Old habits die hard. If you look through my record library, you will find him under B just as you will find Cat Stevens under S. And don’t bother searching the index for Wendy Carlos.
First wave San Francisco punkers, featuring Jennifer Miro as a more aggressive Debbie Harry, Alejandro Escovedo in his recording debut and Jeff Olener. Legend (well, actually Wiki) has it that Escovedo and Olener as film students wanted to make a low-budget film about a strung-out rock singer and a band that could not play its instruments, and then decided to play the parts themselves. High energy and highly enjoyable.
Two years after the release of her live album from Branson, Connie went back into a Nashville studio to record this record for her fan club. No musicians are credited, but they sound like the top A-Team players. The ten songs clock in at less than 30 minutes, but there is a nice blend of the familiar hits ("Once A Day" again) with wisely chosen covers like "The Key's In The Mailbox". Connie is in fine voice, and after all, a little Connie is far better than no Connie at all.
Like almost everyone else, I was rather unimpressed when this one came out. But Tusk only pales in comparison to its two legendary predecessors. On its own, this is a highly enjoyable album, less hooky and more eclectic. The 3 CD "Special Edition" contains the remastered album, a disc of "Singles, Outtakes, Sessions" and "The Alternate Tusk", a revelatory doppelganger of the album composed entirely of unissued demos.
on the Sam-O-Meter. Tusk even writes its own capsule review: I Know I'm Not Wrong, That's Enough For Me. Never Forget.