DAVID CROSBY Van Cortlandt: Alternate Tunings & Nautical Themes (2000)

Van Cortlandt: Alternate
Tunings & Nautical Themes
A Deeper Look Into David Crosby

Most have already made up their minds about the most notorious of the CSN&Y clan – though, it’s often only through the few high-profile songs he’s managed to squeeze onto any given C&N, CS&N or CSN&Y album. Or worse… via his well-known public escapades. Comparing the individual merits of Crosby, Stills, Nash or Young, however, is futile. A classic apples and oranges debate. I’m a Crosby man, myself, and this set might help explain why. Alternate tunings are a major source of David Van Cortlandt Crosby’s unique style, giving much of his work a floating, dream-like quality. Even when he rocks, his music often takes on a stoned, lazy vibe – a purposeful one, as this comp should illustrate. His fearless use of silence and space, especially live, is dramatic. Personally, I’ve never tired of Crosby’s narrative in “Laughing,” which details his failed attempts to find ‘truth,’ only to finally discover it in the laughter of a child. The song’s twist comes when he finds, but fails to recognize that discovery as truth. The electric version (with Jerry Garcia) opens this comp, while the shockingly naked live version closes. Then there’s “Almost Cut My Hair,” a seemingly ridiculous ode to fashion that is, in reality, a serious line drawn in the sand. “I’m not giving in an inch to fear,” Crosby wails, and his words ring as substantive as any anti-war declaration. But, the main reason for this re-examination is just the sheer beauty of the music; “Lee Shore,” “Traction In The Rain,” “Song With No Words,” “The Wall Song,” are all sincere and brilliantly executed observations that have advanced Californian folk music beyond its precedents. This set picks up after DC’s tenure in The Byrds and was made in 2000, pre-internet and before the recent rash of demo and outtake releases. A glaring omission is his work with CPR. There’s a LOT more essential Crosby in the archives, HERE.

Laughing (5:23) (C)
Song With No Words (Tree With No Leaves) (5:56) (C)
Cowboy Movie (8:09) (C)
Traction In The Rain (3:44) (C)
I’d Swear There Was Somebody Here (1:21) (C)
Guinnevere (demo) (4:48) (C)
Where Will I Be? (3:23) (C&N)
Page 43 (2:56) (C&N)
In My Dreams (5:13) (CS&N)
Music Is Love (3:21) (C)
Rusty And Blue (7:09) (Live) (C)
Till It Shines On You (5:40) (Live) (C)
Deja Vu (10:27) (Live) (C)
Triad (6:14) (Live) (CSN&Y)

Almost Cut My Hair (unedited version) (8:50) (CSN&Y)
What Are Their Names? (2:42) (C)
Orleans (1:58) (C)
Hero (4:50) (Live) (C)
Whole Cloth (4:34) (C&N)
Lee Shore (4:49) (Live) (C&N)
The Wall Song (4:26) (C&N)
Tampalpais High (At About 3) (3:31) (C)
Games (3:59) (C&N)
Tracks In The Dust (4:48) (C)
Homeward Through The Haze (4:21) (CSN&Y)
Long Time Gone (5:58) (Live) (CSN&Y)
Wooden Ships (10:43) (Live) (C)
Laughing (4:35) (Live) (C&N)

THE O’JAYS Back Stabbers (1972)

frontBack Stabbers (1972)
Philly Soul…

A breakthrough release not only for the long-standing O’Jays, but an album that helped to put Kenny Gamble & Leon Huff’s Philadelphia International Records on the map. Fueled mostly by Gamble & Huff tunes, including “Love Train” (the basis for TV’s Soul Train theme song), Back Stabbers is all you’d need to hand an alien being to explain the Philly Soul sound – a sensuously sweet mix of soulful harmonies, sweeping strings, persistently inviting rhythms and note-perfect arrangements. Speaking of Gamble & Huff, we’ve got a great, promo-only comp, I Love Music: The Songs Of Gamble & Huff, in the archives (HERE), along with the 3CD box, The Philly Sound: Kenny Gamble, Leon Huff and the Story of Brotherly Love (HERE). At Amazon (HERE) a download is $9.99, but you can get the hard disc – new – for under $6, and additional MP3 files are tossed in for free. Go figure.

When The World’s At Peace (5:21)
Back Stabbers (3:08)
Who Am I (5:13)
(They Call Me) Mr. Lucky (3:20)
Time To Get Down (2:52)
992 Arguments (6:08)
Listen To The Clock On The Wall (3:47)
Shiftless, Shady, Jealous Kind Of People (3:37)
Sunshine (3:43)
Love Train (2:59)

LITTLE WALTER The Essential Little Walter (1993)

FrontThe Essential Little Walter (1993)
More From The Blues Shelf

Apparently, I was buying a lot of blues back in 1993, as you might tell from a previous Muddy & Wolf post (HERE), I guess because Chess was releasing a lot of it that year. The Essential Little Walter collects the best from the blues harpist’s career, with remastered sound (as of ’93) and a nifty informative booklet. Most of these tracks are the original 45 versions, mixed with a handful of previously unreleased tracks, providing all you need if you’re just looking to get your feet wet with Walt. 2CDs, 46 tracks and lots of stompin’ Chicago blues. We’ve got a lot of blues buried in the archives, but you can start with the Capitol Blues Series (HERE) before progressing to a bunch of blues-based comps (HERE & HERE). Find The Essential Little Walter at Amazon, HERE.

