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Bruce Hornsby: Here Come the Noise Makers

 A l b u m   D e t a i l s


Label: RCA Records
Released: 2000.10.24
Time:
 67:43 / 62:06
Category: Jam-Rock
Producer(s): Wayne Pooley, Bruce Hornsby
Rating:
Media type: 2xCD
Web address: www.brucehornsby.com
Appears with:
Purchase date: 2015
Price in €: 1,00





 S o n g s ,   T r a c k s


Disc 1

[1] Piano Intro/Great Divide (Bruce Hornsby) - 7:48
[2] Long Tall Cool One (Bruce Hornsby) - 7:54
[3] The Red Plains (Bruce Hornsby) - 5:58
[4] The Road Not Taken (Bruce Hornsby) - 7:22
[5] The Lady With the Fan (Robert Hunter) - 5:23
[6] Stander on the Mountain (Bruce Hornsby) - 7:52
[7] Jacob's Ladder/Blackberry Blossom (Traditional) - 4:31
[8] Piano Intro/I Loves You Porgy/Nocturne (Samuel Barber) - 4:21
[9] The Way It Is (Bruce Hornsby) - 7:02
[10] Twelve Tone Tune/King of the Hill (Bill Evans) - 11:43


Disc 2

[1] Spider Fingers/Tempus Fugit (Bud Powell) - 10:23
[2] Sneaking up on Boo Radley (Bruce Hornsby) - 5:39
[3] Fortunate Son (Bruce Hornsby) - 4:46
[4] The Valley Road (Bruce Hornsby / John Hornsby) - 7:08
[5] The End of the Innocence (Don Henley / Bruce Hornsby) - 8:46
[6] Sunflower Cat/It Takes a Lot to Laugh, It Takes a Train to Cry (Bob Dylan) - 9:22
[7] Rainbow's Cadillac (Bruce Hornsby) - 7:33
[8] Mandolin Rain/Black Muddy River (Robert Hunter) - 12:21

 A r t i s t s ,   P e r s o n n e l


Bruce Hornsby - Accordion, Piano, Vocals, Producer

John "J.T." Thomas - Organ, Keyboards, Backing Vocals
Bobby Read - Bass Clarinet, Saxophone, Backing Vocals
JV Collier - Bass
Doug Derryberry - Guitar, Mandolin, Backing Vocals
Michael Baker - Drums, Backing Vocals

John D'Earth - Trumpet on [1:2,1:3,2:1]
Debbie Henry - Vocals on [1:2]
Steve Kimock - Guitar on [2:5]
Bonny Bonaparte - Drums  on [2:5]
Land Richards - Drums  on [1:4,1:7,1:6,2:4,2:6]

Wayne Pooley - Engineer, Mixing, Producer
Bobby Hornsby - Associate Producer
Ted Jensen - Mastering

 C o m m e n t s ,   N o t e s


Bruce Hornsby was 32 when "That's the Way It Is" hit number one and made him a star in the winter of 1986-1987, and he has used that stardom differently from the way a 22-year-old might have. You might say he's deliberately dismantled his popularity, gradually dispensing with the Range, the backing band he used to bill on his records, and with his brother John, who used to write his lyrics, while making progressively less song-oriented records that have traced a steadily declining sales curve to the point that his sixth album, the 1998 double-CD Spirit Trail, spent only two weeks in the charts. Or you might say he's used his popularity, spending it on musical legitimacy by turning away from pop music, indulging in side projects such as his part-time membership in the Grateful Dead. Here Come the Noise Makers, a two-CD live album drawn from concerts in 1998-2000, is, he says, a gift to "our fans, our true fans," which is to say those who have stuck with him. His gift includes renditions of his biggest hits, "That's the Way It Is," "Mandolin Rain," and "The Valley Road," as well as hits he wrote, "Jacob's Ladder" and "The End of the Innocence," embedded in lengthy arrangements with lots of invocations of his musical influences - the Dead, George Gershwin, Samuel Barber, Bill Evans, Bud Powell, and Bob Dylan among them. Hornsby is determined to create a hybrid style that encompasses rock, jazz, and classical music within a jam band mentality. If he doesn't succeed, it may be because there aren't enough "true fans" out there to follow him, or it may be because he is so impressed with his own showoff-ish virtuosity that he hasn't bothered to write music compelling enough to support his goals.

William Ruhlmann - All Music Guide



Over the course of his career, Bruce Hornsby has dabbled in a variety of styles — sprinkling elements of jazz, blues, pop, folk, classical, hip-hop, and bluegrass throughout his six studio discs and his numerous contributions to tribute albums and movie soundtracks. It's true that everything that Hornsby has done amounts to a solid body of work that showcases his knack for merging indelible melodies with poetic lyrics. Yet, none of his albums has ever really captured the total essence of who Bruce Hornsby is, though admittedly Spirit Trail came close.

