ALBUM
REVIEWS:
A
SELECTION OF RECENT RELEASES, FALL 2009:
- Family, BBC
Radio Vol. 3: 1970
- Erma Franklin,
Piece of Her Heart: The Epic and
Shout
Years
- Johnny
Hallyday, Johnny Hallyday
- Ill Wind, Flashes
[Expanded]
- Paul Kossoff
with Black Cat Bones, Paul's Blues
- Lulu, Shout:
The Complete Decca Recordings
- The Majority, The Decca Years 1965-68
- Skeets
McDonald, Goin' Steady with the Blues
- The Mojos, Everything's Alright: The Complete
Recordings
- The New Lost
City Ramblers, Always Been a Rambler
[DVD]
- The 107th
Street Stickball Team, Saboreando/Pot
Full of Soul
- The Parade, Sunshine Girl: The Complete Recordings
- Various
Artists, The Complete Goldwax
Singles Vol. 2
- Various
Artists, The Electric Asylum Vol. 3:
Rare British Acid Freakrock
- Various
Artists, Land of 1000 Dances: All
Twistin' Edition
- Various
Artists, The Laurie Records Story
Vol. 3: Girls & Girl Groups
- Various
Artists, Lost Highways: American
Road Songs 1920s-1950s
- Various
Artists, Take Me to the Water:
Immersion Baptism in Vintage Music and Photography 1890-1950
- Various Artists, Theme Time Radio Hour: Season 2
PRESS BUTTON BELOW FOR MORE ALBUM
REVIEWS,
FROM 2000-2009:
Family, BBC
Radio Vol. 3: 1970 (Hux). All three of Family's 1970 BBC
sessions (all of them previously unreleased) are on this 77-minute CD,
all of them dating from the time when Poli Palmer had joined the band
to fill out their sound on flute, piano, vibes, and percussion. Only
the first of the three sessions is taken from the master tapes, with
the other two surviving only in the form of the off-air recordings
sourced from on this CD. Too, that first session (from January 1, 1970)
wasn't a typical performance by the group, as since singer Roger
Chapman was ill, the band performed two instrumentals (one of which,
the jazzy "Here Comes the Grin," makes its first appearance anywhere on
this disc). But while the back cover note takes pains to emphasize that
most of this material is from off-air tapes and not of the highest
technical quality, it's really erring on the side of caution – the
off-air tapes sound basically fine, if not as pristine as the session
from the original tape, and are highly listenable. Understandably, the
songs rendered on these sessions tended toward the tunes included on
their 1970 album Anyway, with
two versions apiece of "Holding the Compass" (done with a more electric
arrangement than the one on the LP) and "Lives and Ladies." Some tracks
from their earlier records do appear in BBC versions here as well,
including their epic "The Weaver's Answer" and a medley of two songs
that originally appeared separately ("Procession" and "No Mule's
Fool"). There's also as a bluesy jam-sounding instrumental, "Blow By
Blow," that has never appeared elsewhere in any form. True, these
tracks don't show a side of the band seriously different enough from
their studio recordings of the era to make this CD a necessary addition
to the Family fan's collection. But for the very serious Family fan, it
(as well as the previous two Hux collections of BBC Family sessions) is
a highly recommended and well-played document of the band in a live
setting, with excellent thorough liner notes.
Erma
Franklin, Piece of Her Heart: The
Epic and Shout Years (Shout). Though it's reasonably well
known that Erma Franklin did the original version of "Piece of My
Heart," the prime body of recordings by Aretha's older sister was still
pretty ill-served by CD compilations until this 2009 release. Its 26
tracks contain everything she recorded for the Epic and Shout labels
between 1961 and 1968. That includes her 1962 Epic LP Her Name Is Erma, various
early-'60s non-LP Epic singles, and the seven tracks she recorded for
Shout in 1967-68 (among them the 1967 Top Ten R&B hit "Piece of My
Heart"). Like Aretha Franklin's pre-Atlantic work for Columbia during
the same era, Erma's Epic output in particular was pretty uneven, with
too much emphasis on orchestrated popular standards. Yet mixed in with
those were some gutsy early soul and girl group-style sides, a few of
which – especially "Don't Wait Too Long" (penned by sister Carolyn
Franklin) and the downright terrific "I Don't Want No Mama's Boy" --
were arguably grittier and stronger material-wise than anything Aretha
was doing in a similar vein in the early 1960s. More suitable soul
tunes became less of a problem in her short but impressive stint with
Shout, which included the down'n'dirty, bluesy Carolyn Franklin
composition "Don't Catch the Dog's Bone" and the obscure Carole
King-Gerry Goffin number "Don't Have the Right to Cry." To repeat an
unavoidable comparison, Erma's voice wasn't quite as amazing as
Aretha's, but it was real good, and deserving of more success than it
got at Epic or Shout (or her subsequent time at Brunswick,
unrepresented on this compilation). This well-annotated package is a
fine commemoration of her underrated talent, though audiophiles should
be aware that two of her Epic singles had to be remastered from vinyl
here as the master tapes are missing.
Johnny
Hallyday, Johnny Hallyday (Cherry Red). Johnny Hallyday's
self-titled 1969 album was not one of his more typical releases, going
into heavier British-influenced rock (though all the songs are sung in
French) than the poppier rock'n'roll for which he's more widely known.
It could be, however, the Hallyday album most likely to interest
non-French listeners, if only for a strong if unlikely connection to a
famous British rock band. For the Small Faces – then on the verge of
breaking up – backed him up for three of the tracks, all recorded at a
January 3, 1969 session. These included a French-language cover of the
group's "That Man," plus two songs by Small Faces members Steve
Marriott and Ronnie Lane, "What You Will" (later cut by Humble Pie for
their first album) and "News Report," never done by the Small Faces on
their own records. What's more, all but one of the other songs were
penned by Mick Jones (the same Mick Jones who'd go on to Spooky Tooth
and Foreigner) and Tommy Brown, who also did arrangements and played on
the album. So after all that, how's the music? Well, it does sound a
little like cookie-cutter early British guitar-organ hard rock with a
somewhat overwrought French singer. Not that it bothered Hallyday's
following, with the album going to #1 in France and yielding a hit
single there, "Riviere...Ouvre Ton Lit," that became a staple of his
live sets ever since. Nonetheless, Johnny himself said in his
autobiography that he hated the record and considered it his worst to
date. There probably won't ever be a consensus among Hallyday fans (or
other rock fans) as to the album's worth. But it does get very
respectful treatment for the English-speaking audience on its 2009
reissue on Cherry Red, with extensive historical liner notes and
photos/sleeve illustrations.
Ill Wind, Flashes [Expanded] (Sunbeam). The expanded edition
of Ill Wind's only album presents the original Flashes album on the first disc,
and an entire CD of extra material from the era on the second, which
amounts to no less than fifteen bonus tracks. The additional recordings
aren't enough to make most listeners elevate their ranking of Ill Wind
to major late-'60s band status. But whatever one thinks of this
talented but seriously erratic Boston outfit, the tracks on disc two
are a significant augmentation of the group's slim legacy. For one
thing, only one of the fifteen songs ("People of the Night") appears in
different guise on the Flashes
LP. Also, some of the bonus cuts show Ill Wind putting an appreciably
greater folk-rock/pop slant on their sound than the more generally
psychedelic Flashes album
offers. In part that's because most of disc two's recordings predate
the release of Flashes, with
four demos (in very good sound) done in Boston in 1966; five demos done
for Capitol Records in New York in 1967, with Dick Weissman producing;
a live track from 1967; and five basement recordings (again in good
sound) cut shortly after the release of Flashes in Wellesley, MA in 1968,
with Michael Walsh replacing Carey Mann on bass and vocals. Still, in
all the material is fairly similar to the heavily West
Coast-influenced, slightly gothic folk-rock-psychedelic of Flashes, without any songs as
strong as Flashes' "Dark
World" or "Sleep." Among the bonus items, "Tomorrow You'll Come Back"
definitely shows the band at their poppiest, almost approaching the
territory of early folk-pop-rockers like We Five, while "Mauti" bears a
heavy mid-'60s Byrds influence despite its 1968 recording date. Oddly,
the bonus tracks also include songs named after the band itself ("Ill
Wind") and the title of their only LP ("Flashes") that somehow did not find a place on the Flashes album, where their
inclusion might have seemed logical. The twelve-page liner notes give a
thorough history of the band, interspersed with related vintage pix and
illustrations.
Paul
Kossoff with Black Cat Bones, Paul's
Blues (Sunbeam). Paul Kossoff, known mostly as guitarist
with Free, did some time in Black Cat Bones before joining the more
famous band, though the records that Black Cat Bones put out
(subsequent to his departure) didn't feature him. Some documentary
evidence of his time in Black Cat Bones does exist, however, and the
double CD Paul's Blues has
more than two hours of rehearsals Black Cat Bones taped in 1967 while
Kossoff (still only in his mid-teens) was in the lineup. While on the
face of it that sounds like it could make for a great archival find,
excitement even among dedicated fans of the guitarist has to be
tempered by the knowledge that these recordings are both lo-fi and
musically rudimentary. We're not talking lo-fi just in the sense of
them not being as polished as most of the era's studio recordings; the
sound really is subpar, complete with occasional tape glitches and
accidental feedback. To its credit, the package makes that quite clear
in the back blurb and extensive annotation, but it doesn't help make it
any easier of a listening experience.
Of more importance, nor do the quite raw and fairly unimpressive
performances, which show Black Cat Bones at this point to be very much
a just-getting-to-the-point-of-professional basic blues-rock band.
Kossoff's guitar work is clearly the most distinguished aspect of the
group, yet even this is far less refined and imaginative than it would
be just a short time later in Free. The songs are largely covers of
shopworn blues classics—some vocal, some wholly instrumental, some
presented in two or three different versions—like B.B. King's "Rock Me
Baby," Elmore James' "The Sky Is Cryin'" and "Shake Your Moneymaker,"
Sonny Boy Williamson's "Help Me," and Freddy King's "San Ho-Zay."
British blues-rock bands could come up with exciting versions of even
such well-traveled songs, but Black Cat Bones simply weren't at that
point yet, with most of the songs plodding to some degree and going on
way too long. As a fan of Kossoff's work (especially in Free), it's
painful not to be able to find something more positive to say about the
music. But it largely serves to illustrate just how much more effective
he was when reined in by Free's massively tighter ensemble work and
superior material. Even the one track with a guest vocal by Paul
Rodgers ("I'm Ready") is a letdown due to the muffled singing. The
compilation's value is exclusively to very serious Free and Kossoff
fans, though in its defense it doesn't pretend to be any more than
that, with interesting and affectionate liner notes by Peter James and
Black Cat Bones drummer Frank Perry.
Lulu, Shout: The Complete Decca Recordings
(Retro). Although Lulu's mid-'60s Decca recordings have been issued
piecemeal on numerous anthologies, somehow no one executed the logical
idea of putting them all together on one release until this 42-track,
two-CD collection. All of her 1964-67 sides for the label are included,
serving as a comprehensive document to the first three years or so of
her recording career. Particularly in the US (where she really wasn't
known until the 1967 chart-topper "To Sir With Love," not included
here), this period has remained rather obscure, and certainly not as
familiar to the general rock fan as her more commercially successful
recordings of the late '60s. This is a shame, as this was undoubtedly
the era—in spite of her tender teenage years—in which she laid down by
far her most soulful, R&B-influenced, and raunchiest recordings.
The 1964 British hit cover of "Shout!" is of course the most famous of
these. But those who dismiss Lulu as a relative British Invasion
lightweight might be surprised to find quite a few other first-rate
combinations of soul and girl group pop here, like "Nothing Left to Do
But Cry," "I'll Come Running Over," "After You," "Take Me As I Am,"
"Can't Hear You No More," and a rip-roaring "Heatwave." The completist
nature of this project does mean you get a good number of mediocre
songs that wouldn't have made the cut for a more selective single-disc
Decca-era best-of. Too, some of the rarer numbers (including both sides
of a German-language 45 and numerous non-LP tracks) just aren't in the
same league with the more familiar tunes. But with comprehensive liner
notes, this is a necessary acquisition for Lulu fans, and a pretty good
one for more general British Invasion admirers.
The Majority, The Decca Years 1965-68
(Rev-Ola). The Majority issued eight UK singles on Decca between 1965
and 1968 without reaching the British charts, though they were a
reasonably accomplished enough band, especially in the vocal harmony
department. This CD has everything from those singles with the
exception of the 1967 cover of the pop standard "I Hear a Rhapsody,"
omitted at the specific request of the group (and described as
"horrific" in the liner notes). The Majority sounded more American than
the typical British Invasion band, with harmonies and, usually,
material more in line with US pop-rock acts like the Beach Boys and
sunshine pop groups than most of their UK peers. While it's fairly
enjoyable stuff, it's easy to hear why they became a sort of
"in-between" group, with too much going for them to get dropped from
their label, but not enough going for them to score hit records. One
reason is that they didn't establish much of an identity, their
arrangements veering from mild British Invasion sounds to quasi-Walker
Brothers productions and late-'60s British orchestrated pop with the
slightest of psychedelic touches. Another is that none of their
material, most of it supplied by outside writers, was particularly
great, though it was usually pleasant (if not much more). They did do songs by some outstanding
composers, including Chip Taylor, who co-wrote "Wait By the Fire," and
the Bee Gees, whose "All Our Christmases" was never issued by the Bee
Gees themselves. British Invasion fanatics after rare original tunes
donated to other acts by members of big groups will also want to hear
"A Little Bit of Sunlight," a Ray Davies composition not issued by the
Kinks at the time (though Davies did a demo that eventually
circulated). The Majority also, incidentally, covered Davies' "Ring the
Bells," though they did a far less notable job on that fine number than
the Kinks themselves did. They were at their best when they sounded a
bit like a poppier Zombies, as they do on "One Third" (which was
included on the Nuggets II
box), "Tears Won't Help," and "Wait By the Fire." So it's an ephemeral
British '60s rock comp in all, but certainly put together with class,
with comprehensive liner notes and rare photos.
Skeets McDonald, Goin' Steady with the Blues
(Righteous). Skeets McDonald made records throughout the 1950s, but it
wasn't until 1958 that his first album was issued. Goin' Steady with the Blues
occupies a somewhat odd niche within the country and pop trends of its
time, though the music itself doesn't sound at all forced or trendy.
It's not rockabilly, or rock'n'roll, but certainly has some beats and
swagger that show McDonald was being influenced by those currents. It's
not straightahead commercial late-1950s country either, though it's
somewhat in tune with where honky-tonk was moving during the era. It's
just a comfortable mix of those styles, McDonald singing in a likeably
laconic and slightly bluesy manner, at times recalling the most
country-oriented sides of early Jerry Lee Lewis. If you need a
reference to a another bigger figure from the era, if you like some of
Marty Robbins' gutsier late-1950s work but want something rootsier, you
might well take a shine to at least some of this. McDonald wasn't quite
in the league of, say, Lewis or Robbins in either his material or his
vocals, which makes this something of a minor pleasure. But it's
certainly pleasing enough on its own terms, getting into a slightly
tropical mood with "Hawaiian Sea Breeze." The 2009 CD reissue on
Righteous adds considerable value with eight bonus tracks, including
his most celebrated and famous venture into pure rockabilly, "You
Oughta See Grandma Rock," as well as other cuts that generally go for a
more frenetic mood and rhythm than the material on the Goin' Steady with the Blues LP
(though "Mean and Evil Blues," "The Tattooed Lady," and "Birthday Cake
Boogie" skirt novelty territory). It's too bad, however, that the
package doesn't include any recording or release dates for the bonus
tracks.
The
Mojos, Everything's Alright: The
Complete Recordings (RPM Retrodisc). There have been a
couple of other good Mojos compilations that have gathered most of this
Merseybeat group's work, focusing wholly on their mid-'60s Decca
output. Since their Decca recordings comprise almost everything they
released, there's not room for much more on a Mojos anthology. But Everything's Alright: The Complete
Recordings does manage to beat out previous Mojos collections by
a nose. For it includes not only all seventeen of the tracks they
issued on Decca between 1963-67, but also the one they did for the 1963
This Is Merseybeat Vol. 2
compilation when they were still calling themselves the Nomads, as well
as their obscure 1968 single for Liberty. These additions aren't
exactly crucial: the Nomads cut, "My Whole Life Through," is
basic-to-the-point-of-rudimentary Merseybeat, while the 1968 single
shows them moving into somewhat more modern late-'60s pop-rock with
unmemorable results. Still, with these additions and good historical
liner notes, it stands as the absolutely definitive compilation of the
Mojos' work. The 1963-66 Decca sides comprising the bulk of the disc
will remain what they're most known for, however, including some decent
if somewhat second-rank Merseybeat (highlighted by the hit
"Everything's Alright"), the game attempt at pop-folk on their 1964
single "Seven Daffodils," and some poppier 1965 singles that show them
moving in something of a Righteous Brothers direction.
The
New Lost City Ramblers, Always Been
a Rambler [DVD] (Arhoolie). There's nothing too fancy or
controversial about the New Lost City Ramblers; they're just one of the
most respected and influential of the traditional/old-timey artists to
have emerged from the mid-twentieth-century folk revival. Accordingly,
this hour-long documentary is a straightahead overview of their career
and legacy. All three of the Ramblers in their longest-lived lineup
(John Cohen, Mike Seeger, and Tracy Schwarz) are interviewed, as is the
man from their original lineup who left early on, Tom Paley. Mixed in
with the interviews are an impressive assortment of performance clips
spanning nearly a half-century, in settings ranging from festivals and
concerts to more informal environments in homes and the countryside. A
good number of other folk artists offer brief testimonials to the
Ramblers' importance and durability, from David Grisman and Maria
Muldaur to Ricky Skaggs and (via voiceover) Bob Dylan. Attention is
also paid and credit given to the Ramblers' work in helping to promote
and popularize the music of other folk artists, including Elizabeth
Cotten, Roscoe Holcomb, and Maybelle & Sara Carter (all of whom are
also shown in bits of archive footage). If there's anything that might
disappoint the less intense folk or popular music fan, there wasn't
really a dramatic arc to the New Lost City Ramblers' performing and
recording career; they became established in the folk revival and
maintained their standing as respected artists for decades, even though
their time would eventually be divided between the Ramblers and some
other bands and musical projects. Perhaps partly for that reason, the
documentary jumps around somewhat chronologically, but it still works
well in conveying both their musicianship and their
musicological/sociological contributions. As considerable bonuses, the
DVD also includes a 24-minute 1969 color film of the Ramblers rambling
around the countryside, during which they play eight diverse songs
(with diverse instrumentation) and engage in some lightly comic banter
apparently intended to reflect the slow-paced humor of rural life. A
much shorter but likewise significant bonus is never-before-seen
footage of the Paley lineup doing a couple songs in 1959 in a TV
soundstage-like setting.
The 107th Street Stickball
Team, Saboreando/Pot Full of Soul
(BGP). In the late 1960s, producer and arranger Bobby Marin had
the concept for an album based on the sounds and experiences of his
youth in his Spanish Harlem neighborhood. Credited to the 107th Street
Stickball Team, this LP was rehearsed and recorded on the same day,
fusing Latin music with soul and a bit of pop and boogaloo. The liner
notes to the 2009 CD reissue of this rarity infer that this was a
concept album of sorts, but while Marin's background undoubtedly fueled
his vision of the record, it's really a collection of unrelated songs,
not a series of tunes that tells a story or elaborates upon certain
constant themes. It's a pretty fair mixture as far as such
Nuyorican albums of the era go, but it's not quite as exciting or
innovative as some of the collector buildup might portend. It does
sound at times like the work of several bands rather than a single
artist, with "On Old Broadway" fusing soul-pop with light Latin jazz
and salsa; others, like the Spanish-language "Toma Guajira," getting
into more straight salsa-jazz fusion along the lines of Willie Bobo;
"Barbara with the Kooky Eyes" (great song title) going for an
instrumental boogaloo; and other songs getting into more of an updated
Latin/doo-wop hybrid feel. Though the sound and grooves are pretty
cool, the material does seem to have been hastily written and recorded,
with a shortage of really outstanding compositions and somewhat lo-fi
sound by 1969 standards. It's not a plus, either, that the best song,
"On Old Broadway," has a chorus that virtually replicates the one from
Petula Clark's "Downtown" melodically. The 2009 CD reissue does benefit
from thorough historical liner notes explaining the album's genesis, as
well as three interesting bonus cuts from an unreleased boogaloo album
from slightly earlier by the Nitty Sextet in which Marin was also
involved.
The Parade, Sunshine Girl: The Complete Recordings
(New Sounds). Although the Parade had planned to release an LP
titled Sunshine Girl in 1968,
that record failed to appear when A&M shelved it. This 23-song 2009
CD compilation is a kind of belated substitute for the record,
including both sides of all six of the singles they issued in 1967 and
1968; a couple other tracks, "Lovers" and "Kinda Wasted Without You";
some demos and alternate/mono/45 mixes; recordings by the Roger Nichols
Trio and Smokey Roberds in which some members were involved; and even a
1965 acetate by Connie Austin of a soul-pop song written by Paraders
Murray MacLeod and Smokey Roberds. The crucial half of the disc are the
dozen tracks from those 1967-68 singles, starting with the 1967 Top
Twenty hit "Sunshine Girl," which is now regarded as one of the core
anthems of the sunshine pop genre. While nothing else has the obvious
hit singalong appeal of "Sunshine Girl," the other 45 tracks are
well-crafted, cleanly produced exponents of late-'60s Southern
Californian harmony pop-rock that are generally a bit more mature, and
not as ornate or cheerily bouncy, as much other sunshine pop of the
era. There's still some of that whitebread stuff, to be sure, like the
vaudeville-edged "Frog Prince." But there are also cuts with echoes of
moody flamenco ("She Sleeps Alone" and "The Old Melody") and dreamy
baroque psychedelia ("Lullaby"), as well as ones that resemble the
Monkees in a particularly upbeat frame of mind ("She's Got the Magic"
and "I Can See Love"). "A.C./D.C.," meanwhile, is one of the most
accurate mid-to-late-'60s Donovan soundalikes ever cut, to the point
where it's hard to tell if it's an imitation or a parody. "Hallelujah
Rocket" has some of the scatting pizzazz and wit you might associate
with a Nilsson track; "everyone can have their own guided missile if no
one blows the whistle" is surely one of the phrases most apt to be
trotted out as proof that not all sunshine pop lyrics were piffle.
While the non-45 tracks are as expected not quite up to the level of
the rest of the material, they're good complements to the main body of
the CD that will please anyone interested in hearing what the Parade
were up to beyond "Sunshine Girl." All such listeners will also be
interested in the very thorough liner notes, which do a lot to clarify
the slightly confusing Parade story, with interview quotes from
everyone in the group.
