Willard's Wormholes

FRIDAY NIGHT DRIVE-IN MOVIE
Fiend Without A Face (1958)

June 14, 2013 – 23:08

FIEND WITHOUT A FACE (1958) Invisible, asthmatic beasts are stealing the brains and spinal chords of the townsfolk near an American Air Force base in Canada. Naturally, the prime suspect is the American’s unfettered use of nuclear radiation for their radar systems and anti-missile program, which is pooh-poohed by the base commander, Major Jeff Cummings – played by a wooden Marshall Thompson (you’ll recognize him… he’s the poor man’s Sterling Hayden). As per every script of this kind, Cummings lives up to his name when he meets the sister of one of the dead locals, coolly putting the moves on her as soon as her grief starts to subside (and when he walks in on her when she’s showering. Which is the image that made it to the poster, naturally). The film is well-made, if wholly unremarkable, but there’s plenty to relish – like the shadowy autopsy room scene with the creepy doctor (and talk of a “mental vampire at work”) and the almost comical shots of people strangling themselves to simulate the invisible monster at work. Once the creatures sap more power and become visible is when the hoots begin, as they tend to look like the budget-deprived rubberized props The Outer Limits was always famous for. The cheesy stop-action photography is fun, too. Face Without A Fiend is actually a well-disguised British film production, made in Canada with plenty of Yanks to appeal to North American audiences. Dialog Alert: “What the heck? I’m human, we’re all human here. We’re not monsters from outer space.” Find Fiend Without A Face at Amazon, HERE. New Movies, Fridays ‘Round Midnight.

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June 14, 2013 – 21:40

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BEE GEES

THE BEE GEES Sing And Play 14 Barry Gibb Songs (1965) – Their Debut Australian-Only LP (UPDATED!)

June 18, 2013 – 23:59

front Sing And Play 14 Barry Gibb Songs (1965)
Derivative But Richly Entertaining Early Singles

There are some that might argue that The Bee Gees went downhill when Barry Gibb relinquished his songwriting control after this, the band’s first Australian-only album in 1965. And, while that’s stretching the point, it still makes a point about Barry’s out-of-the-box songwriting chops, which – alongside the trio’s stupendous harmonies – charted the course of the international Bee Gees releases that would soon follow. Unlike most pre-fame LPs, Sing And Play… is rich with finely honed work and will surely please any fan of their 60s output. The truth is, however, that this LP is actually a collection of various singles released by the group in their early years, as opposed to any unified artistic statement. Which might explain the variety of influences (even though the BGs would continue this stylistically scattershot method of operation on later albums). “I Was A Lover A Leader Of Men,” surely one of the LP’s newer recordings, is clearly an example of what you might write if you listened intently to The Hollies. “How Love Was True” is based on the early Beatles’ harmonic blueprint, circa “Ask Me Why”/”Misery” (even including a workable Lennon-like vocal), while “To Be Or Not To Be” closely shadows Paul McCartney’s head-shaking rockers from the same period. Folk-rock gets a nod on “And The Children Laughter” (sounding more like Dylan’s imitators than Dylan himself) and the commercial folk group machinery of the early 60s is heard reflected in “Follow The Wind.” Like all albums from the period, there are some throwaways, but not due to any lack of effort, enthusiasm or ability. We’ve got more Bee Gees in the archives, including Bee Gees 1st (HERE), Cucumber Castle (HERE) and Horizontal, Idea & Odessa (HERE, in Readers Links). UPDATED: Thanks to Biggray for the superior, remastered CD files of this LP.

I Was A Lover A Leader Of Men (3:32)
I Don’t Think It’s Funny (2:56)
How Love Was True (2:19)
To Be Or Not To Be (2:16)
Timber (1:48)
Claustrophobia (2:16)
Could It Be (2:06)
And The Children Laughing (3:23)
Wine And Women (2:54)
Don’t Say Goodbye (2:25)
Peace Of Mind (2:18)
Take Hold Of That Star (2:43)
You Wouldn’t Know (2:05)
Follow The Wind (2:12)

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BLACK SABBATH

BLACK SABBATH 13 (Deluxe Edition 2013)

June 17, 2013 – 20:10

13 (2013)
I’m Back In Black

I don’t know about you, but I haven’t cared about or really even listened to Black Sabbath since the very early 70s. I fell under their spell in high school and stood front-and-center at a 1971 live show ($3.50, with J. Geils opening), but had stopped buying their albums after Masters Of Reality… never looking back. So why do I so thoroughly enjoy this album so much? Credit producer Rick Rubin, who worked hard to make sure whatever it was that appealed to teens in 1970 (and probably to Rick himself) would appeal to people today. Hearing them now, with long-jaded ears, I find it amazing how much Rubin and the boys can milk from a single ominous guitar riff, adding atmospheric nuance and tension-n-release to help the simplistic format beat back the inherent repetitiveness. Amazingly, Ozzy sounds great, both youthful and engaged, and nothing like the mumbling caricature he had become via MTV. And, while his voice is over-processed on the sole (and outstanding) “acoustic” track, “Zeitgeist,” that’s a small quibble given that the effect doesn’t come across as a cover-up for any missing abilities or range. As for lead work, Iommi smokes during “Age Of Reason,” sounding both tasteful and inventive. Perhaps I’m experiencing a common effect that comes with low expectations… or maybe it’s just an old age memory trick. Either way, I’m enjoying this flashback. This is the Deluxe Version, with an additional 3 tracks. It’s at Amazon, HERE.

1
End Of The Beginning (8:06)
God Is Dead? (8:52)
Loner (5:00)
Zeitgeist (4:38)
Age of Reason (7:01)
Live Forever (4:47)
Damaged Soul (7:52)
Dear Father (7:20)
2
Methademic (5:58)
Peace of Mind (3:41)
Pariah (5:35)

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SANTANA

Santana MCMLXVIII (1968)

June 16, 2013 – 17:45

MCMLXVIII (1968/1996)
Pre-Debut Live Studio Jams

You’d think that these long-lost, pre-debut, pre-Woodstock studio jams (rehearsals, demos, auditions… whatever they actually are) would be a much bigger deal in musical archeology circles. Recorded at Pacific Studios in 1968, and featuring Carlos Santana, Michael Shrieve, Gregg Rolie, David Brown, Michael Carabello and Chepito Areas, these sizzling live-in-the-studio jams are probably what helped the band get signed and sound much like a lost album that never was. Fact is, however, these tapes have already been issued… a hundred different times, via a slew of cheapie, one-off labels and dozens of different titles (usually Acapulco Sunrise). Apparently someone besides CBS acquired the rights to these tapes decades ago and has licensed them to anyone, anywhere at any time. That’s… if they’re even licensed at all. Tainted history aside, this set includes some great live jams, capturing the essence of one of Santana’s first incarnations – almost all instrumental, with high-energy percussion fueled by a jazzy/ethnic flavoring. This particular disc is probably the most legit of the bunch, (supposedly) issued by Virgin Records in 1996 (via Sky Ranch, the then-owners of said recordings?). Note that there are some minor sound issues on a track or two. If you want a hard copy, there are dozens of options @ Amazon (HERE), that are, surprisingly, more expensive than you’d expect – on labels like Rolled Gold, Bellevue, Hallmark, Dark Peak, Noble Price, Prime Cuts and, of course, LaserLight, with titles like Acapulco Sunrise, La Puesta del Sol, Jingo, Jin-Go-Lo-Ba, Early Magic, and Evolution: The Original Recordings, just to name a few. Careful, song titles are inconsistent, so you’ll need to look closely when dumpster diving for this long-ignored piece of rock history. As for this Virgin/Sky Ranch disc, it appears to have a virtually non-existent profile, like it was never even released.

Let’s Get Ourselves Together (2:05)
Acapulco Sunrise (2:31)
Latin Tropical (11:23)
Santana Jam (14:42)
Coconut Grove (2:24)
Hot Tamales (8:03)
La Puerta Del Sol (10:24)
As The Years Go By (3:48)

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CURTIS MAYFIELD IMPRESSIONS

CURTIS MAYFIELD Curtis (1970 Expanded) & New World Order (1996)

June 14, 2013 – 14:18

Curtis (1970)
New World Order (1996)
Curtis’ First… And Heartbreaking Last

Two beautiful examples of the greatness, compassion and enduring spirit of the great Curtis Mayfield. After a career of hit making with The Impressions, Curtis Mayfield’s debut solo album was the culmination of an ever-blossoming talent, laced with social activism. A year before Marvin Gaye’s seminal What’s Going On and two years before Stevie Wonder’s Music Of My Mind & Talking Book, Curtis Mayfield began using his music to spotlight the cultural issues of the late 60s and early 70s, with a melodic invention and majestic flair equaled by no one. The All Music Guide calls this 1970 debut, Curtis, the “Sgt. Pepper’s of ’70s soul,” and the album’s blunt lyrical assessments still ring loud on tracks like “(Don’t Worry) If There’s A Hell Below We’re All Going To Go,” “We The People Who Are Darker Than Blue” and “Move On Up.” While Mayfield condemns the still segregated 60s and the cultural clashes that would continue for years afterwards, his music still embraced an undying optimism (a Mayfield trademark) that has helped to ensure his work will always remain timeless and uplifting. This 2000 expanded edition also includes a generous helping of early demos and backing tracks. But… if optimism and redemption has long been the cornerstone of Mayfield’s messages and themes, it was Curtis’ last album, New World Order, that put his words and attitude to a real world test. Recorded six years after an on-stage accident that paralyzed him from the neck down, New World Order is a breathtaking example of one man championing his adversity. Legendarily, Mayfield’s vocals were recorded almost line-by-line (while lying on his back), but you’d never hear that in the unending beauty of his voice or his still, inexplicably optimistic world view. Most of the material was co-written by Mayfield, while – in full-circle fashion – he also revisits Curtis‘ “We The People Who Are Darker Than Blue.” New World Order is an album that proves, despite everything in his life, that Mayfield’s golden soul soared until the very end. Find Curtis (HERE) and New World Order (HERE) At Amazon. There’s more Curtis in the archives, HERE.