Juke (Single Version) (2:46)
Can’t Hold Out Much Longer (Single Version) (3:01)
Boogie (3:02)
Blue Midnight (Alt.) (3:03)
Mean Old World (Single Version) (2:55)
Sad Hours (Single Version) (3:13)
Don’t Need No Horse (3:16)
Tell Me Mama (Single Version) (2:49)
Off The Wall (Single Version) (2:52)
Quarter To Twelve (Single Version) (3:13)
Blues With A Feeling (Single Version) (3:08)
Too Late (Single Version) (2:42)
Fast Boogie (2:53)
Lights Out (Single Version) (2:46)
Fast Large One (2:51)
You’re So Fine (Single Version) (3:05)
Oh Baby (Single Version) (2:46)
I Got To Find My Baby (Single Version) (2:49)
Last Night (First Version) (2:55)
You Better Watch Yourself (Single Version) (3:05)
Mellow Down Easy (Single Version) (2:43)
My Babe (Single Version) (2:42)
Roller Coaster (Single Version) (2:54)
Little Girl (3:04)

Hate To See You Go (Single Version) (2:19)
Boom, Boom Out Goes The Light (Single Version) (2:51)
It Ain’t Right (Single Version) (2:55)
It’s Too Late Brother (Single Version) (2:42)
Just A Feeling (Single Version) (2:54)
Ah’w Baby (2:54)
I’ve Had My Fun (2:14)
Confessin’ The Blues (Single Version) (3:04)
Key To The Highway (Single Version) (2:46)
Walkin’ On (2:37)
You Gonna Be Sorry (Someday Baby) (Alt.) (3:08)
Crazy Mixed Up World (Single Version) (2:01)
Worried Life (2:42)
Everything’s Gonna Be Alright (Single Version) (2:50)
Back Track (Single Version) (2:50)
Blue And Lonesome (Single Version) (2:56)
I Don’t Play (Single Version) (2:19)
As Long As I Have You (Single Version) (2:40)
Just Your Fool (Single Version) (2:25)
Up The Line (Single Version) (2:08)
Southern Feeling (2:59)
Dead Presidents (Single Version) (2:50)

GRATEFUL DEAD 30 Trips Around The Sun (2015) – 50th Anniversary 80-CD Box Set – Numbered/Limited

Dead 30 TripsThe Grateful Dead are celebrating their 50th Anniversary in style… by releasing an 80CD box set, 30 Trips Around The Sun, with 73 hours of music, 30 unreleased live shows (one for each year from 1966 to 1995), a gold-colored 7-inch featuring “Caution (Do Not Stop On Tracks)” 1965/”Box Of Rain” Soldier Field, Chicago, 7/9/95 and a 288-page book, all housed in a limited edition (6,500) box set… all for a mere $699.98. There’s a UBS Drive limited to 1,000 available, too. Details and pre-ordering (act fast) is HERE. Visit our archives for more Dead, HERE.

BILL HALEY AND THE COMETS For Your Dance Party! Rock With Bill Haley And The Comets (The Essex EPs 1951-54) – Pre- “Rock Around The Clock”

For Your Dance Party! Rock With Bill Haley And The Comets (1951-54)
The Essex EPs: Bill Haley’s Early Black & White Fusion

In the early 50s, before Elvis made his impact on the world’s future, Bill Haley and The Comets were already barreling ahead with what would forever be re-defined as rock and roll. A close listen to these early Essex EPs – released in 1953 and 1954, with some tracks recorded years earlier – will illustrate that Bill and the boys were clearly getting their rockin’ inspiration from an evolving fusion of 50s race records and 40s Texas Swing. The earliest of these recordings, dating from 1951 (the fourth released EP of the For Your Dance Party collection) boasts the most obvious R&B influences, best exemplified by Haley’s cover of “Rocket 88″ (by Jackie Brenston, fronting Ike Turner’s Kings of Rhythm – hear the original HERE), which many have called the “first” rock and roll record (as if that could even be pinpointed). Haley’s work carried the hillbilly swing of his professional roots (“Stop Beatin’ Round The Mulberry Bush”) and 40s big band (“Chattanooga Choo Choo”), but Bill and his Comets were re-defining their style on the fly, accenting the slapping bass and frat-boy energy long before “Rock Around The Clock.” And… “Rock This Joint” is essentially an early version of what would become The Comets’ breakthrough hit. Haley was in his late twenties at this time, but he was already looking like an uncool old man, with his big, lumbering frame, blind eye and outdated kiss-curl, so it’s no surprise the charismatic Elvis would quickly assume the throne as The King Of Rock And Roll – despite the fact that Haley first held that very moniker. You can’t dispute the genuine authenticity of Haley’s vision, though, and these Essex EPs capture the rocket-quick evolution of rock and roll’s original development, and its clear lineage to both country and R&B. The vinyl is long gone, but CD versions are at Amazon, like The Best Of Bill Haley And His Comets 1951-1954 (HERE) or The Birth Of A Legend (HERE).