Various Artists, The Complete Goldwax Singles Vol. 2 (Ace). The second of Ace's three
volumes documenting the Goldwax's label complete run of singles enters
what most connoisseurs would consider to be its prime period, with all
of the tracks having first been issued in 1966 and 1967. In particular,
this era found Goldwax's most prominent artist, James Carr, releasing
some of his most heralded songs, including "Pouring Water on a Drowning
Man" and The Dark End of the Street." It's no surprise that Carr is the
most heavily represented member of Goldwax's roster on this two-CD
compilation, as he's responsible for ten of its 54 tracks. It's also no
surprise that the kind of deep southern soul Carr sang is the most
heavily represented style on this anthology, especially in the sides by
Spencer Wiggins and the almost annoyingly Sam Cooke-like Ovations. But
since Goldwax is so identified with the deep soul style, the big
surprises for collectors are the numerous cuts that found the label
venturing outside of the R&B field. Kathy Davis, Leroy Daniel,
Carmol Taylor, and the Terry's all do relatively straight country-pop
with a honky-tonk angle, though they're more competent than memorable.
Jeannie Newman's 1966 single is country-meets-girl group pop that
recalls, as the liner notes rightly point out, some of Sandy Posey's
work. Yet more unexpectedly, the Yo Yo's play something of a mixture of
garage rock and blue-eyed soul, though only "Leaning on You" makes much
of a mark. Even the 1967 single by Timmy Thomas (later of "Why Can't We
Live Together" fame) is kind of left field, offering organ-dominated
soul instrumentals.
While Ace's completism is as ever admirable, the stew of deep soul and
other genres makes one question who's going to find this a wholly
satisfying listen. Deep soul fans can find entire CDs devoted to the
output of Carr, Wiggins, and the Ovations, and aren't likely to be
unduly impressed by the non-R&B oddities. While some of the soul
rarities by Goldwax's lesser-known artists (like Barbara Perry) are
okay, they're not stunning, especially when a past-his-peak Ivory Joe
Hunter runs the Drifters and Arthur Alexander through a blender for the
highly derivative "Don't You Believe Him." And while this opinion won't
sit well with Goldwax advocates, even much of its better stuff was
rather derivative of, or at least doesn't compare favorably to similar
stuff from, the more famous soul coming out of Stax in Memphis at the
same time. But a meticulously sequenced series such as this isn't
really aimed at the most discriminating listeners. It's for those who
want it all in a good package, and there probably couldn't be a better
such package of the Goldwax catalog for those who want it, complete
with Ace's usual thorough liner notes.
Various Artists, The Electric Asylum Vol. 3: Rare British
Acid Freakrock (Past & Present). The title of this
20-track compilation might mislead some listeners to expect too much in
the way of psychedelic music. Certainly there's some lingering
influence from mod rock and psychedelia on this collection of
early-1970s cuts. But really, it's more pop than anything else, and
arguably glam rock is more of a factor than mod psychedelia, even of
the slightly retro sort. It's not a genre easy to pigeonhole or, one
would think, to market. That hasn't stopped Past & Present from
dedicating a whole series to it, however, and this anthology is
actually fairly entertaining and amusing on the whole, if lacking in
killer songs and somewhat on the lightweight side overall. Certainly
it's not stuff you're likely to have encountered before; one look at
the track listings will be enough to zap any "seen that, heard that"
collector smugness you might have out of your system, with only Roger
Ruskin Spear (formerly of the Bonzo Dog Band) and the novelty group the
Barron Knights likely to be familiar names even to Anglophiles.
Occasionally the material is obviously derivative, if never quite
annoyingly so. Part of M.A.S.K.'s "Gotta Get Away" can't fail to recall
the Beatles' "Dear Prudence," for instance, while Shakane's "Rhona"
sounds a little like a hybrid of "Honky Tonk Women"-era Rolling Stones
and Creedence Clearwater Revival, and T. Rex are echoed on a number of
tracks. But there are some quite cool more offbeat things here, like
Spode's "Cincinnati Woman," which is an uncanny eerie early-'70s update
of Joe Meek's productions; 1984's weird and wobbly cover of the
Syndicate of Sound's mid-'60s garage rock hit "Little Girl"; and Roger
Ruskin Spear's predictably absurd, monstrous heavy rock satire "Drop
Out." There are also some connections to much more familiar names in
some of these tracks, like Wheels' respectable modish groover "She
Don't Mean It," featuring Crispian St. Peters.
Various Artists, Land of 1000 Dances: All Twistin' Edition
(Ace). The twist, of course, was the most popular topic for rock'n'roll
dance songs when dance craze tunes briefly became a dominant trend in
popular music in the early 1960s. So it's not too hard to compile an
entire CD of twist songs from the era, though you might think it
another matter to make such a thing too listenable. But Ace Records, as
usual, comes through with a well-selected and smartly-annotated volume
of 24 such tracks with Land of 1000
Dances: All Twistin' Edition, though the limited subject matter
does make this a little bit of a novelty compilation even if you're a
big oldies collector. Some of the core classics of the mini-genre are
here, starting with Hank Ballard & the Midnighters' original
version of "The Twist," though nothing by the guy who stole his
thunder, Chubby Checker, is here due to licensing difficulties. (Such
hurdles unfortunately also prevented the inclusion of any material from
Sam Cooke, who did one of the greatest twist hits, "Twisting the Night
Away"). But as compensation, a couple other big smashes are here,
namely Joey Dee & the Starliters' "Peppermint Twist (Pt. 1)," the
Marvelettes' "Twistin' Postman," and Danny & the Juniors' less
mammoth (yet still entertaining) "Twistin' USA," along with Petula
Clark's British Top Twenty hit "Ya Ya Twist" (sung in French!). The
emphasis, however, is more on rarities you probably haven't heard
before, like the Top Notes' original version of the Isley
Brothers/Beatles classic "Twist and Shout"; "Double Twist" by Howie
Casey & the Seniors, a Liverpool band that actually released their
first records before the Beatles put out "Love Me Do"; Les Chats
Sauvages' "Twist à St. Tropez," from France; a horror-twist
novelty in Tyrone A'Saurus & the Cro-Magnons' "The Monster Twist";
and Murray "The K"'s entertainingly awful "The Lone Twister," done
under the pseudonym of the Lone Twister. There are also early
rock'n'rollers trying to cash in on the craze (Bill Haley & the
Comets' "Spanish Twist") and even non-rock'n'rollers trying the trend
on for size (Louis Prima's "Twist All Night"). Admittedly, a lot of
these non-hits are somewhat in the fun-for-a-listen-or-two category
instead of being first-class tracks in their own right, the major
exception being the Isley Brothers' terrific "Twistin' with Linda."
Various Artists, The Laurie Records Story Vol. 3: Girls
& Girl Groups (Ace). Girl group records were just a
part of what the Laurie label issued. But even excepting its big hits
by the Chiffons, there were more than enough of them to fill up this
24-track CD (which does include a few Chiffons tracks, just not their
big chart entries). Unlike, say, the Red Bird or Philles labels, Laurie
girl group discs didn't have a particularly distinctive house sound,
which is part of what makes this collection's appeal limited to genre
specialists. As such anthologies go, however, it's a little above the
average, with songs and performances that are largely respectable, if
only seldom exciting. Certainly the pick that stands head and shoulders
above everything else on this particular batch is Beverly Warren's
version of the Carole King-Gerry Goffin song "Let Me Get Close to You."
It wasn't a big hit, but is as indelibly melodic as most of their other
famous classics, though to be technical this isn't the original
version, the song having been previously released by Skeeter Davis.
Another track which is an
original version of a famous song is the Summits' 1963 single "Hanky
Panky," covered with great success (and with far more exciting flair,
it must be said) by Tommy James & the Shondells. Beyond that it's
not such eventful sailing, but some decent numbers are present in the
Charmers' "Shy Guy," which could come close to passing for an
early-1960s Motown single by Mary Wells or the Marvelettes; the Cheese
Cakes' (yes, that was their real name) "Heading for a Heartbreak,"
which has a touch of British Invasion influence; Bernadette Carroll's
"He's Just a Playboy"; and Marie Antoinette's "He's My Dream Boy," a
pretty blatant imitation of Phil Spector's Crystals/Darlene Love
productions, if executed with rather less finesse. The most notable
oddity is Reparata's death disc "Your Life Is Gone" (done solo sans her
usual backup group the Del-Rons), which despite its 1972 date would
come close to approximating a Spectoresque girl group production if not
for an intrusive electric sitar.
Various
Artists, Lost Highways: American
Road Songs 1920s-1950s (Viper). Odes to the road are a
beloved strain of American popular music, and Viper presents twenty
such pieces of rural blues, hillbilly, rockabilly, early R&B
gospel, and jazz on this outstanding compilation. There are quite a
number of great performers, including Woody Guthrie, Buddy Holly,
Robert Johnson, Johnny Cash, Howlin' Wolf, Jerry Lee Lewis, Nat "King"
Cole, Hank Williams, Jimmy Reed, Sister Rosetta Tharpe, and (as part of
the gospel group the Soul Stirrers) Sam Cooke. There are even some
familiar classics on board, like Cole's "Route 66," Johnson's "Cross
Road Blues," the original version of "Down the Road Apiece" (by Amos
Milburn, though that song might be more familiar as covered by Chuck
Berry and the Rolling Stones), and Guthrie's "Going Down the Road
Feeling Bad." But the accent is more on tracks not likely to be staples
of the average collection, with off-the-beaten-path selections by some
of the stars, and a good share of artists who aren't legends, like
Gatemouth Moore, Clarence Garlow, and McKinney's Cotton Pickers.
Everything's good at the least, some of it's great, and it's cool to
hear some quality relatively obscure cuts by major performers, like
Holly's primitive early rockabilly number "Down the Line" (done as half
the duo Buddy and Bob), Howlin' Wolf's "Driving This Highway," and
Williams' "I've Been Down That Road Before" (from a radio broadcast).
It's the kind of anthology that makes you want to get out on the
highway yourself with this CD as the soundtrack, though it's more
socially responsible to just enjoy it at home than waste fuel so
frivolously.
Various Artists, Take Me to the Water: Immersion Baptism in
Vintage Music and Photography 1890-1950
(Dust-to-Digital). As is par for the course for the Dust-to-Digital
label, the exquisite packaging of Take
Me to the Water: Immersion Baptism in Vintage Music and Photography
1890-1950 ensures that it will reach a wider and hipper audience
than most releases of such frankly esoteric American roots music.
There's a full 76-minute CD of music here, but it's just part of the
deal, encased as it is in a handsome 96-page hardback book containing
75 sepia reproductions of photos of baptisms in the US between 1890 and
1950, along with essays on the pictures and detailed annotation on the
tracks. It's the CD we're primarily concerned with in this review, and
that is interesting enough in its own right, containing twenty-five
songs and sermons from 1924-1940. While there's a good amount of
sermonizing to be heard, it's not a primarily spoken-word disc, the
sermons often sharing space with musical performances, and quite a few
of the tracks presenting only music. The common thread is that all of
the cuts relate to baptism in some form, sometimes quite head-on,
though sometimes the relationship between the words and immersion
baptism is more indirect. As you'd expect, gospel and spiritual music
is prominent in many of the selections, whether the performers are
white or African-American. But while much of this is fairly raw even
for recordings of this vintage (complete with a good amount of
unavoidable surface noise on many of the tracks), it's not totally
unapproachable for the less specialized listeners. There are actually a
few big names from early country music here, like J.E. Mainer's
Mountaineers (whose "Goin' Down to the River of Jordan" is a
highlight), Ernest Stoneman, and the Carter Family, and a few versions
of one song in particular ("Wade in the Water") that will be pretty
familiar to many pop and folk fans. The arrangements are fairly varied
too, whether they're in the Appalachian folk, rural blues, Western
swing (on Bill Boyd and His Cowboy Ramblers' "Sister Lucy Lee"), or
choral a cappella veins. That said, this is pretty pious stuff even by
the standards of devout vintage Americana, and those without a taste
for faith-based roots music may find this of more academic value than
something to hear for entertainment or artistic inspiration.
Various Artists, Theme Time Radio Hour: Season 2 (Ace).
Ace's two-CD collection of records played on the second season of Bob
Dylan's Theme Time Radio Hour
series has 50 tracks that – like the series itself – cover an
astonishingly wide range of high-quality music. True, although the
chronology spans 1927 to 2004, it's definitely dominated by pre-1970
releases. It's also true that though it touches upon a lot of styles,
there's definitely a pronounced leaning toward the more down-to-earth
and rootsy sectors of American twentieth-century popular music. But
while this particular goulash might not be to every radio listener's
taste (let alone every CD collector's), it does offer quite an eclectic
assortment of high-quality and, for the most part, not very well known
cuts. Indeed the expanse surveyed is so wide it kind of defies
summarization in a mere one-or-two-paragraph review. After all, how
many other compilations out there include material by James Brown, Sun
Ra, Captain Beefheart, Los Lobos, Nilsson, Loretta Lynn, Dionne
Warwick, Porter Wagoner, Swamp Dogg, Lucinda Williams, Billie Holiday,
Mose Allison, Miriam Makeba, Edith Piaf, and Desmond Dekker? Or genres
encompassing mambo, free jazz, rockabilly, old-time folk, soul, Cajun,
and numerous others?
Although a few hits and classics sneak in (Warwick's "Do You Know the
Way to San Jose," Wanda Jackson's rockabilly stormer "Let's Have a
Party," Billie Holiday's "Gloomy Sunday," Mose Allison's "Young Man's
Blues"), usually these cuts are items that even collectors with big
libraries are likely not to yet own. Picking out highlights is a bit
hopelessly daunting with such a diverse set. But certainly the hot jazz
of Baron Lee & the Mills Blue Rhythm Band's "Reefer Man," Miriam
Makeba's buoyant pre-exile bopper "Make Us One," and Chris Powell &
His Five Blue Flames' infectious calypso-jazz-R&B hybrid "I Come
from Jamaica" (on which Clifford Brown made his recording debut) are,
as just a few examples, top-rank items you're very unlikely to have
heard unless you tuned in to one of Dylan's radio broadcasts during
this series. They're also indicative of a tendency – and hardly an
objectionable one – of Dylan to play pretty upbeat and witty stuff that
is, on the whole, considerably more consistently effervescent than what
he offers on his own recordings. You also have to wonder if he actually
heard and/or selected all of the esoteric items here prior to the
broadcasts – had he ever, for instance, really listened to something
like the moody mod of French singer Jacqueline Taieb's 1968 single "7
Heures Du Matin" before it was part of his radio series?
Serious Dylan fanatics might be disappointed that these discs don't
include his oft-witty spoken introductions. And while this is as
wide-ranging and excitingly unpredictable as radio should be (and
rarely is), its range is so wide that even some listeners with
extremely Catholic tastes might not find it too conducive for repeated
listening. Those qualifications aside, however, this collection does
undoubtedly contain a wealth of fine music, albeit often of the sort
you wouldn't suspect Dylan to have in his private collection. Ace's
customarily fine liner notes also add to the anthology's excellent
balance between highly entertaining music and highly educational
introductions to records of which you often won't have previously been
aware.
PRESS BUTTON BELOW FOR MORE ALBUM
REVIEWS,
FROM 2000-2009:
ALBUM
REVIEWS:
A
SELECTION OF RECENT RELEASES, SUMMER 2009:
- Blossom Toes, Love Bomb: Live 1967-69
- Sugar Pie
DeSanto, Go Go Power: The Complete
Chess Singles 1961-1966
- Fotheringay, 2
- The
Sensational Alex Harvey Band, Live at
the BBC
- Brenda Lee, Queen of Rock'n'Roll
- Mighty Baby, Live in the Attic
- Julian Jay
Savarin, Waiters on the Dance
- The Yardbirds,
The Story of the Yardbirds
[DVD]
- Various
Artists, Acid Dreams
- Various
Artists, Acid Dreams Testament
- Various
Artists, An Outbreak of Twangin':
Phantom Guitars Vol. 2: 26 Cool Early 60s Guitar Instrumentals
- Various
Artists, Destroy That Boy! More
Girls with Guitars
- Various
Artists, Fading Yellow, Vol. 4:
Light, Smack, Dab
- Various
Artists, Fading Yellow, Vol. 8:
Hymns for Today
- Various
Artists, The Golden Age of American
Popular Music: Hits with Strings and Things: Hot 100 Instrumentals from
1956-1967
- Various
Artists, Honey & Wine: Another
Gerry Goffin & Carole King Song Collection
- Various
Artists, Memphis 60
- Various Artists, The Real Thing: The Songs of Ashford,
Simpson & Armstead
- Various
Artists, That Driving Beat: U.K.
Freakbeat Rarities [5 CD set]
- Various
Artists, We Can Fly, Vol. 1-5
[5 CD set]
PRESS BUTTON BELOW FOR MORE ALBUM
REVIEWS,
FROM 2000-2009:
Blossom
Toes, Love Bomb: Live 1967-69
(Sunbeam). Blossom Toes were one of the best late-'60s British bands
not to make a big commercial impact, so the release, if belated, of two
entire CDs of previously unissued live material is bound to perk up the
interest of UK psychedelia collectors. Yet though it does help fill out
the picture of a band whose official catalog was limited to a couple of
albums and a few non-LP sides, it must be noted that this really isn't
Blossom Toes at their best, for reasons that aren't entirely the
group's fault. First, with the exception of a couple songs from an
October 1967 UK radio broadcast, the sound quality isn't too good. More
subtly, the actual songs are often pretty unlike the tracks on the
group's admirable pair of albums – in fact, they're sometimes
drastically different to Blossom Toes' studio output, and not always in
a good way.
Disc one is entirely devoted to a live Swedish club performance on
August 26, 1967, and fans of their fine 1967 LP of wistful
pop-psychedelia We Are Ever So Clean
might be astonished that just one of the eight songs ("The Remarkable
Saga of the Frozen Dog") is taken from that record. Otherwise, the set
shows a much looser, less song-oriented, improvisational
blues-psychedelic sound than came through on their early studio output,
including a cover of Captain Beefheart's "Electricity" and a pretty
dire rendition of "Smokestack Lightning." It does also feature a
stomping charge through a good tune from their second album, "Listen to
the Silence"; a cover of folk-rock singer-songwriter Shawn Philips'
"Woman Mind" that's somewhat more in line with the sound of their first
LP than most of the set; and an original by guitarist-singer Jim
Cregan, "First Love Song," that doesn't appear on their studio
recordings, but is a fairly unfocused jam-type thing. As good as We Ever So Clean is, if not for the
presence of "The Remarkable Saga of the Frozen Dog," you might never
suspect it's the same band, and they're certainly not making music as
distinctive as they did that same year on that LP.
The second disc starts with two decent-fidelity cuts from October 1967
radio broadcast, "What on Earth" and "The Remarkable Saga of the Frozen
Dog," both of which are pretty faithful to the arrangements heard on We Are Ever So Clean. It's back to
fuzzier-sounding concert recordings, however, for the final five songs,
which come from Belgian festival performances in August and October of
1969. These include well-done live renditions of two of the highlights
of their harder-rocking second LP (If
Only for a Moment), "Indian Summer" and "Peace Loving Man"; a
surprise in a swinging jazzy cover of Shawn Philips' "Stargazer," which
has oddly superior sound quality to the other Belgian recordings; and,
anticlimactically, a too-long drawn-out version of Ben E. King's
"Grooving" on which Frank Zappa guests. While one appreciates that
Blossom Toes considered themselves a harder-rocking, wilder group than
was evident on the We Are Ever So
Clean album, the fact is that the material that gave them a
chance to stretch out onstage just isn't as impressive as what they
devised in the studio. Combined with the largely substandard (if
basically listenable) sound quality of most of this set, it has to be
considered unrepresentative of Blossom Toes at their best, if of
interest to serious fans of the group.
Sugar
Pie DeSanto, Go Go Power: The
Complete Chess Singles
1961-1966 (Kent). Although Sugar Pie DeSanto has had a
long career, most would agree that her peak as a recording artist was
with Chess Records in the 1960s. All of the tracks issued on her Chess
singles are on this CD, including a 1966 UK 45 ("There's Gonna Be
Trouble") not issued in the US, as well as a bonus previously
unreleased bonus cut, the quite fine and tough "Witch for a Night."
Nine of these cuts that appeared on 1960s singles, in fact, never
appeared on an album anywhere prior to this CD. While not many of these
sides made much chart noise, over these years DeSanto proved herself
one of the finer, and certainly one of the grittiest, woman singers
straddling the lines between bluesy R&B and contemporary soul.
She's most known for the raunchier, sassier, bluesiest side of her
repertoire, and there are as expected plenty such examples on this CD,
including her moderate hit duet with Etta James ("In the Basement") and
her witty answer record to Tommy Tucker's "Hi Heel Sneakers" ("Slip-in
Mules (No High Heel Sneakers)"). Those who know DeSanto mostly as a
soul-blues artist, though, might be surprised – and usually pleasantly
so – to hear her do some quality material here that's more in the
mainstream early-to-mid-1960s soul style. Some songs even approach the
fringe of the girl group and Motown sound, and occasionally she even
adeptly handles ballads, like "Ask Me" (more famous in its hit version
by Maxine Brown) or the more memorable 1965 recording "Never Love a
Stranger." Not every song here is too distinctive, but the batting
average is pretty high. Considering how heavily the Chess catalog has
been mined in the CD era, it's odd that it took so long for such a
comprehensive DeSantos collection to appear, but Ace has done its
typical fine job with the packaging, including detailed historical
liner notes.
Fotheringay,
2 (Fledg'ling). In late
1970, Fotheringay began work on a second album. But after they'd laid
down basic tracks and guide vocals and were still very much in the
middle of the process, Sandy Denny left the band to pursue a solo
career, leaving this second record unreleased (though versions of two
songs from the sessions, "Two Weeks Last Summer" and "John the Gun,"
appeared on some Fotheringay/Denny reissues). In the twenty-first
century, guitarist Jerry Donahue, with the help of the two other
surviving members (bassist Pat Donaldson and drummer Gerry Conway),
worked (according to this CD's liner notes) "on underpinning the
original tracks, carefully identifying and assembling the best parts of
the 1970 recordings from master tapes which had been dispersed to a
variety of locations over the years." This doesn't quite spell out
whether some modern overdubbing was undertaken, but however it was
accomplished, it's an attempt to reconstruct what might have been
Fotheringay's second LP. It's a qualified success in that it does
represent a conscientious attempt to finish an unfinished record, even
though it can never be finished considering that these cuts have guide
vocals (albeit ones that sound pretty good). Even given that
limitation, however, it has to be said that this was never going to be
a great record even had the time been taken to properly complete it.