CURTIS
(Don’t Worry) If There’s A Hell Below We’re All Going To Go (7:51)
Other Side Of Town (4:02)
The Makings Of You (3:44)
We The People Who Are Darker Than Blue (6:06)
Move On Up (8:54)
Miss Black America (2:59)
Wild And Free (3:17)
Give It Up (3:49)
Power To The People (Demo) (2:47)
Underground (Demo) (3:12)
Ghetto Child (Demo) (5:10)
Readings In Astrology (Demo) (3:31)
Suffer (Demo) (2:32)
Miss Black America (Demo) (2:23)
The Makings Of You (Backing Tracks, Take 32) (4:35)
(Don’t Worry) If There’s A Hell Below We’re All Going To Go (Backing Tracks, Takes 1 & 2) (9:35)
(Don’t Worry) If There’s A Hell Below We’re All Going To Go (Edited Single Version) (3:27)

NEW WORLD ORDER
New World Order (5:37)
Ms. Martha (4:24)
Back To Living Again (5:11)
No One Knows About A Good Thing (You Don’t Have To Cry) (5:20)
Just A Little Bit Of Love (5:27)
We People Who Are Darker Than Blue (5:03)
I Believe In You (4:58)
Here But I’m Gone (5:22)
It Was Love That We Needed (4:16)
The Got Dang Song (5:17)
The Girl I Find Stays On My Mind (3:59)
Let’s Not Forget (3:43)
Oh So Beautiful (4:38)

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CURTIS MAYFIELD IMPRESSIONS

THE IMPRESSIONS This Is My Country (1968)

June 13, 2013 – 17:35

This Is My Country (1968)
Sweet Soul Music

Curtis Mayfield’s vocals have always held a supernatural sway on me. I’m not a fanatic, and actually only own only about 7 or 8 albums by Mayfield and/or The Impressions, but when ever I hear that voice, any and all critique goes out the window. Despite the declarative title, This Is My Country is largely a collection of love songs from Mayfield’s consistently optimistic pen. The opening track, “They Don’t Know,” tackles inner-city self-reliance and the LP’s title track pointedly makes its black-pride message crystal clear, but the majority of Mayfield’s tunes (Donny Hathaway assists on “Gone Away” and “You Want Somebody Else”) speak to Mayfield’s dominant interest…relationships. The two tracks below should give you an idea. This Is My Country is part of a two-fer set available at Amazon, HERE. You can find the 2CD re-issue of the classic, Superfly, HERE in the archives.

They Don’t Know (2:47)
Stay Close To Me (2:04)
I’m Loving Nothing (2:31)
Love’s Happening (3:08)
Gone Away (3:42)
You Want Somebody Else (3:12)
So Unusual (2:56)
My Woman Love (3:02)
Fool For You (2:53)
This Is My Country (2:48)

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KILLICK HINDS POCKETFUL OF CLAPTONITE

POCKETFUL OF CLAPTONITE Ginger Baker Did Everything Eric Clapton Did, But Backwards And In High Heels (2010)

June 12, 2013 – 17:00

Ginger Baker Did Everything Eric Clapton Did, But Backwards And In High Heels (2010)
Guitarist Killick Hinds’ Unique World View

While tending to one of my other blogs, I had the good fortune to meet the unbelievably prolific guitarist, composer, bandleader, author, improvisational technician, Killick Hinds. By himself, and with various musician pals working under a number of different monikers, Killick has released a stunning number of digital albums that are all available for listening and downloading over at Bandcamp. Too many to count, actually, including 33 volumes of his live ‘field recordings’ series, Rollicking Liveness, alongside a slew of individually stylized projects mining solo guitar improv and free-wheeling duo, trio & band collaboration. The dual guitar project, Nikola Tesla High School (with the great Henry Kaiser, HERE) was my introduction, but his oeuvre is mind-bending, especially considering that Hinds offers all his work on a name-your-price basis… which means ‘free,’ if you’re the take-and-run sort. We’re posting this release to draw your attention to Killick and his work. But, be aware… it’s not for everybody. If you enjoy your improvisation adventurish, inexplicable, gamut-running and punny, however, then look no further. “Chlorophyll Rizzuto” offers a taste of the band’s wall-of-trio chaos, while “Oprah Winfrey Jazz” is a creeping, rumbling, burping ooze of cause and effect. You can grab 2010′s Ginger Baker Did Everything Eric Clapton Did, But Backwards And In High Heels from the Bandcamp player below, where it’s available in various formats (320MP3, FLAC, ACC, Ogg and more), or get it in comments, as usual, @320. If you’re the supportive type, like your frayed ‘Support Your Local Musician’ t-shirt suggests, you can easily toss a few bucks his way via PayPal or your credit card, as Bandcamp’s easy-to-use interface is a pleasure to deal with (just type in any price). Hear the entire album below and visit Killick at his website (HERE), Bandcamp (HERE), Facebook (HERE), Tumblr (HERE) iTunes (HERE), YouTube (HERE) and Spotify (HERE). Oh yeah… he’s got a book, too, The World For A Dying Antidote, available at MagCloud (HERE), where you can read it online, download for free or purchase a print edition. Killick is one of a rare breed doing it strictly for the love of creativity in an increasingly commercialized world. That should rate at least a few minutes of your time, if only to see if you’re on similar wavelengths.

MORE KILLICK (just scratching the surface)…

KILLICK Jumping Frenchmen Of Maine (HERE)
ZEPUBICLE w/ TATSUYA NAKATANI Scientists Levitate Small Animals (HERE)
POCKETFUL OF CLAPTONITE More Humane Than Humane (HERE)
KILLICK The Amplifucker (HERE)
POCKETFUL OF CLAPTONITE Solomon’s Daughter’s Brother (HERE)

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13TH FLOOR ELEVATORS ROKY ERICKSON

13TH FLOOR ELEVATORS Sign Of The 3 Eyed Men w/ Headstone: The Contact Sessions, Live In Texas, The Psychedelic Sounds Of The 13th Floor Elevators, Live In California, Easter Everywhere, A Love That’s Sound, Bull Of The Woods & Death In Texas (2009)

June 10, 2013 – 18:39

Sign Of The 3 Eyed Men (2009)
Throw Your Old CDs Away

Wow! I’ve been buying 13th Floor Elevator records for decades. Not as a fanatic, but just as a casual fan of raw, garage-psych R&R. Roky Erickson and company have always displayed just enough weirdness to keep me interested, but not so much as to put me off my high – all punctuated with a handful of genuinely great tunes, an approach to music-making to die for and a career resume that’s both irreverent and groundbreaking. But, what I’ve hated about every last one of their records is probably the same thing you’ve hated all these years, or – at least – suffered though… the sound quality. Finally, Roky’s 13th Floor catalog has been done right, with superior sound (in most cases), tons of extras, live shows, mono/stereo variations… and that weird fucking electric jug. I’m diggin’ this stuff to no end. I’m not going to comment on these individually so, outside of the sound players, your interest is on its own. Obviously, the studio stuff and official albums (only 3, The Psychedelic Sounds Of…, Easter Everywhere and the near incoherent, Bull Of The Woods) fare better than the primitive live material. Live In Texas boasts some mega-rare, but really rough sounding recordings (the sound player’s “You’re Gonna Miss Me” is, by far, the best of the lot). The raw Headstone: The Contact Sessions, containing what would have been the band’s first album had it been released, offers a great alternative taste of the band’s style and appeal, while the official debut, The Psychedelic Sounds Of…, is a genuine, earthy classic that’s never sounded better. Half of the unheard A Love That’s Sound (with many tracks that would officially surface on the convoluted, Bull Of The Woods) could almost pass for raw, pre-R.E.M. rehearsals. So… dip your toe in and take it from there. The box set is available at Amazon, HERE – including a few that are available individually from the box, – Headstone: The Contact Sessions (HERE), Easter Everywhere (HERE) & Bull Of The Woods (HERE). Check the archives for I Have Always Been Here Before: The Roky Erickson Anthology and the outstanding various artists tribute, Where The Pyramid Meets The Eye: A Tribute To Roky Erickson (HERE).

Headstone: The Contact Sessions (1965-66)

You’re Gonna Miss Me (2:31)
Tried To Hide (2:23)
Everybody Needs Somebody To Love (3:44)
Take That Girl (3:00)
You Can’t Hurt Me Anymore (3:43)
I’m Gonna Love You Too (1:57)
Monkey Island (2:26)
Roller Coaster (3:47)
Now I’m Home (Splash 1) (3:41)
Where Am I? (Through The Rhythm) (3:15)
Fire Engine (2:16)
You Can’t Hurt Me Anymore (Take 1, Backing Track) (3:09)
Fire Engine (Take 8) (2:37)
You’re Gonna Miss Me (Take 6) (2:43)
Tried To Hide (Take 7) (2:47)
I’m Gonna Love You Too (Single Version) (1:58)
All Night Long (2:21)
You’re Gonna Miss Me (Alt) (2:35)

Live In Texas

Monkey Island (Live KAZZ FM Broadcast) (2:54)
Roller Coaster (Live KAZZ FM Broadcast) (4:51)
Gloria (Live KAZZ FM Broadcast) (8:27)
You’re Gonna Miss Me (Sumpin’ Else TV #1 Broadcast) (3:16)
Interview (Sumpin’ Else TV #1 Broadcast) (0:57)
Fire Engine (Sumpin’ Else TV #1 Broadcast) (2:44)
You Really Got Me (Sumpin’ Else TV #1 Aftershow) (4:37)
Roll Over Beethoven (Sumpin’ Else TV #1 Aftershow) (3:19)
Gloria (Sumpin’ Else TV #2 Audience Warm Up) (4:00)
Fire Engine (Sumpin’ Else TV #2 Broadcast) (2:33)
You’re Gonna Miss Me (Sumpin’ Else TV #2 Broadcast) (3:01)
Roller Coaster (Sumpin’ Else TV #2 Broadcast) (4:19)
Mercy Mercy (Sumpin’ Else TV #2 Aftershow) (3:34)
Tried To Hide (Sumpin’ Else TV #2 Aftershow) (2:49)
I’m Down (Live: Le Maison) (4:41)
(I Can’t Get No) Satisfaction (Live: Le Maison) (5:01)
I’m Gonna Love You Too (Live: Le Maison) (1:44)
I Feel Good (Live: Le Maison) (2:08)
Gloria (Live: Le Maison) 6:45)
Everybody Needs Someone To Love (Live: Le Maison) (6:00)

The Psychedelic Sounds Of The 13th Floor Elevators (MONO 1966)

You’re Gonna Miss Me (2:31)
Roller Coaster (5:05)
Splash 1 (3:53)
Reverberation (Doubt) (2:47)
Don’t Fall Down (3:01)
Fire Engine (3:20)
Through The Rhythm (3:08)
You Don’t Know (How Young You Are) (2:56)
The Kingdom Of Heaven (Is Within You) (3:09)
Monkey Island (2:41)
Tried To Hide (2:49)
Reverbaration (sic) (Doubt) (A-side) (2:48)
Fire Engine (B-side) (2:37)
Reverberation (Unreleased Acetate) (2:59)
Fire Engine (Alternate Mono Mix) (3:19)

