Stuart Hamm - Radio Free Albemuth (1988) Original US Pressing - LP/FLAC In 24bit/96kHz

×

Stuart Hamm - Radio Free Albemuth (1988) Original US Pressing - LP/FLAC In 24bit/96kHz

Close

×

Stuart Hamm - Radio Free Albemuth (1988) Original US Pressing - LP/FLAC In 24bit/96kHz

Close

×

Stuart Hamm - Radio Free Albemuth (1988) Original US Pressing - LP/FLAC In 24bit/96kHz

Close

×

Stuart Hamm - Radio Free Albemuth (1988) Original US Pressing - LP/FLAC In 24bit/96kHz

Close

I would give all of these songs a 5 (with a few possible exceptions). The marks deducted were for the albums short playing time (approx. 35 minutes) and the situation of the track listing (I would rather “Simple Dreams” switched with “Country Music”). Don’t think this takes too much from the album, however; it is still worth every cent and I would recommend it to anyone, not just aspiring virtuoso bassists.

“Radio Free Albemuth”
The title track features an interesting medley of contrasting themes which still manage to compliment each other as they reprise throughout the piece. Each of the three features it’s own tempo, key, and instrumentation which makes for an interesting listen.

“Flow My Tears…”
A repetitive new-age piece with a well written melody.
The interlude is particularly enjoyable. Amy Knoles’ hand percussion is a nice addition to this piece, as is Satriani’s guitar solo.

“Dr. Gradus Ad Parnassum”
One of Stuart’s most challenging songs is this track, his interpretation of classical composer Claude Debussy’s solo piano composition “Dr. Gradus Ad Parnassum”. Always creative, Stu arranges the melody for electric bass and is accompanied by piano. This is some of the most impressive bass playing on the album, and a terribly overlooked song in Stu’s catalogue.

“Sexually Active”
By far the most impressive bass work on the album. This piece is very bass-focused throughout (in comparison to the rest of the album). The main theme has an unusual and somewhat dissonant guitar melody.
Highlights include the transition and (of course) bass solo. The downside is the guitar solo, which is not very melodic, although technically impressive.

“Simple Dreams”
One of Stu’s minimalist pieces. Unlike the preceding track it is light on the instrumentation, featuring two basses (a rhythm and a fretless for the melody), an organ for chords, and a synth which quotes the melody. A very minor and mood setting piece, which highly contrasts the next song, which of course has to be Stu’s all-time crowd-pleaser…

“Country Music (A Night In Hell)”
The second most impressive bass work on the album in featured in this song: a comical stereotype of southern bluegrass and polka music, with the twist of a 3-minute bass solo. Stu pulls out all of the stops here, managing to produce virtuoso-quality solo work involving many advanced bass techniques out of only three chords (the song is based on a C, Am, G , C progression throughout). This piece begins and ends with the experience all gigging musicians can relate to: a bizarre request by a loud, obnoxious heckler. One of Stuart’s few pieces which can be enjoyed by almost anyone who is not a musician.

“Moonlight Sonata”
Stu closes with his rendition of the classic Beethoven piece. Although this would have enough effect with solo bass, Scott Collard adds beautiful minimalist synth work which provides a chord background. Stuart manages to adapt the solo piano score for electric bass, and often plays three (!) separate melodies at once. Stu manages to keep the mood of the piece in its first electric bass rendition. An excellent choice to end the album.

Review by EADG, sputnikmusic.com

Vinyl / CUE/ FLAC/ High Definition Cover: