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The Edge of Music: An Exploration of 50 Years in Music
 
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The Edge of Music: An Exploration of 50 Years in Music

~ David Axelrod
5.0 out of 5 stars  See all reviews (1 customer review)

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Product details

  • Audio CD (27 Feb 2006)
  • Number of Discs: 2
  • Label: Stateside
  • ASIN: B000BEPLT0
  • Average Customer Review: 5.0 out of 5 stars  See all reviews (1 customer review)
  • Amazon.co.uk Sales Rank: 152,043 in Music (See Bestsellers in Music)

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Disc: 1
1. Loved Boy
2. Holy Thursday
3. The Leading Citizen
4. London
5. A Dream
6. The Auction
7. The Signs (Part I)
8. Everything Counts
9. Song Of Innocence
10. The Mental Traveler
See all 14 tracks on this disc
Disc: 2
1. The Edge
2. Holy Are You
3. The Signs (Part III)
4. A Little Girl Lost
5. Tensity
6. 1000 Rads
7. Mucho Chupar
8. Web
9. Tony's Poem
10. Gun-Jah
See all 13 tracks on this disc

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6 of 6 people found the following review helpful:
5.0 out of 5 stars Exceptional compilation of a true musical alchemist, 5 Mar 2006
By russell clarke "stipesdoppleganger" (halifax, west yorks) - See all my reviews
(TOP 50 REVIEWER)      
If ever there was music that was waiting for a celluloid incarnation it’s the music of David Axelrod. Fusing jazz, baroque classical, funk and a smidgeon of rock this is music so wonderfully cinematic in its scope and character it’s astonishing none of it has ever made its way onto film or at the very least television.
Axelrod,s career began in the 1950,s as a promotions man working for the “Southwest Distribution Corporation” where he over saw the success of a single-”Last Call”-for George Jenkins, which in turn led him to Motif records who dealt exclusively in trad jazz. After more achievement there he eventually ended up at Capitol Records where he struck alchemy with saxophonist and composer Cannonball Adderly which led to a hit single “Mercy Mercy Mercy”. During this period he also worked with Lou Rawls, another gifted individual he struck up a fruitful association with and bizarrely The Electric Prunes on their psychedelic “Mass In F Minor“. By 1967 Axelrod started to record as an artist under his own name and so joined a select roster of artists - Van Dyke Parks, Brian Eno spring to mind - whose music output is almost impossible to label or quantify.
This compilation includes tracks from his never reissued album “The Auction “ and his extraordinarily prescient eulogy for the worlds ecology “Earth Rot” which originally came out in 1970 and has since been left to rot so it would ironically seem. There is also the track “The Human Abstract” which was utilised by DJ Shadow for his track “Midnight In A Perfect World”. Vocal turns come courtesy of Lou Rawls on the affecting “Loved Boy” and “Love Is A Hurtin Thing” while there are effusive choral voices on “The Sign (Part 1 and Part 3)”. His collaboration with David McCallum of “Man From U.N.C.L.E.“ fame is represented by the choppy guitar licks of “The Edge” while The Electric Prunes track “Holy Are You” with it’s wide screen strings and Zappa style fiddly solo represents his work with them. His association with Cannonball Adderly is represented by the twelve minute “Tensity” which reminds me a great deal of Nuyorican Soul who I’m certain Axelrod was an influence on., and also “Aquarius” and “Gun-Jah” . There is even a touch of spongy electronic instrumentation on “1000 Rads” in amongst the deep fried wah wah, and shuffling percussion. Final track “Introit/ Krystallnacht” from his album “Requiem- The Holocaust” features lamenting female vocals over sparse bursts of sax and portentous orchestration.
Occasionally the arrangements are a little fussy and some of the playing veers dangerously close to the sort of free form self indulgence I would normally cross crocodile infested rivers to avoid but the beauty of Axelrods music is that even when this happens, like it does on his numbers with Cannonball Adderley or on “Leading Citizen “with it’s prissy guitar solo, Axelrods instinct for drama, texture, and yes his ear for a stirring tune rescue them every time.
And when it all gels perfectly like in the sublime “Holy Thursday” ,”Everything Counts” or the noir tinged “London” you realise you are listening to music timeless in its emotional intensity and consummate in its musical artistry. That’s probably why someone like DJ Shadow who shares Axelrods talent for idiosyncratic atmospheric soundscapes samples his music. And why some like U.N.C.L.E got him to re-mix “Rabbit In The Headlights”. Talking of lights Axelrod is well over due his moment in the spotlight and his renaissance would seem to be well under way with his eponymous album of 2001 and a capacity crowd welcoming him to The Royal Festival Hall in 2004.. Now if only some inspired film maker somewhere can produce a film big enough to accommodate this complex cavernous music.
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