The Psychedelic Sounds Of The 13th Floor Elevators (STEREO 1966)
You Don’t Know (How Young You Are) (2:57)
Through The Rhythm (3:25)
Monkey Island (2:55)
Roller Coaster (5:05)
Fire Engine (2:38)
Reverberation (2:53)
False Start/Tried To Hide (0:27)
Tried To Hide (2:49)
You’re Gonna Miss Me (2:31)
I’ve Seen Your Face Before (Splash 1) (3:57)
Don’t Fall Down (3:19)
The Kingdom Of Heaven (Is Within You) (3:11)
You Don’t Know (How Young You Are) (Alternate Backing Track) (2:45)
Roller Coaster (Alternate Backing Track) (4:21)
Don’t Fall Down (Alternate Backing Track) (3:03)
Don’t Fall Down/Band Introduction (Larry Kane Show) (4:07)

Live In California

Everybody Needs Somebody (5:47)
Before You Accuse Me (2:42)
You Don’t Know (How Young You Are) (2:57)
Splash 1 (3:42)
I’m Gonna Love You Too (2:11)
You Really Got Me (6:37)
Fire Engine (3:12)
Roll Over Beethoven (2:55)
The Word (2:56)
Monkey Island (2:52)
Roller Coaster (5:43)

Easter Everywhere (MONO 1967)
Slip Inside This House (7:55)
Slide Machine (3:39)
She Lives (In A Time Of Her Own) (2:57)
Nobody To Love (2:57)
Baby Blue (5:09)
Earthquake (4:44)
Dust (3:58)
Levitation (2:40)
I Had To Tell You (2:26)
Postures (Leave Your Body Behind) (6:21)
(I’ve Got) Levitation (A-side) (2:37)
Before You Accuse Me (B-side) (2:37)
She Lives (In A Time Of Her Own) (A-side) (2:57)
Baby Blue (B-side) (5:12)
Slip Inside This House (A-side) (4:06)

Easter Everywhere (STEREO 1967)

Slip Inside This House (8:05)
Slide Machine (3:42)
She Lives (In A Time Of Her Own) (2:57)
Nobody To Love (3:00)
Baby Blue (5:18)
Earthquake (4:50)
Dust (3:58)
Levitation (2:44)
I Had To Tell You (2:30)
Postures (Leave Your Body Behind) (6:32)
Fire In My Bones (2:05)
Dust (Alt. Mix) (3:58)
Right Track Now (Roky Solo) (3:02)
Splash 1 (Roky Solo) (3:05)
Before You Accuse Me (3:27)
(I’ve Got) Levitation (Take 1) (3:09)
(I’ve Got) Levitation (Take 2) (4:17)

A Love That’s Sound (1968)

Wait For My Love (3:28)
It’s You (2:44)
May The Circle Remain Unbroken (2:39)
Livin’ On (5:34)
Never Another (3:54)
Dr. Doom (3:25)
Sweet Surprise (3:41)
Moon Song (3:42)
Livin’ On (Acetate) (3:29)
Never Another (Rehearsal) (3:36)
It’s You (Backing Track, Rehearsal) (2:37)
Moon Song (Backing Track, Rehearsal) (3:07)

Bull Of The Woods (1968)

Livin’ On (3:25)
Barnyard Blues (2:58)
Till Then (3:23)
Never Another (2:28)
Rose And The Thorn (3:36)
Down By The River (1:54)
Scarlet And Gold (5:00)
Street Song (4:55)
Dr. Doom (3:12)
With You (2:15)
May The Circle Remain Unbroken (2:44)
Livin’ On (Single Mix) (3:25)
Scarlet And Gold (Single Mix) (4:59)
May The Circle Remain Unbroken (Single Mix) (2:42)
Livin’ On (Alt. Horn Arrangement) (3:24)
Bull Of The Woods Bay Area Radio Spot (1:03)

Death In Texas

(I’ve Got) Levitation (3:27)
Reverberation (3:27)
Don’t Fall Down (3:33)
Kingdom Of Heaven (Is Within You) (3:47)
She Lives (In A Time Of Her Own) (3:28)
Jam 1 (7:48)
Jam 3 (4:59)
Jam 4: (Baby Blue 6:27)
Jam 5: (She Lives (In A Time Of Her Own) 4:53)
Maxine (3:33)
(I’ve Got) Levitation (3:29)
Shake Your Hips (4:40)
Roky On KAUM (0:11)
Stumble (Smoke The Toilet) (2:45)
You’re Gonna Miss Me (1984) (4:28)

Comments (14)

TEXAS PLAYBOYS

THE ORIGINAL TEXAS PLAYBOYS Under The Direction Of Leon McAuliffe (1979)

June 9, 2013 – 19:00

Under The Direction Of Leon McAuliffe (1979)
Note-Perfect Modernized Take On Texas Swing

One of my all-time favorite albums. A cassette of this one didn’t leave the car for two years in the early 80s, and it took a half-decade of trolling Ebay before finding an original vinyl copy of this excellent, feel-good album by surviving members of Bob Wills’ Texas Playboys. What I find most appealing about this LP, recorded “under the direction” of steel guitarist Leon McAuliffe, is its smooth, faultless execution, captured – for once – with modern recording technology. The high-energy, free-wheeling Western Swing of the 40s may be tempered by age, but this new strain has all the elements and the tradition is alive and well. In a way, despite the lively fiddles, this isn’t really Texas Swing, save the two instrumental Bob Wills covers, as this album was devised with modern country radio in mind. As a result, much of the genre’s cartoon-like harmonies and trademarked mix of strings and steel guitars is largely missing. And while I love the original style, I almost prefer this easy-going alternative, primarily because of vocalist Leon Rausch, who is a professional wonder – delivering his rich, casual vocal style with a veteran’s ease that, at times, suggests the easy-going air of Willie Nelson. There are surely more appropriate comparisons, but since I’m not a student of the genre you’re stuck with the broad strokes. This is a vinyl rip, so there’s some surface noise. Listen to a few tunes below, including the authentically swinging Bob Wills original, “Big Beaver.” For the full effect, listen to this almost every day for a few years. Never on CD, but Amazon’s still got the vinyl HERE. We’ve got more Wills & The Playboys in the archives, HERE.

A
Walking On New Grass (2:27)
Played The Game Too Long (2:13)
Blue Bonnet Rag (1:53)
I’m Satisfied With You (1:59)
That’s My Home (2:43)
B
Big Beaver (2:34)
It’s My Life (3:10)
Heaven, Hell Or Houston (2:33)
Silver Bells (That Ring In The Night) (2:20)
Blues So Bad (3:14)

Comments (19)

ANDY MACKAY ROXY MUSIC

ANDY MACKAY In Search Of Eddie Riff (1974) + Rock Follies (1976)

June 7, 2013 – 18:00

In Search Of Eddie Riff (1974)
Roxy Music’s Sax Man Gets Fundamental

Big thanks to rap for sending both of these shares along to us. These were mid-70s staples of my listening diet, but because I’m lazy, the reviews are from The All Music Guide. Andy Mackay’s debut solo album, In Search Of Eddie Riff is at Amazon, HERE, but it’s not cheap. Rock Follies is gettable HERE.

A youthful Andy Mackay along with saxophone and cat stare out from the front cover of this compelling instrumental LP recorded between February of 1974 and June of 1975. Opening with a cool cover of “Wild Weekend,” the Top Ten 1963 hit for The Rebels, this is fun stuff from the artsy realm of serious U.K. musicians. With less complexity than listeners have come to expect from Roxy Music alum, an innocent ballad like Skeeter Davis’ “The End of the World” becomes transcendent by way of simple instrumentation – Mackay’s sax as the lead instrument, tasty guitars, and keys filling in nicely. There is a definite ’60s feel to this album, perhaps a testimonial along with the reinterpretation of the four covers included in this mix of originals and traditional songs. Mackay’s “Walking the Whippet” is like some rave amendment to the number one surf rock hit from 1962, “Telstar,” by The Tornadoes. The version of Motown’s “What Becomes Of The Broken Hearted” leans more towards Muzak than the experimentation one would expect from this Roxy crew. Former bandmate Eno, along with his replacement in Roxy Music, Eddie Jobson, and the usual suspects, John Porter, Paul Thompson, even Deep Purple’s Roger Glover, all conspire and bring inspiration to this highly listenable project. The arrangement of Schubert’s “An Die Musik” changes the mood dramatically. Whatever fueled the Ferry/Eno split, the creative ideas of individual members of RM started spreading out over many solo discs at this point in time, from Phil Manzanera’s Diamond Head to Eno and Ferry’s multitudinous albums on their own. Guitarist Manzanera’s disc sounds more like a test of Roxy’s themes, a good supplement to the contributor’s various facets, while here Andy Mackay just seems to be expressing himself and having fun. – Joe Viglione The All Music Guide

Wild Weekend (2:50)
End Of The World (2:40)
Walking The Whippet (4:16)
What Becomes Of The Broken Hearted (4:27)
An Die Musik (3:12)
Time Regained (2:40)
The Hour Before Dawn (3:58)
Pyramid Of Night (9:09)
Long And Winding Road (2:55)
Ride Of The Valkyries (2:56)
Summer Sun (5:27)
A Four Legged Friend (3:02)
Ride Of The Valkries (Live Rehearsal) (3:08) – Bonus Track
The Hour Before Dawn (Live Rehearsal) (4:13) – Bonus Track
Walking The Whippet (Live Rehearsal) (4:18) – Bonus Track

Rock Follies (1976)
Andy Mackay’s Girl’s School

It took a quarter century for Rock Follies to get reissued on CD, which is amazing, considering that it was not only a number one charting album in England in 1976 (supplanting a Led Zeppelin album, no less), but actually entered the U.K. charts at number one, and sold enough to generate a follow-up LP. Hearing it anew nearly 30 years after its original release is a strange experience – the novelty of an all-woman rock & roll band is, of course, long gone, courtesy of The Bangles, The Pandoras et al (and even in 1976, there was the precedent of Fanny); and it wasn’t even that much of a novelty in 1976 except for the fact that the group had such a superb production pedigree, with Roxy Music’s Andy Mackay calling the shots musically. For those who don’t remember or weren’t around, Rock Follies started life as a British television musical drama, about three women who form a band called the “Little Ladies,” and the travails and humiliations they endure and the triumph that they enjoy in the course of pursuing success – the novelty at the time, beyond the casting of first-rate talent, including Julie Covington, Rula Lenska, and Charlotte Cornwell, was that songs programmed into the drama and sung by the trio referred to their emotional and interior lives – like a real, old-fashioned musical, except this was rock music – and the music was first-rate or better, courtesy of Mackay. The results today seem astonishingly good – about seven-eighths of the album is still golden, starting with the opening track, the wryly cynical yet gorgeously harmonized “Sugar Mountain.” The pounding “Good Behaviour,” the lyrical “Lamplight,” and the viscerally impassioned “The Road” aren’t far behind, and “Glenn Miller Is Missing” is perhaps the most interesting song here, mixing elements of blues, girl group harmony, and some solid rock playing (especially Tony Stevens on the bass), along with a reed solo by Mackay that’s worth the price of admission. Brian Chatton’s keyboards are a treat throughout, and fans of good bass playing will want the CD reissue of this record for the way it throws Stevens’ bass out in front of the mix; this is ballsy pop/rock, with a live feel a good part of the time, and that’s a serious achievement for music generated in this context. – Bruce Elder The All Music Guide