It's solid early-'70s British folk-rock, but the material's uneven,
varying from the excellent (Denny's "John the Gun" and "Late November,"
as well as their Denny-sung interpretation of the traditional tune
"Gypsy Davey") to the rather humdrum (a Trevor Lucas-sung cover of Bob
Dylan's "I Don't Believe You" being a low point). And though forgiving
fans might be reluctant to point out the elephant in the room, it's
plain that Denny's singing and songwriting make the tracks on which
those feature leagues above the relatively unexceptional ones written
and/or sung by Lucas. Get this by all means to enjoy those pieces
featuring Denny's stellar singing, guide vocals or not, with
sympathetic accompaniment (if not quite support on the level of
Fairport Convention). Don't, however, expect a lost masterpiece.
The Sensational Alex
Harvey Band, Live at the BBC (Universal).
Two discs of 1972-1977 BBC performances by the Sensational Alex Harvey
Band with excellent sound are collected on this set, though it's not
quite as lengthy as you might assume, adding up to about an hour and a
half in all (with only about half an hour on the second disc). There
aren't great surprises in store for those familiar with Harvey's BBC
work during this, his commercial peak. As was also true of his records,
his reputation as a truly sensational live visual performer isn't quite
mirrored by this audio-only document. Too, the only song that doesn't
appear on his studio releases of his time is a 1972 cover of "Dance to
the Music," which might be energetic but certainly wouldn't give Sly
& the Family Stone cause to worry. Disc one is entirely devoted to
two performances at BBC's Paris Theatre, one in November 1972 and the
other in October 1973, where they run through the bulk of the material
from the SAHB's first couple albums. Some of his most celebrated songs,
like "Framed" and "The Faith Healer," are naturally included, as well
as his oddball cover of the early rock'n'roll hit "Giddy Up a Ding
Dong," though Harvey's manic-tinged vocals are more impressive than the
period hard rock backing. Side two actually features 1973-1975
performances from the BBC television shows The Old Grey Whistle Test and Top of the Pops rather than radio
spots, and the two songs from a December 1973 OGWT appearance—an
anguished cover of Jacques Brel's infamous "Next" and a second version
of "The Faith Healer" that utterly outclasses the one on the first disc
from just two months earlier—are the highlights of the collection,
though this "The Faith Healer" is actually a live Harvey vocal fronting
a pre-recorded backing track. His 1975 UK Top Ten hit "Delilah" (from a
1975 OGWT broadcast) is another highlight, but take note that the final
and least essential two tracks, from a 1977 appearance on the same
program, are the SAHB without Harvey.
Brenda Lee, Queen of Rock'n'Roll (Ace). As good and successful as
she was, Brenda Lee has often been underrated by rock historians. In
part that's because plenty of people don't realize just how much
straightahead rock she recorded in her early years, especially as her
biggest hits tended to be more pop-country-flavored ballads. The
28-track anthology Queen of
Rock'n'Roll is a handy primer to set the record straight,
focusing on her most rock-oriented sides from 1956-1964. This isn't, it
should be admitted, a Brenda Lee best-of; you really need some of those
pop and ballad hits, many of which were quite fine, to get a fully
rounded portrait of the singer at her best. But this is still very
good, even if it's light on familiar hits ("Dum Dum," "Sweet Nothin's,"
"Rockin' Around the Christmas Tree," "That's All You Gotta Do," and "Is
It True" are the only ones here) and there isn't much truly searing
rockabilly. Cuts from her early career in the mid-to-late-1950s like
"Bigelow 6-200," "Dynamite," and "Rock the Bop" do rock pretty hard,
though, and if some of the mid-tempo numbers are more sedate, her
vocals could still border on the raunchy, as "That's All You Gotta Do"
proved. There's not much here post-dating 1961, but one of those
tracks, "Is It True" – produced in Britain by Mickie Most, with Jimmy
Page on guitar – is one of her very greatest. Of special interest is
its UK-only B-side, a good cover of "What'd I Say" that makes its first
appearance on CD with this reissue.
Mighty Baby,
Live in the Attic
(Sunbeam).
Mighty Baby's music wasn't extremely similar to the Grateful Dead's,
but there are similarities in how their music is presented and
received, albeit on a much, much smaller scale than the Dead's. Much of
Mighty Baby's material was based around loose, semi-improvisational
grooves combining numerous styles; their cult of fans, though far less
numerous than the Dead's, exhibit similar ardor for their heroes; and
that passion simply doesn't translate to many outside of the cult, who
are a bit puzzled as to what the fuss is all about. All of the above
applies to this extensive (63-minute) CD of previously unreleased
material, recorded in 1970 between their two official LP releases. The
first three tracks, in decent fidelity, are taken from a live gig in
support of Love in March 1970, highlighted by the nearly 15-minute
instrumental "Now You See It," which fuses their love for John
Coltrane's Indian-influenced jazz with more rock-oriented
instrumentation and rhythm. In contrast, the two other songs from that
concert, "Stone Unhenged" (another instrumental) and "Sweet Mandarin"
(which, like all of the songs on this disc, were not included on their
pair of official LPs), are run-of-the-mill country-blues-rock – the
kind of thing you could imagine an obscure local support band to the
Grateful Dead playing in 1970, for instance. The remainder of the CD
was cut in the studio soon after the March 1970 concert, and is devoted
mostly to the four-part, 40-minute improvised instrumental "Now You
Don't." This again draws from both the exotic jazz of Coltrane's final
years and the more straightforward power of psychedelic rock, and
fairly impressively, rather in the way – as much as some Mighty Baby
fans might find the comparison odd or inappropriate – Soft Machine did
on their early-1970s jazz-rock recordings. Closing the set is another
cut from those studio sessions, the brief and seemingly incomplete
"Winter Passes," which heads off in another direction, its mellow
early-'70s-styled rock with Crosby, Stills & Nash-ish harmonies
gliding into an extended instrumental laidback jazzy passage. The
extended instrumental pieces far outdistance this CD's vocal
numbers in quality, and partly for that reason, on the whole the
disc is erratic enough that it can't be considered on a par with the
albums Mighty Baby officially released at the time. But as none of the
songs appear on these albums, and those instrumental numbers in
particular show sides of the band not fully displayed on those LPs,
this should be considered as a vital missing piece to the Mighty Baby
discography by fans of the band, if not quite something that could be
considered an actual fully developed unreleased album.
Julian
Jay Savarin, Waiters on the Dance
(Esoteric). British keyboardist and songwriter Julian Jay Savarin was
the guiding force behind Julian's Treatment, who put out one of the
better obscure early progressive rock albums, the science fiction
concept-driven A Time Before This.
Even prog rock fans who are familiar with that album, however, are
likely unaware that Savarin put out a fairly similar subsequent record
as a solo artist, Waiters on the
Dance. This too is motored by Savarin's fine powerful, haunting
organ, as well as strident yet appealing female vocals. The woman
singer (Cathy Pruden) from A Time
Before This being unavailable this time around, those vocals are
handled here by Jo Meek (no relation to the famous '60s British rock
producer Joe Meek!), who'd formerly been in the band Catapilla. And
also like A Time Before This,
Waiters on the Dance seems to
be a science fiction concept album of sorts, albeit one whose precise
storyline isn't obvious, other than conveying a general mood of a
dramatic epic. While some of the songs are on the long side (the
two-part "Child of the Night" and "Dance of the Golden Flamingoes" both
last nearly nine minutes), the whole album wraps up in a little more
than half an hour. Waiters on the
Dance isn't as good as A Time
Before This, in part because it's rather more stern and
bombastic. It's still on the less musically (if not lyrically)
pretentious side of early-1970s British progressive rock, however, and
recommended to those who like A Time
Before This, or indeed art rock in general that features fairly
melodic, tightly played songs with well-produced combinations of gothic
organ, female vocals, tense guitar, and occasional orchestration.
The
Yardbirds, The Story of the Yardbirds
[DVD] (ABC
Entertainment). Originally done in the early 1990s and not issued on
DVD until about 15 years later, this is a fine 52-minute documentary on
one of the greatest rock groups of the 1960s. Surprisingly given how
many such projects fail to touch the essential bases, every single one
of the Yardbirds – including the legendary guitar hero triumvirate of
Eric Clapton, Jeff Beck, and Jimmy Page – was interviewed, with the
exception of singer Keith Relf, who died in 1976. So too were managers
Giorgio Gomelsky and Peter Grant, as well as producer Mickie Most. The
interviewees' warm and witty comments pace the story well, and just as
crucially, they're interspersed with plenty of exciting clips of all
the lineups, even digging up one from the Clapton era. Those clips
include most of their best and most famous songs, among them "For Your
Love," "Heart Full of Soul," "I'm a Man," "Shapes of Things,"
"Happenings Ten Years Time Ago," "The Train Kept A-Rollin'," and even
bits of "Still I'm Sad" and (in the final days with the Jimmy Page
lineup) "Dazed and Confused." Beck is especially hilarious when panning
Blow-Up director Michelangelo
Antonioni, calling him a "pompous oaf." Yardbirds fans may well wish
the documentary was longer – or at least that there might one day be a
compilation of vintage Yardbirds performance film clips in their
entirety – but within the time allotted, this covers their story well
and very enjoyably. As a notable bonus, the DVD adds their 15-minute
performance on a 1967 episode of the German television show Beat Beat Beat, showing the
four-man Page lineup running through "Over Under Sideways Down,"
"Shapes of Things," "Happenings Ten Years Time Ago," and "I'm a Man."
It's odd that much of the annotation in the booklet is devoted to a
lengthy description of their 2003 album Birdland (on which Chris Dreja and
Jim McCarty were the only remaining members from the '60s lineups),
however.
Various
Artists, Acid Dreams (Past
&
Present). It's hard to remember that way back in 1979, long before a
zillion 1960s garage rock compilations had saturated the market, there
were very few such various-artists albums on which to hear such
rarities aside from Nuggets
and the Pebbles series (which
itself was just getting started). Acid
Dreams was one of the first such comps, originally issued,
according to the back cover blurb on this 2009 CD reissue, by a Berlin
record shop owner who "pressed only 77 copies...aside from shipping to
some friends or label owners, it was available only in his store." As
you can guess from the title, it's a fairly psychedelic-oriented
collection as far as '60s garage rock anthologies go, though it makes
room for some more straightforward garage as well. Why someone would
want to pick this up on CD thirty years later is a thorny question.
Many of the eighteen tracks have since become available (sometimes
several times over) on other comps and single-artist reissues, and the
kind of garage fanatics likely to be interested in these cuts in the
first place are likely to have many of them somewhere or other in their
collection. On its own terms, however, it's a considerably
above-average garage comp, in part because of its psychedelic
orientation, but also since the quality of the selection is pretty good
too. A few of these songs (the Mystic Tide's "Frustration," Faine
Jade's "It Ain't True," Zakary Thaks' "Can You Hear Your Daddy's
Footsteps") are out-and-out classics of the genre; some (especially the
Unrelated Segments' "Where You Gonna Go" and the Balloon Farm's
"Question of Temperature," the latter of which was an actual Top Forty
hit) are classics of the more straightahead garage idiom; and some
others (Teddy & His Patches' "Suzy Creamcheese," the Outcasts'
"1523 Blair") are near-classics. And unlike the aforementioned tunes, a
few of the better and trippier garage-psychedelic tracks, like the
Velvet Illusions' anti-drug "Acid Head" and the Beautiful Daze's "City
Jungle" (which has some of the gnarliest distorted garage-psych guitar
ever), really haven't shown up on reissues that often. It's true the
sound quality on some of these tracks doesn't match what you hear when
they're placed on some other reissues, and that songs like the Music
Machine's "You'll Love Me Again" and Zakary Thaks' "Can You Hear Your
Daddy's Footsteps" are easily available on CDs entirely dedicated to
those artists. In its favor, though, this reissue does have some basic
track-by-track annotation. And now that so many inferior '60s garage
compilations have flooded the market, a listen to Acid Dreams does remind us veteran
collectors of how unusual and exciting this stuff sounded before the
style had been mined to death on other reissues, and when the few
compilations available really did tend to zero in on authentically
killer tracks instead of lumping a whole bunch of generic items
together.
Various Artists, Acid Dreams Testament (Past
& Present). For the most part this is a first-rate collection of 28
mid-to-late-'60s garage rock/psychedelic nuggets. Only one (the Balloon
Farm's "A Question of Temperature") was an actual hit, but much of the
rest of the disc is only just below the level of the classic status
that might have nudged the material onto the Nuggets box set. The Painted Ship's
unusual moody, spellbinding "Frustration" is an all-time classic of the
genre, and a good number of these tracks are almost as good: Zakary
Thaks' "Can't You Hear Your Daddy's Footsteps?," Teddy & His
Patches' psychedelic novelty "Suzy Creamcheese," Mouse & the Traps'
pounding "Maid of Sugar," the Calico Wall's queasy "I'm a Living
Sickness," Velvet Illusions' "Acid Head," the Music Machine's "You'll
Love Me Again," and the Outcasts' smoking "1523 Blair," for starters.
Some of the songs are just okay, but little is dull. So why the "for
the most part" qualification at the head of this review? Well, quite a
bit of this – including all the aforementioned goodies – circulated for
quite a while on commonly available reissues for many years prior to
this release. There's little here of note that has been hard to find,
the one notable exception being Macabre's "Be Forewarned," an
unexpectedly great and demonic slice of terror that's probably eluded
other garage/psych comps owing to its 1972 release date, though
stylistically it sounds like something that could have been cooked up
four years or so earlier. Of weirder and greater note, no less than
thirteen of the tracks also appear on the 18eighteen song garage/psych
comp titled Acid Dreams –
which, weirder yet, was released by the same label, in the same year,
as Acid Dreams Testament. So
to enjoy the CD without qualms, you really have to be a neophyte
collector who's not too worried about overlapping cuts should you want
to acquire a good deal of stuff in this style. If none of these
curmudgeonly old-school/been there done that pokes bother you, though,
it's a good place to pick up some quality extra-Nuggets material, with decent liner
notes and discographical information.
Various Artists, An Outbreak of Twangin': Phantom Guitars
Vol. 2: 26 Cool Early 60s Guitar Instrumentals (Psychic
Circle). Just in case the mighty long title confuses you, this is
indeed a sequel to the 2008 compilation Phantom Guitars: A Cool Collection of
Twangin' Instrumentals from the UK 1961-1964, compiled by heroic
'60s rock collector Nick Saloman. And like its predecessor, it has a
heap o' early-'60s guitar rock instrumentals, most of them from UK
groups, though a few artists from continental Europe and Australia are
also on board. If nothing else, it testifies to the immense popularity
and influence of the Shadows on the just-pre-Beatles British rock scene
– a syndrome that's still remembered well in the UK, though the full
measure of the Shadows' impact is still largely unknown in the US. None
of these songs were hits, and few were by artists that even collectors
will recognize. But if you like the kind of moody, twangy, somewhat
surf-and-country-and-western-flavored instrumentals that were the
Shadows' stock in trade, these is a pretty terrific listen. Sure,
sometimes you'll be shaking the feeling that you're listening to a
compilation of recently surfaced unissued Shadows tracks; it's not
quite on the same level as hearing an actual Shadows best-of; and
there's nothing that screams classic in the way that "Apache" or
"Telstar" do. But the quality is pretty high, perhaps in part because
this genre has been so much less often mined for rarities than styles
like garage rock and British freakbeat have been. And it's not all
Shadows wannabes/soundalikes, with the shadow of the Tornados (of
aforementioned "Telstar" fame) coming through loud and clear on a few
cuts, like "Polaris" by the Boys, the backing band of early British
rock star Marty Wilde (who wrote the tune). Numerous other tracks have
direct connections to major figures of British rock figures as well,
like Alan Caddy (of Johnny Kidd & the Pirates) and producers Joe
Meek and Shel Talmy. And Bert Weedon, if not exactly a rock star
(though his "Ghost Train," included here, rocks pretty hard), was
extremely influential on early British rock guitarists, through both
some hit records and his massively popular guitar instructional book Play in a Day. The liner notes give
useful thumbnail sketches of these mostly very obscure records and
artists, though it would have been nice to have original release dates
and labels included too.
Various Artists, Destroy That Boy! More Girls with Guitars
(Ace). A sequel to the 2004 Ace CD Girls with Guitars, this likewise
focuses on guitar-oriented, girl-sung 1960s rock from the 1960s, though
to be technical one 1970 cut sneaks in. These aren't all self-contained
female groups who played their own instruments (although a few of them
are); in fact, a number of these artists didn't play their own music,
and some of them were solo acts, not bands. The common factor, however,
is that all of them did play rougher, more guitar-heavy rock than the
norm for woman rockers of the era. There's a fairly narrow pool of
discs to choose from when you're making an anthology like this (though
not as narrow as many people realize), which makes it hard if not
impossible to make an "all killer no filler" compilation. That's how it
goes with Destroy That Boy! More
Girls with Guitars, which is usually fun, and occasionally very
good, but often more interesting for historical oddity and energy than
for the quality of the songs or performers. Still, there are some
genuinely standout tracks here, none more so than Beverley Jones' "Hear
You Talking," which is average Merseybeat musically, but has a vocal
that's incredibly vicious by 1964 standards, and a chorus ("I'll cut
you dead...if I hear you talking about her") that's downright gangsta
in this company. Also very good is Sharon Tandy's "Hold On," justly
hailed as a first-rate mod rocker long before its appearance on this
compilation, and Ann-Margret's unlikely (and mighty strange)
psychedelic Lee Hazlewood-written-and-produced 1968 rarity "You Turned
My Head Around." Nothing else on the CD galvanizes like these
three items, but it does at least present a wide range, from Merseybeat
(including Liverpool's self-contained Liverbirds) and Beatles novelties
to She Trinity's "He Fought the Law" (reportedly the inspiration for
the Clash's "I Fought the Law" cover, according to the liner notes); a
folk-rocker co-written by Erik Darling of the Rooftop Singers (Project
X's "Don't You Think It's Fine"); and a rocking Donovan song that
Donovan himself never put on his records (Karen Verros' "You Just Gotta
Know My Mind"). Also neat is the Girls' previously unreleased "Here I
Am in Love Again," with backing by the Beau Brummels, which was written
and produced by Sly Stone, even if the vocals are pretty shaky.
Various Artists, Fading Yellow, Vol. 4: Light, Smack, Dab
(Flower Machine). "Timeless UK 60's Popsike & Other
Delights" is the apt subtitle of this 25-track collection, which
spotlights obscurities from the lighter side of slightly
psychedelic-influenced British pop-rock of the late 1960s. There are a
few artists here who had commercial success, like Wayne Fontana, Dave
Berry, future Foreigner member Mick Jones (as part of J&B), and
future 10cc members Graham Gouldman and Kevin Godley (as part of the
awkwardly named Frabjoy & Runcible Spoon). But basically this is a
pretty deep archival dig through material that hasn't often seen the
light of day since its original release, in a genre that's never been
the most heavily mined of 1960s styles. It's one of the best such digs,
too, even though it as a 1000-copy limited edition, it didn't get the
exposure of some of CD reissues with a similar concentration. While
some of the elements of pop-sike that drive earthier listeners up the
wall – fruity orchestration, florid lyrics, twee preciousness – are
here to varying degrees, their quotient is considerably lighter than
usual on this anthology. It's true you still might want to be in the
mood for something on the light side before hearing all of it at once,
but the focus is more on decent pop songs with imaginative arrangements
and an occasionally (admittedly mild) touch of freakiness than the
airy-fairy stuff. Some of the tracks are outstanding, like J&B's
unaccountably seldom-anthologized "There She Goes," which is like a
cinematic look at the melancholic underbelly of Swinging London; the
Candlelight's quite fine makeover of the Merseybeat-era relic "That's
What I Want" into staunch baroque pop with stirring vocal harmonies;
Piccadilly Line's "At the Third Stroke," which is as much melodic
folk-rock as pop-sike; Toyshop's "Send My Love to Lucy," whose singer
sounds uncannily like Stephen Stills; and Fontana's "In My World,"
perhaps his best solo effort sans the Mindbenders. Even some of the
less distinguished and more ornate cuts pass listenably by without
getting overly sickly sweet.
Various Artists, Fading Yellow, Vol. 8: Hymns for Today
(Flower Machine). This limited-edition (to 1000 copies)
compilation brings together twenty-one UK pop-psych-folk rarities from
1968-1975. And you'd better believe some of these are really rare, especially when it
gets down to something (John Pantry's "Long White Trail") taken from a
1972 soundtrack to a film about a team of sled dogs. A few of these
artists have connections to much bigger names, and a few are
recognizable names in their own right, like British folk legend Wizz
Jones; Fleetwood Mac guitarist Danny Kirwan; Tony Hazzard, who wrote
hits for Manfred Mann and the Hollies; and Andy Roberts of
Plainsong/the Liverpool Scene. Overall, however, you wonder whether
more than a dozen people worldwide have all of the original releases
from which these were taken in their private collections. That's part
of the utility of an anthology such as this, of course, for those of us
who are pretty deeply interested in the genre, but don't have the time
or money to chase down all of these obscurities. Though pretty diverse
as a whole, what these tracks share is a general simultaneous folky
base and willingness to stretch outside usual folk-rock and
singer-songwriter conventions of the era into something a bit stranger
and freakier, without actually getting too freaky or electric. Certainly
there are heavy echoes of some of the much bigger names exploring
somewhat similar territory, like Donovan, Bert Jansch, Al Stewart, Nick
Drake, or Sandy Denny; traces of major rock songwriters that sometimes
approached the edges of whimsical folkiness, like Ray Davies or Roy
Wood, can also be detected. If nothing here is as good as the finer
work of those esteemed artists, usually these songs possess a quite
engaging haunting and tremulous ambience, often embellishing reasonably
melodic songs with interesting eccentric sounds, production touches,
orchestration, and odd (if sometimes overly precious) lyrical
viewpoints. The level of quality is high enough that there aren't many
obvious highpoints, but certainly Nadia Cattouse's melancholy "All
Around My Grandmother's Floor" will be heartily embraced by anyone who
likes Vashti Bunyan or Bridget St. John"; Trevor Billmuss' "Sunday
Afternoon in Belgrave Square" will likewise appeal to those who love
the most ornate early Donovan/Stewart arrangements; and Vigrass &
Osborne's "Ballerina" is first-rate dreamy pop-folk-psych. While some
collectors might object to the following observation, frankly
compilation CDs such as this make for much better listening than most
of the original releases from which they're collated, as these
intelligently culled highlights are far more consistently enjoyable and
diverse than most single-artist LPs in this field. If you do want to
track down more of the same on those original releases, the detailed
liner notes give you a good starting point.
Various Artists, The Golden Age of American Popular Music:
Hits with Strings and Things: Hot 100 Instrumentals from 1956-1967 (Ace). The point's been made
elsewhere, but hit radio of the 1960s wasn't only devoted to rock and
soul music, as dominant as those forces were on both record sales and
youth culture. You could also hear non-rock hits slip into the playlist
on a more or less constant basis. Instrumental
Hits and Strings and Things has 28 such hits – some mild, some
huge – from the decade (with a couple from the mid-to-late 1950s
slipping in) that fit into the easy listening instrumental category.