ESSEX EP-102 (1953)
Rock The Joint (2:13)
Rockin’ Chair On The Moon (2:50)
Crazy, Man, Crazy (2:38)
Pat-A-Cake (2:19)

ESSEX EP-117 (1954)
Live It Up (2:51)
Farewell, So Long, Goodbye (2:18)
Real Rock Drive (2:18)
Fractured (2:09)

ESSEX EP-118 (1954)
Stop Beatin’ Round The Mulberry Bush (2:23)
Watcha Gonna Do (2:29)
I’ll Be True (2:05)
Juke Box Cannonball (2:17)

ESSEX EP-119 (1954)
Chattanooga Choo Choo (2:14)
Green Tree Boogie (2:48)
Dance With A Dolly (2:29)
Rocket 88 (2:30)

THE KINKS Face To Face (1966), Something Else By The Kinks (1967), Arthur (Or The Decline And Fall Of The British Empire) (1969) & Muswell Hillbillies (1971) – Deluxe Editions

Face To FaceSomething Else
ArthurMuswell Hillbillies
Face To Face (Deluxe Edition) (1966)
Something Else By The Kinks (Deluxe Edition) (1967)
Arthur (Or The Decline And Fall Of The British Empire) (Deluxe Edition) (1969)
Muswell Hillbillies (Deluxe Edition) (1971)
2011 Kinks Reissues

Someone suggested some Deluxe Kinks, so, without essay, here’s what I’ve got on hand. Don’t forget our longstanding 3CD version of The Kinks Are The Village Green Preservation Society, in the archives (HERE). We got some more from the Davies brothers buried in the bowels, including: The Complete Live At The Hippodrome – July 14, 1974 (HERE), their 1996 finale, To The Bone and To The Bone – The Rehearsals (HERE), The Kinks At The BBC (5CD Box, HERE) as well as Dave Davies’ 1980 debut, AFL1-3603 (HERE) and The Aschere Project, Two Worlds (HERE). You’ll also find a MOJO tribute CD from 2006, The Modern Genius Of Ray Davies (HERE). Find these four at Amazon: Face To Face (HERE), Something Else (HERE), Arthur (HERE) & Muswell Hillbillies (HERE).

Something Else By The Kinks (Deluxe Edition)
David Watts (mono) (2:33)
Death Of A Clown (mono) (3:06)
Two Sisters (mono) (2:03)
No Return (mono) (2:03)
Harry Rag (mono) (2:18)
Tin Soldier Man (mono, first two notes missing, no backing vocals) (2:50)
Situation Vacant (mono) (3:20)
Love Me Till The Sun Shines (mono) (3:19)
Lazy Old Sun (mono) (2:50)
Afternoon Tea (mono) (3:27)
Funny Face (mono) (2:18)
End Of The Season (mono) (2:59)
Waterloo Sunset (mono) (3:17)
Act Nice And Gentle (mono) (2:39)
Mr. Pleasant (mono) (2:59)
Susannah’s Still Alive (mono) (2:21)
Autumn Almanac (mono) (3:10)
Harry Rag (mono, alternate mix) (2:14)
David Watts (mono, alternate mix) (2:32)
Afternoon Tea (mono, alternate mix with tone pedal guitar) (3:17)
Sunny Afternoon (BBC version) (2:52)
Autumn Almanac (BBC version) (3:05)
Mr Pleasant (BBC version) (2:48)
Susannah’s Still Alive (BBC version) (2:14)
David Watts (BBC version) (2:10)
Love Me Till The Sun Shines (BBC version) (2:19)
Death Of A Clown (BBC version) (2:45)
Good Luck Charm (BBC version) (1:17)
Harry Rag (BBC version) (2:27)
Little Woman (mono backing track) (2:13)
David Watts (2:43)
Death Of A Clown (3:17)
Two Sisters (2:04)
No Return (2:04)
Harry Rag (2:19)
Tin Soldier Man (2:55)
Situation Vacant (3:18)
Love Me Till The Sun Shines (3:26)
Lazy Old Sun (2:48)
Afternoon Tea (3:28)
Funny Face (2:30)
End Of The Season (3:02)
Waterloo Sunset (3:24)
Susannah’s Still Alive (2:22)
Autumn Almanac (3:19)
Sand On My Shoes (3:11)
Afternoon Tea (alternate version) (3:45)
Mr Pleasant (alternate version) (3:22)
Lazy Old Sun (alternate vocals) (3:15)
Funny Face (alternate version) (2:42)
Afternoon Tea (alternate mix with tone pedal guitar) (3:20)
Tin Soldier Man (alternate backing track) (3:06)

Face To Face (Deluxe Edition)
Party Line (mono) (2:38)
Rosie Won’t You Please Come Home (mono) (2:36)
Dandy (mono) (2:15)
Too Much On My Mind (mono) (2:33)
Session Man (mono) (2:23)
Rainy Day In June (mono) (3:20)
A House In The Country (mono) (3:09)
Holiday In Waikiki (mono) (2:55)
Most Exclusive Residence For Sale (mono) (2:51)
Fancy (mono) (2:32)
Little Miss Queen Of Darkness (mono) (3:21)
You’re Looking Fine (mono) (2:54)
Sunny Afternoon (mono) (3:41)
I’ll Remember (mono) (2:33)
Dead End Street (mono) (3:24)
Big Black Smoke (mono) (2:35)
This Is Where I Belong (mono) (2:27)
She’s Got Everything (mono) (3:11)
Little Miss Queen Of Darkness (mono, alternate take) (3:22)
Dead End Street (mono, original unreleased version) (2:56)
Party Line (2:38)
Rosie Won’t You Please Come Home (2:36)
Dandy (2:14)
Too Much On My Mind (2:32)
Session Man (2:14)
Rainy Day In June (3:20)
A House In The Country (3:08)
Holiday In Waikiki (2:50)
Most Exclusive Residence For Sale (2:58)
Fancy (2:31)
Little Miss Queen Of Darkness (3:20)
You’re Looking Fine (2:52)
Sunny Afternoon (3:40)
I’ll Remember (2:33)
This Is Where I Belong (2:46)
Big Black Smoke (2:51)
She’s Got Everything (3:10)
You’re Looking Fine (alternate stereo mix) (2:53)
Sunny Afternoon (alternate stereo mix) (3:49)
Fancy (alternate stereo mix) (2:57)
Little Miss Queen Of Darkness (alternate stereo mix) (3:22)
Dandy (alternate stereo mix) (2:15)