Sugar Mountain (2:55)
Good Behaviour (2:35)
Stairway (4:04)
Daddy (2:00)
Lamplight (3:51)
The Road (3:52)
Glenn Miller Is Missing (3:12)
Biba Nova (3:55)
Talking Pictures (2:53)
Hot Neon (3:03)
Roller Coaster (1:26)
Rock Follies (3:58)
War Brides (2:48) – BONUS TRACK

Comments (21)

AL KOOPER MIKE BLOOMFIELD MOBY GRAPE

MOBY GRAPE Grape Jam (1968) w/ 34 Minutes Of Bonus Jams (and Al Kooper & Mike Bloomfield)

June 5, 2013 – 19:46

Grape Jam (1968)
A Not-As-Super Super Session

Columbia Records certainly had my number back in the late 60s. Somehow, they knew how limited my financial resources were, and they also knew my appreciation for the breakout hit album, Super Session. So, armed with that information, they released Moby Grape’s second LP, Wow, packaged with a free album, Grape Jam… featuring guests Al Kooper & Mike Bloomfield (on only a couple of tracks) prominently pictured on the back. That was all it took to separate me from my money. Funny enough… I never cared two shits for Wow (still don’t), and Grape Jam, for all the ducks it had lined up via the fresh concept and talent, was actually only a marginal creative success. The studio jams are likable, but lack the punch and power of Super Session (HERE), though the LP is still a fun, flashback image-capture of the times. Grape Jam‘s highlights have been multiplied by this 2007 expanded reissue, featuring an additional 34 minutes of jams. Perhaps the most interesting of which is the 13 minute cover of the Milt Jackson tune/Miles Davis recording, “Bags’ O Groove” – a straight up, no kidding jazz jam that probably would have blown my tiny uninformed mind had it been included in the 1968 original. As it stands now, it’s still a sore thumb track, but it’s also the most cohesive and dominating of any found on the album, and worth your time and attention. Perhaps the most interesting aspect of Grape Jam, however, is the opening track “Never.” Yet another in a seemingly endless series of musical/copyright rip offs by Led Zeppelin (find more HERE), who outright stole this blueprint for “Since I’ve Been Loving You” (Led Zeppelin III) and credited it to Page/Plant/Jones. These days, of course, the once free Grape Jam is free no more. In fact, it’s more expensive than ever at Amazon, HERE, and sold separately from Wow, which has also been hit hard by inflation, HERE. We’ve included both so you don’t have to hunt elsewhere.

GRAPE JAM
Never (6:15)
Boysenberry Jam (6:02)
Black Currant Jam (7:10)
Marmalade (14:05)
The Lake (4:03)
Grape Jam #2 (9:20) – BONUS TRACK
Grape Jam #9 (9:13) – BONUS TRACK
Bags’ O Groove (13:21) – BONUS TRACK

WOW
The Place And The Time (2:07)
Murder In My Heart For The Judge (2:58)
Bitter Wind (3:09)
Can’t Be So Bad (3:41)
Just Like Gene Autry: A Foxtrot (3:05)
He (3:36)
Motorcycle Irene (2:24)
Three-Four (5:01)
Funky-Tunk (2:11)
Rose Colored Eyes (4:00)
Miller’s Blues (5:22)
Naked, If I Want To (0:52)
The Place And The Time (Alternate) (2:27) – BONUS TRACK
Stop (Demo Recording) (2:24) – BONUS TRACK
Loosely Remembered (Previously Unissued) (3:27) – BONUS TRACK
Miller’s Blues (Alternate) (5:23) – BONUS TRACK
What’s To Choose (Previously Unissued) (2:03) – BONUS TRACK
Seeing (Previously Unissued) (5:11) – BONUS TRACK

Comments (22)

JOHNNY OTIS SHOW SHUGGIE OTIS

THE JOHNNY OTIS SHOW Cold Shot! (1969) – featuring Shuggie Otis

June 4, 2013 – 17:20

Cold Shot! (1969)
A Bad Mutherfucker Of An Album

Johnny Otis’s long and winding career began in the 40s, via big band jazz, before slowing evolving into a masterful soul, R&B and R&R artist – backing the likes of Little Richard, Big Mama Thornton (that’s his backing band on “Hound Dog”) and Johnny Guitar Watson, whose style this particular album most resembles. All the while recording numerous sides under his own name, some on his own label, even hosting his own TV show, throughout the 50s and 60s. The All Music Guide calls him a blues “renaissance man,” and his resume is the pudding’s proof. Like many know-nothing 60s kids, I only learned of Johnny Otis’ existence via his son, teenage blues phenom Shuggie Otis (a.k.a. Johnny Otis, Jr.), on Junior’s major label debut with Al Kooper, 1969′s Kooper Session (HERE). That same year, Shuggie was tearing things up on this fantastic R&B/blues workout, Cold Shot! – an invigorating blast of high-quality, old school rockin’ soul & blues. Just give a listen to the opening track for a taste that should whet your appetite for this LP’s professionally loose collection of 50s boogie blues and subversive 60s black soul. Hit the archives for the cool, Record Day 2013 comp, Introducing Shuggie Otis, HERE, and find the new CD issue of Cold Shot! at Amazon, HERE.

The Signifyin’ Monkey (3:10)
Country Girl (2:37)
I Believe I’ll Go Back Home (2:45)
High Heel Sneakers (2:49)
Sittin’ Here All Alone (4:42)
C.C. Rider (2:35)
You Better Look Out (2:45)
Goin’ Back To L.A. (2:53)
Bye Bye Baby (Until We Meet Again) (3:08)
Cold Shot (2:48)

Comments (11)

BLIND FAITH GINGER BAKER

GINGER BAKER Do What You Like (1998) a.k.a. Ginger Baker’s Air Force (1970), Ginger Baker’s Air Force 2 (1970), Stratavarious (1972) + Rarities

June 3, 2013 – 19:30

Do What You Like (1998)
2 Disc Set Featuring Ginger Baker’s Air Force, Ginger Baker’s Air Force 2, Stratavarious + Rarities

There’s no need to hunt down Ginger Baker’s groundbreaking Air Force albums or his out of print debut 1974 solo release, Stratavarious, as Polygram was kind enough to package them all together (along with a few added rarities) as the 1998 2CD set, Do What You Like. For those that didn’t follow the drummer beyond Cream and Blind Faith, Ginger Baker’s Air Force, the 1970 2LP debut recorded at The Royal Albert Hall (and produced by the great Jimmy Miller), was a supergroup in itself – featuring Stevie Winwood, Rick Gretch, Denny Laine, Graham Bond, Chris Wood and a cast of thousands (ten, actually). For teens like me still worshipping power trios and heavy rock, however, GBAF was a mind-blower – fusing Baker’s passion for Africanized jazz-rock and blues into a flurry of extended, Afro-horn-laced jams, chants and fusion. I’m certain there were precedents for Baker’s big picture/world music/grand scheme, but not in my then-limited sphere. So Baker deserves plenty of credit for priming my ears for music I wouldn’t truly discover until years later.

Listening anew to Ginger Baker’s Air Force (1), it’s hard to believe this is only the band’s second gig, and even harder to believe how bizarrely mixed this set is, with off-mic vocals and messy collisions of improvisation and culture. That said… the crowded cacophony of sound is exactly what makes it all so exhilarating, so alive and vital. In 1970, the hook (for my pre-liberated sensibilities) was hearing “Do What You Like” (featuring 3/4 of Blind Faith) performed live. But, the rest of this album would provide a pre-school education, opening up the door to the musical possibilities available outside the confines of American radio. Ginger Baker’s Air Force 2 continued the concept – in the studio – with some personnel changes, of course, while Stratavarious, Baker’s solo debut taped at his own Nigerian recording studio (the one he built, then lost via mismanagement… where McCartney recorded Band On The Run) is a beautifully rendered Afro-rhythmic treat that is as good as, if not better than, either Air Force LP. Even hearing the long outdated drum solos that pepper each album is still a treat, as Baker’s style infused hidden melodic accents within the rhythms that made them more than simple endurance tests. The highly stylized and recognizable shuffle of “Do What You Like” is a prime example. Unless I’m mistaken, this is the only place to get both Ginger Baker’s Air Force 2 and Stratavarious on CD. Find more Ginger Baker (Blind Faith, and trailers for the movie, Beware Of Mr. Baker) in the archives, HERE. Find Do What You Like at Amazon, HERE (but, it’s out of print and not cheap).

