamp to the affair, whether it's the raucous good-time energy of Bruce Springsteen, dueting on “Disorder in the House,” the always-evocative guitars of David Lindley and Ry Cooder, or the distinctive backup vocals of folks like Jackson Browne, Emmylou Harris, Don Henley, Billy Bob Thornton, Dwight Yoakam, Tom Petty and others. The powerhouse rhythm section of Jim Keltner and Jorge Calderon never falters, even when an obviously weakened Zevon does, on occasion. Of course, it's impossible to separate this CD from its real-life subtext — that Zevon was dying of cancer sooner than later — and that adds a heartbreaking poignancy and drama to the album's many ballads, as well as an urgency to the rockers. This is genuine tragedy: When he sings “Sometimes when you're doing simple things around the house/Maybe you'll think of me and smile” in “Keep Me In Your Heart,” it isn't the usual lament of a departing lover; it's look ahead to (and back from) the grave. And Dylan's “Knockin' on Heaven's Door” has never sounded more powerful, as Zevon demands “Let me in! Let me in! Let me in!” over an elegiac chorus of friends. Still, there's plenty of Zevon's trademark humor, irony and self-deprecation to offset the enveloping darkness that's blowing through this album…like the wind. A classic album, and highly recommended!

Producers: Warren Zevon, Jorge Calderon, Noah Scott Snyder. Engineer: Noah Scott Snyder. Additional engineering: Jim Michell, Greg Hayes, Steve Churchyard, Joe West. Studios: Cherokee, Anatomy of a Headache, Sunset Sound, The Cave, Groovemasters, Henson Studios, Fancyboy Studios, Masterlink. Mastering: Stephen Marcussen/Marcussen Mastering.
— Blair Jackson

Elvis Costello: North (Deutsche Grammophon)

When Elvis Costello signed with PolyGram five years ago, it was because he would be able to record in all of the different genres that his eclectic muse dictated. Rock 'n' roll, jazz, pop, classical. He is, after all, a musician of many moods. Though it wasn't long before PolyGram was sucked up by UMG that Costello's deal stuck. So, while his last effort, When I Was Cruel, was a looped up rock 'n' roll triumph, North is a string of moving ballads, as sensitive as they are passionate. Musically, this album has jazz and pop/classical leanings, with contributions from members of the avant-garde Jazz Passengers and the Brodsky Quartet (with whom he made The Juliet Letters), as well as longtime Attraction and collaborator, keyboardist Steve Nieve. And North is Costello's quietest collection to date: a soft, elegant arrangement of strings, keys and horns that evokes subtle jazz masters like Chet Baker and transports you like a moonlit night.

Producers: Elvis Costello and Kevin Killen. Recording engineers: Kevin Killen, Bill Moss, John Bailey. Additional engineering: Pete Doris, Pro Tools editing (one track): Andy Snitzer. Mixing engineer: Kevin Killen. Studios: Avatar and Nola (both in New York City), Air Studios (London). Mastering: Bob Ludwig/Gateway.
— Barbara Schultz

Robert Randolph & The Family Band: Unclassified (Warner Bros./Dare)

On the surface, it might seem strange that the “sacred steel” movement of gospel groups featuring pedal-steel guitarists would find such a receptive audience among the jam-band crowd. But what the heck: Jamming is jamming and when it's hot, it makes you move. Robert Randolph & The Family Band have actively courted this audience and done quite well on the basis of their incredible, sweat-inducing live performances; check out last year's Live At Wetlands CD if you want to hear some scorching steel work. At their best, the group is like a gospel version of the Allman Brothers, with Robert Randolph in the Duane Allman role. The new album emphasizes shorter songs, a wider variety of styles (many with secular themes) and a tighter interplay among the musicians — it's proof-positive that there's more going on here than just jamming. That said, I miss the abandon of the live performances: the feeling that solos are spinning out of control and may keep going until Randolph — or my brain — might explode. But as an introduction to an interesting and different-sounding band, Unclassified is still a fine piece of work.

Producers: Robert Randolph & The Family Band with Jim Scott. Engineer: Scott. Additional recording: Ryan Hewitt. Studio: Cello (L.A.). Mastering: Gene Grimaldi/Oasis Mastering (Studio City, CA)
— Blair Jackson

Lucinda Williams: World Without Tears (Lost Highway)

It takes neither a country music devotee nor a skilled musician to truly appreciate Lucinda Williams and her songs. No, all you need is an hour or so without distraction, and World Without Tears, her newest creation, will invariably burrow itself into the dampest, reddest earth of your body. The depth of World's subject matter — child abuse, suicide, lost love, depression, isolation — is evoked in part by her intelligent, poetic lyrics and a talented cast of supporting musicians. But the true power in this album is that she laid the tracks down live and left them that way. Raw and nuanced, Williams' voice antagonizes us — a reminder nagging our emotional wounds. From opening track to last, she defines the depths of her love — shows us what we're capable of — while pulling the arrows from her heart.

Producers: Lucinda Williams and Mark Howard. Mixed by Mark Howard. Studio: Real Music Studio. Mastering: Joe Gastwirt/Oceanview Digital Mastering.
— Breean Lingle

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Mastering Cubase 4

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