Arthur (Or The Decline And Fall Of The British Empire) (Deluxe Edition)
Victoria (mono) (3:44)
Yes Sir, No Sir (mono) (3:50)
Some Mother’s Son (mono) (3:27)
Drivin’ (mono) (3:16)
Brainwashed (mono) (2:38)
Australia (mono) (6:47)
Shangri-La (mono) (5:23)
Mr Churchill Says (mono) (4:45)
She’s Bought A Hat Like Princess Marina (mono) (3:10)
Young And Innocent Days (mono) (3:24)
Nothing To Say (mono) (3:11)
Arthur (mono) (5:29)
Plastic Man (mono) (3:04)
This Man He Weeps Tonight (mono) (2:43)
Mindless Child Of Motherhood (mono) (3:10)
Creeping Jean (mono) (3:19)
Lincoln County (mono) (3:13)
Hold My Hand (mono) (3:21)
Victoria (mono, with BBC overdubs) (3:36)
Mr Churchill Says (mono, with BBC overdubs) (3:38)
Arthur (mono, with BBC overdubs) (3:17)
Victoria (3:40)
Yes Sir, No Sir (3:47)
Some Mother’s Son (3:26)
Drivin’ (3:20)
Brainwashed (2:35)
Australia (6:48)
Shangri-La (5:21)
Mr Churchill Says (4:43)
She’s Bought A Hat Like Princess Marina (3:08)
Young And Innocent Days (3:22)
Nothing To Say (3:09)
Arthur (5:29)
Plastic Man (3:03)
This Man He Weeps Tonight (2:39)
Drivin’ (alternate stereo mix) (3:16)
Mindless Child Of Motherhood (3:10)
Hold My Hand (3:15)
Lincoln County (3:23)
Mr Shoemaker’s Daughter (2009 remix) (3:07)
Mr Reporter (2009 remix, lead vocals by Dave) (3:36)
Shangri-La (backing track) (5:29)

Muswell Hillbillies (Deluxe Edition)
20th Century Man (5:58)
Acute Schizophrenia Paranoia Blues (3:32)
Holiday (2:40)
Skin And Bone (3:39)
Alcohol (3:35)
Complicated Life (4:08)
Here Come The People In Grey (3:46)
Have A Cuppa Tea (3:45)
Holloway Jail (3:28)
Oklahoma U.S.A. (2:39)
Uncle Son (2:33)
Muswell Hillbilly (5:01)
Lavender Lane (3:48)
Mountain Woman (3:08)
Have A Cuppa Tea (alternate version) (3:33)
Muswell Hillbilly (shortened edit) (3:50)
Uncle Son (alternate version) (2:44)
Kentucky Moon (3:56)
Nobody’s Fool (demo version) (2:28)
20th Century Man (alternate instrumental take) (3:02)
20th Century Man (shortened edit) (5:04)
Queenie (instrumental backing track) (3:43)
Acute Schizophrenia Paranoia Blues (BBC version) (3:48)
Holiday (BBC version) (3:08)
Skin And Bone (BBC version) (2:34)

MOJO PRESENTS… The Roots Of Fleetwood Mac (2015)

RootsOfFleetwoodMacThe Roots Of Fleetwood Mac (July, 2015)

The latest free CD from the July, 2015 issue of MOJO Magazine is a top-notch blues and R&B collection that could have easily been used for dozens of 60s Brit bands, but it’s a smartly sequenced collection just the same. A lot of unfamiliar stuff for me, which is a treat, while most of the artists I’ve already got are buried in box sets, nearly as forgotten. The Fabian inclusion is inspired, and how it’s possible to ever hear The Kingston Trio the same way after that Christopher Guest movie, I’ll not understand. There are too many individual highlights to pick one (if DivShare was working you’d see half of it streaming), so you get Otis Rush’s amazing “So Many Roads.” Another in a recent string of strong MOJO‘s. Hit the archives to find all 159 of MOJO‘s freebie CDs, dating back to 1997, HERE.

Freddie King San Ho Zay (2:36)
Elmore James
Shake Your Moneymaker (2:31)
Buster Brown
Doctor Brown (2:55)
Otis Rush
So Many Roads (3:10)
Howlin’ Wolf
No Place To Go (2:50)
Eden Kane
Well I Ask You (2:11)
Little Walter
Last Night (2:43)
Tiger (2:28)
Buddy Holly
Rave On (1:47)
The Kingston Trio
Greenback Dollar (2:49)
Little Willie John
Need Your Love So Bad (2:13)
Jimmy Rogers with His Rocking Four
The World Is In A Tangle (2:55)
Eddie Boyd
Five Long Years (2:40)
Elmore James
Coming Home (2:24)
Robert Johnson
Hellhound On My Trail (2:37)

MILES DAVIS QUINTET Live In Europe 1967: The Bootleg Series Vol. 1 (2011)

Live In Europe 1967 The Bootleg Series Vol. 1Live In Europe 1967: The Bootleg Series Vol. 1 (2011)
Miles During One Of His Many Peaks…