Disc 1 – Live At Royal Albert Hall (a.k.a. Ginger Baker’s Air Force)
Da Da Man (7:14)
Early In The Morning (11:17)
Don’t Care (12:29)
Toad (13:00)
Aiko Biaye (13:01)
Man Of Constant Sorrow (3:55)
Do What You Like (11:40)
Doin’ It (5:29)

Disc 2 – In The Studio (a.k.a. Ginger Baker’s Air Force 2, Stratavarious + Bonuses)
1 – Man Of Constant Sorrow (Single Version) (3:35)
2 – Let Me Ride (4:24)
3 – Sweet Wine (3:38)
4 – Do U No Hu Yor Phrenz R? (5:31)
5 – We Free Kings (4:28)
6 – I Don’t Want To Go On Without You (3:57)
7 – Toady (8:23)
8 – 12 Gates Of The City (4:06)
9 – Sunshine Of Your Love (5:53)
10 – Ariwo (11:10)
11 – Tiwa (It’s Our Own) (5:46)
12 – Something Nice (4:20)
13 – Ju Ju (4:20)
14 – Blood Brothers (6:57)
15 – Coda (2:34)

Track 1: Single (1970)
Tracks 2-8: Ginger Baker’s Air Force 2 (1970)
Track 9: Previously Unreleased (Ginger Baker’s Air Force 2 Sessions, 1970)
Tracks 10-15: Stratavarious (1972)

Comments (17)

PRINCE

PRINCE x 2: Rave Un2 The Joy Fantastic (1999) & Rave In2 The Joy Fantastic (2000)

June 2, 2013 – 19:00

Rave Un2 The Joy Fantastic (1999 Arista Records)
Rave In2 The Joy Fantastic (2000 NPG Records)
A Tale Of Two Princes

Remember when Arista’s Clive Davis miraculously transformed 52 year-old, past-his-commercial-prime Carlos Santana into a crossover radio superstar by hooking him up with youngsters like Rob Thomas? Believe it or not, the legendary record man tried the same idea with Prince. Like Santana, Prince’s sales had tanked in the 90s, despite recording some of his finest material during the decade. Surprisingly, Prince considered Davis’ superstar/cameo/duet idea worth trying. The result is one of Prince’s weaker albums – not without its moments (and a great single) – but clearly without a singular vision to give it what Prince fans buy Prince albums for. One of the reasons might have been that Prince didn’t totally commit himself to the concept, which explains why one needs a magnifying glass to even find Chuck D, Sheryl Crow, Eve, Ani DiFranco & Gwen Stafani in the liner notes. As for the material itself, inconsistent is the keyword – though, “The Greatest Romance Ever Sold” was another under-the-radar million seller for the singer. What many don’t know is that the following year, Prince re-issued Rave, with a slightly different track list, slightly different cover, slightly different title and slightly different mixes… with slightly better results. Tracks were tinkered with or extended, while a handful were substantially re-modified. “Strange But True” and “Everyday Is A Winding Road” were removed from Un2 and replaced with the unreleased “Beautiful Strange” on In2. Online CD sales still being new in 2000, Rave In2 The Joy Fantastic went pretty much unnoticed outside the hive. On Amazon and Ebay, Prince’s version sells for between $400 and $500 (HERE), while the Arista version goes for a penny (HERE). Personally, I’m partial to the remix, but you get a public option.

Un2 (1999 – Arista Records)
Rave Un2 The Joy Fantastic (4:19)
Undisputed (With Chuck D) (4:20)
The Greatest Romance Ever Sold (5:30)
Segue (0:04)
Hot Wit U (5:11)
Tangerine (1:32)
So Far, So Pleased (With Gwen Stefani) (3:25)
The Sun, The Moon And Stars (5:16)
Everyday Is A Winding Road (6:13)
Seque (0:19)
Man O War (5:15)
Baby Knows (With Sheryl Crow) (3:19)
Love U, But Don’t Trust U Anymore (3:36)
Silly Game (3:30)
Strange But True (4:13)
Wherever U Go, Whatever U Do (8:51)
WebSite Promo (0:44)
Mr. Pretty Man (With Maceo Parker) (4:25)

In2 (2000 – NPG Records)
Rave In2 the Joy Fantastic (Remix) (5:15)
Undisputed (The Moneyopolis Mix) (5:46)
The Greatest Romance Ever Sold (Extended Remix) (8:07)
Hot Wit U (Nasty Girl Remix) (4:24)
Tangerine (Extended Version) (2:14)
So Far, So Pleased (3:25)
The Sun, The Moon And Stars (5:19)
Man O’ War (Remix) (5:12)
Baby Knows (Extended Version) (3:54)
I Love U, But I Don’t Trust U Anymore (3:34)
Beautiful Strange (Previously Unreleased) (4:56)
Silly Game (3:29)
Wherever U Go, Whatever U Do(Original Version) (3:17)
Pretty Man (Extended Version) (5:36)

Comments (10)

PINK FLOYD ROGER WATERS

PINK FLOYD The Dark Side Of The Moon Early Mix (1972/2011)

May 31, 2013 – 18:05

The Dark Side Of The Moon Early Mix (1972) (2011)
Someone Needs A Lear Jet

For those who like Pink Floyd, but don’t feel the need to get totally “immersed” in The Dark Side Of The Moon Immersion Box Set, here’s Alan Parsons’ early mix of the album you already know by heart. I’m not an A/B guy myself, and though the differences in this early mix aren’t always noticeable, it’s fun to hear what might have been – including the NASA transmissions and news broadcasts name-checking Richard Nixon that accent “The Great Gig In The Sky,” instead of the wailing vocal improv by Clare Torry. This disc also includes some bonus track demos and early live tracks (that are substantially different from the eventual album). There’s more Pink in the archives, including; Meddle, The Ummagumma Reels, Live At Pompeii, Meddled (BBC Live 1971), Live At Empire Pool – Wembley 1974, Timothy White’s Rock Stars syndicated radio show (w/ rare Roger Waters tracks), Vocomotion’s a cappella version of DSOTM, Les Claypool’s (Primus) live version of Animals and a number of Floydian tribs from MOJO (including The Wall Re-Built, Discs 1 & 2)… all HERE. Find PF’s Immersion Box Set at Amazon, HERE.

Breathe (In The Air) (3:10)
On The Run (3:30)
Time (6:57)
The Great Gig In The Sky (4:12)
Money (6:53)
Us And Them (7:15)
Any Colour You Like (3:26)
Brain Damage (3:51)
Eclipse (1:33)
The Hard Way (from the ‘Household Objects’ project) (3:11)
Us And Them (Richard Wright demo) (5:39)
The Travel Sequence (Live In Brighton 1972) (4:42)
The Morality Sequence (Live In Brighton 1972) (3:21)
Any Colour You Like (Live In Brighton 1972) (4:45)
The Travel Sequence (previously unreleased studio recording) (2:22)
Money (Roger Waters demo) (2:42)

Comments (11)

GRATEFUL DEAD

GRATEFUL DEAD May 1977 (14CD Box Set) – UPDATED

May 30, 2013 – 17:00

Nifty looking die-cut box, limited to 15,000 hard copies, though the music will be released digitally, as well. There’s plenty more Dead in the archives…

NEED MORE DEAD AND DEAD-RELATED STUFF?
GRATEFUL DEAD Fillmore West, 1969 The Complete Recordings (2005) HERE
GRATEFUL DEAD Fillmore West, 1969 Bonus Disc (2005) HERE
GRATEFUL DEAD & MERL SAUNDERS The Twilight Zone (TV Soundtrack 1985) HERE
GRATEFUL DEAD Wake Of The Flood Studio Outtakes (1973) HERE
GRATEFUL DEAD Spring 1990 (18CD Box Set, 2012) HERE
FURTHUR September 18, 2009 (3 Hour Streaming Show) HERE
RHYTHM DEVILS The Apocalypse Now Sessions (1979) HERE
GRATEFUL DEAD Live At Giza (The Pyramids) (Boot 1978) HERE
MERL SAUNDERS & JERRY GARCIA Live At Keystone, Volume I (1988), Live At Keystone, Volume II (1988), Keystone Encores (1988) & Well-Matched (1996) HERE
THE HENRY KAISER BAND Dark Star – Live At Slims San Francisco 12.15.88 HERE
DAVID MURRAY OCTET Dark Star [The Music Of The Grateful Dead] (1996) HERE
BILL KREUTZMANN Mahalo (Privately Released 2003) HERE
FURTHUR Live From Abbey Road (2011) HERE
DAVID & THE DORKS Live At The Matrix (1970) HERE
JOE GALLANT & ILLUMINATI Blues For Allah Project (1996) HERE
THE PERSUASIONS Might As Well… The Persuasions Sing Grateful Dead (2000) HERE
NED LAGIN Seastones (1975) HERE

Comments (12)

MANASSAS STEPHEN STILLS

STEPHEN STILLS Stephen Stills (1970) & Stephen Stills 2 (1971) + Manassas (1972)

May 30, 2013 – 10:23

Stephen Stills (1970)
Stephen Stills 2 (1971)
An Artist With A Catalog To Die For

Two albums long overdue for the sonic upgrade and bonus track treatment. For any other artist, either of these solo albums might be considered career highlights. But, for Steve Stills, an artist whose recording discography has often been overshadowed and/or taken for granted, Stephen Stills and Stephen Stills 2 are merely stepping-stones for his ongoing creative development. Both are outstanding calling cards for his ongoing passions – acoustic blues, church-going gospel, Latin & Afro-Cuban rhythms, organ-drenched jams and a kitchen sink attitude that has served him well over the years. One power Stills has always possessed was his ability to walk into a recording studio, turn on the tape machine and make something memorable happen. “Black Queen” is a great example. And, while I’ve sometimes winced at his white boy vocalizations when tackling gospel and/or political rock, his delivery is rarely less than impassioned, as he usually savours emotion over perfection (best exemplified by his guitar solos, which quite often contain miscues left in the mix). Note how much he can pack into just 3 minutes, as on “Sit Yourself Down,” which begins acoustically and quietly before arching into a full-blown gospel sing along (featuring the rest of CS&N, as well as Cass Elliot, who is generally credited with bringing them all together). The jam that unfurls on “Old Times Good Time” sounds straight off of Super Session (HERE) (note Al Kooper’s arranging influence and Jimi Hendrix’s lead guitar work). Fans may bicker about Stills’ finest hour – Buffalo Springfield, Super Session, CS&N, CSN&Y, a few of his solo albums – but in MHO, Stills’ genius peaked with Manassas the following year in 1972. Still… you can’t go wrong with any of the above. Find Stills’ Just Roll Tape: April 26, 1968 (HERE) and Manassas – Musikladen Live, a rare television performance (HERE) in the archives. Get Stills (HERE) and Stills 2 (HERE) at Amazon.