The "easy listening" label, though it's the one used more than any
other, is a little deceptive. Some of these tunes are pretty forceful
(though some are admittedly lush and meek), and quite a few of them
borrow from aspects of rock, jazz, and even sometimes
folk/country/world music in their arrangements, though at heart these
are usually pretty smooth productions targeted toward an all-ages
audience. Some of the biggest, and some of the best (the two are not
necessarily the same), such smashes are here: Kai Winding's "More,"
Paul Mauriat's massive #1 hit "Love Is Blue," Percy Faith's
much-derided "The Theme from a Summer Place," Lawrence Welk's
"Calcutta," the Village Stompers' folk-Dixieland hybrid "Washington
Square," Bent Fabric's jazzy piano outing "Alley Cat," Henry Mancini's
"Moon River," Acker Bilk's "Stranger on the Shore," Bill Pursell's "Our
Winter Love" (with its mesmerizing low fuzzy blasts), Al Caiola's
rendition of the "Bonanza" theme, Sounds Orchestral's interpretation of
jazz pianist Vince Guaraldi's "Cast Your Fate to the Wind," and the Bob
Crewe Generation's archetypal swinging bachelor anthem "Music to Watch
Girls By." Also here are a bunch of instrumentals that didn't quite
make it to the Top Twenty (and sometimes charted much lower than that),
though some of them are of notable fame as well, especially Walter
Wanderley's effervescent bossa nova "Summer Samba (So Nice)."
This CD doesn't quite have all the most notable entries in this genre
you might expect: notable absentees, for instance, include David Rose's
"The Stripper," Ferrante & Teicher's "Exodus," Martin Denny's
exotica-defining "Quiet Village," and Bert Kaempfert's "Wonderland By
Night." All of those songs, plus a lot of the ones that did make onto Instrumental Hits and Strings and Things,
are on the mid-1990s Collectors' Choice compilations Instrumental Gems of the '60s and More Instrumental Gems of the '60s.
Those anthologies might have the edge for sheer quantity and range of
material. But {^Instrumental Hits and Strings and Things} is itself a
good-value 28-song sampling of the category, boosted by Ace's typically
detailed historical liner notes. At least some of it is bound to appeal
to any 1960s pop fan, even if some of it might fall in the guilty
pleasure division.
Various
Artists, Honey & Wine: Another
Gerry Goffin
& Carole King Song Collection (Ace). Like the
previous Ace compilation {^A Gerry Goffin & Carole King Song
Collection 1961-1967}, this CD has 26 vintage recordings of Goffin-King
compositions, this one spanning the early 1960s to the early 1970s. And
like its predecessor, it mixes familiar smash hits with rarities and
obscure versions of songs that might be more familiar as interpreted by
different artists. That guarantees a certain unevenness, but for anyone
interested in Goffin-King or the Brill Building in general, it's a very
good group of songs overall, illustrating varying facets of the team's
songwriting genius. It's true that the big classic hits here – the
Drifters' "Up on the Roof," Maxine Brown's "Oh No, Not My Baby," Gene
McDaniels' "Point of No Return," the Monkees' "Pleasant Valley Sunday,"
and Gene Pitney's "Every Breath That I Take" – overshadow most of the
rest of the tracks. But some of the rarer cuts are almost as good,
foremost among them the Hollies' brooding, grooving "Honey & Wine,"
one of the group's best mid-'60s non-45 efforts; the Myddle Class'
sinister "I Happen to Love You," one of the finest '60s garage-pop
singles; the Rising Sons' (with Taj Mahal and Ry Cooder) version of
"Take a Giant Step," more famous as done by the Monkees; Peter James'
"Stage Door" (perhaps more familiar to collectors in the rendition by
ex-Searchers member Tony Jackson), which sounds like it might have been
a suitable tune for Gene Pitney to do; Chuck Jackson's minor hit soul
ballad "I Need You"; and Marianne Faithfull's "Is This What I Get for
Loving You," for which Phil Spector (who produced the original version
by the Ronettes) also got a songwriting credit. You also get the
original version of "Go Away Little Girl," by Bobby Vee (though it took
Steve Lawrence to make it a hit), and Jody Miller's little-known cover
of one of Goffin-King's strangest compositions, "He Hit Me (And It Felt
Like a Kiss)" (originally done by the Crystals). If much of the rest of
the CD has an also-ran feeling, it's seldom less than interesting,
including Goffin-King songs by notable artists such as Barbara Lewis,
Ben E. King, Jan & Dean, Freddie Scott, Nancy Wilson, and the
Turtles.
Various
Artists, Memphis 60 (BGP).
The
concept behind this twenty-track compilation of Memphis soul, blues,
and R&B from the 1960s is a little vague around the edges.
Basically the idea seems to be to compile some of the best such
material that's both raw and rare, taken from the vaults of a bunch of
Memphis labels. That includes not just Stax (which is well
represented), but also smaller imprints, including the Goldwax} and XL
labels, both of which have cults among collectors. The {^Memphis 60}
title is pretty awkward too. But the quality of the music counts more
than being able to neatly classify and file it, and on that score, this
is a pretty good anthology, though not one that's a starter Memphis
'60s best-of due to the absence of big hits or star artists. Spencer
Wiggins, Barbara & the Browns, Ruby Johnson, the gospel group the
Dixie Nightingales, and Isaac Hayes (on the rare 1965 single "Blue
Groove" by Sir Isaac & the Do-Dads) all have some name recognition,
and the original version of Willie Cobbs} blues standard "You Don't
Love Me" is a highlight, but otherwise it's doubtful even big Memphis
'60s soul collectors have much of this. The material tends toward the
bluesier end of the Memphis R&B/soul scene, and while the grooves
and the performances are more impressive than the material, it's a good
cross-section of the style at its swampiest and funkiest. There are
some near-gems in Prince Conley's brooding "I'm Going Home"; the Dixie
Nightingales' spooky "Assassination," about the killing of president
John Kennedy; and the Cobras' instrumental "Restless," which is like a
very unrefined Booker T. & the MG's. Too, Junior Kimbrough (who
became far more famous about twenty-five years later) is represented by
his rare, and very gutbucket, 1967 cover of Lowell Fulsom's "Tramp."
There's no sense in getting hot and bothered about the fuzziness of the
CD's focus when the music is good, and this is recommended to soul fans
looking for something different on a well-annotated compilation where
rarity and quality aren't mutually exclusive.
Various Artists, The Real Thing: The Songs of Ashford,
Simpson & Armstead (Kent). Ashford, Simpson, &
Armstead were songwriters Nick Ashford, Valerie Simpson} and Josephine
Armstead, who wrote many songs together in the mid-1960s, usually in
the soul-pop style. Ashford and Simpson, of course, later became famous
as both a songwriting team and hit recording artists in their own
right. This various-artists compilation is another entry in the Ace
label's excellent long-running series anthologizing recordings of
compositions by major 1960s pop-rock songwriters. It features a couple
dozen songs that the trio penned at the time, either as a threesome or
in combinations of two, occasionally with additional co-authors, all
but a couple of them drawn from 1964-67 releases. While this is solid
stuff, it's not quite up to the level of brilliance of the best Brill
Building songwriters, including most of the others spotlighted in this
Ace series of compilations. Nor does it have any big hits, though there
are plenty of efforts by stars (including the Shirelles, Betty Everett,
the Crystals, Aretha Franklin, B.J. Thomas, Chuck Jackson, Maxine
Brown, the Chiffons, Doris Troy, Ronnie Milsap, and the Coasters),
mixed in with some lesser known names. Just because it doesn't have
classic hits, however, doesn't mean it isn't good and very historically
interesting listening for those who like the poppier end of mid-1960s
soul. Ashford and Simpson had yet to really perfect their craft, but
that's not a big loss as the less polished nature of the tunes might
actually appeal more to fans of 1960s rock and pop than their slicker,
more popular later material. True, not many of the cuts sound like they
should have been big hits, exceptions being the Chiffons' terrific (if
heavily Martha & the Vandellas-influenced) "The Real Thing"; the
Coasters' 1965 single of "Let's Go Stoned," which soon became a big hit
for Ray Charles; and "I Don't Need No Doctor," also a big Charles hit,
though here represented by a rather oddball instrumental cover by
drummer Sandy Nelson with Dr. John on guitar. But Betty Everett's "Too
Hot to Hold," the Shirelles' "Look Away," Mary Love's "Baby I'll Come,"
Aretha Franklin's "Cry Like a Baby," and Doris Troy's "Please Little
Angel" – to name just some of the obvious highlights – are well worth
hearing, and little here is subpar, though some of the cuts are rather
generic or derivative. The liner notes, as you'd expect from Ace do a
great job in filling in the complicated background of both these
(largely rare or little-known) recordings and the songwriters' early
careers.
Various Artists, That Driving Beat: U.K. Freakbeat Rarities
[5 CD set] (Psychic Circle). Devoted to the hybrid of '60s mod,
British Invasion, and psychedelia known as "freakbeat," the series
{^That Driving Beat} ran to five volumes in the first decade of the
twenty-first century. This five-CD box set brings them all together,
presenting around 150 rarities from the 1963-1967 era, most of them
British (a few items from Continental Europe are also thrown in).
Pinpointing to whom this should be recommended is tough, because any
passionate collector of freakbeat is already going to have
some-to-a-lot (but almost certainly not all) of it. At the same time,
it's likely too much for the novice, for whom single-volume comps with
a higher percentage of killer cuts make far better initiations. But
make no mistake: this certainly is good value if you like the style and
don't have the majority of the contents, and not just for the sheer
quantity of the material. While (odd tracks like the Poets' "That's the
Way It's Got to Be" and Him & the Others' "She's Got Eyes That Tell
Lies" aside) there aren't that many absolute undisputed monsters of the
genre here, most of it's at least decent, and good percentage of it is
quite good. To name just a few songs, the Plebs' "Babe, I'm Gonna Leave
you," the Remo 4's "Sing Hallelujah," the Hi-Numbers' "Heart of Stone"
(not to be confused with the High Numbers who became the Who), and the
Mike Cotton Sound's "I Don't Wanna Know" are all not only really good
obscure British Invasion recordings, but not all that easy to find on
other reissues.
On the other hand, a good number of selections are okay but nothing
more, and there are too many covers of well known songs, though even
those do tend to be above average as those things rank. There are also
a lot of songs that are frankly more Merseybeat than freakbeat, though
really there's nothing wrong with that, unless you take the "freakbeat"
label at face value and are expecting nothing but mod-psychedelia. If
you approach this as an interesting survey of bands and songs that sort
of floated between the major and minor leagues of mid-'60s British rock
– rather than a box set of similar size that that's going to be
outstanding the whole way through, like Rhino's {^Nuggets}
extravaganzas – it's certainly worth the investment. For one thing,
though none of these songs were hits, it's astonishing how many records
and bands had direct connections to bigger names, whether it's a cover
of an altered version of the Who's "The Kids Are Alright" by the
Rockin' Vickers (with a young Lemmy); obscurities produced by the
Kinks' Dave Davies, Manfred Mann, and the Animals' Alan Price; no-hit
groups including future members of Traffic, Manfred Mann, Fleetwood
Mac, Deep Purple, and Yes, and ex-members of the Hollies, the Walker
Brothers, and the Pretty Things; and little-known productions by Shel
Talmy and Joe Meek. (The Meek-produced efforts by Heinz ("I'm Not a Bad
Guy") and the Outlaws ("Shake with Me") aren't hard to get elsewhere,
but are both really tough British Invasion pop numbers.) And while the
packaging is similarly not on the {^Nuggets} scale, the track-by-track
annotation by leading British collector/expert Richard Morton Jack has
a lot of info on these obscurities.
Various
Artists, We Can Fly, Vol. 1-5
[5 CD set] (Psychic
Circle). The five-volume {^We Can Fly} series presented rare
psychedelic rocks spanning the mid-1960s to the early 1970s, mostly
centering on UK psych of the late 1960s, though there's a little
spillover from both the British Invasion and early prog-rock eras. It's
not all from the UK either, with a good number of entries from
Continental Europe, as well as stray items from Australia, New Zealand,
the US, and even Lebanon. This mini-sized box set compiles all five
volumes, and while some of the 128 tracks have done the rounds on
well-circulated compilations outside of this series, there can't be
many collectors that would have all of them in one place before buying
this anthology.
Though all of these cuts are unquestionably rare and as a whole
representative of the scope of psychedelia in its British or
British-derived form, they're pretty erratic in artistic quality, no
matter what your taste. Some of these are unquestioned rare psych
monsters that sound like tracks that should have qualified for the
{^Nuggets II} box of non-US '60s freakbeat/psychedelia but somehow
missed the cut. Among those near-masterpieces are the Lords' "Don't
Mince Matter" (from Germany); Episode Six's brilliant "I Can See
Through You," which is both tough and dreamy; Keith Relf's florid solo
single "Shapes in My Mind," which hasn't been too easy to find on CD;
the Afex's bopping mod rocker "She's Got the Time"; the Bunch's
overlooked fanciful but melancholic "Looking Glass Alice"; the Peep
Show's hazy "Mazy"; the Mickey Finn's crunchy "Garden of My Mind"; and
Peter Cook & Dudley Moore's great psychedelic spoof "The L.S.
Bumble Bee," often mistakenly bootlegged as a Beatles outtake, and
surprisingly rarely reissued. There are also off-the-beaten-path items
by well known or fairly well known acts like Shocking Blue, the
Mindbenders, Jackie Lomax, Terry Reid, Eire Apparent, Kim Fowley,
Murray Head, Mick Softley, the Smoke, and East of Eden that, though not
their best work, haven't been too widely heard.
Much of this box, however, has some fairly generic or even mediocre
psychedelia that sounds like it might be championed by the odd
collector here and there, but certainly wouldn't be recognized as
consensus picks among the cream of the genre. In that sense, it often
sounds like an alternate {^Nuggets II} box set, {^Nuggets II} being the
major league stars and {^We Can Fly} the players stuck at the higher
levels of the minor leagues. Sometimes the connections the artists had
to major-league players are more interesting than the recordings
themselves. The Bystanders, for instance, evolved into Man; the Cedars
(from Lebanon, of course) were produced by Tony Hicks of the Hollies;
Italian singer Giorgio is Donna Summer producer Giorgio Moroder; the
Glass Menagerie were produced by Chas Chandler; Kippington Lodge had a
young Nick Lowe in the lineup; the Iveys became Badfinger; Tangerine
Peel was led by Mike Chapman; Trash were on Apple Records without
releasing an LP; Danny McCulloch had been in Eric Burdon & the
Animals; etc. All those loose ends and more are tied up in the 84-page
booklet, which has plenty of information about the bands and their
releases.
PRESS BUTTON BELOW FOR MORE ALBUM
REVIEWS,
FROM 2000-2009:
ALBUM
REVIEWS:
A
SELECTION OF RECENT RELEASES, SPRING 2009:
- Chuck Berry, Rock & Roll Anthology [DVD]
- David Bowie, Space Oddities [DVD]
- Dr. Strangely
Strange, Kip of the Serenes
[Collectors Edition]
- Donovan, Sunshine Superman: The Journey of Donovan
[DVD]
- Marianne
Faithfull, Live at the BBC
- Tennessee
Ernie Ford, 6000 Sunset Boulevard
- The
Fugs, Don't Stop! Don't Stop!
- The Jesters, Cadillac Men: The Sun Masters
- Mick Jones/Tommy Brown, State of Micky and Tommy
- Al Kooper, I Stand Alone/You Never Know Who Your
Friends Are...Plus
- Peter, Paul
and Mary, The Solo Recordings
(1971-72)
- Linda
Ronstadt, Long, Long Time Ago: Video
Archive 1967-1987 [DVD]
- Nina Simone, To Be Free
- The Swinging
Blue Jeans, Good Golly, Miss Molly!
The EMI Years 1963-1969
- Vince Taylor, Jet Black Leather Machine
- We Five, There Stands the Door
- Various
Artists, Glitter and Gold: Words and
Music by Barry Mann and Cynthia Weil
- Various
Artists, Holy Mackerel! Pretenders
to Little Richard's Throne
- Various
Artists, Respect: Aretha's
Influences and Inspiration
- Various
Artists, The Soul of Spanish Harlem
- Various
Artists, Woodstock 69 Extended
Edition [DVD]
PRESS BUTTON BELOW FOR MORE ALBUM
REVIEWS,
FROM 2000-2009:
Chuck Berry, Rock & Roll Anthology [DVD]
(Pinup Productions). It's most certainly an unauthorized compilation
despite the presence of
a prominent bar code on the back cover, but Rock & Roll
Anthology does collect an astonishing quantity of Chuck Berry
footage
from the mid-1950s to the mid-1980s, lasting just under three hours.
Before you get too excited, it has to be emphasized that the image
quality and transfer, while decent in most respects, is erratic and,
more crucially, always has the slightly jerky motion typical of files
downloaded from the Internet. Taking the attitude that seeing this in
almost 100% of the quality it should boast is better than not seeing it
at all, there is certainly a lot of interesting and occasionally
historic footage on the DVD. A bunch of clips catch Berry in his 1950s
prime, though most of these are lip-sync jobs from quickie rock'n'roll
exploitation movies and TV shows, the only genuinely live bit being his
performance of "Sweet Little Sixteen" (with an ill-fitting clarinetist
in the band) at the 1958 Newport Jazz Festival. A bunch of mimed
mid-to-late-'60s TV clips follow, in turn followed by some 1973-75 film
and TV sequences (including a particularly bizarre medley of "Mr.
Bojangles/The Good Ship Lollipop" from Donny & Marie with a
Shirley Temple-like girl singer). As if that's not strange enough,
Chuck also duets with Tom Jones on "School Days" in another clip from
the period. Almost the entire second half of the disc is devoted to
undated clips, mostly from the 1970s and mostly from European TV,
including a British television interview shortly after the publication
of his autobiography in the late 1980s.
There are a lot of good
performances here; though
obviously artificial, the lip-synced clips from the '50s movies are
still electrifying in their display of Berry in his most gymnastic
onstage glory. And though his later shows were often criticized for his
use of inadequate backup bands, it must be said that on most of the
1970s material, he sings and plays well, never looking less than fully
engaged, and usually enjoying sufficient musical backup. You do have to be a big Berry band to
see so much of him
in one go, as he plays his signature tunes over and over again – there
are a half-dozen versions of "Johnny B. Goode" alone. Even so, there
are some nice lesser-known classics and odd tunes thrown in, going all
the way back to his rendition of "Oh Baby Doll" in the 1957 film Mr.
Rock & Roll. Certainly it's fortunate the camera caught him
doing
the obscure B-side "Wee Wee Hours" on piano on German TV, for instance;
also interesting is a rousing "Roll 'Em Pete" on Soul Train, though
the '70s versions of "Reelin' & Rockin'" with updated obscenely
suggestive lyrics aren't as fun. But while you marvel at such an
abundance of visual documentation of a giant who was both a great musician and a great
showman, you're also frustrated at how much better this could be would
only a legitimate company take the care to present it with the care it
so richly deserves.
David Bowie, Space Oddities [DVD] (Pandora's
Video). Unauthorized this hour-and-a-half collection of David Bowie
clips may be; that's apparent not just from the low-tech packaging, but
also in how much of the material has that slightly jerky
downloaded-from-online feel. At the same time, it must be said that as
such unauthorized products go, this is about as good as it gets in
terms of intelligent clip selection and smooth transitional
clip-to-clip editing, assembling various interesting bits and pieces
spanning the late 1960s to the early 1980s. Even the slightly imperfect
visuals aren't nearly so much a problem here as they are with many such
items, as the transfers from the download files or whatever the sources
might have been seem to have been done as conscientiously as possible
within their inherent limitations. Most of these clips are quite good
(and in color), but some particularly noteworthy highlights are a 1970
live performance of "Space Oddity" at an awards ceremony; an alternate
take of "Oh You Pretty Things" from an early-'70s The Old Grey Whistle Test program;
the bizarre 1973 Midnight Special
duet on "I've Got You Babe" with dressed-as-a-nun Marianne Faithfull;
and "Alabama Song" from a 1978 broadcast. You'd never call his duet
with Bing Crosby on "Little Drummer Boy" a highlight of either man's
career, but that stranger-than-fiction performance is here to savor in
all its weirdness. Also of note, though David Bowie doesn't play music
in these, are the 13-minute dialog-less 1967 film The Image (in which Bowie plays one
of the two parts) and a very short late-'60s ice cream commercial in
which Bowie can be briefly glimpsed.
Dr. Strangely Strange, Kip of the Serenes [Collectors
Edition] (Hux). Dr. Strangely Strange's debut album, Kip of the Serenes, is here
reissued in a Collectors' Edition (as it's formally labeled on the back
cover) that presents the record in a spruced-up CD edition. Are the
extras to this record – which is very much in the mold of the
Incredible String Band, albeit in a milder form lacking the extremes of
the ISB's innovations, and with Irish origins – substantial? They don't
appear so at a glance, since there are just four bonus tracks, though
audiophiles will note that it's a new 24-bit remaster at the correct
speed. The added songs include an alternate, longer take of "Strangely
Strange But Oddly Normal" minus overdubs that's a little folkier in its
arrangement, and has a brief sea shanty tacked onto its end; an
unremarkably alternate take of "On the West Cork Hack"; and an
instrumental backing track for another of the album's songs, "Strings
in the Earth and Air." There's also an outtake from their first session
in January, the nicely haunting "Mirror Mirror," a later (and somewhat
more elaborately produced and spooky) version of which shows up on the
rarities collection Halcyon Days.
The truly significant improvements, actually, are the historical liner
notes, the 32-page booklet including a thorough account of the band's
origins and the sessions for the first album; extensive comments on the
songs by original members; full lyrics for the songs; and even
reproductions of the original tape box and handwritten notes regarding
the compositions. Like the Hux label's other packages of Dr. Strangely
Strange and Incredible String Band material, they prove the company to
be the best caretakers of the archeology of these two similar groups
that anyone could hope for, even if this offers less in the way of
enticing rarities than Hux's other such projects have.
Donovan, Sunshine Superman: The Journey of Donovan
[DVD] (SPV). It's unlikely there will ever be a more
comprehensive audiovisual document of Donovan than this two-DVD set.