Brilliant 3CD/1DVD set capturing Miles Davis’ second great Quintet – one of the world’s finest (ever) ensembles – featuring the incredible line-up of Herbie Hancock (keys), Wayne Shorter (sax), Ron Carter (bass) and Tony Williams (drums). Great sound and production, and some of the freshest, most driving modern bop you’ll ever hear, as Miles and friends confidently stretch the idiom into different shapes and sizes, infusing elements of free jazz into the mix of – often connected – compositions, igniting an intensity within the group interplay that is second-to-none. The repetition of compositions from the various shows represented here is what really illustrates the Quintet’s vitality and experimental nature, as tunes get altered, skewed and built on with each performance, providing the listener with detailed snapshots of the band’s instant creativity in action. These sets provided a rousing kick-off to the Miles series of bootleg boxes (which continues with the mid-July, 4CD release of Miles Davis At Newport 1955-1975: The Bootleg Series Vol. 4, HERE). Big thanks to Slidewell for this share, which also includes audio of the box set’s DVD content, something I didn’t have and am thankful for. Just click for Vol. 2 (HERE) and Vol. 3 (HERE), as well as MILES of Miles from the archives, below. Find Live In Europe 1967: The Bootleg Series Vol. 1 at Amazon, HERE.

1 – Konigin Elizabethzaal, Belgium, October 28, 1967
Agitation (5:27)
Footprints (9:38)
‘Round Midnight (7:38)
No Blues (11:16)
Riot (3:40)
On Green Dolphin Street (8:26)
Masqualero (8:53)
Gingerbread Boy (5:56)
The Theme (1:16)

2 – Tivoli Gardens, Denmark, November 2, 1967 & Salle Pleyel, France, November 6, 1967
Agitation (6:15)
Footprints (9:01)
‘Round Midnight (7:17)
No Blues (14:41)
Masqualero (10:01)
Agitation (6:36)
Footprints (10:35)

3 – Salle Pleyel, France, November 6, 1967
‘Round Midnight (8:07)
No Blues (13:01)
Masqualero (10:10)
I Fall In Love Too Easily (10:34)
Riot (3:39)
Walkin’ (9:01)
On Green Dolphin Street (9:05)
The Theme (8:23)

4 – DVD Content
Stadthalle, Germany, November 7, 1967 & Konserthuset, Sweden, October 31, 1967
Introduction (1:00)
Agitation (6:43)
Footprints (6:03)
I Fall In Love Too Easily (11:33)
Gingerbread Boy (5:24)
The Theme (0:28)
Intro (0:26)
Agitation (6:57)
Footprints (9:07)
‘Round Midnight (8:31)
Gingerbread Boy (7:36)
The Theme (1:37)


MILES DAVIS & GIL EVANS The Complete Columbia Studio Recordings (HERE)
MILES DAVIS & JOHN COLTRANE The Complete Columbia Recordings (HERE)
MILES DAVIS Agharta, Black Beauty, Dark Magus & Pangaea (HERE)
MILES DAVIS Ascenseur pour l’Échafaud (HERE)
MILES DAVIS Deep Brew Vol. 1 & Vol. 2 (Bitches Brew Outtakes) (HERE)
MILES DAVIS In Person Friday & Saturday Night At The Blackhawk, Complete (HERE)
MILES DAVIS Kind Of Blue… plus (HERE)
MILES DAVIS Live At The Fillmore East (March 7, 1970): It’s About That Time (HERE)
MILES DAVIS Live At The Fillmore East, March 6, 1970 – Unreleased (HERE)
MILES DAVIS Miles At The Fillmore – Miles Davis 1970: The Bootleg Series, Vol. 3 (HERE)
MILES DAVIS QUINTET Live In Europe 1969: The Bootleg Series, Vol. 2 (HERE)
MILES DAVIS QUINTET Miles Davis Quintet 1965-’68 (HERE)
MILES DAVIS Seven Steps: The Complete Columbia Recordings of Miles Davis 1963-1964 (HERE)
MILES DAVIS The Cellar Door Sessions 1970 (HERE)
MILES DAVIS The Complete Bitches Brew Sessions (HERE)
MILES DAVIS The Complete In A Silent Way Sessions (HERE)
MILES DAVIS The Complete Jack Johnson Sessions (HERE)
MILES DAVIS The Complete On The Corner Sessions (HERE)
VARIOUS ARTISTS The Hot Spot Soundtrack (HERE)
BILL LASWELL Panthalassa:The Music Of Miles Davis 69-74 + Panthalassa:The Remixes (HERE)
YO MILES! (w/ Henry Kaiser & Wadada Leo Smith) Live At The Fillmore, October 21, 1999 (HERE)

MILES DAVIS QUINTET Live In Europe 1969: The Bootleg Series, Vol. 2 (2013)

Live In Europe 1969 The Bootleg Series Vol. 2Live In Europe 1969: The Bootleg Series, Vol. 2 (2013)
Miles’ Pre-Brew Transformations

Three live shows from 1969 catching Miles in mid-morph, yet another in an unending series of transitional phases throughout Davis’ career. The two Festival Mondial du Jazz d’Antibes performances were captured a month before Miles went into the studio to record Bitches Brew – so the song selection draws from albums like, In A Silent Way & Nefertiti – featuring a scaled down Quintet (“scaled down” compared to the larger electric ensembles that would follow in the 70s). Miles’ ever-changing line-up, features Wayne Shorter (sax), Chick Corea (electric piano), Dave Holland (bass) and Jack DeJohnette (drums), with only Shorter (along with some of his brilliant compositional work) being carried over from past Quintets. This particular line-up was never recorded in the studio, so this set is the first official release from this gathering, sometimes referred to as the “third quintet.” “The Newport Jazz Festival In Europe” show from November 1969, snapshots Miles 3 months after the Bitches Brew sessions we’re recorded, but months before the heavily edited LP would hit the marketplace, so the Quintet’s performance is an early look at a composition designed, by nature, to be ever-evolving. An excellent 3CD/1DVD collection with solid sound. We don’t have the DVD content, but we do have Vol. 1 (HERE) and Vol. 3 (HERE) of the Bootleg Series already up… and LOTS more Miles, HERE. Find Live In Europe 1969: The Bootleg Series, Vol. 2 at Amazon, HERE.