STEPHEN STILLS
Love The One You’re With (3:06)
Do For The Others (2:53)
Church (Part Of Someone) (4:06)
Old Times Good Time (3:39)
Go Back Home (5:54)
Sit Yourself Down (3:06)
To A Flame (3:08)
Black Queen (5:27)
Cherokee (3:23)
We Are Not Helpless (4:21)

STEPHEN STILLS 2
Change Partners (3:16)
Nothin’ To Do But Today (2:43)
Fishes And Scorpions (3:18)
Sugar Babe (4:01)
Know You Got To Run (3:50)
Open Secret (5:00)
Relaxing Town (2:23)
Singin’ Call (3:01)
Ecology Song (3:25)
Word Game (4:12)
Marianne (2:29)
Bluebird Revisited (5:25)

BONUS:
Manassas (1972)
Inspiration Personified

Steve Stills’ inspired union with the terminally under-appreciated Chris Hillman (The Byrds, Flying Burrito Bros) generated one of rock’s great double albums, 1972′s Manassas – a seamless, sometimes live-in-the-studio fusion of rock, country & folk, goosed by steel guitars and Cubano rhythms in a way that had never been done before… or since. The side one suite of songs – “Song Of Love,” “Rock & Roll Crazies/Cuban Bluegrass,” “Jet Set (Sigh)” and “Anyway” – is arguably Steven Stills’ finest hour, filled with a kinetic energy that captures a creative band of misfits (and an obviously focused leader) working without pretension, without limits, and without interest in catering to the whims of radio. It was a shining, golden moment that wouldn’t, couldn’t last – as evidenced by the group’s sophomore LP the following year, Down The Road – proving once again just how elusive creativity and spark can be in any organization. In 1972, when the CSN&Y juggernaut had seemingly run its course, Manassas somehow managed to fly to all new heights – in no small part thanks to Hillman and steel guitarist Al Perkins, both of whom shine throughout (especially on side two’s country-themed material). I’m not sure how Manassas will appeal to newcomers today, over 40 years after the fact, but if you’ve previously skipped this one , give it a shot. But don’t be analytical, sometimes you just have to let art flow over you (credit: The Big Chill), and Manassas is one such example. Find it at Amazon (HERE, last mastered in 1995).

THE RAVEN
Song Of Love (3:27)
Rock & Roll Crazies /Cuban Bluegrass (3:32)
Jet Set (Sigh) (4:23)
Anyway (3:19)
Both Of Us (Bound To Lose) (3:02)
THE WILDERNESS
Fallen Eagle (2:05)
Jesus Gave Love Away For Free (3:01)
Colorado (2:53)
So Begins The Task (3:59)
Hide It So Deep (2:47)
Don’t Look At My Shadow (2:30)
CONSIDER
It Doesn’t Matter (2:31)
Johnny’s Garden (2:46)
Bound To Fall (1:53)
How Far (2:52)
Move Around (4:15)
The Love Gangster (2:52)
ROCK AND ROLL IS HERE TO STAY
What To Do (4:45)
Right Now (2:59)
The Treasure (Take One) (8:05)
Blues Man (4:04)

Comments (20)

MOJO PRESENTS ROLLING STONES Various Artists

MOJO PRESENTS Uncovered – 15 Tracks As Re-Cut By The Rolling Stones (2013)

May 29, 2013 – 23:26

MOJO Presents Uncovered (July 2013)

The latest free CD from the July, 2013 MOJO Magazine. Another ‘roots of’ type release (they just did The Roots Of The Rolling Stones in August, 2012) featuring a lot of familiar names; Muddy, Howlin’, Bo, Chuck, etc. You should have most of the old blues guys, but the ancient files from the likes of Jay McShann (1941), Nat King Cole (1946), Hank Snow (1950) and The Will Bradley Trio (1940) make this a worthwhile score. Find all 135 MOJO‘s HERE.

FREDDY CANNON Tallahassee Lassie
EDDIE COCHRAN Twenty Flight Rock
CHUCK BERRY Around And Around
HANK SNOW I’m Moving On
BO DIDDLEY Who Do You Love
LARRY WILLIAMS She Said “Yeah”
MUDDY WATERS Mannish Boy
SOLOMON BURKE Cry To Me
BUDDY HOLLY Learning The Game
NAT KING COLE Route 66
BOOGALOO & HIS GALLANT CREW Cops And Robbers
WILL BRADLEY TRIO Down The Road A Piece
JAY McSHANN Confessin’ The Blues
MUDDY WATERS I Just Want To Make Love To You
HOWLIN’ WOLF The Red Rooster

Comments (2)

BOBBY WHITLOCK DELANEY AND BONNIE DEREK AND THE DOMINOS GEORGE HARRISON

BOBBY WHITLOCK Bobby Whitlock (1972) + A Rock ‘n’ Roll Autobiography: Bobby Whitlock (pdf)

May 29, 2013 – 22:05

Bobby Whitlock (1972)
Rock’s Unsung Utility Man

Singer/songwriter/guitarist/keyboardist Bobby Whitlock was at the nexus of the fruitful creative union of Delaney And Bonnie & Friends and Eric Clapton’s Derek & The Dominoes. After putting in years as a session player for Stax Records (as well as being the first honky signed to the label), Whitlock was possibly the most influential member of both bands, fusing his Stax experience with Delaney & Bonnie’s southern gospel rock before being pinched by Derek for his blues-based Dominoes – where Whitlock’s personal style was nearly as dominate as Clapton’s. His first solo album was this self-titled release from 1972, and fans of both D&B and D&TD should appreciate the common ground. You can clearly hear the Stax DNA in Whitlock’s horn-heavy “Back In My Life Again,” while this LP’s rootsy, gospel-based balladeering reflects his upbringing as the son of preacher man. Andy Johns produces. Admittedly, Bobby Whitlock‘s success rate is scattershot. I had this LP back in the day, but largely forgot about it over the years, typically opting for his work within the more dynamic LPs of his mates. But, I enjoy revisiting the previous century’s music sometimes just to see what’s changed more… me or the music. Many of the pals Whitlock supported over the years show up to support him, including Clapton, D&B and George Harrison (BW’s work went uncredited on All Things Must Pass). This is a serviceable vinyl rip, but Bobby Whitlock (along with his follow-up, Raw Velvet, from 1972), will finally get refurbished and re-released on CD June 25th, as Where There’s A Will There’s A Way. Pre-order at Amazon, HERE. Find some D&B (HERE) and EC (HERE) in the archives.

Where There’s A Will There’s A Way (3:42)
Song For Paula (4:14)
A Game Called Life (4:12)
Country Life (3:06)
A Day Without Jesus (3:22)
Back In My Life Again (3:27)
The Scenery Has Slowly Changed (3:49)
I’d Rather Live The Straight Life (2:27)
The Dreams Of A Hobo (3:20)
Back Home In England (2:47)

BONUS:
A Rock ‘n’ Roll Autobiography: Bobby Whitlock (2010)

Here’s a pdf of Whitlock’s 2010 autobiography. Haven’t read it yet myself, but am looking forward to it. You can get it at Amazon, where there are tons of 5-star reviews, HERE.

Comments (10)

Wormholes

Wormhole #61 (The Man Who Would Be King)

May 28, 2013 – 21:22

<—Click To Enter

Comments (14)

Zombies

THE ZOMBIES Begin Here (1965) – Expanded w/ 17 Bonus Tracks

May 24, 2013 – 16:30

Begin Here (1964/1992)
A Good Place To Begin

These days, I get a kick out of going back to hear the original albums of bands I only came to know after the fact – typically via mangled US issues and/or best-ofs. This debut from The Zombies (Rod Argent, Colin Blunstone, Chris White, Paul Atkinson & Hugh Grundy) is a great example. A likable fusion of pre-psych, British-styled combo R&B goosed by Beatles-influenced pop and early RnR chestnuts. Begin Here is made greater by this particular 1992 reissue on Repertoire, which adds 17 bonus tracks to the original LP’s 14. Not all of it is from 1964, but it’s all a treat nonetheless. I couldn’t find this particular 31 track version at Amazon, but they do have a newer, 36-track reissue (subtitled The Complete Decca Mono Recordings 1964-1967), which is worth the investment for the new millennium re-mastering (HERE). The Zombies’ psych epic, Odyssey And Oracle, is in the archives, HERE.

Roadrunner (2:06)
Summertime (2:15)
I Can’t Make Up My Mind (2:37)
The Way I Feel Inside (1:28)
Work ‘n Play (2:07)
You Really Got A Hold On Me (3:40)
She’s Not There (2:26)
Sticks And Stones (2:57)
Can’t Nobody Love You (2:15)
Woman (2:26)
I Don’t Want To Know (2:07)
I Remember When I Loved Her (2:00)
What More Can I Do (1:39)
I Got My Mojo Working (3:35)
…..BONUS TRACKS
You Make Me Feel Good (2:42)
Leave Me Be (2:08)
Tell Her No (2:08)
She’s Coming Home (2:35)
I Must Move (1:57)
Kind Of Girl (2:12)
It’s Alright With Me (1:52)
Sometimes (2:05)
Whenever You’re Ready (2:44)
I Love You (3:12)
Is This The Dream (2:44)
Don’t Go Away (2:35)
Remember You (1:59)
Just Out Of Reach (2:08)
Indication (3:02)
How We Were Before (2:06)
I’m Going Home (1:49)

Comments (20)

BEACH BOYS MARK ERIC

MARK ERIC A Midsummer’s Day Dream (1969)

May 23, 2013 – 10:47

A Midsummer’s Day Dream (1969)
Channeling Brian Wilson… Circa 1969!

Big thanks to Miles over at Birds With Broken Wings (HERE) who – in the wake of our Chris White post (HERE) – was kind enough to send us this outstanding slab of sunshine Californian pop. Mark Eric is new to me, but his style isn’t, as he’s an unabashed Brian Wilson/Beach Boys/SoCal Sun worshipper whose 1969 album, A Midsummer’s Day Dream, is a near-perfect concoction of B-Boy harmonies and arranging techniques. If you enjoy the real deal, this release is pretty damned irresistible, and so spot-on it’s spooky. What’s important to remember, however, is that this LP was recorded in 1968/69, so it’s not some modern tribute or homage. Mark Eric was made for those times and this LP reflects his genuine, stylistic expression – as ‘influenced’ as he may be. By ’69, of course, even The Boys themselves had stopped being this heartbreakingly optimistic, so Eric wound up being a half-step behind the times when A Midsummer’s Day Dream was first released. Unbelievably, this is his only album, though it has recently been re-issued with bonus tracks and is highly recommended. Just sample the tracks below for an authentic taste of the mid-60s. On a side note, Eric was also a teen actor, appearing on The Partridge Family, among other TV shows of the 60s. Thanks for the share, Miles. Find A Midsummer’s Day Dream at Amazon, HERE.

