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My Time: The Anthology (1969-1997)
My Time: The Anthology (1969-1997) in Bloomington, MN
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In his liner notes to the double-disc, two-and-a-half-hour
Boz Scaggs
compilation
My Time: The Anthology (1969-1997)
,
Ben Fong-Torres
writes, "There are those who, charting
Boz
's career, identify specific phases:
rock and roll
with
[Steve] Miller
; the early solo albums, which were as much
country
and
blues
, and
pop
jazz
, as they were
rock
; the
Slow Dancer
/
Silk Degrees
stage, of
as sweet
soul
singer; the nearly decade-long retrenchment and semi-retirement, and the return to rootsy
R&B
in
Some Change
Come On Home
."
Fong-Torres
goes on to say that this is not an incorrect way to describe
Scaggs
' career, but that there is more unity than it would imply: "in every phase of his career, he has remained faithful to his musical instincts." Fair enough, and that unity is reflected in the compilation, which shows that, with slight variations,
has always been interested in what might be called an evolved version of the
Chicago blues
, augmenting his
sound with horn charts and prominent female background vocals, all in support of his adenoidal tenor voice. But most people would make a far simpler division in his career, between the early, harder rocking period (1968-1972) and the smooth
disco
period (1974-80), when he scored major hits with the singles
"Lowdown"
"Lido Shuffle"
and the multi-platinum album
. While including most of his chart singles (the exceptions are the minor hits
"Hollywood"
"Cool Running"
), the compilation attempts to de-emphasize that distinction, probably because he had much more critical respect in the earlier phase than in the later one. This is accomplished by a striking example of sequencing legerdemain. In a collection that is otherwise roughly chronological, disc one ends by following the
selections recorded in 1975 with
"Loan Me a Dime,"
a 13-minute
workout from 1969 that prominently features
Duane Allman
. Aurally, the suggestion is that whatever you may think,
didn't sell out to
. It would have been nice if the compilers had trusted his musical instincts as much as the annotator does. That said, the collection is generous and presents most of
' major recordings across record labels, including tracks recorded for
Atlantic
Columbia
Giant
Virgin
. ~ William Ruhlmann
Boz Scaggs
compilation
My Time: The Anthology (1969-1997)
,
Ben Fong-Torres
writes, "There are those who, charting
Boz
's career, identify specific phases:
rock and roll
with
[Steve] Miller
; the early solo albums, which were as much
country
and
blues
, and
pop
jazz
, as they were
rock
; the
Slow Dancer
/
Silk Degrees
stage, of
as sweet
soul
singer; the nearly decade-long retrenchment and semi-retirement, and the return to rootsy
R&B
in
Some Change
Come On Home
."
Fong-Torres
goes on to say that this is not an incorrect way to describe
Scaggs
' career, but that there is more unity than it would imply: "in every phase of his career, he has remained faithful to his musical instincts." Fair enough, and that unity is reflected in the compilation, which shows that, with slight variations,
has always been interested in what might be called an evolved version of the
Chicago blues
, augmenting his
sound with horn charts and prominent female background vocals, all in support of his adenoidal tenor voice. But most people would make a far simpler division in his career, between the early, harder rocking period (1968-1972) and the smooth
disco
period (1974-80), when he scored major hits with the singles
"Lowdown"
"Lido Shuffle"
and the multi-platinum album
. While including most of his chart singles (the exceptions are the minor hits
"Hollywood"
"Cool Running"
), the compilation attempts to de-emphasize that distinction, probably because he had much more critical respect in the earlier phase than in the later one. This is accomplished by a striking example of sequencing legerdemain. In a collection that is otherwise roughly chronological, disc one ends by following the
selections recorded in 1975 with
"Loan Me a Dime,"
a 13-minute
workout from 1969 that prominently features
Duane Allman
. Aurally, the suggestion is that whatever you may think,
didn't sell out to
. It would have been nice if the compilers had trusted his musical instincts as much as the annotator does. That said, the collection is generous and presents most of
' major recordings across record labels, including tracks recorded for
Atlantic
Columbia
Giant
Virgin
. ~ William Ruhlmann
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