1 – Festival Mondial du Jazz d’Antibes, July 25, 1969
Introduction By Andre Francis (0:28)
Directions (6:06)
Miles Runs The Voodoo Down (9:10)
Milestones (13:53)
Footprints (11:38)
‘Round Midnight (8:59)
It’s About That Time (9:24)
Sanctuary (4:16)
The Theme (0:54)

2 – Festival Mondial du Jazz d’Antibes, July 26, 1969
Introduction By Andre Francis (0:27)
Directions (6:18)
Spanish Key (10:37)
I Fall In Love Too Easily (2:55)
Masqualero (8:28)
Miles Runs The Voodoo Down (8:47)
No Blues (13:35)
Nefertiti (8:51)
Sanctuary (3:33)
The Theme (0:48)

3 – “The Newport Jazz Festival In Europe,” November 5, 1969
Introduction By George Wein (0:32)
Bitches Brew (14:39)
Paraphernalia (9:20)
Nefertiti (10:03)
Masqualero (Incomplete) (8:03)
This (6:18)

MILES DAVIS Miles At The Fillmore – Miles Davis 1970: The Bootleg Series, Vol. 3 (1970/2014)

Miles At The Fillmore - The Bootleg Series Vol. 3Miles At The Fillmore – Miles Davis 1970: The Bootleg Series, Vol. 3 (2014)
Bitches Brew-Era Miles

Miles Davis’ four night stand at the Fillmore East in New York, June 17-20, 1970. Portions of this music have been previously issued, in 1970, as Miles At Fillmore, but like Bitches Brew itself, that 2LP set was a heavily edited, cut-and-paste affair – by Miles and producer Ted Macero – that reflected the duo’s groundbreaking approach to re-presenting their live studio (and concert) jams. Don’t be misled by the “Bootleg” in the title, as these are top notch recordings – all four Fillmore shows, unedited, with a few bonuses culled from an April 11th Fillmore West performance (of lesser sonic quality) to round out the discs. The band is as legendary in their own way as Miles’ previous ensembles; Chick Corea (electric piano), Keith Jarrett (organ), Dave Holland (bass), Airto Moreira (percussion), Jack DeJohnette (drums) and Steve Grossman (sax), so I won’t bore you with a breakdown of their collective brilliance, except to say that if you’re unfamiliar with what Miles and his pals were achieving in late sixties and beyond, you’ve got some catching up to do. Fortunately… we got plenty in the archives to help with that endeavor, including numerous Bitches Brew related offerings; The Complete Bitches Brew Sessions (4CDs, HERE), Black Beauty – Miles Davis At Fillmore West (HERE), Deep Brew, Vol. 1 & Vol. 2 (Bitches Brew outtakes, HERE), Live At The Fillmore East (March 7, 1970): It’s About That Time (HERE), The Cellar Door Sessions (6CDs, HERE) and Fillmore East – March 6, 1970 (unreleased, HERE). Of course… that’s just the tip of our Miles iceberg, so go HERE for all the rest. NOTE: Vol. 1 (HERE) & Vol. 2 (HERE) of Miles’ Bootleg Series are up, too. Find Miles At The Fillmore – Miles Davis 1970: The Bootleg Series, Vol. 3 at Amazon, HERE.

1 – Fillmore East, June 17, 1970
Introduction (0:05)
Directions (10:24)
The Mask (11:04)
It’s About That Time (10:45)
Bitches Brew (13:42)
The Theme (0:41)
Paraphernalia (BONUS Fillmore West, April 11, 1970) (11:03)
Footprints (BONUS Fillmore West, April 11, 1970) (11:13)

2 – Fillmore East, June 18, 1970
Directions (10:10)
The Mask (11:30)
It’s About That Time (12:04)
Bitches Brew (11:58)
The Theme (1:30)
Spanish Key (Encore) (10:21)
The Theme (Encore) (0:28)

3 – Fillmore East, June 19, 1970
Directions (12:50)
The Mask (10:01)
It’s About That Time (11:28)
I Fall In Love Too Easily (1:48)
Sanctuary (3:25)
Bitches Brew (12:38)
The Theme (0:44)
Miles Runs The Voodoo Down (BONUS Fillmore West, April 11, 1970) (13:21)

4 – Fillmore East, June 20, 1970
Directions (10:49)
The Mask (11:15)
It’s About That Time (11:04)
I Fall In Love Too Easily (1:21)
Sanctuary (3:21)
Bitches Brew (9:40)
Willie Nelson (9:21)
The Theme (0:37)

TOMMY JAMES & THE SHONDELLS Crimson & Clover (1969) & Cellophane Symphony (1969)