California Home (2:32)
Move With The Dawn (2:46)
Laura’s Changing (2:20)
Where Do The Girls Of The Summer Go? (3:21)
I’d Like To Talk To You (2:56)
Take Me With You (3:06)
Night Of The Lions (2:41)
Don’t Cry Over Me (2:50)
We Live So Fast (2:26)
Sad Is The Way That I Feel (3:05)
Just Passing By (2:50)
Lynn’s Baby (3:10)
Place For The Summer (2:34) – BONUS TRACK
Build Your Own Dreams (3:42) – BONUS TRACK
Summer Goes This Way (2:50) – BONUS TRACK
Goin’ Native (2:43) – BONUS TRACK
Night Of The Lions [45 Mono Mix] (2:40) – BONUS TRACK
Don’t Cry Over Me [45 Mono Mix] (2:46) – BONUS TRACK
California Home [45 Mono Mix] (2:46) – BONUS TRACK
Where Do The Girls Of The Summer Go? [45 Mono Mix] (5:40) – BONUS TRACK

Comments (14)

MUDDY WATERS

MUDDY WATERS “Unk” In The Funk (1974)

May 22, 2013 – 22:06

“Unk” In The Funk (1974)
Loose Studio Jams From Muddy & Band

How loose and live is this 1974 Muddy Waters studio session? Just give a listen to “Rollin’ And Tumblin’,” about 3:15 in, when drummer Willie Smith blows the beat and the band breaks down. You can hear Muddy rallying the troops to get back on the horse, which they do, to eventually finish the tune. Still… most albums wouldn’t include this “flawed” take as a bonus, much less position it as the lead off track. It’s that live and loose. There are some that have derided this LP as sub-standard in Waters’ canon – being a mix of re-recorded classics and a handful of newer compositions, two of which were co-written by Muddy’s granddaughter. And if you’re just strictly comparing it to Muddy’s finest, that’s obviously true. But I look at these sessions as an opportunity to be the proverbial fly on the wall, a chance to hear Muddy and his 70s touring unit (greats like Pinetop Perkins, Luther Johnson, Calvin Jones & Bob Margolin) getting their unk on in a casually relaxed live studio setting. If you’re like me, you’ll be hooked by the second track, “Just To Be With You,” a slow blues workout that defines Waters’ appeal. We’ve got plenty more Muddy in the archives, including The Complete Plantation Recordings, Fathers And Sons, Hoochie Coochie Man (an outstanding 1964 live show), Muddy “Mississippi” Waters Live and One More Mile: Chess Collectibles Vol. 1, all HERE. Find “Unk” In The Funk at Amazon, HERE.

Rollin’ And Tumblin’ (7:30)
Just To Be With You (3:57)
Electric Man (3:11)
Trouble No More (2:41)
”Unk” In Funk (3:24)
Drive My Blues Away (2:50)
Katie (3:06)
Waterboy Waterboy (4:01)
Everything Gonna Be Alright (3:36)

Comments (2)

DOORS

THE DOORS Live Buyer’s Guide (Over 31 Hours, 31 Discs, All Official, NO Boots)

May 21, 2013 – 18:10

This page is getting a lot of hits in the wake of Ray Manzarek’s passing. So, I thought I’d just move it up top for everybody. Thanks for everything, Ray.

A collection of live Doors discs, covering almost all of the band’s officially released live albums. One release we didn’t bother with is Boot Yer Butt, an expansive 4CD collection of Doors bootlegs put together by drummer John Densmore. The source material is shoddy and was designed – I’m guessing – to neuter bootleg sales… like back when Frank Zappa started releasing the bootlegger’s actual audience recordings and artwork himself. I’ve never even been able to listen to it all, so I can’t tell you much about it, except, you should be listening to all of the ones posted here before you even bother with it. We’ve also got our Doors archive up and running again; The Doors (Remixed/Proper Speed), Live At The Isle Of Wight 1970, Perception Bonus Tracks, and More Studio Bonus Tracks.

Alive She Cried (1983)

The first posthumous live Doors LP was most welcomed back in 1983. The random gathering of odds & ends didn’t have much rhyme or reason, but anemic long-time fans weren’t picky. The band doctored the tapes with some overdubs, since they already had to edit Morrison’s x-rated ad-libs from this LP’s highlight – a killer version of Van Morrison’s “Gloria.” It’s hard to believe we were all so innocent we couldn’t hear the unedited tapes until 1997′s The Doors Box Set. When the CD era finally arrived, Alive She Cried was packaged with Absolutely Live for the 2CD release, In Concert. At Amazon, HERE.

Live At The Hollywood Bowl (1987)

A short, barely 23-minute LP (and that’s including the odd single edit of “Light My Fire,” taken from the same full-length version that’s already on the album). The purpose behind the release was to co-promote the new VHS video of the same name. Why the unnecessary brevity of the LP is anyone’s guess. Despite what virtually every review for this LP says, only two of the Hollywood Bowl recordings (“Light My Fire” & “Unknown Soldier”) wound up on the 1991 live comp, In Concert. The Hollywood Bowl show would eventually get a proper release in 2012 (below). At Amazon, HERE.

In Concert (1991)

A 2CD compilation pulling together all of the tracks from The Doors’ only official live albums, Absolutely Live (1970) and Alive She Cried, as well as two cuts from Live At The Hollywood Bowl. To spur sales of the newfangled invention called the CD (featuring music any Doors fan already had), a then-unreleased version of “The End” was added. All tracks were recorded in Los Angeles, Boston, New York, Philly, Pittsburgh, Detroit and Copenhagen, so – except for Copenhagen – virtually all of this material has been included on later, full show releases (in unedited or undubbed form). Absolutely Live (HERE) was eventually issued independently, also. At Amazon, HERE.

The Doors Box Set (1997)
Without A Safety Net

The first of many Doors box sets included three discs of live music. Without A Safety Net is a random selection of live tracks, most of which would appear the following century on the full concert issues on Bright Midnight/Rhino. So, there’s going to be a lot of duplication here if you’ve already got the rest. Check comments for the track listings to see where these tracks were recorded. HERE.

The Doors Box Set (1997)
The Future Ain’t What It Used To Be

It’s the same deal as above. As The Doors Box Set was the first opportunity for the band to dip into their archived tapes, here’s another varied collection of live tracks, interspersed with a few of the World Pacific demos and TV appearances. Check comments for where these tracks are sourced from. At Amazon, HERE.

The Doors Box Set (1997)
Live In New York

The third live disc from the box set would become obsolete with the release of 2006′s 6CD box, Live In New York, where most of this material comes from. Regardless of that, this was one spectacular single disc collection when it came out. With a 17-minute “Celebration Of The Lizard” and an 18-minute “The End,” Live In New York boasted some serious heft. And, for the first time, we finally got to hear Jim’s x-rated ramblings in “Gloria” (first hinted at on Alive She Cried). Of course, “Gloria” wasn’t recorded in New York, but who cared? (I’ve read that a few other tracks may be from other venues, also.) A fantastic stand alone live Doors disc… just ignore the accuracy of the title. At Amazon, HERE.

Live In Detroit (2000)

The first of the 21st century Doors albums, coming with the union between The Doors’ own label, Bright Midnight, and the exclusive Limited Edition mavens, Rhino Handmade. As a result, the 2CD Live In Detroit (May 8, 1970 @ Cobo Hall) is no longer officially available, having exhausted its limited run. The band was recording L.A. Woman at the time of this show – a unique one as Morrison extended the set list to include a bunch of standards and blues numbers, in what manager Danny Sugarman says is “easily, the longest Doors set ever performed.” (whether that’s actually true or not.) At Amazon, HERE.

Live At The Aquarius Theatre:
The First Performance (2001)

The first of three amazing 2CD sets that capture the band’s 24 hour residency at The Aquarius Theatre in Los Angeles. At the time, Elektra wanted more live material, but The Doors had a problem. Since Jim Morrison’s Miami bust for indecent exposure in March, ’69, the band’s live dates were mostly canceled and they couldn’t book a tour. (Funny, these days that controversy would only make them more in-demand.) So the idea was hatched to play a small L.A. venue (July 21, 1969), and these tapes were born. Another Rhino Handmade release that’s officially out of print. At Amazon, HERE.

Live At The Aquarius Theatre:
The Second Performance (2001)

The Second Performance is nearly an hour longer than the first matinée show (and about as long as the Detroit show), and finds the band in fine form. There’s a lot of variety here, too, as the guys seem intent on offering up some (previously unreleased) live titles, like “Five To One,” “Blue Sunday,”, “Touch Me,” “Gloria” and others. Because of the venue’s intimacy, there’s plenty of chatter between Morrison and the crowd, but Jimbo appears sober so there’s not much in the way of outrageous pronouncements. Another dead Rhino. At Amazon, HERE.

Backstage And Dangerous:
The Private Rehearsal (2002)

Always thinking, producer Paul Rothchild figured that since everything was already set up, why not record a morning/afternoon performance (July 22, 1969) – without an audience – before everything was torn down for the Aquarius’ evening performance of Hair. Smart thinking. Except that Jim didn’t really want to be there… and you can tell. But, this is such a different kind of show for the band, it remains a must-hear. Since Morrison thrived on audiences, he seems a bit lost for inspiration in the empty venue. After the first half of the recording, his disinterest spins him towards raunchier material. This show is the source of the original, x-rated live version of “Gloria,” found on Alive She Cried and Live In New York. At Amazon, HERE.

Live In Philadelphia ’70 (2006)

If I’d spent any time with this, I’d tell you all about it. This was the last of The Doors’ live discs to be issued in a limited run by Rhino Handmade. As a result, it’s out of print and very expensive at Amazon, HERE.

Live In Boston (2007)

Live In Boston features two complete shows, an abbreviated matinée and an extended evening show. And Morrison’s bombed for both, slurring his words, not bothering with some lyrics and, by the end of the second show, seemingly pretty disinterested in what’s going on. Unfortunately, these shows are also sonically challenged, so it’s a difficult listen unless you’re the type accustomed to bootleg atmospherics. It’s really not that bad, just not grade-A like previous Bright Midnights. As a result, however, I haven’t spent much time with this one either. 3CDs at Amazon, HERE.

Live At The Matrix (2008)

The famed Matrix tapes (March 7 & 10, 1967), the first unofficial live recordings of The Doors, finally available after decades of abusive mixes have littered the web. This isn’t all the material recorded, so it’s more of a best-of The Matrix, with somewhat improved sound quality. This is Morrison & Co. before the adulation (“Light My Fire” wasn’t a hit yet) and the audience, when you can even hear them, seems barely interested. Which might explain why bands get so weird when they get big. Here’s Morrison busting his balls to make an impression… and no one cares. Two years later he’s showing up so drunk he can barely sing… and he’s treated like a god. What message would your fragile rock star ego take from that? Especially when it’s reinforced night after night? At Amazon, HERE.

Live In Pittsburgh (2008)

An abbreviated show from Pittsburgh (May, 2, 1970). Besides the less than spectacular sound (a touch muddy, not bad, not great), Live In Pittsburgh‘s few audio issues are forgivable for the performances, which are solid throughout. The band sounds nimble and attentive, while Morrison is pretty alert and on his game… two months after his drunken fiasco in Miami. This show was recorded for possible inclusion on Absolutely Live, but nary a track was used. This release – short enough to fit on a single disc – might be better suited to the hard-core. I haven’t spent much time on this one, but… your mileage may vary. At Amazon, HERE.