The documentary that occupies disc one of this two-DVD set is alone
almost as content-rich as any such commercially available retrospective
for a major figure in rock history, skillfully combining interviews
done specifically for this project with a wealth of vintage footage and
photos. The main interview subject is Donovan himself, who talks
onscreen so often that he almost functions as the film's narrator as
well as its focus. Fortunately Donovan's a good storyteller who's at
ease in such situations, and he covers most of the main bases of his
colorful career, from his modest boyhood upbringing and teenage beatnik
adventures through international stardom as first a folksinger, then a
folk-rock-psychedelic pioneer. As is the case with numerous similar
documentaries, perhaps it might have been better to have some more
space for other interviewees, although a few other key figures are
heard from, including his wife Linda, his famed sidekick Gypsy Dave,
and arranger John Cameron. As other fairly minor criticisms, certainly
some notable details of his musical life (such as the business disputes
that threatened his recording career in the mid-1960s) are sketchily
laid out; the chronology of how events are sequenced is not always
impeccable; a few film clips don't use soundtracks from the actual ones
heard on their original broadcast; and the use of webbed borders for
some archive segments is both puzzlingly unnecessary and mildly
distracting. But not many viewers other than Donovan fanatics will
notice or be bothered by any of this, instead getting entertained by
the wealth of performance clips and personal reminiscing. As is proper,
his mid-to-late 1960s heyday gets the most attention, with almost all
of the hits discussed and performed. But subsequent decades are not
avoided, if lightly covered in comparison, it at one point being
revealed that he can't recall much about his most fallow 1980s period;
though his mid-1990s comeback record Sutras
gets some time, 2004's Beat Cafe
is oddly absent from discussion. Donovan also takes care to relate his
music to other issues such as his concern for peace, justice, romance,
freedom, and spirituality, not to mention talking about his experiences
while studying meditation with the Beatles in India.
Disc two isn't as lengthy, but while it has plenty of material, it's
really for the Donovan devotee, and not so much for general rock fans,
most of whom will enjoy the first disc but have trouble sitting through
everything on its companion. In addition to extended interview segments
done for the principal feature, there are past and present music videos
dating back to the 1960s; performances, done not long before the 2008
release of this DVD, of some unreleased songs; a couple mid-'60s TV
appearances (a great Swedish live one of "Sunny Goodge Street" in 1966
but a disappointingly short one of "Catch the Wind" done the previous
year); a couple songs from a BBC concert around the early 1970s; and
quite a few live clips done not long before this DVD was made, among
them a whopping 14-minute 2008 jam on "Season of the Witch." The final
section, labeled "The Private Donovan," might get too arcane even for
some dedicated viewers, including scenes of Donovan rummaging among his
archives, a clip of his father reading poetry, and scenes from his
family album and acceptance speeches of honors. While it's still good
to have this material available, it's unfortunate that precise details
(and often, even years) aren't given regarding the origination of the
TV clips and music videos, which are the kind of things fans serious
enough to investigate such stuff want to know.
Marianne Faithfull, Live at the BBC (Decca).
Fifteen tracks Marianne Faithfull recorded for the BBC in 1965 and 1966
(including two versions of one of the songs, "Go Away from My World")
are featured on this compilation, which boasts fine sound and five
brief between-song interviews that give us a chance to hear her poshly
accented, articulate speech. This was the era, of course, in which
Faithfull was still a fairly high-voiced pop-folk singer, and not the
far earthier one she'd become when she emerged with a much deeper and
more gravelly voice upon her late-1970s comeback. While it's a little
disappointing there aren't more surprises – every one of these songs
was also recorded on her mid-'60s studio releases – it does, as one
would expect, afford us the chance to hear her do these songs in
somewhat less elaborate arrangements than the versions that found
official release at the time. On occasion, this can work to Faithfull's
advantage; her cover of the Beatles' "Yesterday," not one of the
highlights among her 1960s singles releases, is stripped of its
too-fussy arrangement so that she's accompanied only by guitar. That's
from a December 1965 session on which guitarist Jon Mark is the only
backup musician, and those three songs are by far the folkiest of this
lot. Still, the other sessions go down well too, including not only the
hits "As Tears Go By," "Come and Stay with Me," "This Little Bird," and
"Summer Nights," but also some relatively unheralded highlights of her
early repertoire like the brooding "The Sha La La Song" and "Tomorrow's
Calling." Faithfull's early British Invasion-era work is generally
underrated, and this collection makes for a worthwhile addendum to her
discography that some listeners might find more dignified and less
dated in some respects than her more gushily produced studio records.
Tennessee Ernie Ford, 6000 Sunset Boulevard
(Sundazed). In the spring of 1953, Tennessee Ernie Ford – then near the
peak of his popularity – recorded an amazing amount of transcriptions
for RadiOzark at Western Recorders on 6000 Sunset Boulevard in Los
Angeles. Twenty-three songs from those sessions are on this important
archival collection, which isn't only of interest to Ford fans or early
country scholars. For one thing, the sound, considering the age and
source of the original recordings, is amazing – it's clear and full, on
par with studio sessions for commercial releases. Also, Ford is backed
by a fine band including pedal steel virtuoso Speedy West, a notable
recording artist in his own right who gets an instrumental showcase for
his astonishing steel guitar work on Rodgers-Hart's "Lover." Also in
the lineup are a young Billy Strange on rhythm guitar, Billy Liebert on
accordion and piano, George Bruns on bass and trombone, and Harold
Hensley on violin and clarinet, with most of the guys also contributing
backup vocals. Though Ford was nominally a country singer, the songs
selected for this compilation show him to be at home with interpreting
many strains of American popular music through his easygoing style,
from covers of hits by Eddy Arnold, Bunny Berigan, and Fats Waller to
standards like "Try a Little Tenderness," "There'll Be Some Changes
Made," and Hoagy Carmichael's "Up a Lazy River" and "Georgia on My
Mind." These might have been recorded in a professional studio for
radio transcriptions, but the result comes off almost like an informal
living room/front porch musical get-together, Ford joking around
amiably with his band between songs. It should be acknowledged that for
all its quality, this is nonetheless not the place to hear Ford at his
best or most representative, it being light on the country boogies for
which he was most known for playing on his hit records of the period,
and heavier on his covers of non-country pop tunes than might be
expected. But as good-sounding and well-played material showing another
facet of Ford in his prime, it's hard to beat.
The
Fugs, Don't Stop! Don't Stop! (Ace/Fugs). You might guess that
a four-CD box set of 1960s Fugs recordings would almost by definition
have to sample from most or all of their recording career during that
decade. Fugs fans and collectors, however, should be aware that while
this compilation has a lot of noteworthy music, its focus is somewhat
selective. Basically, the first two discs are expanded versions of what
remain their most famous recordings, The
Fugs First Album and The Fugs
Second Album; in fact, they're identical to the CD reissues of
these albums that came out through Ace Records in 1993, containing the
exact same wealth of bonus tracks. Discs three and four are the ones
that will excite collectors the most, as they're entirely devoted to
previously unreleased recordings from 1965-1969. That does mean,
however, that there's nothing from their numerous releases on Reprise
in the late 1960s (though those have admittedly been well represented
on the Rhino Handmade box set Electromagnetic
Steamboat: The Reprise Recordings), or some of their peripheral
pre-Reprise efforts.
While the two discs (and approximately two hours) of unissued
live/studio/miscellaneous material on the final two CDs are a boon to
Fugs collectors/completists, these are, like much of the other live
material and outtakes by the group that saw belated release, pretty
uneven listening as regards the quality of both the sound and material.
Some of the fidelity alone is funky enough to relegate some
performances to the "of historical interest only" category, as are the
less disciplined, more spoken-word-oriented, determinedly humorously
wacky items. It's also true that while the five consecutive versions of
"Nothing" (all taken from different times and places) illustrate the
different approaches the band took to one of their more noteworthy
early songs, they'll test the patience of all but the most committed
Fugs lover, as will a 12-minute compilation of snippets from a cappella
Tuli Kupferberg performances.
Nonetheless, if little of this is anywhere near on par with their
better studio recordings, there are occasional cuts that hold their own
as decent auxiliary additions to the Fugs library, like most of the
alternate takes from their first Folkways session in April 1965; the
1969 effort "As My Moog Weeps," which does indeed include some early
spooky Moog; and an exhilarating, if not quite wonderfully recorded,
version of one of their best psychedelic songs, "Crystal Liaison," cut
live the Fillmore East. Quite a few of the tunes illustrate Ed Sanders'
exploration of what he terms, in his liner notes, "Country and Western
Beatnik," and while these didn't represent his most satisfying
excursions, they did point the way toward much of the music he'd make
on his solo debut album Sanders'
Truckstop; in fact, one of them, "Jimmy Joe, the Hippybilly
Boy," would become that LP's leadoff song. "Elegy for Robert
Kennedy," on which Sanders' singing is accompanied only by Dan
Hamburg's acoustic guitar, also proves he could write moving, fairly
straight melodic folk music on occasion.
But the first two discs have the music upon which the Fugs' foundation
was built, even if many of the fans likely to investigate a box such of
this will already have those tracks. The
Fugs First Album is featured on disc one, and while ramshackle
in its amateurish jug-band-cum-rock-band way, it looks forward to punk
and folk-rock while busting numerous lyrical taboos. The eleven
additional studio outtakes and live cuts on that CD are largely on a
lower and less original level, but do include a few worthy
compositions, such as "We're the Fugs," "The Ten Commandments," "CIA
Man," and "I Saw the Best Minds of My Generation Rock." The Fugs Second Album, featured on
disc two, remains their best record, the band tightening immensely into
a full-fledged rock group and offering some of their signature
sex/protest/satirical tunes in "Frenzy," "Dirty Old Man," "Kill for
Peace," and "Doin' All Right," along with some surprisingly tender
folk-rock. The five bonus cuts on that disc include two live songs from
1967 and three pretty appealing tracks from an unreleased '67 Atlantic
LP that make one lament the failure of the entire album to appear.
Unfortunately, while the dates and locations of some of the previously
unreleased tracks are included, in many cases they're not noted;
perhaps the precise information is no longer available, the unissued
stuff having been compiled by Sanders himself after listening to about
100 hours of material. As some compensation for that missing info,
Sanders supplies a lengthy and entertaining history of the Fugs in the
1960s in the sizable liner note booklet, which also includes a wealth
of period photos and memorabilia. In all Don't Stop! Don't Stop! isn't a
definitive box set retrospective, but if you know you want their first
two albums in their most definitive versions plus a wealth of
marginalia impossible to find anywhere else, it's a very well done
package.
The Jesters, Cadillac Men: The Sun Masters (Big
Beat). It might come as a surprise that a full-length CD credited to
the mid-1960s Memphis band the Jesters even exists, since their total
released output while they were active was limited to just one single.
Ace researcher Alec Palao has done his usual impeccable job of digging
through the vaults, however, to come up with this 18-track
retrospective, featuring both sides of their 1966 Sun single "Cadillac
Man"/"My Babe"; four tracks that came out on a 1989 various artists box
set compilation; seven previously unreleased cuts, including an
alternate version of "Cadillac Man"; a Sun recording on which the
Jesters backed Jimmy Day; and four tracks by the Escapades, the band
singer Tommy Minga fronted after leaving the Jesters in late 1965.
Though "Cadillac Man" is interesting as a kind of mid-'50s Chuck Berry
soundalike item, the band's truer personality seems to come through in
the recordings not released at the time. In those, they sound a little
like a crazed '60s garage band (if that's not a redundant description)
that owe far more to '50s rock'n'roll, rockabilly, and R&B than the
usual such group – not as if they've digested those influences
primarily via British Invasion bands, but more like they've studied the
original '50s performers themselves. Bo Diddley and Chuck Berry might
be the most audible of those influences, but certainly you can hear
some Carl Perkins (whose "Boppin' the Blues" they cover), as well as
some raw frat rock and Chicago blues. To be honest, the songwriting is
more okay than brilliant, and the musicianship a little unpolished even
by garage band standards, but it certainly makes for an interesting
deviation from the usual garage rock excavation. The Escapades' tracks
are almost slick by comparison and far more in the standard garage-pop
mold (complete with sullen lyrics and swirling organ), but they're
hardly gratuitous inclusions, as "I Tell No Lies" is well above average
for that style; in fact, it's the best song on the compilation.
Mick Jones/Tommy
Brown, State of Micky and Tommy
(Magic). It's not well known, but long before he joined Foreigner – and
even before he was in Spooky Tooth – Mick Jones made quite a few
records with Tommy Brown, the pair working in France for much of the
period. This French CD collects 24 tracks in which they were involved
between 1965 and 1971, encompassing recordings billed to several
different monikers, including the State of Micky and Tommy, the
Blackburds, Nimrod, the J&B, and Thomas F. Browne. It may be that
the singles they released as the State of Micky and Tommy, obscure as
those 45s are, are the most known of the lot, especially "With Love
from One to Five," which has shown up on a few relatively high-profile
UK psychedelia compilations. That does happen to be one of the better
numbers, but generally this CD has fair, though not exceptional, music
that reflects the British mod/pop-rock/psychedelic trends of the time
with occasional hints of French and continental influences. "With Love
from One to Five" is typical if classy 1967 orchestrated pop-psych;
"Nobody Knows Where You've Been" strongly recalls the arrangements on Sgt. Pepper cuts like "Within You,
Without You"; and "Frisco Bay" is nice dainty, dreamy pop with beatific
Summer of Love lyrics and the lightest of hints of rage-rock. All of
those songs were found on singles credited to the State of Micky &
Tommy; the ones billed to the Blackburds are more like soul-flavored
British mod rock that could serve as incidental film music, while
Nimrod's 1969 single "The Bird" (previously included on several
collector-oriented comps of rare British psychedelia) is a fairly
strong relic bridging psychedelia with early progressive rock. The best
track, however, is the relatively unheralded 1966 single "There She
Goes" by the J&B, a quite haunting, dramatic song that's a bit like
a mini-soundtrack to a story of Swinging London heartbreak. As a whole
this will hardly qualify Jones and Brown as lost masters of
mid-to-late-'60s British rock, but there's pleasant period music of the
genre to be heard, virtually all of it from extremely rare recordings
(including soundtracks).
Al Kooper, I Stand Alone/You Never Know Who Your
Friends Are...Plus (Raven). Al Kooper is destined to be
remembered mostly as an ace session player and band member (of the
Blues Project and Blood, Sweat & Tears), not as a solo artist,
despite the numerous albums he issued under his own name. But though
this two-CD set covers only his earliest solo work, it could be argued
that it's the best compilation of recordings he made on his own, though
certainly not one that represents the scope of his career, whether done
alone or with others. This Australian anthology presents both of his
first two albums, 1968's I Stand
Alone and 1969's You Never
Know Who Your Friends Are, in their entirety, as well as five
tracks from his third album (1970's Easy
Does It) and a couple he contributed to the 1970 soundtrack The Landlord. While they didn't
attract much in the way of sales or attention at the time or since, I Stand Alone in particular
showcases his versatile facility with soul-pop and pop-rock with a
baroque psychedelic tinge. Even if his vocals are only adequate and the
use of numerous sound effects links has dated badly, it's worth hearing
for "Right Now for You" alone, as that's the finest facsimile of the
late-period Zombies ever cut (perhaps unsurprisingly so, as Kooper was
instrumental in getting that group's Odessey
and Oracle released in the US). The less impressive You Never Know Who Your Friends Are
is more soul/R&B-oriented, but Kooper's skills as a keyboardist and
arranger are consistently evident here and on the similarly eclectic
bonus material, though his songwriting isn't up to the same level. The
CD's sensibly sequenced so that I
Can't Stand Alone and You
Never Know Who Your Friends Are are placed on disc one and two
respectively, with all of the bonus tracks being placed at the end of
disc two.
Peter,
Paul and Mary, The Solo Recordings
(1971-72) (Rhino). This three-CD set is a rather odd
entry into the Peter, Paul and Mary discography, as although it's
credited to Peter, Paul and Mary, it in fact consists entirely of solo
recordings by each of the group's three members. Each of the three
discs is devoted to one of the solo debut albums that were issued
around the same time by Warner Brothers, those being Peter Yarrow's Peter (from early 1972), Noel
Stookey's Paul And (from
mid-1971), and Mary Travers' Mary
(from early 1971). There are no extra or unreleased bonus tracks,
though there are lengthy historical liner notes with first-hand quotes
from each of the singers.
Nonetheless, taken as a whole it does encapsulate that time in PPM's
careers when the trio had just split up and were pretty much
simultaneously venturing into solo careers. It's true that for general
folk and pop fans (and for many serious Peter, Paul and Mary fans),
these records are something of adjuncts or even footnotes to the work
they did as a group. It's also true that these LPs sometimes to varying
degrees sound like Peter, Paul and Mary records that are missing
essential collaborative ingredients -- particularly vocal harmonies and
stronger material -- that would put them more on par with the music
they made as a threesome. Still, each of the records does have some
worthwhile stuff, and none of them are poor or embarrassing. And while
none of them would be commercial successes on the order of PPM's 1960s
hits, they nevertheless were by far the most popular of their 1970s
solo recordings.
In a surprise a little on the order of George Harrison's All Things Must Pass being the
biggest hit of the Beatles' first round of significant solo releases,
Noel Stookey's Paul And was
the most popular of these three records, in large part due to the
inclusion of the Top Thirty single "Wedding Song (There Is Love)." This
was also the LP that fit in best with contemporary singer-songwriter
trends in its comfortably easygoing rock arrangements, as well as being
by far the breeziest and most good-humored of the three (as was no
surprise to those who knew Stookey as the comedian of the group). The
sentimental "Wedding Song" actually isn't too typical of an album
largely given over to good-natured, even-tempered, at times even mildly
rocking Stookey songs that sometimes owe something to fellow Albert
Grossman clients the Band in tone. For those who pine for Peter, Paul
and Mary's folkier elements, "Give a Damn" offers those in its wry
talking blues and "Tender Hands" is a throwback to earnest '60s
romantic folk troubadouring, though the more elegiac ballad "Sebastian"
is the most impressive Stookey original on the record.
Since he was known as the most politically active member of Peter, Paul
and Mary, some listeners might have expected Peter Yarrow's debut solo
album Peter to be the most
successful, or least most ambitious, of the three debut solo LPs issued
by the trio in the early 1970s. Of those three records, it certainly is
the one most in line with the uplifting socially conscious music often
associated with the group's 1960s work, whether the lyrics are personal
or political. It's also perhaps unavoidably true that the songs – all
written or co-written by Yarrow – aren't as memorable as the best of
Peter, Paul and Mary's, and that the arrangements can sound odd for
those accustomed to hearing his vocals in the context of the trio's
stirring harmonies. But gearing your expectations to an early-'70s
singer-songwriter album rather than stacking it against Peter, Paul and
Mary, it's a pleasantly accomplished effort, if a bit tilted toward the
gentle and sweet (particularly in the vocal department). With backup
from such accomplished musicians as guitarist John Till (who'd recently
been in Janis Joplin's Full Tilt Boogie Band), Paul Butterfield, John
Simon, and backup singers Libby Titus and Maria Muldaur, it also shows
Yarrow adapting to the early-'70s soft rock sound expected of
singer-songwriters, though things never get too cutting or fierce.
"Don't Ever Take Away My Freedom" and the singalong-friendly "Weave Me
the Sunshine" are the songs most imbued with the staunch liberalism
Peter, Paul and Mary typified, but more effective is the more
introspective "Take Off Your Mask," whose penetratingly strange Garth
Hudson organ solos are the highlights of the entire album. Other
superior cuts are "Wings of Time," the track that lies closest to
traditional folk music, and the bittersweet "Tall Pine Trees," which is
notably Russian-influenced in both melody and arrangement.
As the most popular and photogenic member of the trio, commercial
expectations might have run highest for Mary Travers, but she was at a
disadvantage in being far less prolific a songwriter than Peter Yarrow
or Noel Stookey. Indeed she wrote just a little material (co-writing
two songs) on Mary, which in
broad terms saw her cast as an interpreter of songs by contemporary
songwriters with a touch of arty orchestration, somewhat in the mold of
records of the period by fellow veteran folk boom vets Judy Collins and
(to a lesser degree) Joan Baez. Generally speaking, however, she didn't
address material by composers as strong as Collins and Baez had, Mary featuring songs by Rod McKuen,
Elton John, Paul Simon, and others, including some by John Denver
(whose "Follow Me" gave her a minor hit single, and who also plays
guitar on the album). More than Yarrow or Stookey, Travers suffered
when taking the solo vocal spotlight for an entire album, not being as
strong or varied a singer as, say, Collins or Baez. All those
shortcomings noted, it was still an acceptable recording of its style
(and the only Travers solo album to dent the Top 100), if perhaps one
of more interest these days to Peter, Paul and Mary fans than anyone
else. It's certainly on the earnest side – even more so than PPM's
1960s output – including new versions of a couple of songs she recorded
as a member of that group, "The Song Is Love" and "The First Time Ever
I Saw Your Face."
Linda Ronstadt, Long, Long Time Ago: Video Archive
1967-1987 [DVD] (Foxberry). Almost two-and-a-half hours
of color film clips of Linda Ronstadt, spanning the late 1960s to the
late 1980s, are featured on this unauthorized two-DVD set. Starting all
the way back with her days as lead singer for the Stone Poneys (on
three songs done live at the Bitter End club), it's devoted primarily
to television appearances, and also, refreshingly, consists mostly of
live rather than mimed performances. No doubt there's more Ronstadt
footage in existence, but it's hard to imagine a better retrospective
of this period, particularly as a lot of space is given to her
pre-superstardom era in the late 1960s and early 1970s. Most of that's
found on disc one, which includes some surprising duets with Neil
Diamond, Glen Campbell, Johnny Cash, and Bobby Darin (who backs her on
acoustic guitar), as well as a set on Don
Kirschner's Rock Concert on which she's backed by the Eagles,
also playing guitar on an acoustic version of Buddy Holly's "It Doesn't
Matter Anymore" with guitarist Bernie Leadon as sole accompanist. It's
also a surprise to see her in unexpected settings like Playboy After Dark (at the outset
of her solo career) and Tennessee State Prison (just as she was
emerging as a big star in 1974). There are also, of course, a good of
number of clips from her mid-'70s superstar era, as well as duets with
Phoebe Snow, Smokey Robinson, Randy Newman, and at the very end, a 1987
Saturday Night Live appearance
fronting the Mariachi Vargas. There are small drawbacks to this
package: some might find five versions of "Long, Long Time" (people
tend to forget that was her only Top Forty hit prior to 1975) too many,
there are too many oldies covers in the later years, and the compilers
have seen fit to periodically put a small unnecessary logo with the
title of this DVD on the screen. But the audiovisual quality is
consistently good to excellent, and though no doubt there would be
small improvements in the presentation and sequencing should it have
been assembled for official release, this is a fine collection as is.
Nina
Simone, To Be Free
(RCA/Legacy). There's no question that Nina Simone is richly deserving
of a three-CD (plus one DVD), 51-song box set such as To Be Free. From the late 1950s
until her death, she was one of the great unclassifiable pop singers of
the twentieth century, and if her voluminous recording career was
erratic, the first fifteen years at any rate had many highlights. Any
complaint about this particular package has more to do with the balance
of eras represented than the quality of the contents, which is
generally very good. If one is to criticize, however, it's that it does
seem heavily weighted toward her 1967-73 recordings for RCA, which take
up about two-thirds of the three audio discs. Perhaps that's because
it's on the RCA/Legacy label, but certainly a good case could be made
that her pre-1967 recordings for a variety of other companies (most
often Philips) were worthy of greater representation.