Crimson & Clover (1969)
Cellophane Symphony (1969)
Not Your Father’s Shondells

I’ve always loved psychedelic albums by artists that aren’t known for their work in the field. Sometimes, they laughably contain all of the clichés that helped to kill the genre in the first place. Other times, they are hidden treasures by bands that knew full well what they were doing… even if their audience didn’t. Tommy James & The Shondells are among the latter. TJ didn’t invent psych-pop, but he certainly epitomized the style with “Crimson & Clover,” as sure a hit song if ever one was written, regardless of the generation. And, as it was the norm to have a similar follow-up in your back pocket, “Crystal Blue Persuasion” proved James (who co-wrote all but one) had studied, compositional chops. The song’s sweet, soulful/pop sound may even have helped shaped Prince’s musical make-up as much as James Brown and Jimi Hendrix (P covered TJ just a few years back). Still, there are moments on these two 1969 albums that you begin to completely forget who you’re listening to. By Cellophane Symphony, the band is replicating a 10 minute super jam between Pink Floyd and Deep Purple (with a hint of Duane Eddy)… for the lead off track. The group’s live-in-the-studio ambiance is smartly captured and is, more importantly, organically realized by a veteran band with a big bag of tricks. Think of these two albums as one big psychedelic double album (that would’ve made a better single album) and you’ll hear how it all fits in with the times. From 2009 source material, find a two-fer of Crimson & Clover and Cellophane Smyphony at Amazon, HERE.

Crimson & Clover
Crimson & Clover (5:32)
Kathleen McArther (2:41)
I Am A Tangerine (3:34)
Do Something To Me (3:19)
Crystal Blue Persuasion (4:01)
Sugar On Sunday (3:22)
Breakaway (2:45)
Smokey Roads (2:50)
I’m Alive (3:14)
Crimson & Clover (Reprise) (1:00)

Cellophane Symphony
Cellophane Symphony (9:38)
Makin‘ Good Time (2:37)
Evergreen (2:07)
Sweet Cherry Wine (4:20)
Papa Rolled His Own (1:47)
Changes (5:36)
Loved One (3:41)
I Know Who I Am (3:53)
The Love Of A Woman (4:28)
On Behalf Of The Entire Staff & Management (3:57)

ROBERT PALMER Best Of Both Worlds – The Robert Palmer Anthology (1974-2001) 3CD Deluxe ‘Addition’

Best Of Both Worlds DeluxeBest Of Both Worlds (2002)
Excellent Multi-Label Anthology

UPGRADED A chronicle of Robert Palmer’s wonderfully erratic career, including his funky sides with Little Feat & The Meters, cosmo-World Music for Island Records and his mega-fame hits via MTV & Power Station. This 2CD collection has it all, covering Palmer’s undervalued 20 year stretch of musical invention from 1974-1994, with a few new millenia bonuses to explain the title. I’ve heard, known and owned many of these tracks over the years, but hearing them all back-to-back is a revelation. Despite his top-notch material, expressive 70s vocal chops and aching 80s cool, it requires an expansive collection like this to truly appreciate some of Palmer’s outside-the-box choices (his interpretations are some of his best work). It’s easy to bitch about the curious inclusion of remixed hits (from the compilations Addictions Volumes 1 & 2), but what are you gonna do? [Note: we did it… below.] Early in his career, Palmer wasn’t much of a sales machine, so most know him only from his 80s video successes. That’s unfortunate, because there’s a whole world of Robert Palmer before MTV, and this collection provides a great opportunity to re-investigate his wild variety and consistent excellence. We’ve got some live Palmer in the archives, Live At The BBC (1983/2010) and Nijmegen, Netherlands – 10/15/80 (FM Broadcast), both HERE. Find the original 2CD Best Of Both Worlds at Amazon, HERE.

THE DELUXE “ADDITION” More than a few have expressed dismay that Best Of Both Worlds contains a number of remixed versions of Palmer’s classic material, culled largely from RP’s history-updating collections, Addictions 1 & 2 (HERE & HERE). In and of themselves, the Addictions collections are quite cool, as Palmer details in the liners notes his reasoning for tinkering with past work, and as added CDs in any RP collection, they’re great to have. But, Palmer took his addictions a step too far (for some) when he used those altered versions on the Best Of Both Worlds anthology. So thanks to Allen B. who suggested an alternative… which was to gather together the original versions for this Deluxe “Addition,” to actually have the best of both worlds. Since we like to tinker with history around here, too, this becomes another in our series of fake Deluxe Editions, which you can sample below. Thanks Allen B.

Sailin’ Shoes (2:42)
Hey Julia (2:25)
Sneakin’ Sally Through The Alley (4:47) (Remix)
How Much Fun (3:08)
Give Me An Inch (3:01) (Remix)
Pressure Drop (5:23)
Trouble (3:03)
Which Of Us Is The Fool (3:23)
Spanish Moon (6:00)
Man Smart (Woman Smarter) (2:35)
Some People Can Do What They Like (4:11)
You’re Gonna Get What’s Coming (4:00) (Remix)
Every Kinda People (3:26) (Remix)
Best Of Both Worlds (4:12) (Remix)
Bad Case Of Loving You (Doctor, Doctor) (3:13) (Remix)
Jealous (3:17)
Can We Still Be Friends? (3:40) (Remix)
I Dream Of Wires (4:37)
Not A Second Time (2:52)
Some Guys Have All The Luck (3:10)
Pride (3:31)
What Do You Care (2:23) (Live In London 1980)

