Cut straight on the heels of Bad Company’s 1974 debut — just a matter of three months later; not quite long enough to know how big a success the first LP would be — Straight Shooter is seemingly cut from the same cloth as its predecessor.
Appearing "To France"
Not a masterpiece by any means but I do find "Discovery" underrated 'cause of some pure magical moments.
Essential: a masterpiece of progressive rock music
In 1974, I read a very good review in a local magazine of which six pages or so a week were dedicated to rock music (merci Télémoustique et Piero). The reviewer was so impressed and his review was so exhuberant about this record that I went to purchase it without knowing the band. What a wonderful surprise I got!
Ce n’est pas parce que cette fanfare issue du monde alternatif exhibe fièrement une faute d’accord dans son patronyme qu’ils sont coutumiers des fautes de goût ou des fausses notes. C’est davantage le sens de l’audace et l’irrespect pour les conventions qui animent ces canassons du son, dont certains membres forment la section cuivre du gang du contrebassiste Fantazio. Champions de la course d’obstacles, ils sautent avec aisance d’une compo sous influence afrobeat ou éthio-Jazz à un morceau de be-bop, rendent hommage au P-Funk de George Clinton avec leurs invités Push Up, Sandra Nkake et Allonymous, ou font sonner leurs conques pour défricher des terres inconnues, seuls ou en compagnie de la chanteuse italienne Bianca Iannuzzi. Joyeux et débridé, ce Colis Suspect finit bel et bien par nous sauter à la figure, mais on ne regrette pas de l’avoir ouvert.
It might be more concise to list what musical genres Marc Ribot hasn't explored than the ones he has, but his approach to the guitar has often reflected the freedom, reinvention, and elastic boundaries of jazz, no matter what the specific context. On this date, recorded in mid-2012 during a handful of shows at one of New York's most iconic venues, Ribot gives himself the luxury of stretching out with a pair of gifted accompanists, bassist Henry Grimes (who worked with Albert Ayler, one of Ribot's key influences) and drummer Chad Taylor (a veteran of the Chicago Underground Duo and Trio), and the result is one of Ribot's most explicitly jazz-focused dates in some time.
Formed by former Studebaker John (Blind Pig Records) bassist Ted May, former Walker Ranger session guitarist Brent Barker, and veteran drummer Tom May (who has played with members of Allman Brothers), Mississippi Fever members have shared the stage classic blues greats such as Ike Turner, Little Milton, and Chuck Berry. Brent and Ted were both featured in Guitar Player magazine for their inspired playing. Mississippi Fever combines influences of great classic artists such as Buddy Guy, Cream, Stevie Ray Vaughan, and early ZZ Top into a unique blend of blues and classic rock.