To focus on the positives, however, most of disc one does include strong pre-RCA tracks
from the first decade of her recording career, including some of her
best known classics of the time, like "My Baby Just Cares for Me,"
"Don't Let Me Be Misunderstood," "See-Line Woman," "I Put a Spell on
You," and "Four Women." While the RCA era arguably saw her move too
much into pop-oriented production on occasion and too many covers of
pop-rock hits, the selections from that era are chosen with
intelligence, including a good number of live tracks. The two post-1973
cuts – one from 1978, and one from her final proper album, 1993's A Single Woman – seem like
afterthoughts to ensure that most of her career was covered in some
way, but that's justifiable considering that the last three decades of
her life saw little in the way of noteworthy recordings.
Though there's not much in the way of rarities, the set also does
contain half a dozen previously unreleased live tracks of merit, as
well as a couple (a live cover of Leonard Cohen's "Suzanne" and an
alternate version of "Ain't Got No—I Got Life") that make their first
US appearance. The most tantalizing item for serious Simone fans is the
DVD of a 1970 television special, though it turns out to be a little
less exciting than one might have hoped. Lasting just 23 minutes, it
intersperses scenes of her recording, rehearsing, and performing
onstage (most of the songs being fragments, highlighted by a complete
live version of "Go to Hell") with interview snippets in which Simone
offers basic comments on the rewards and difficulties of being a
creative musician.
Still, in all this is a very good box set illustrating Simone's
facility at jumping between and blending numerous genres, including
soul, pop, rock, jazz, Broadway, classical, and even (on the previously
unissued 1973 live performance "Nina") world fusion music of sorts with
backing by sitar and kalimba. Just don't necessarily take it as a
summation of all her greatest work, with much more from the pre-1967
period in particular thankfully available to investigate on other CDs.
The Swinging Blue Jeans,
Good Golly, Miss Molly! The EMI Years
1963-1969 (EMI). Like the similarly extensive four-CD
sets released by EMI in 2008 for Gerry & the Pacemakers and
Herman's Hermits, Good Golly, Miss
Molly! The EMI Years 1963-1969 – its four discs including a
whopping 118 tracks – is an acquisition that separates the mere British
Invasion fanatic from the dangerous obsessive. Its very existence is
astonishing considering that the Swinging Blue Jeans had far less
commercial success than either Gerry & the Pacemakers or Herman's
Hermits, with just one Top Thirty hit to their credit in the US (and
just three Top Twenty entries in their native UK). Nevertheless, very
serious Merseybeat collectors will be pleased that this anthology not
only has every last studio track that appeared on a 1960s Swinging Blue
Jeans studio release, but also about a dozen previously unissued cuts.
And even the previously released material includes some items that are
hardly common fare, like four songs recorded in German specifically for
the German market; numerous rare A-sides and B-sides that were
particularly hard to find in the US; and tracks that first appeared on
a Canadian LP or CD compilations that are now themselves not all that
easy to find.
Like that EMI four-CD job for Gerry & the Pacemakers, however, it's
padded by a fourth disc consisting entirely of stereo versions of
tracks that are all included on the previous three CDs. And as with the
Pacemakers set, it must be said that when you get beyond the two dozen
or so songs that have been readily available on previous single-disc
best-ofs, the standard drops dramatically, at times risking boring even
enthusiasts of the group. Still, in addition to the expected highlights
("Hippy Hippy Shake," their British hit cover of "You're No Good," and
unsung A-sides and B-sides like "Think of Me," "It's Too Late Now,"
"Shakin' Feeling," "Promise You'll Tell Her," and "What Can I Do
Today"), there are a few things that'll excite even the seasoned
Swinging Blue Jeans collector. There's a previously unissued early
version of "It's Too Late Now" from their February 1963 recording test
(at which they were still using a banjo in their lineup); an unexpected
cover of the Beatles' "This Boy" that surfaced on a Canadian LP; a
German version of "Shakin' Feeling"; and the 1966 arrangement of "Now
That You've Got Me (You Don't Seem to Want Me)," which is considerably
superior to the one that ended up on a 1968 single. There are also, it
has to be said, a number of routine rock'n'roll covers (a la the
previously unreleased "Dizzy Miss Lizzy," recorded at EMI in November
1963 well in advance of the Beatles' studio version), and the late-'60s
efforts on disc three find the group struggling for a new style after
the disappearance of Merseybeat and getting saddled with mediocre pop
tunes. Nevertheless, there's more good brashly energetic Merseybeat
here than not, and Merseybeat expert Spencer Leigh's customarily
authoritative liner notes are welcome, as is the detailed
sessionography.
Vince Taylor, Jet Black Leather Machine (Ace).
Vince Taylor is a legend of early British rock'n'roll. He wrote and
recorded one of the few pre-Beatles UK rock songs that can be hailed as
a legitimate classic ("Brand New Cadillac"), and also led a madly
colorful life that saw him eventually gain stature as one of rock's
earliest demented burnouts. For all his legend, however, there's never
been a compilation that effectively gathered the best of his recorded
output onto one disc – until this one. Jet Black Leather Machine, finally,
manages to cross-license the best and hardest-rocking of both his
late-'50s British recordings and the early-to-mid-'60s tracks he cut in
France, all but one of these 21 tracks originating from 1958-65. Does
it live up to the legend of this manically energetic singer who tried
to come off as a cross between Elvis Presley and Gene Vincent, as well
as claim not quite genuine American origins (he did live there for a
few years in the 1950s, but was born and raised in Britain)?
Yes and no, though any disappointment is negated by the surprising
force and sheer enjoyability of most of this set. In all honesty,
Taylor wasn't that great a singer, and though he did write "Jet Black
Machine," most of his recorded repertoire was limited to American
rock'n'roll covers that the original artists did better. Yet his lack
of innate talent was compensated for by both an idiosyncratic,
over-the-top enthusiasm – a faint precursor, perhaps, to the many punk
and post-punk singers who similarly didn't let a shortage of standard
vocal chops stand in their way – and some genuinely ripping backup
musicians, even when he's accompanied by British ones in the late '50s.
The menacing "Brand New Cadillac" alone would solidify his place in
history, but he did manage a few other good sides that weren't American
rock covers, most notably "Jet Black Machine." And even those covers of
American rockers – which do comprise well over half of this set –
usually pummeled along pretty hard, whether his 1958 debut single "I
Like Love" (a Sun Records cover with a young, pre-Hamburg Tony Sheridan
on guitar) or his 1965 version of "My Baby Left Me," which has some
truly astonishing guitar leads that rank right up there with the most
ferocious axework of the British Invasion. Bravo to Ace for
intelligently selecting the best of this wayward British rock pioneer's
highly erratic discography, complete with a fine career overview in
Kieron Tyler's lengthy liner notes.
We
Five, There Stands the Door (Big
Beat). Though "You Were on My Mind" was one of the first and best big
folk-rock hits, We Five's reputation as early folk-rock pioneers has
suffered from the abundance of weak and ill-suited pop material on the
spotty two LPs recorded by the original lineup. It's no exaggeration to
hail the 22-track There Stands the
Door as a major rehabilitation of the group's legacy. That's due
both to the wise selection of their best and most folk-rock-oriented
material, and to the inclusion of eight previously unissued cuts (and
one non-LP A-side) that do much to fill out a fairer portrait of the
group's strengths. Instead of sounding like a wildly erratic outfit
prone to interpreting too many pop standards and show tunes, this
cherry-picked anthology shows them more as a highly worthwhile, if a
little lightweight, early folk-rock group who helped innovate the
male-female harmonies characteristic of early San Francisco folk-rock
in particular. The CD focuses both on the group's best original
material (often penned by John Stewart's brother Mike Stewart) and
their most appropriate choices of folky songs to cover, including
several compositions by John Stewart and an obscure tune (the
previously unissued "What'Cha Gonna Do") co-written by Bob Gibson, Shel
Silverstein, and Fred Neil. All but a couple of the tracks were
recorded prior to the first lineup's dissolution in spring 1967, and
Beverly Bevin's vocals in particular anticipate aspects of the San
Francisco folk-rock singing heard in early Jefferson Airplane
recordings, particularly on the 1966 single "You Let a Love Burn Out."
From the same year, the non-LP single "There Stands the Door" hints at
some more musically and lyrically adventurous directions that went
unexplored, even if its adventurousness is fairly mild compared to that
of the Airplane. True, "You Were on My Mind" remains the best track
they ever did by some distance. But much more than their original LPs, There Stands the Door stands as
their true best-of, and if its concentration on folk-rock gives a
somewhat incomplete document of their eclectic repertoire, it does
indisputably focus on the best of that repertoire. Note that a couple
of the unissued tracks (judiciously placed at the end of the CD) are
actually taken from recordings they made for Coke commercials; while
they're hardly emblematic of the group at their best, they certainly
are rare and thus to be welcomed by hardcore collectors. A more
significant bonus is Alec Palao's extensive annotation, in which
first-hand interviews with surviving band members do much to flesh out
the history of this ill-documented group.
Various Artists, Glitter and Gold: Words and Music by Barry
Mann and Cynthia Weil (Ace). In common with Ace's
numerous other anthologies devoted to compositions by major 1960s
pop-rock songwriters, Glitter and
Gold: Words and Music by Barry Mann and Cynthia Weil isn't quite
either a best-of or rarities compilation. Instead, it mixes some big
and small hits with collectors' items, with just one of the 26 tracks
(Dion's "Make the Woman Love Me") postdating 1970 and a few songs in
which they didn't collaborate or other songwriters were also involved,
though most of them are pure Mann-Weil creations. The average Brill
Building pop fan will notice right away that a few of their signature
hits are absent, particularly the Righteous Brothers' "You've Lost That
Lovin' Feeling," and "(You're My) Soul and Inspiration," the Animals'
"We Gotta Get out of This Place," the Ronettes' "Walking in the Rain,"
and the Crystals' "He's Sure the Boy I Love." Working on the assumption
that the core audience for this reissue already has those songs
elsewhere, however, this is an expectedly (given the standards Ace
always brings to these collections) fine roundup of the best and rarest
of the rest, even if the determination to include some collectors'
items ensures a somewhat erratic listen.
As for the big hits that are included, you do get Mama Cass' "It's
Getting Better," Gene Pitney's "I'm Gonna Be Strong," Paul Revere &
the Raiders' "Hungry," B.J. Thomas' "I Just Can't Help Believing," and
the Vogues' "Magic Town," and if some might be disappointed that the
version of "Kicks" is by Del Shannon and not the Paul Revere hit, at
least it's more off the beaten track. As for the outstanding tunes that
weren't smashes, Arthur Alexander's "Where Have You Been (All My Life)"
is a soulful ballad covered by the Beatles in their early days; the
Girls' sinister Shangri-Las-like "Chico's Girl" is one of the greatest
girl group rarities; Nino Tempo & April Stevens' "The Coldest Night
of the Year" is a nice whispery, sexy number; and the Righteous
Brothers' "See That Girl" has the same Phil Spectorian sweep of their
big hits. Beyond that, things get spotty, if usually interesting, some
of the more notable cuts including Joanie Sommers' "I'd Be So Good for
You" (even if it sounds a lot like Skeeter Davis' "Let Me Get Close to
You"); the uplifting "Girl, It's Alright Now" by Bruce & Terry, aka
Beach Boy Bruce Johnston with producer Terry Melcher; and Bill Medley's
small 1968 hit "Brown Eyed Woman," a veiled reference to an interracial
romance. A bunch of the other selections are minor footnotes to Mann
and Weil's greatest material, whether they're non-hits by stars like
the Tokens, Marcels, Chiffons, and Turtles, or just plain obscurities
by the likes of Bergen White and the 2 of Clubs. At almost all times,
however, Mann-Weil's attentiveness to melodic detail and thoughtful
song construction are in evidence, making this an illuminating
anthology for all fans of one of the great Brill Building songwriting
teams.
Various
Artists, Holy Mackerel! Pretenders
to Little Richard's Throne (Ace). Like any star who has a
lot of big hits, Little Richard spawned his share of imitators in the
late 1950s and early 1960s, or at least records on which a singer tried
to sound like him. It's probably not realized even by most Little
Richard fans in particular and rock'n'roll collectors in general,
however, just how often other artists tried to hitch a ride on his
bandwagon. Holy Mackerel! Pretenders
to Little Richard's Throne compiles no less than 25 such
examples (albeit one track, the World Famous Upsetters' 1962 cover of
"I'm in Love Again," on which Little Richard himself sings without
getting billing). The assembled perpetuators include some stars who
tried their hand at Richard-esque songs, whoops, and hollers, if only
briefly, like James Brown, Joe Tex (under the pseudonym of Little
Booker), Lowell Fulson, and Dee Clark. They even include some women who
aren't exactly no-names, like Etta James, gospel singer Marie Knight,
and (with husband Ike Turner) Tina Turner. Is it entertaining? Well,
sure – if you get this many examples of competent (and in some cases
way more than competent) rock'n'rollers trying to replicate Little
Richard to some degree, there's no way there can't be some good if
somewhat exploitative fun. But here's the thing – even a Little Richard
greatest hits collection doesn't exactly have as much variety as many
best-ofs by early rock'n'roll greats. You'll have to have a big
appetite for Richard's mannerisms to get a kick out of this nonstop,
since none of the songs are on the level of Little Richard's actual big
hits, even as they borrow heavily from various elements of his style,
like his pounding piano and gospelish trills. There's only one track,
Bunker Hill's truly demented "The Girl Can't Dance," that's highly
memorable under its own steam, with a searing in-the-red vocal and
clamorous backup (by Link Wray and the Raymen) that's astonishingly raw
for a 1963 release. It's also odd to hear some talented singers for
whom Little Richard imitation clearly isn't a forte, like Dee Clark,
who seems a little out of his comfort zone on "24 Boyfriends." There's
still reasonable fun involved, of course, in hearing such a
concentrated dose of Little Richard as an influence, including songs
here and there that stand okay by themselves, like Big Al Downing's
"Miss Lucy."
Various Artists, Respect: Aretha's Influences and
Inspiration (Ace). Aretha Franklin is not especially
thought of as a "cover" artist since she wrote a good deal of her own
material (and had many songs supplied to her to interpret first), but
she has covered many soul, R&B, and gospel songs on record. The
idea behind Respect: Aretha's
Influences and Inspiration is a very good one: to collect a
couple dozen versions of songs, often the original ones, that Franklin
herself would record, usually on Atlantic in the late 1960s and early
1970s (though songs that she recorded prior to 1967 on Columbia and
even on her teenaged 1950s gospel sides are also represented). A few of
the tracks on this CD are very well known, and in fact were sometimes
even big hits in their own right, like Dionne Warwick's "I Say a Little
Prayer," Nina Simone's "To Be Young, Gifted and Black," Otis Redding's
"Respect," Brenda Holloway's "Every Little Bit Hurts," Ray Charles'
"Drown in My Own Tears," James Carr's "The Dark End of the Street," and
Ben E. King's "Don't Play That Song (You Lied)." For the deeper soul
fan, however, the chief pleasures are the more obscure templates that
you might not already have in your collection, including cuts by
legends like Wilson Pickett, Bobby Bland, Jackie Wilson, Ray Charles,
Bill Withers, Percy Mayfield, Johnny Ace, James Carr, Howard
Tate, and Bobby Womack. Especially interesting are the more obscure
source points for Aretha, like Thelma Jones' little-known original
version of "The House That Jack Built"; Dinah Washington's "Soulville,"
one of the hardest-rocking tracks she ever did; efforts by singers
(Jean Wells on "Sit Down and Cry," and Mary Wheeler on "Prove It") who
are known almost exclusively to soul collectors; and lowdown blues by
Big Maybelle (on "Pitiful"). Owing to Franklin's taste and the skills
of her predecessors, the effect is very much like that of hearing a
good soul/R&B mix tape, but one with thorough expert annotation and
packaging. Even some of the well-known cuts are made more interesting
to experts by the use of (in the case of Redding's "Respect" and King's
"Don't Play That Song (You Lied)") rarer LP versions. It does have to
be said that it can't quite maintain the level of songs that were
classics in their pre-Franklin incarnations (like the aforementioned
ones by Redding, Simone, King, and Warwick, as well as Don Covay &
the Goodtimers' "See Saw") throughout. Little Miss Cornshucks' "Try a
Little Tenderness," for instance, is quaint next to the soulafied
treatments of Redding or Franklin. On the whole, however, it's that
too-rare cross-licensed thematic compilation that's both highly
entertaining and highly educational.
Various Artists, The Soul of Spanish Harlem
(BGP). In the late 1960s and early 1970s, many New York Latin musicians
became increasingly influenced by R&B and soul music. One could
trace exchange among the styles all the way back to the birth of
rock'n'roll if so inclined, but often the sounds cut by this circle
were heard mostly or exclusively by a US-based Latin audience, with
only a little crossover to pop and African-American listeners. The Soul of Spanish Harlem collects
20 such tracks from the era (a couple of them previously unreleased),
done for labels that for the most part were targeting the Latin market,
the most prominent of them being Fania (though releases by other
companies are also included). Even if you're a collector of this stuff,
it's likely few of the names will ring bells, with the exception
perhaps of Joe Bataan and Monguito Santamaria (Mongo Santamaria's son).
While mixtures of Latin music, jazz, and soul (and even a bit of doo
wop) are the general focus, it's hard to categorize the tracks with
precision, since the concentration of elements vary so widely. Some
cuts are essentially Latin-flavored jazz with a bit of soul; others are
vocal group soul with just a hint of Latin sounds in the melodies and
rhythms. What matters most is that it's consistently earthy, heartfelt,
and – at least to rock and pop listeners for whom these blends are
unfamiliar – quite unpredictable. It is true that those stylistic
combinations are more interesting, for the most part, than the tunes,
which can be derivative (as the Terrible Frankie Nieves' "True Love" is
of Barbara Acklin's "The Same Girl," or 107th Street Stickball Team's
"On Old Broadway" is of the chorus in Petula Clark's "Downtown"). But
it's rarely less than entertaining, and a few sides do stand out as
particularly memorable, like the aforementioned "On Old Broadway"; King
Nando's invigoratingly swinging (if melodramatic) "Maria, Maria," which
could have stood a chance of crossover success in an edited version; or
the delectably dignified doo-wop/Latin jazz hybrid of Ralphie & the
Latin Lovers' "Lonely Has Been My Day." Though perhaps more remarkable
for the form than the content of the actual material, this CD is a very
worthwhile if fragmentary document of an important scene that remains
largely unknown to fans of the rock and soul of the era, with (as is
customary for the Ace family of labels) conscientious annotation and
illustration in the accompanying booklet.
Various Artists, Woodstock 69 Extended Edition [DVD]
(Johanna). For fans of late-1960s rock, and for fans of the Woodstock festival in particular,
this unauthorized four-DVD set of footage from the event is in several
respects a wonder to behold, though not without its imperfections.
There are more than six hours of footage spread across the four discs,
much of which has never made it onto the various versions of the movie
and outtakes of same that have found official release. What's more,
it's sorted into the actual order in which the performances were given,
starting with Richie Havens and ending with Jimi Hendrix. To all
appearances, most of the footage was actually filmed by the Woodstock filmmakers, and is of
generally very good quality, though a few gremlins creep in with
various slight image/sonic imperfections and gaps/incomplete
performances. The highlights are numerous, including several songs by
Jefferson Airplane at dawn that rank among the most interesting footage
of the band ever taken. Too, a bunch of the acts here didn't make it
into the 1970 Woodstock film,
including some very noted ones (Creedence Clearwater Revival, the Band,
Blood, Sweat & Tears, Johnny Winter, Ravi Shankar, the Grateful
Dead, Janis Joplin) and a few very obscure ones (Bert Sommer and Quill,
the latter of whom are only represented by a brief clip of them
creating an onstage rhythm).
Before getting too ga-ga over this set, a few features that might be
viewed as shortcomings have to be noted. There are a bunch of multiple
versions of songs that aren't actually different performances of the
songs, but different in terms of the camera setups used, which might
try the patience of more conventional listeners. A good deal of the
footage was done in the dark, and when you see the clips of Joplin,
Creedence, the Dead, BS&T, Winter, and the Band, you wonder if
their failure to make the film might have been a simple matter of the
images just not showing up well enough to look as good as the sets shot
in daylight. A few of the songs are incomplete – one guesses because
complete versions don't exist – most frustratingly in the case of the
Incredible String Band, for whom just a snippet of one tune is
featured. And for all its length, this doesn't either include all the
footage taken at the event – some other sequences have shown up on
bootleg DVDs of Crosby, Stills, Nash & Young, CCR, and the Who, for
instance, as well as an official DVD of Hendrix's Woodstock performance
– or even all the performers (Melanie being a notable absentee). A few
of the sequences, too, actually appear in the official 1970 Woodstock movie. Nevertheless,
until such time as a mammoth official box of all Woodstock footage
appears, this has plenty of unreleased material to enjoy, particularly
outstanding clips including Jefferson Airplane's "White Rabbit" and
"Somebody to Love"; Joe Cocker's "Let's Go Get Stoned"; and Janis
Joplin's "Ball and Chain."
PRESS BUTTON BELOW FOR MORE ALBUM
REVIEWS,
FROM 2000-2009:
ALBUM
REVIEWS:
A
SELECTION OF RECENT RELEASES, WINTER 2008-2009:
- The Beatles, Magical Mystery Tour Memories [DVD]
- The Bee Gees, Odessa [Deluxe Edition]
- The Doors, Live at the Matrix '67
- Franco &
Le Tpok Jazz, Francophonic
- The Incredible
String Band, Tricks of the Senses
- Wanda Jackson,
Live at Town Hall Party 1958
- Jefferson
Airplane, Airplane Farm [bootleg]
- Little Willie
John, Nineteen Sixty
Six: The David Axelrod & HB Barnum Sessions
- Johnny Johnson
& the Bandwagon, Breakin' Down
the Walls of Heartache: The Best of Johnny Johnson &
the Bandwagon 1968-1975
- John &
Yoko Ono Lennon, Filming to See the
Skies [DVD]
- Elvis Presley,
Kiss Me Quick Little Sister [bootleg]
- Relatively
Clean Rivers, Relatively Clean Rivers
- Sam &
Dave, The Original Soul Men
[DVD]
- Patti Smith, Under Review [DVD]
- Various
Artists, The Big Top Records Story
- Various
Artists, Break-A-Way: The Songs of
Jackie DeShannon 1961-1967
- Various
Artists, Do-Wah-Diddy: Words and
Music By Ellie Greenwich and Jeff Barry
- Various
Artists, Golden Age of American
Popular Music: The Country Hits
- Various
Artists, Hot Guitars: American
Guitar Tracks from the 1920s-1950s
- Various
Artists, Sing Me a Rainbow: A
Trident Anthology 1965-1967
- Various
Artists, Still Dead: The Grim
Reaper's Jukebox
PRESS BUTTON BELOW FOR MORE ALBUM
REVIEWS,
FROM 2000-2009:
The
Beatles, Magical Mystery Tour
Memories [DVD]
(MVD Visual). Though the actual onscreen presence of the Beatles
in this documentary is light, it's a decent overview of their 1967
movie Magical Mystery Tour.