To really understand Bruce Hornsby, one must catch him in concert. Here is where he really shines, and his multi-faceted stylistic approach bubbles to the surface. Therefore, it's no surprise that his recent live disc Here Come the Noisemakers may be the truest reflection of Hornsby's musical vision. Freed from the trappings of a studio recording, he and his band are able to explore his songs in a completely spontaneous fashion. For example, George Gershwin's I Loves You Porgy is used as an effectively grand and beautiful introduction to The Way It Is (which in turn is given a jazzier interpretation than fans might be accustomed to hearing), Bud Powell's Tempus Fugit erupts out of Spider Fingers with startling ferocity, and Jacob's Ladder is turned into a whirling bluegrass frenzy before it seamlessly veers off into the traditional folk song Blackberry Blossom.

All of the material on Here Come the Noisemakers is culled from a handful of concerts that took place over the past two years, and each track is a true gem. The only complaint is a pair of edited songs — Lady with a Fan and The Valley Road — which break the flow and continuity of each of the discs. Ironically, the former fades just as it's about to head into what sounds an awful lot like The Valley Road, while the latter appears to emerge from the Grateful Dead's Wharf Rat before it too tapers off prior to reaching its final destination. However, these are minor grievances that are easy to forgive as each time, the song cycle quickly rebuilds the momentum.

In a sense, Here Come the Noisemakers is a greatest hits collection, but rather than reflect on the past, it recasts each of Hornsby's songs in a new light. As such, it stands as his most vibrant album to date — one that simply must be heard by anyone who has ever enjoyed his music. starstarstarstar

Rating 4 out of 5

John Metzger - December 2000
The Music Box - Volume 7, #12


 
It is a dilemma faced by many suddenly successful musicians—what do you do when your first album is a multiplatinum smash with a #1 single that earns you a “Best New Artist” Grammy? In Bruce Hornsby’s case, the answer was to continue making as much music as possible, both on his own albums and with others.

In recent years, Hornsby has leaned toward his jazz and improvisational roots by touring with the Grateful Dead, and now the Further Festival. These experiences show through on his first live album, in the long, jazzy pieces like, “Spider Fingers/Tempus Fugit”, a Bud Powell number that opens the second CD with a 10-minute excursion into rhythmic groove-rock bliss.

The hits are here, but not in their original form. For “The Way It Is” and “Great Divide”, Hornsby eases into the tunes with expansive, extended piano solos, something he has been doing since his first tours. The chiming, “Mandolin Rain”, is pasted into a medley with the Garcia/Hunter song, “Muddy River”. The jazzy feel even extends to the once rather ordinary pop of “Valley Road”, which he turns into yet another opportunity for the band to stretch out.

Like all live albums, the fun part here is the stuff you just can’t hear anywhere else. Hornsby’s song, “Jacob’s Ladder”, a hit for Huey Lewis & The News, is paired with the traditional bluegrass of “Blackberry Blossom”, and he takes back “The End of the Innocence”, from Don Henley with an understated, graceful performance that shows just how much he has grown as a vocalist over the years.

Though it was recorded over three years of live shows, this album has all the ups and downs of a cohesive show, including some interesting cover choices like Gershwin’s, “I Loves You Porgy”, and Dylan’s “It Takes a Lot to Laugh, It Takes a Train to Cry”.

It takes a lot for a musician to continue to thrive in his chosen profession long after the hits have stopped coming. Bruce Hornsby has managed to do so through touring, on his own and with others, and that focus pays off here with an entertaining and illuminating look at his career so far.

Kevin Oliver
© 1999-2015 Popmatters.com



Here Come the Noise Makers was the first live album by American singer and pianist Bruce Hornsby. It is a double album comprising songs recorded between 1998 and New Year's Eve 1999/2000. It was Hornsby's first album with his touring act the Noisemakers. The album not only captures the ambience of one of Hornsby’s concerts, but also reflects the vibrant temperament and true stylistic diversity with which he approaches his craft, treating the live performance like a journey in search of the perfect musical moment.

With this album, Hornsby is determined to create a hybrid style that encompasses rock, jazz, and classical music within a jam band mentality. The concert musical experience captured on the album embodied the gestures towards complete improvisatory musical spontaneity and towards recasting old songs as unrecognizably new that so much of Hornsby's solo work had been forecasting, this time in a full band setting.[2] The album covers pieces by many of Hornsby's musical influences, George Gershwin, Samuel Barber, Bill Evans, Bud Powell and Bob Dylan among them.[4] Hornsby directly acknowledges the influence of the Grateful Dead by performing their songs "Lady with a Fan" and "Black Muddy River" and by including a version of "The Valley Road" that seems to have "emerged from the Grateful Dead's "Wharf Rat."

Wikipedia.org
 

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