If I Could Do It All Over Again, I'd Do It All Over You is the second album by progressive rock band Caravan, released in September 1970. It was the predecessor to their best-known album In the Land of Grey and Pink. The album is representative of the Canterbury scene genre featuring representative organ solos and melodic vocals typical of the band's style.
Pretty much exactly what it says it is – a combination of the two releases, the Bloodied But Unbowed compilation and the War On 45 EP, on one compact disc. The remastering job is fine, the cover art is all reproduced, and there are even complete lyrics, with one or two exceptions. Anyone wanting to give these guys a listen should start right here.
Do Make Say Think has been widely celebrated as one of the preeminent instrumental rock bands of the 90s-00s. Stubborn Persistent Illusions is the group’s first album in eight years – and a brilliant addition to one of the most consistently inventive and critically praised discographies in the ‘post-rock’ canon. The band has been acclaimed as “the supernova in Constellation’s stellar network…arguably the finest back catalogue of any currently operating instrumental rock band” (Drowned In Sound), creating “some of the most honest, unpretentious, group-oriented rock of their time” (Popmatters).
On Jonathan Butler's N2K Encoded Music debut, Do You Love Me, he continues his jack-of-two-trades approach, balancing R&B-based vocal tunes with easy, acoustic guitar-based instrumentals. While it's a friendly enough listen, Butler here doesn't display a powerful enough mastery of either format. His guttural, heartfelt vocal style – reminiscent of Jon Secada – can make even the most Lionel Richie-esque lyric seem deeper than it is (even a new song with a title like "The Way You Look Tonight"), but few of the adult-oriented vocal tunes here are as memorable or hooky as his best-known hit, "Sarah Sarah." "Do You Love Me?," for instance, should be a deep, emotional moment, but comes off as a pleasant, easily dismissed conversation. Fortunately, "You Don't Belong to Me" has more lyrical bite, nicely underscored with a percussive guitar line underneath his angry tone. Butler should put more of that pointed energy into his play-it-safe instrumentals, which generally gallop along smoothly without building much steam. The best one can do with this sort of album is like Butler a lot.
Inspired by his time spent with the Xingu Indians of the Amazon, to whom the album is also dedicated, Sol Do Meio Dia (Midday Sun) is a consistently intriguing transitional album from multi-instrumentalist Egberto Gismonti. With him are percussionists Nana Vasconcelos and Collin Walcott and guitarist Ralph Towner, as well as Jan Garbarek on soprano saxophone for a brief spell. At this point in his career, Gismonti was beginning to fill in the porous sound of his 8-string guitar. To this end, Vasconcelos and Walcott flesh out much of the dizzying rhythmic space that defines his sound, while Towner’s 12-string laces the background with more explicit chording. Walcott traces magical circles in “Raga,” for which Gismonti engages us with nimble fingerwork on the guitar’s highest harmonics.
Michael Crétu's attempt at fusing everything from easy listening sex music and hip-hop rhythms to centuries-old Gregorian chants couldn't have been more designed to tweak the nose of high art, a joyously crass stab straight at a mainstream, do not pass go, do not collect 200 dollars. The result is something that shouldn't exist, but in its own way results in as much of a cultural scramble and explosion as anything Public Enemy were doing around the same time, crossing over the Euro-disco and new age spheres with style…