As the title implies, it emphasizes
memories of those involved in some way in the filming, the talking
heads pepped up by a bit of home movie footage taken of the Beatles and
others on the sets. In truth Magical
Mystery Tour (the movie, not
the album) was one of the group's least successful and least
interesting major projects, but at least a good number of people who
did know the Beatles and were in their proximity during its making are
interviewed for this 55-minute DVD. Among them are Paul McCartney's
brother Mike McCartney, who contributed some ideas to the film (most
crucially getting the Bonzo Dog Band to play in one sequence); Neil
Innes of the Bonzo Dog Band themselves; press officer Tony Barrow; Tony
Bramwell, a personal assistant to the Beatles; Spencer Davis, who
visited the group on the set at one point; Miranda Ward, a journalist
who interviewed the Beatles during the filming; Freda Kelly, the fan
club president along for the ride; and even some of the dancers in the
"Your Mother Should Know" section. While Victor Spinetti would seem to
make a good choice as the documentary's narrator as he acted in the
film (and other Beatles movies), and he does offer the occasional
anecdote, his links are actually a little overly campy, though not
quite intrusively so. Since there aren't any major stories uncovered
here, and since some of the memories by fans and miscellaneous people
who happened to encounter the Beatles during the filming are kind of
trivial, it's perhaps best appreciated by Beatlemaniacs rather than
more general fans of the band. Note too that no actual Beatles music or
clips from the film itself are seen or heard in the documentary (though
the soundtrack has some facsimiles of Magical
Mystery Tour songs).
But at least there are plenty of still photos, some very brief vintage
interview clips, some extracts of audio tapes from interviews Miranda
Ward did with George Harrison and Ringo Starr while shooting took
place, and some fairly entertaining storytelling from the more central
participants. The twenty minutes of bonus features present less
essential outtakes from interviews with some of the principals who give
eyewitness accounts in the main documentary.
The Bee Gees, Odessa [Deluxe Edition] (Reprise/Rhino).
Reprise/Rhino went all-out for their deluxe edition treatment of the
Bee Gees' 1969 Odessa album.
Disc one of the three-CD set has the
album (originally a double LP) in its original mono mix; disc two
presents it in its original stereo mix; and disc three, most excitingly
for Bee Gees fans and collectors, offers 22 previously unreleased
tracks (and one promotional radio spot). It goes without saying,
perhaps, that this is a pretty specialized affair even by the standards
of deluxe editions, especially as Odessa
is not exactly considered a
core classic late-'60s rock album by mainstream audiences. It has its
merits, however, and even though ownership of both the stereo and mono
CDs might not be considered essential by the average Bee Gees fan,
fanatics will appreciate having both of them side by side (especially
as the mono mixes were made available in the US for the first time
here).
The real interest, of course, lies in the abundant previously
unreleased material. Most of this, it should be cautioned, consists of
alternate versions/mixes and demos of songs that made it onto the album
-- in fact there demos or alternate takes for every song from Odessa
besides "The British Opera" – although there are two previously
unissued tunes, "Pity" and "Nobody's Someone," that didn't make it onto
the album in any form. As is the case with alternates on many
expanded/deluxe CDs, you'd never put these recordings on par with the
officially released versions. Mostly they tend to confirm the Bee Gees'
judgment as to what takes and arrangements were used on the final LP,
with some obviously hesitant performances and a few songs lacking final
lyrical polish. But there are some notable interesting differences in
the batch, like the "You'll Never See My Face Again" minus
orchestration; an early version of "Edison" with different lyrics, at
that point titled "Barbara Came to Stay"; a much sparser, fairly
rudimentary demo of "Melody Fair," one of the best and most famous
songs on the album; "Never Say Never Again" with an upfront heavy fuzz
guitar that was erased from the finished master; a demo of "First of
May" with nothing more than piano backing; and, perhaps most
unexpectedly of all, a version of "With All Nations (International
Anthem)" with lyrics, although the one on the official LP ended up
being instrumental. As for the two songs with no counterparts on the
actual Odessa album,
"Nobody's Someone" is a characteristically
pleasantly sad, rather sorrowful (if rather lightweight) Bee Gees
original that was covered almost thirty years later by a virtually
unknown artist named Andrew (no last name); "Pity" is a more upbeat
midtempo piano-dominated number, but with a skeletal arrangement
obviously in need of completion.
Thorough liner notes explain the origination of the tracks and the
differences between the official and previously unreleased versions.
Thus overall this, like Reprise/Rhino's box set The Studio Albums
1967-1968 (which gives a similar expanded treatment to the three
previous Bee Gees albums), is a valuable supplement to the group's
standard 1960s discography. It is a release, however, that will be
somewhat limited in appeal to the general pop and rock audience, who
might not have the patience to sort through all the multiple versions.
The Doors, Live at the Matrix '67
(DMC/Bright Midnight/Rhino). When the Doors were playing at the Matrix
club in San Francisco on March 7 and March 10 of 1967, unofficial tapes
were made of their performances. Music from four sets (two each night)
from these gigs have long been available on bootleg, and a couple
tracks did show up on the Doors' 1997 box set. This two-CD package,
however, marks the first official release of material from these shows
in bulk. They represent the earliest concert recordings of the band
that have been made available, dating from just two months after the
release of their debut album (and from a few months before the "Light
My Fire" single would catch on and make them superstars). While this by
no means has the complete recordings from these two nights that have
circulated on bootleg, it does contain one version of every single song
captured on the tapes. The sound quality, too, is substantially
improved from those bootlegs (though it's not true, as the liner notes
claim, that all of those bootlegs had "the worst quality imaginable").
If it's not quite up to the level of the fidelity heard on most
official live albums (or even some more adeptly recorded Doors live
shows from later in their career that have seen official release), the
instruments and vocals come through pretty well, and can easily be
listened to for pleasure as well as historical archive value.
More important than the technical and discographical details, however,
is the quality of the performances themselves. And while they're
occasionally a bit ragged, and certainly not as sleek and cleanly
balanced as their studio recordings, you could make an argument for
this as the finest Doors live release, from the musical if not fidelity
viewpoint. For these are the Doors, and Jim Morrison in particular,
when they were still hungry and eager to make an impression, with
little of the somewhat self-parodying theatricalism that Morrison would
sometimes lapse into onstage after reaching superstardom. There are
lean, urgent versions of most of the songs from their classic debut
album, as well as, more surprisingly, about half the numbers from the
yet-to-be-released Strange Days.
"Unhappy Girl," "Moonlight Drive,"
"My Eyes Have Seen You," "People Are Strange," and "I Can't See Your
Face in My Mind" especially have notably sparer arrangements, betraying
the band's roots as more of a straightahead rock outfit prior to these
songs getting effectively psychedelicized studio treatments. There's
even a version of one tune, "Summer's Almost Gone," that they'd wait
until their third album, Waiting for
the Sun, to put on a studio LP.
Filling out the set are a good number of cover tunes that the Doors
didn't release in the 1960s, including several blues and R&B
covers. While these have their interest for documenting aspects of
their repertoire that aren't fully evident from their studio albums,
they also reveal the group to be much less interesting when playing
such cover tunes – among them "Money," John Lee Hooker's "Crawling King
Snake," Lee Dorsey's "Get Out of My Life Woman," and Them's "Gloria" --
than they were when doing their own material. Still, even these
selections include some standouts, especially a burning version of "Who
Do You Love" that outdoes the more laidback one on Absolutely Live,
and an instrumental version of "Summertime" that gives Ray Manzarek a
chance to showcase his organ chops. It's also odd to hear such a cool,
almost non-reception from the sparse audience, giving the impression
the Doors were playing to a near-empty club, though they seem to be
putting as much or more heart into their performance as they would
later do for most of their arena concerts. All told, it's an excellent
document of their early days that's strongly recommended to Doors fans.
It would have been even neater for hardcore fanatics had all four sets
from the two nights been included, but admittedly the elimination of
multiple versions and resequencing makes this a much more listenable
product for the general audience.
Franco
& Le Tpok Jazz, Francophonic
(Sterns Music).
As his recording career stretched over about 35 years and more than 150
albums, it would be impossible for any Franco compilation, even a
two-CD one, to give but a taste of his overall work. If you're willing
to accept the limitations inherent in a two-CD set for such a prolific
artist, however, Francophonic
does a pretty good job of both
assembling highlights from his discs and providing some sort of outline
to his musical evolution. It samples from numerous eras over the course
of its 28 tracks, spanning the years 1953-1980 and lasting a good
two-and-a-half hours. In some ways it reflects the changes in African
popular music as a whole during this period. It almost sounds a little
like a light fusion of Latin and jazz influences in its early
rumba-like tunes, growing toward a more steadily rhythmic and ebullient
Zairian sound by the end of the 1960s, and stretching out into far
longer groove-oriented pieces on the 1970s recordings that take up most
of disc two. It's important to remember, however, that
guitarist-songwriter Franco was not simply following trends, but was
among the most prominent initiators of these developments in African
music. The cluster of recordings from the early 1970s on this set seem
to be the ones in which he both cements his musical vision and lays
down some of his best tracks, particularly in the more haunting tunes
that include some call-response vocals, and the tougher outings that
contain some of his most forceful guitar work. The 48-page booklet
presents an historical overview of his life and music (in both English
and French), though some might find it frustrating that more thorough
discographical information beyond the original years of release isn't
included. It can be a little confusing for Franco newcomers in
particular to get a handle on the personnel he used as well, though to
be fair to the compilers, discographical data is hardly an easy thing
to acquire for African recordings of this vintage, and the booklet does
list years of service for many of the singers and musicians with whom
Franco played in his bands.
The
Incredible String Band, Tricks of
the Senses (Hux).
A product of remarkable archaeological-strength sleuthing, this double
CD has 16 rare and unreleased Incredible String Band recordings from
1966 to 1972. The 95 minutes of material draw primarily from studio
outtakes, but also include a May 1968 radio show in New York, a couple
live performances from April 1970, and even a home recording from
October 1966. Yes, this is primarily for the major ISB fan; some of
these are alternate takes/versions, and none of the songs would have
been hailed as major highlights of the albums on which they might have
been included. Yet at the same time, none of them would have stuck out
as especially ill-fitting or weak sore thumbs had they made the cut,
making it a pretty enjoyable listen if you like the group, though the
numerous eras and lineups represented also ensure that it's not the
most consistent listen. Aside from the lo-fi October 1966 rehearsal
tape of the band (then just the duo of Robin Williamson and Mike Heron)
doing Leadbelly's "Relax Your Mind," the fidelity throughout is quite
good, and the territory covered – as should be no surprise for those
even casually familiar with the Incredible String Band – very eclectic.
On disc one alone, there's the ISB's own version of "Lover Man," a song
covered on Al Stewart's first album; an alternate take of one of their
better-known late-'60s tunes, "The Iron Stone"; a Williamson poem, "The
Head," previously only known via the inclusion of its lyrics on an LP
insert; and an impressive live 13-minute radio version of "Maya," sitar
and all. On disc two, there's a 16-minute suite cut for (but not used
on) I Looked Up, "Queen
Juanita"; a fetching, wistful 1972 outtake
with the mysterious Licorice McKechnie on lead vocals, "Secret Temple,"
previously available only as a BBC recording; a mere six-minute
multi-part epic of sorts in a 1971 piece to accompany a mime play,
"Poetry Play Number One"; pleasantly meditative Williamson-penned folky
instrumentals; and relatively straightforward, stirring folk-rock in
the alternate version (with an additional verse) of "All Writ Down."
There are even a couple songs (represented by live recordings) from
their somewhat notoriously extravagant onstage epic U that didn't
make the corresponding double LP. Characteristically for almost any
album billed to the Incredible String Band, there are liberal traces of
world music, Indian music, American old-timey sounds, psychedelia, and
other unpredictable influences embellishing the haunting British folk
at the core of their sound.
The liner notes are extremely thorough in documenting the origins of
the material, down to the extent of sidebars containing meticulous
explanations as to how the recordings were discovered and restored.
It's true that neither this nor another Hux double-CD ISB release, Across the Airwaves (of BBC
recordings), could be considered among
the group's most essential recordings. Yet each are way above average
as archival projects dedicated to the margins of a significant act's
work go, and the label deserves high commendation for assembling and
packaging them with extreme loving care that is vital to filling out
dedicated fans' appreciation of the ISB's large body of work.
Wanda
Jackson, Live at Town Hall Party
1958
(Sundazed). Recorded at Wanda Jackson's performance on the Southern
California television show Town Hall
Party on November 29, 1958,
this six-track, ten-inch EP isn't the greatest fidelity-wise. For that
reason, purists might prefer to watch the performances of four of these
songs on the Bear Family various-artists DVD of clips from that day's
actual program. If you're forgiving of the sonic imperfection, this is
still a pretty nifty souvenir from the heyday of one of the great
rockabilly singers of the 1950s – and it's not as if you have a lot of,
if any, other such vintage live Jackson recordings to choose from.
Backed by a house band (led by the great guitarist Joe Maphis), Wanda's
perhaps a little more country-oriented than some might expect on these
numbers, especially considering the backup group includes steel guitar
and fiddle. Still, she does rock out hard on "Mean, Mean Man" and "Hard
Headed Woman," even if Cliff Crofford's trumpet makes for an unwelcome
addition to the arrangements. While not as raucous, the covers of the
country hits "Pick Me Up on Your Way Down" and "Alone with You" are
done with feisty honky-tonk energy, and the Harlan Howard-penned B-side
"Queen for a Day" serves as a reminder that she did record much
straight country even in her early days.
Jefferson Airplane, Airplane Farm [bootleg]
(Deep Six).
Recorded live at the Family Dog in San Francisco on September 7, 1969,
this bootleg is an excellent-sounding concert that would, under most
circumstances, be quite up to snuff as a legitimate release. But as
there's already an official live Jefferson Airplane CD with very pro
sound recorded just a couple months later (Live at the Fillmore East
1969), as well as a couple other official live discs from 1968,
this
is redundant for all but serious Airplane freaks. If you're one of
those, this is certainly a good listen, the set including a number of
their more celebrated songs ("Good Shepherd," "Greasy Heart," "Crown of
Creation," "Somebody to Love," "Wooden Ships," and "Volunteers"), as
well as some less scintillating ones ("The Farm" and the traditional
blues "Come Back Baby"). As for unusual moments, however, there aren't
many, other than "The Ballad of You and Pooneil" segueing into a bit of
"Starship," which would be a song on Paul Kantner & Jefferson
Starship's 1970 album Blows Against
the Empire. At the end, there
are also about 23 minutes of instrumental jamming with guest Jerry
Garcia that, like many such relics of the era, aren't too interesting
or melodically developed.
Little
Willie John, Nineteen Sixty
Six: The David Axelrod & HB Barnum Sessions (Kent). Though
no Little Willie John discs of material recorded after his imprisonment
for murder in October 1964 were issued between that time and his death
(in jail) in May 1968, he did actually record quite a few tracks for
Capitol in February 1966. These recordings (supervised by David Axelrod
and HB Barnum) were unreleased both at the time and for decades
afterward, in part because King Records (John's previous label)
contended Capitol's right to issue the cuts. This 2008 CD of twenty
tracks from the sessions, recorded at a time when he was out on appeal,
can thus be considered as a genuine lost Little Willie John album. (And
despite the number of songs, there would have only been enough for one
LP, since there are two versions of eight of the numbers.) For someone
with a murder sentence hanging over him, John sounds remarkably
unaffected and at ease, and indeed pretty much the same as he did in
his classic King period, albeit a little more mature. Much the same can
be said for the arrangements, which update his sound a little into the
mid-1960s, but draw considerably from lightly swinging jazz and even a
bit of easy listening pop in addition to soul. There are a few remakes
of songs he'd cut at King, as well as some standards and
R&B-oriented tunes (and, disappointingly, just one original John
composition). Would this have re-established John as a star had he won
his appeal and Capitol been allowed to put the material out? Probably
not; there aren't any songs that scream "hit," and that was still the
name of the game in the R&B market. But if it had been somehow
marketed as a comeback album, without expectations that it would be a
huge seller – in the manner that respectable efforts by R&B and
rock veterans were, many times over, in subsequent decades – it would
have been well received, as John sings well and the material is
sympathetic, if not quite outstanding. For all these reasons, this
doesn't rank among his best work; his best King sides remain the place
to start. But for the same reasons, it will be enthusiastically and
justifiably welcomed by Little Willie John fans as a significant
discovery, at a time when few such substantial unreleased bodies of
work from soul's golden age seemed to remain at large.
Johnny
Johnson & the Bandwagon, Breakin'
Down the Walls of Heartache: The Best of Johnny Johnson &
the Bandwagon 1968-1975 (Kent). Johnny Johnson & the
Bandwagon were kind of oddballs as soul groups
went, not so much for their music as for their unusual career path.
Though Johnson and his group had little success in their native US, it
was a different story over in the UK, where they landed three Top Ten
hits and a couple smaller ones in the late 1960s and early 1970s. This
well-chosen compilation has a couple dozen of their tracks, all but one
from 1967-1972 (the 1968-1975 date range of the title being off by one
year), variously billed to the Bandwagon, Johnny Johnson & the
Bandwagon, or Johnny Johnson & His Bandwagon. Certainly the biggest
and best of them is the 1968 #4 British hit "Breakin' Down the Walls of
Heartache," which sounds a little like a Motown record that you think
you must have heard sometime on AM radio, but haven't (and which was
later covered by Dexy's Midnight Runners). None of the other late-'60s
cuts are in the same league, and the Bandwagon often sound like a
Motown group that couldn't quite stay on the roster. Sometimes, indeed,
it seems as if they can't decide whether to emulate the Four Tops or
the tougher side of the Temptations, sometimes coming off like a
somewhat more poppier version of the Four Tops. But while Johnson was
far from the most original or talented of artists (and there are a few
forgettable covers of soul and rock hits padding out his recorded
repertoire), the discs he cut for Epic were on the whole pretty
likable, if a little lightweight in their somewhat ersatz Motown feel.
The Epic material takes up almost two-thirds of this compilation, but
the disc does also include just slightly poppier stuff he did in the
early 1970s, including the big British hits "Blame It (On the Pony
Express)" (whose chorus lifts a hook from the theme to the Scooby
Doo cartoon) and "Sweet Inspiration." Also among the later cuts
is
what has to be the strangest cover of "Mr. Tambourine Man" this side of
William Shatner, done with such an overt belting early-'70s soul
arrangement that you might not even recognize the song until the
chorus.
John
& Yoko Ono Lennon, Filming to
See the Skies [DVD] (Sparkle Disc).
It's well known among many Beatles fans that John Lennon and Yoko Ono
made quite a few experimental/avant-garde films in the late 1960s and
early 1970s. Relatively few of those fans, however, have been able to
see those films, which have rarely been screened since the time they
were made (and weren't screened all that often at
the time). The absence of an official release of these works has left a
hole for bootleggers to exploit – even if it's wildly uncommercial even
by bootlegging standards – that's been met by the two-DVD set Filming
to See the Skies, which contains a whopping five hours of films
the
pair made (usually together) during the era. Even this compilation does
not contain everything John and Yoko did in the medium; the item most
conspicuous by its absence is the notorious 42-minute 1969 film Self
Portrait, which was not a film of John Lennon's head or face,
but of
the part of his body most likely to cause controversial offense upon
public display (and not to be confused with his and Yoko's Erection,
which documents the construction of a building). Still, what's here
does present the bulk of their output as a filmmaking team. Even the
most adventurous and dedicated Beatles/Lennon/Ono fans should be
advised that these movies really are uncompromising experimental
statements that many will find hard to sit through or unbearably
tedious, much as John and Yoko's avant-garde albums are. Yet like those
albums, they do contain some interesting ideas and give considerable
insight into where the couple's heads were at during the period, even
if they're more admirable as concepts than entertainment.
On disc one, Film No. 4 is
actually an Ono film without Lennon
involvement that precedes the pair's romantic relationship. Consisting
solely of brief, serially arranged shots of 365 (sic) pairs of moving
buttocks, in its repetition of banal everyday activity, it bears
similarities to early Andy Warhol films (as indeed does much of the
material on this DVD). It's more interesting, however, for the fairly
amusing voiceover commentary about the shooting – from Ono and many
others – than the images themselves. From mid-1968, Film No. 5
(Smile) has nearly an hour of Lennon gazing (and sometimes
smiling)
into the frame, shot with a high-speed camera.Two Virgins, shot
around the same time, shows fusing images of John and Yoko while music
from their Two Virgins album
plays on the soundtrack.
On disc two, the more-or-less feature-length Rape is, by the
couple's tough standards, one of their more accessible and watchable
efforts, as a camera trails a woman around London and refuses to stop,
driving her to anguished hysteria. The short Apotheosis is one of
their more ingenious cinematic ideas, a cameraman ascending in a hot
air balloon over a village and through wintry fog, several minutes of
gray suddenly giving way to a blue sky over a field of clouds. The
19-minute Fly, which follows
flies as they dance over a woman's nude
body while Ono improvises harrowing wordless vocals on the soundtrack,
is probably the pair's most original film; unfortunately, the print
transferred onto this DVD, unlike most of the others used for this set,
is quite poor and difficult to watch. The one-minute Freedom simply
shows a woman (head not shown) taking off her bra as two cold
electronic tones alternate on the soundtrack. The 19-minute Erection, via serialization of
stills taken of a site over 18
months, shows the construction of a London building as disquieting
experimental music (with Ono's trademark experimental vocals) plays on
the soundtrack. Bringing the disc to a disappointing close is the brief
To See the Skies, with poorly
preserved footage of what seems like
Ono explaining an exhibit of her work at some unspecified point
considerably postdating Lennon's death.