Live In New York (2009)

The complete run of the band’s four sets over two nights at the Felt Forum/Madison Square Garden (January 17-18, 1970) on 6 CDs. If you want to study the Doors live, this is where you go, as it covers a lot of ground with exceptional sound quality. These reels were the source of many performances found on Absolutely Live, so you already know some highlights. Enough can’t be said, really. There is an overdub you should know about… when guest John Sebastian came out for an encore, his harmonica was off-mic. So, for this release, Sebastian came into the studio in 2009 and replicated his performance. Before you cry foul, however, the band posted the original versions on the Rhino website for buyers to download. Those version are included here. As cheap as $40… for their best live work at Amazon, HERE.

Live In Vancouver 1970 (2011)

The newest of the live series is this 2CD set recorded in Canada. Another whose sonics are not perfect, but are not awful. I, however, haven’t seriously listened to it in detail yet… sorry. Some guide, huh? At Amazon, HERE.

Live At The Bowl ’68 (2012)

Finally… a refurbished, complete recording from The Hollywood Bowl. There’s a new video, too, if you follow the links and poke around at Amazon.

Comments (48)

MONKEES TOMMY BOYCE & BOBBY HART

TOMMY BOYCE & BOBBY HART The Anthology (1995)

May 21, 2013 – 16:37

The Anthology (1998)
Radio Liaisons To The Stars

Tommy Boyce & Bobby Hart never really made it as a recording act. Not for lack of trying… or talent… or great songs… or contacts. It just never happened. As a freshly minted, demographically targeted teen, I grew to know Boyce & Hart as the names behind the acts I was using my allowance money for. Primarily The Monkees. At the time, though, I knew nothing about them as recording artists, and even years later, as The Monkees’ TV wellspring ran dry, I heard little of the music they were making for themselves, save a couple of low-rung hits. Maybe I just wasn’t paying attention. That’s why a collection like The Anthology is, for me, more than worthwhile. I’ve little time to catch up with their original albums (only 3 or 4 of them from the 60s), and have zero interest in weeding through the filler tunes that all but the best albums have. What The Anthology offers is a pruned assortment of pre-psych pop and jingle-minded AM radio fare, solid, if age-conscious, songwriting, some recognizable tunes (mostly by others) and some mindless fun. Monkees fans will be drawn to B&H’s versions of “Teardrop City,” “PO Box 9847″ and “I Wanna Be Free” – a tune I could have gone without ever hearing again. While the duo’s few known radio forays, “I Wonder What She’s Doing Tonite” and “Alice Long (You’re Still My Favourite Girlfriend),” are still winning, sugary pop numbers – though… my memory is hazy as to if I’m remembering their versions or someone else’s (Gary Lewis?). The last five tracks are from B&H’s union with Monkees Davy Jones and Micky Dolenz. Find The Anthology @ Amazon, HERE.

TOMMY BOYCE (Solo)
I’ll Remember Carol (2:28)
Sunday, The Day Before Monday (2:20)
TOMMY BOYCE & BOBBY HART
Out And About (2:31)
I Should Be Going Home (3:01)
For Baby (3:48)
Sometimes She’s A Little Girl (2:55)
I Wonder What She’s Doing Tonite (2:44)
The Ambushers (2:15)
I’m Digging You Digging Me (2:38)
I Wanna Be Free (2:26)
Teardrop City (2:22)
Love Every Day (2:50)
The Countess (2:29)
Goodbye, Baby (I Don’t Want To See You Cry) (4:00)
Where Angels Go, Trouble Follows (2:09)
Alice Long (You’re Still My Favourite Girlfriend) (2:53)
P.O. Box 9847 (3:01)
Abracadabra (1:53)
Jumpin’ Jack Flash (4:09)
Standing In The Shadows Of Love (4:30)
DOLENZ, JONES, BOYCE & HART
I Love You (And I’m Glad That I Said It) (3:10)
A Teenager In Love (3:01)
Sail On Sailor (3:40)
I Remember The Feeling (3:25)
It Always Hurts Most In The Morning (3:28)

Comments (7)

CHUCK BROWN E.U. TROUBLE FUNK

GO GO CRANKIN’ (1985) w/ Trouble Funk, Chuck Brown And The Soul Searchers, Redds And The Boys, Experience Unlimited, Slim & Mass Extension

May 20, 2013 – 17:30

Go Go Crankin’ (1985)
DC’s Hidden Funk Underground Exposed

I remember being quietly stunned when I first got this LP in the mail from Island Records back in 1985. Back in the day, MTV – commercial music’s most important juggernaut since radio – was still wrestling with the concept of even airing black music on their lily-white network (Michael Jackson notwithstanding), so Go Go Crankin’, a compilation culled from Washington DC’s underground Go-Go scene, was an ear-opener. The style – a song-less, repetitious, percussion-heavy, funk-based, call & response attack – had virtually no chance of cracking radio, much less TV, in the mid-80s. But, in DC, this music was religion, packing local venues from midnight to 6am with gum-chewing, soda drinking teens… even on school nights. I mentioned my own experience visiting DC (HERE, on our Trouble Funk Live post) to write about the “new” movement Island was trying to break nationally – spending the weekend with Trouble Funk, Redds & The Boys, E.U. and the late, great Chuck Brown, among others – two days that became one of my all-time top live music experiences. This LP, Go Go Crankin’, was the motivation to get me on a plane and see it for myself. I still think it’s a great record, though anyone who’s embraced Go-Go for themselves knows that this is just a surface scratching taste. A “studio” version of the genre. On stage, the real stuff might find a single “song” evolving for over an hour, backed by a flurry of intoxicating beats, bongos, cowbells and percussion. So this LP was an attempt to get radio on board by serving up the meat of the matter in short, 5 minute, taste-testing chunks. It worked wonders for my funk-hungry needs, anyway. Hear some below. This is a good vinyl rip, but there’s a CD available at Amazon, HERE.

SLIM Good To Go (4:45)
REDDS AND THE BOYS Movin’ And Groovin’ (3:56)
WE NEED SOME MONEY Let’s Get Small (5:14)
CHUCK BROWN AND THE SOUL SEARCHERS We Need Some Money (4:18)
E.U. Ooh La La La (5:06)
TROUBLE FUNK Drop The Bomb (5:16)
SLIM In The Mix (4:21)
E.U. Somebody’s Ringin’ That Door Bell (4:36)
TROUBLE FUNK Say What? (5:14)
MASS EXTENSION Happy Feet (5:12)

Comments (10)

PRINCE

Prince/3rd Eye Girl “FIXURLIFEUP” (2013) – Brand New Prince Tune

May 18, 2013 – 19:01

“FIXURLIFEUP” (2013)
Official New P – Check Comments For More

Comments (4)

RECORDS

THE RECORDS Old Waldorf, San Francisco 10/7/79

May 17, 2013 – 10:52

Old Waldorf, San Francisco 10/7/79 (1979)
Unreleased Live Radio Show

Many thanks to DRaftervoi for posting this live Records show in C-Box last month. It’s a KSAN live broadcast that he digitized from a friend’s high quality cassette of the aired show. Not sure which line-up of the band is represented here [see comments], as this is just before The Records would enter the studio to record 1980′s Crashes, featuring new member, Jude Cole. The sound is fairly good (hear “Vamp,” below), but some of the vocals are challenged. Especially during the rendition of “Teenarama,” when the lead goes horribly off-key, sounding like the stage monitors went dead. A tell-tale reminder of just how fragile pop harmonies are in the first place. We’ve got more from The Records in the archives (HERE), including Paying For The Summer Of Love, a great collection of pre-debut demos, and Shades In Bed aka The Records, an outstanding 20 track reissue of the band’s first LP.

KSAN Intro (0:30)
Paint Her Face (3:02)
All Messed Up And Ready To Go (4:03)
Insomnia (2:54)
Hearts In Her Eyes (3:43)
Vamp (3:11)
Girl (3:53)
Girls That Don’t Exist (4:12)
Same Mistakes (3:55)
Affection Rejected (3:57)
Abracadabra (2:44)
1984 (3:49)
Rock And Roll Love Letter (3:49)
Teenarama (4:37)
I Can Hear The Grass Grow (3:22)
Starry Eyes (4:58)
KSAN Outro (0:33)

Comments (4)

ELO IDLE RACE JEFF LYNNE MOVE

THE IDLE RACE The Birthday Party (1968)

May 16, 2013 – 18:32

The Birthday Party (1968)
Spawns Of The Early UK Music Hall Tradition

You know how there are some albums out there that you just never got around to checking out? Long standing, well-known or historically significant LPs, some even by favorite artists, that just never made it past your eyes to your ears? The Idle Race’s debut long player, The Birthday Party, is one of those albums for me. Despite being a Jeff Lynne, Move and Electric Light Orchestra fan, I’ve never heard this album before this month, some 45 years after the fact. Why? Can’t tell you. I’ve heard a few scattered tracks over the years, via friends and/or compilations, but hearing the album in full for the first time is a bit of a surprise. For instance, I never realized that Lynne came from the same UK music hall tradition that helped to shape Ray Davies’ musical world view. As a result, much of The Birthday Party sounds like a heavily psychedelicized version of The Kinks, characterized by first-person storytelling and oodles of English ambience. Elements of Lynne’s later fascination with The Beatles aren’t as prevalent, though hints peek through in the juicy harmonies and psych window dressing. It’s even funnier to hear tracks that embody Lynne’s future work perfectly, like the lazy gait of “Happy Birthday” or the near-prescient orchestral work of “The Lady Who Said She Could Fly,” which actually sounds out-of-place with the other material here. But, that’s just my train-of-thought first impressions. Maybe a few more listens will put it all into better focus. Maybe you’ve got your own examples of albums you should have investigated, but never did. Check the archives for much more Jeff Lynne, via Electric Light Orchestra (The Night The Light Went On (In Long Beach), Out Of The Blue, A New World Record, Zoom & Bonus Tracks), The Move (Anthology 1966-1972) and a cool tribute called Lynne Me Your Ears – A Tribute To The Music Of Jeff Lynne, all HERE.

Skeleton And The Roundabout (2:26)
Happy Birthday (0:23)
The Birthday (3:01)
I Like My Toys (2:13)
Morning Sunshine (1:49)
Follow Me Follow (2:48)
Sitting In My Tree (2:00)
On With The Show (2:22)
Lucky Man (2:39)
Don’t Put Your Boys In The Army, Mrs. Ward (2:15)
Pie In The Sky (2:28)
The Lady Who Said She Could Fly (2:22)
End Of The Road (2:06)