Vancouver guitarist David Gogo is oozing confidence on this blues-rock album, beginning with the barroom pleasing "Love in the City" with former Junkhouse lead singer Tom Wilson, who is also a member of Blackie and the Rodeo Kings. The piano only adds to its luster. Gogo isn't reinventing anything here, just good time, old-school, feel-good rock & roll accentuated by his great guitar playing. He can rumble as well judging by the slower and moody "Hit Me From Above," sounding a bit like Doyle Bramhall II or some other Austin blues-rock musician. A slower, soulful "300 Pound Shoes" takes the album down in tone but Gogo goes for broke here, pulling the song off with relative ease. "Hey Juanita" doesn't seem that strong and is rather ordinary in a roots rock type of vein like Mike Plume or Steve Earle. The piano driven "I'd Do Anything" shows a softer, bluesy vein that sounds like a long distant cousin of "Ride On" by AC/DC complete with horns. The funky "Silk and Stone" is a sleeper pick in line with the likes of Bonnie Raitt or Delbert McClinton.
In 1972, at the height of David Bowie's newly ignited fame, former label Pye unlocked the vault and produced an EP, the aptly subtitled "For the Collector – Early David Bowie," reprising four of the six songs Bowie recorded during 1965-1966. Since that time, those four (plus their two companions) have established themselves among the most frequently revisited songs in his entire catalog, reissued so frequently, and in so many different formats, that there truly cannot be a single Bowie fan left out there who doesn't own them at least three times over.
Johann Mattheson gained lasting renown as a music writer with his two main works Die musikalische Ehrenpforte and Der vollkommene Kapellmeister, with the latter representing a foundational writing on cultural politics, musical aesthetics, and compositional practice in the first half of the eighteenth century. Mattheson was also himself a composer and experienced his most productive phase in this capacity during his years as cathedral music director at the Hamburg Cathedral (1715-28). He wrote twenty-four oratorios and other works for the cathedral music until increasing deafness forced him to resign from his post. That Mattheson is not at all known as a composer certainly has to do with the fact that a considerable portion of his compositional oeuvre was regarded as lost until 1998, when some works were rediscovered in a war evacuation depot in Erivan (Yerevan), Armenia. These works include Der liebreiche und geduldige David (The Loving and Patient David) of 1723, one of Mattheson’s last oratorios. It reveals him to us as a dramatically well-versed, highly imaginative musician who more than deserves his personal renaissance. cpo vows to take up his cause!