Elvis Presley, Kiss Me Quick Little Sister
[bootleg] (KMQ). This bootleg presents no less than 79 minutes
of sessions for
five
songs that were all recorded by Elvis Presley on a single day, that
being June 25, 1961. Three of the songs ("Kiss Me Quick," "That's
Someone You Never Forget," and "I'm Yours") would be used on the Pot
Luck with Elvis album. The other two, both of which were far
superior
to the other three, would become the A-side ("(Marie's the Name of) His
Latest Flame") and B-side ("Little Sister") of what might have been
Presley's best single of the early 1960s. Like many such bootlegs with
multiple alternate run-throughs of the same songs – eleven of "Kiss Me
Quick," three of "I'm Yours," six of "That's Someone You Never Forget,"
ten of "Little Sister," and 11 of "("Marie's the Name of) His Latest
Flame"), to be precise – it's for fans only, there being just too much
repetition for anyone else to find it listenable. Nor were the takes
all too different from each other or the officially released track, and
while this disc spreads out the different versions to keep consecutive
multiple versions of any one song to a minimum, that also makes it a
little difficult for more scholarly-minded listeners to keep track of
each tune's evolution. Still, for those who dig fly-on-the-wall looks
at a master's session, there are some things to notice here and there,
like the use of an organ (rather than a piano) on early versions of
"(Marie's the Name of) His Latest Flame," and the overall gradual
addition of fullness and power to the arrangements and vocals.
Relatively
Clean Rivers, Relatively Clean Rivers
(Fallout).
Many American rock LPs of the mid-1970s given very small pressings on
tiny or vanity labels had something of a time warp hangover feel, as if
the trends of hippie rock from about half a dozen years earlier were
still in vogue. Relatively Clean Rivers' self-titled album is one such
rarity, with an easygoing California folk-rock-psychedelic feel in
which light-to-strong traces of Neil Young, the countrified Grateful
Dead, and Quicksilver Messenger Service can be heard. It's different
than the vast majority of such LPs, however, in that it's actually a
fairly good collection of tunes with some decent songwriting and
strong, professional playing and harmonizing. No one should investigate
this under the illusion that it's nearly as good as the aforementioned
influences, mind you. But it's quite alright, and also not as imitative
as many artists from numerous eras were who claimed Neil Young and the
Dead as influences. There's an attractive resigned, almost addled
melancholy to the vocals and melodies that sets this apart from the
usual such fare, though some of the songs could certainly have
benefited from more structured composing and arranging. There's some
variety to the proceedings (and from the general folk-rock-psychedelic
prototype) too, with some extended instrumental acoustic passages and a
middle-eastern influenced number, "The Persian Caravan," that recalls
exotic early Country Joe psychedelic excursions like "Section 43."
Overall the album almost gives the impression of documenting the dying
embers of a band of hippies who've found refuge in one of the last safe
places for souls of such a mindset, clinging to their credo as their
species awaits oncoming extinction. The album became much easier to
acquire following its CD reissue in the first decade of the
twenty-first century.
Sam & Dave, The Original Soul Men [DVD]
(Hip-O). It's unlikely that a better vintage performance
footage-centered Sam
& Dave DVD could be constructed than this disc, which features 18
clips, all but two from their 1966-1970 prime (though "Road Runner"
features the Sam & Dave Orchestra rather than Sam & Dave
themselves). Assembled from a wide variety of American and European
sources (mostly but not always from television programs), it contains
versions—usually, but not always, live rather than mimed—of all of
their most popular songs and then some. "Soul Man" is here, of course,
but so are "I Take What I Want," "You Don't Know Like I Know," "Soothe
Me," "When Something Is Wrong with My Baby," "Hold On! I'm Comin',"
"You Got Me Hummin'," and "I Thank You." The live performances are the
ones that hold the most fascination, as you'd expect, both for the
duo's energetic singing and animated stage presence, as well as (on the
color clips) some very of-their-era loudly colored suits in hues of
lemon, lime, and red. As unusual departures from their sweaty soul
repertoire, there are also versions of Burt Bacharach and Hal David's
"Make It Easy on Yourself" and, less enjoyably, the pop standard "Lucky
Ol' Sun," the latter sung with talk show host Mike Douglas. A 1980
revival of "Soul Man" on {#Saturday Night Live} and a 2007 solo Sam
Moore rendition of "You Are So Beautiful" are by far the least
essential items, to be honest. But overall the DVD does a fine job of
surveying their career, taking care not to offer multiple versions of
songs and drawing from a wider variety of sources than most fans would
have suspected survived. As a small documentary element, interviews
done specially for this project with Sam Moore, Stax Records executive
Al Bell, Booker T. & the MG's bassist Duck Dunn, fan and Blues
Brother Dan Aykroyd, and others are deftly inserted between clips
without wearing out their welcome. The bonus clips of the Blues
Brothers singing "Soul Man" on Saturday
Night Live and the Sam & Dave Orchestra playing "Secret
Agent Man" are extraneous. But a different version of "I Take What I
Want" makes a more worthwhile extra, and rare 1963 clips of the Davis
Sisters, the Soul Stirrers, and Jackie Verdell & Brother Joe May
audiovisually illustrate Sam & Dave's gospel roots.
Patti
Smith, Under Review [DVD]
(Sexy Intellectual).
Like other DVDs in the Under Review
series, this 90-minute disc is a
documentary heavily slanted toward critical evaluation of the
performer's albums and songs, mixing vintage film clips and photo
stills with interviews done specifically for the chapter. Patti Smith
fans might be disappointed that the clips (though numerous and from
various part of her career) are pretty brief excerpts of songs rather
than complete performances, and that neither Smith herself nor some of
her closest musical associates (like Lenny Kaye) were interviewed,
although there are a couple Smith interview snippets from other
sources. Otherwise, however, it's a pretty good overview of her career,
properly concentrating on the four albums she issued during her
mid-to-late-'70s peak, though cursory coverage is given to her work
from the 1980s onward as well. Even by the Under Review series'
standards, the circle of critics providing commentary on her music is
heavyweight, including two Smith biographers (Victor Bockris and Nick
Johnstone), Robert Christgau, Anthony DeCurtis, Jon Savage, and Mark
Paytress. But there are also a few good observations from people who
actually worked on her albums, particularly Radio Ethiopia producer
Jack Douglas (who remembers being called in to work on the title track
in the midst of a hurricane) and Horses
engineer Frank D'Augusta
(who praises producer John Cale's tactic of staying out of sight from
the band in the control room to make them feel more comfortable). The
minimal extras include a Patti Smith quiz and the strangely titled
"Special Feature – Horses for Courses – The Making of a Landmark
Album," which isn't a feature or about Horses at all, but a
90-second story about a Smith performance told by Victor Bockris.
Various Artists, The Big Top Records Story (Ace).
Run as a sideline by the owners of the heavyweight publishing company
Hill & Range (most famous for supplying songs to Elvis Presley),
the Big Top label never really established either an artistic identity
or much of a commercial track record. Despite landing the occasional
hit, they remain most remembered by rock'n'roll fans for issuing Del
Shannon's first hits. Perhaps because it was a secondary concern of the
owners, the company didn't seem to have much of a focus, and listening
to this 26-track compilation of 1958-64 Big Top releases is a little
like getting a pack of random overstock 45s from one of those record
stores that used to sell them in batches of ten for a dollar. But
though the resulting unevenness means this compilation is unlikely to
appeal to anyone but serious rock'n'roll collectors, it's actually a
little better and more interesting than many such specialty
anthologies. For one thing, it does actually have a few hits, including
Shannon's "Runaway" (presented in a rare stereo mix with a slightly
different vocal than the familiar hit single) and "Little Town Flirt,"
as well as Don & Juan's 1961 doo wop smash "What's Your Name?" Some
of the smaller hits are very cool, for different reasons. Lou Johnson's
1964 single "(There's) Always Something There to Remind Me" (covered
for #1 UK hit by Sandie Shaw in 1964) is the original version of that
Bacharach-David classic. The Dynamics' odd minor-key tail-end doo wop
number "Misery" (from 1963) was rewritten almost note-for-note as the
B-side of the debut 1964 single by the Who (then called the High
Numbers), "Zoot Suit." (Although "Zoot Suit" is usually cited as a
rewrite of the Showmen's "Country Fool," it clearly is far more similar
to "Misery" in both melody and arrangement.)
Elsewhere, there are a number of intriguing oddities, even if some are
more odd than good. Don & Juan's "True Love Never Runs Smooth" is
another overlooked original version of a Bacharach-David tune (covered
by a hit for Gene Pitney); Andrea Carroll offers quite good girl
group-styled tunes with "The Doolang" and "It Hurts to Be Sixteen"; and
Doc Pomus and Mort Shuman wrote a few of these rarities, including
"White Bucks and Saddle Shoes" by a pre-teenage, girlish-sounding Bobby
Pedrick Jr., who would in the 1970s later score hits as Robert John.
There are also a few very early, clearly yet-to-hit-his-stride
productions by Phil Spector, including one of ex-Chantels singer Arlene
Smith's "He Knows I Love Him Too Much," written by Gerry Goffin and
Carole King (and redone with more success by the Paris Sisters). Add in
an "answer" record to Elvis Presley's "Return to Sender" (Gerri
Granger's "Don't Want Your Letters"), a solo single by "Maximillian,"
aka Del Shannon's musitron player Max Crook, and quite interesting
notes about the label's history and origins, and there are enough
curveballs to keep serious early rock scholars entertained.
Various
Artists, Break-A-Way: The Songs of
Jackie DeShannon 1961-1967 (Ace).
With this volume, Ace Records' songwriters series – which had
previously documented such well-known early pop-rock composers as Burt
Bacharach, Jerry Leiber & Mike Stoller, and Gerry Goffin and Carole
King – takes a more daring step into the catalog of a writer less
famous, though not less talented. Though she had a couple big hit
records of her own in the 1960s and released many discs in the decade,
Jackie DeShannon was even more active as a songwriter, with many of her
compositions (including many she never released under her own name)
getting covered by artists in both the US and UK. This compilation has
27 such songs, some written by DeShannon herself, and some in
collaboration with noted figures like Sharon Sheeley, Jimmy Page, and
Jack Nitzsche. Though there's one big hit here (the Searchers' "When
You Walk in the Room") and another track that was on a famous hit album
("Don't Doubt Yourself, Babe," from the Byrds' 1965 debut LP), for the
most part these are songs known only to record collectors, and in a
couple cases more known by versions other than the ones represented
here.
Like all of the other CDs in the Ace songwriters series, this isn't
exactly a best-of as regards DeShannon covers, mixing some of her most
famous tunes with rarities by big names, and just plain rarities by
singers hardly anyone's ever heard of. While DeShannon went on to
record quite a bit of material in a late-'60s/early-'70s serious
singer-songwriter vein, these songs make plain her skill at creating
catchy Brill Building-style pop, sometimes with a gutsy sexy and folky
streak missing from the more pop-oriented Brill Building tunesmiths.
For all her talent, however, these interpretations don't always do the
material full justice. "When You Walk in the Room," "Don't Doubt
Yourself, Babe," and Irma Thomas' "Break-A-Way" (a great song given
wider exposure when Tracey Ullman made it into a Top Five British hit
in 1983) are the only really superb tracks. A few others (P.J. Proby's
"Just Like Him," Brenda Lee's "So Deep") are pretty good; a few of the
better ones were done better by other artists (notably Cher's "Come and
Stay with Me" and Gay Shingleton's "In My Time of Sorrow," both given
superior treatments by Marianne Faithfull); and a few are
disappointingly tame or clumsy versions of clearly fine songs (Diana
Dawn's "Back Street Girl," the Bandits' "I Remember the Girl"). And
while several other stars are represented (such as Duane Eddy, Rick
Nelson, Peggy March, Bobby Vee, Dobie Gray), their cuts aren't
highlights in either their or DeShannon's careers.
Break-A-Way, of course, is
still a fine compilation, put together
and annotated with Ace's customary expertise. But while this might be a
somewhat insider collector-oriented point, such collectors know that
DeShannon herself – a great singer in addition to being a great
songwriter – recorded versions of some of these songs (like "Back
Street Girl" and "Blue Ribbons") for rare publisher demo LPs that, both
vocally and production-wise, were immeasurably superior. It's to be
hoped that some or all of the material from those demo LPs eventually
sees CD release to put the record straight, which doesn't seem to be as
far-fetched a whim as one might think, since the Break-A-Way CD
itself closes with a previously unissued folky 1967 DeShannon demo,
"Only You Can Free My Mind." Even if such releases don't come to pass,
DeShannon was so prolific that additional compilations of covers of her
compositions would be welcome.
Various Artists, Do-Wah-Diddy: Words and Music By Ellie
Greenwich and Jeff Barry (Ace). As part of its excellent
ongoing series on major American pop-rock
songwriters of the 1950s and 1960s, Ace presents a couple dozen '60s
recordings of tunes penned by Ellie Greenwich and Jeff Barry – usually
working together, though on occasion with others, Barry penning one
alone – on this compilation. Like other anthologies in this series,
it's not a best-of, instead being a more collector-oriented
cross-section of hits, misses, original versions, and rare versions.
That might disappoint some looking for a quick fix of the most well
known covers of Barry-Greenwich songs, as this is missing most of the
ones that became big hits, including all of the ones produced by Phil
Spector and most of the ones done by the Shangri-Las. However, for
those fans who have most or all of those tracks somewhere in their
collection anyway, it's a very nifty selection of fine Brill Building
records, more often than not of the classic girl group variety. It's
true that the best tracks are the most familiar, all of them
medium-to-big hits: Lesley Gore's "Maybe I Know," the Beach Boys' "I
Can Hear Music," the Jelly Beans' "Baby Be Mine," the Butterflys' "Good
Night Baby," the Chiffons' "I Have a Boyfriend," the Shangri-Las'
superb drama "Out in the Streets," and the Exciters' original version
of "Do-Wah-Diddy," soon covered for a chart-topping British Invasion
hit by Manfred Mann. But there are some rarities to entertain the
collector that are good on their own terms, especially the Darlettes'
"Here She Comes," a first-rate vengeful girl group number, and the
young Andy Kim's moody 1965 single "I Hear You Say (I Love You)."
Even some of the classics presented not-quite-in-their-original
versions are cool, like the Summits' 1963 single "Hanky Panky" (the
first occasion that song was released on 45) and Nilsson's respectable
interpretation of "River Deep – Mountain High." It's only occasionally
that there's a real misfire, like the Majors' "What Have You Been
Doin'," which is a blatant rewrite of that doo wop group's only hit, "A
Wonderful Dream." Otherwise it's a fine trawl through this great
songwriting team's less anthologized contributions to the Brill
Building sound, with Ace's usual fine liner notes and track-by-track
annotation.
Various Artists, Golden Age of American Popular Music: The
Country Hits (Ace). Twenty-eight country hits that also
crossed over to the pop charts
between 1953 and 1963 – albeit usually charting far lower on the pop
side, usually stopping well short of the Top Forty – are assembled on
this interesting compilation. It should be clarified at the outset that
despite the somewhat similar titles and concept, this is an entirely
different CD than another anthology on the Ace label, The Golden Age
of American Rock'n'Roll: Special Country Edition. That disc had
plenty
of country hits that were really
big pop hits (a la
Marty Robbins' "El Paso"), some of which are still played on oldies
radio. Golden Age of Popular Music:
The Country Hits, in contrast,
has very few such items, with exceptions here and there like Patsy
Cline's "She's Got You" and Johnny Cash's "Don't Take Your Guns to
Town." What this collection does do is give you a pretty good
cross-section of country music as it moved away from hillbilly roots to
more commercial, poppier, and more slickly produced sounds, though
these particular cuts hardly sound slick per se. Many of country's
greatest, and certainly most popular, singers of the era are
represented, including Cline, Cash, Robbins, Jim Reeves, Ray Price,
Bobby Bare, Lefty Frizzell, Roy Clark, Hank Snow, Eddy Arnold, Floyd
Cramer, and Faron Young. To the pop and rock fan, however, there aren't
as many songs that will stand out as there are on The Golden Age of
American Rock'n'Roll: Special Country Edition; even the quite
thorough
liner notes admit at that "most of the inclusions here are of a gentler
nature than those on its sister CD." But there are some actual classics
on the track list, including Johnny Horton's "Honky Tonk Man"; Don
Gibson's "I Can't Stop Loving You," later covered for a huge pop hit by
Ray Charles; and Ferlin Husky's "Wings of a Dove." There are also some
items worth hearing for their sheer offbeatness, such as Skeeter Davis'
"My Last Date (With You)," a sort of vocal version/answer song to Floyd
Cramer's huge hit "Last Date," and Cramer's own Top Ten pop
instrumental cover of Bob Wills' "San Antonio Rose."
Various
Artists, Hot Guitars: American
Guitar Tracks from the 1920s-1950s (Viper).
The concept behind this compilation is not only to present 20 tracks
that showcase guitar virtuosos of various strains of American popular
music from 1922 to 1957. It also gathers songs that were specifically
constructed to spotlight guitars, or which were devoted to guitars, if
only in their song titles. While the concept is a bit on the specious
side, the important thing is that it does offer a good sampler of fine
and sometimes spectacular recordings spotlighting guitarists in the
electric blues, country blues, Western swing, hillbilly, swing jazz,
and early rock'n'roll styles. There are, as you'd expect, some very
famous names here, like Bo Diddley, Chuck Berry, Django Reinhardt, and
Chet Atkins, though the tracks by which they're represented are by no
means their most famous. There are also a few pretty famous cuts, most
notably Johnny "Guitar" Watson's astonishingly futuristic-for-1954
blues/R&B workout "Space Guitar," and Arthur "Guitar Boogie"
Smith's "Guitar Boogie." And there are numerous names and tunes that
will be known mostly to specialist collectors, though the talent on
display is of a similarly high level. It's true that, relative to other
wide-ranging compilations of American roots music from the same era on
the Viper label, the annotation is on the rather whimsical and general
side, though at least the year of each recording is supplied. If you're
not so concerned with background information and more with an overall
glimpse of the evolution of the guitar in American roots music from the
Roaring Twenties through the birth of rock'n'roll, however, this is a
very good ride. It's especially to be complimented for giving some due
to overlooked pioneers who are less celebrated than the names cited
earlier in this paragraph, such as Adolph Hofner, Joe Maphis, and Leon
McAuliffe.
Various Artists, Sing Me a Rainbow: A Trident Anthology
1965-1967 (Big Beat). In the mid-1960s Trident
Productions, run by Kingston Trio manager
Frank Werber, recorded quite a bit of San Francisco Bay Area rock,
usually but not always leaning to the folk-rock side. Though they had a
big hit right away with the We Five's 1965 smash "You Were on My Mind,"
that single (and, to a lesser extent, the We Five group) represented
the only real success Trident managed, despite distribution for some of
their recordings through A&M and Verve. Sing Me a Rainbow is a
two-CD set of tracks cut by Trident from 1965 to 1967, the great
majority of them previously unreleased. Those tracks that were released will be familiar to
the San Francisco
'60s rock fan, including "You Were on My Mind" and a few other We Five
singles, as well as Blackburn & Snow's neglected folk-rock classic
"Stranger in a Strange Land" and the Mystery Trend's garage-psychedelic
45 "Johnny Was a Good Boy." Otherwise, though, this is virgin territory
for all but the most insider San Francisco '60s rock collectors, even
if some of the artists (particularly the Sons of Champlin and John
Stewart) went on to release reasonably high-profile records.
While it would be unrealistic to expect most of this to measure up to
the better San Francisco rock of the early psychedelic scene, it does
contain its share of cuts worth hearing, as well as generally
contributing to a wider picture of the Bay Area scene at the time than
is available through commonly available discs. Certainly not many
people have heard the four We Five singles here other than "You Were on
My Mind," which generally present a more straightforward and gutsier
folk-rock combo than their LP tracks did. John Stewart & Randy
Steirling's "Leave Me Alone" is a surprisingly early (August 1965) and
brooding venture by then-Kingston Trio member Stewart into folk-rock;
the Front Line's "Got Love" (later re-recorded for an official 45
outside Trident) is superb spiky garage rock; and the New Tweedy
Brothers, known to San Francisco psychedelia aficionados for their rare
1968 LP, offer strong folk-rock on "Time," a song later re-recorded for
that album. While much of the rest is rather average period folk-rock
(though some British Invasion-influenced garage-pop is present too),
sometimes with a soft pop bent, even much of this is invested with some
of the bittersweet yet uplifting spirit particular to San Francisco
rock of the time and place. Ace/Big Beat also deserves credit for
giving dedicated collectors of the style something different from the
few familiar names, including a few alternates/demos/backing tracks of
recordings from Blackburn & Snow (the best of Trident's acts, the
We Five included), the Sons of Champlin (in a much poppier style than
their later, more psychedelic incarnation), and the Mystery Trend.
Compiler/annotator Alec Palao, too, deserves much credit from rescuing
this quite extensive archive of a nearly forgotten, but vital, corner
of early San Francisco rock history for commercial release.
Various
Artists, Still Dead: The Grim
Reaper's Jukebox (Ace). Ace's 2006 compilation Dead! The Grim Reaper's Greatest Hits
doesn't
automatically seem like the kind of concept that would generate a
sequel. But there were certainly enough rock'n'roll "death" discs in
the 1950s and 1960s to fill up a series, and two years later, the label
was back with 24 more such novelties from 1952-1969. As theme-concept
various-artist rock anthologies go, songs about death certainly rank
among the odder and more interesting subjects available, owing both to
their morbidity and the sheer difficulty of making a record about death
that's both commercial and avoids bad taste. Actually, such discs
(including many of the ones assembled for this CD) usually weren't all
that successful at doing so, but they're at least amusing to hear for
their sheer weirdness, assuming they don't catch you in the wrong frame
of mood. There is one
out-and-out classic here, the
Shangri-Las' "Leader of the Pack," as well as a couple other hits,
Thomas Wayne's "Tragedy" and Billy Ward & the Dominoes'
ridiculously over-the-top weeper "The Bells." Otherwise, you're likely
to be hearing most of these ditties for the first time, and frankly,
quite a few of them aren't all that good, with some exceptions. Little
Caesar's "Goodbye Baby" is an incredibly risqué early-'50s
R&B murder tune, while the same singer's 1960 rarity "The Ghost of
Mary Meade" is an effectively spooky outing. The Whyte Boots'
"Nightmare" is well known to girl group collectors as one of the best
Shangri-Las imitations, and Vern Stovall's 1961 single "Long Black
Limousine" was famously covered by Elvis Presley. Beyond that, it's
very uneven sledding, perhaps highlighted, if that's the right word, by
the so-bad-it's-fascinating 1969 single "The Year 2000" by Estelle (aka
Estelle Bennett of the Ronettes), in which she awkwardly details the
end of the human race by the end of the millennium. Likewise stretching
the boundaries of good taste is an "answer" record to the Everly
Brothers' hit "Ebony Eyes," the Beverly Sisters' "Flight 1203," in
which in turns out Miss Ebony Eyes has missed the flight on which
everyone else has died. Much of the rest falls into the
fun-to-hear-once-or-twice (or less) category, preferably on Halloween,
when you need an offbeat selection of seasonal tunes to impress your
record collector friends. But it's good fun, if not exactly clean, with
appropriately irreverent detailed liner notes as to the backgrounds of
these unlikely deathsploitation records.
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