You Are In My System (5:02) (Revoiced)
Some Like It Hot (5:07) – The Power Station
Get It On (Bang A Gong) (3:40) (Single Version w/ Intro Edit) – The Power Station
Addicted To Love (4:27) (Remix)
Hyperactive (5:12)
I Didn’t Mean To Turn You On (3:38)
Sweet Lies (From The Movie Sweet Lies) (3:11)
She Makes My Day (4:24)
Early In The Morning (4:02) (Single Version)
Simply Irresistible (4:17)
You’re Amazing (3:19) (Remix/Edit)
I’ll Be Your Baby Tonight (3:28) – with UB40
Mercy Mercy Me (The Ecology Song)/I Want You (3:56) (Single Edit Version)
Want You More (4:10)
Know By Now (4:13)
Stone Cold (4:33)
Milkcow’s Calf Blues (2:24)
Johnny And Mary (3:16) (Live At The Apollo, 2000)
Riptide (2:17) (Live At The Apollo, 2000)
Looking For Clues (3:44) (Live At The Apollo, 2000)

3 – DELUXE “ADDITION” (Original Versions)
Sneakin’ Sally Through The Alley (4:23)
Give Me An Inch (3:17)
You’re Gonna Get What’s Coming (3:17)
Every Kinda People (3:14)
Best Of Both Worlds (4:11)
Bad Case Of Loving You (Doctor, Doctor) (3:12)
Can We Still Be Friends? (3:38)
Looking For Clues (4:08)
Johnny And Mary (3:56)
What Do You Care? (2:46)
You Are In My System (4:25)
Get It On (Bang A Gong) (5:30) – The Power Station
Riptide (2:28)
Addicted To Love (3:56)
Early In The Morning (4:42)
You’re Amazing (3:51)
Mercy Mercy Me (The Ecology Song)/I Want You (5:51)

Stripped DeluxeSugar Cane's Got The BluesThe Gold Experience (Deluxe)
Shotgun Willie DeluxeFlashback DeluxeRagged Glory Deluxe

PRINCE Baltimore (2015) – The New Digital Single And The Story Behind It

CHANHASSEN, Minn. – As dusk fell over Minnesota on Wednesday, many watched details surrounding Freddie Gray’s death unfold, while a message resounded from Paisley Park’s soundstage. Prince sat at his electric keyboard on the far right of the intricately lit stage. The rest of the venue was dark, mostly. Purple light filtered softly along the venue’s perimeters. Adding to an already calming ambiance, the scent of lavender flirted with pleasant hints of sandalwood in the air.

Earlier, afternoon errand-runs were highlighted by an invitation to sit in on “rehearsal.” A man who introduced himself as “Anthony” escorted me to the back of the arena. The view was hazy but exquisite in its own right. Guided to sit on a plush purple sofa, here, I was free of expectation. An earth-toned hat covered the legend’s Afro almost completely. The cap matching a vest he wore over a foiled-silver ensemble set in a slate gray silky material. Either way he was fitted for work or play. Play to Mr. Nelson these days might mean a quick break from the studio to watch his DVR-ed episodes of “New Girl” in the kitchen, or a seated moment to email a funny meme to a friend, and just maybe a swift bike ride around Chanhassen, Minn. He and 3rdEyeGirl began their “rehearsal” on stage. “From the top,” he said. “With a little more life.” He instructed Ida Nielson on bass, Hanna Welton on drums, Donna Grantis on guitar. Welton’s husband, Joshua, who played a significant role in the production of the 2014 album release “Art Official Age,” at a separate board, opposite Prince.

“Nobody got in nobody’s way,” The Purple One began to sing. “So I guess you could say it was a good day. At least a little better than the day in Baltimore. Does anybody hear us pray? For Michael Brown or Freddie Gray Peace is more than the absence of war…” After the first verse, it became abundantly clear this was more performance than “rehearsal.” The sound men, technicians and myself quietly watching a live recording of a freshly penned song. “Are we gonna see another bloody day? We’re tired of cryin’ and people dyin’. Let’s take all the guns away. Absence of war – you and me. Maybe we can finally say ‘enough is enough.’ It’s time for love. It’s time to hear, it’s time to hear, the guitar play!” While still seated at the keyboard, Prince then played a tear-evoking electric guitar solo for the remainder of the song.

Moved, I quickly wiped an eye as he walked over. “Come with me,” he said. After leading me inside Studio B he motioned to a red sofa. Peering up I asked, “What’s it called?” “Baltimore,” he replied. Then he reached for a sip of Blk Water, an alkaline-infused, mineral water for the particularly health conscious. “With everything going on there this week, I had a lot I needed to get out,” Prince said. He then segued into a brief discussion about Joni Mitchell’s health scare. “That news this week, and what’s happening in Baltimore,” he paused, “well, you know.” Prince is perhaps one of Joni Mitchell’s biggest fans. Recently I learned “Court & Spark,” Mitchell’s 1974 album release, is one of the artist’s top five favorite albums of all time. You may remember the reference to the folk legend in The Ballad of Dorothy Parker on his 1987 release “Sign O’ the Times.” ‘Oh, my favorite song’ she said. And it was Joni singing ‘Help me I think I’m falling’.” In a healthy display of emotion, he looked at the studio floor for a second. Fighting tears of his own, Prince politely excused himself to serve water for the both of us. Even in a fleeting moment of sadness, Prince remains magical. More so in his mourning over Joni’s condition. Further in his desire for justice, and overall concern for humanity. Unpleasant times often prod to be channeled into creative expression. Hence, Prince and 3rdEyeGirl’s “Baltimore.”

This week’s turmoil, marked by protests following the violent riots in Baltimore, is still only days old. President Barack Obama this week announced the deaths of black men by police as a “slow-rolling crisis.” The private recording inside Paisley Park is certainly not the first time Prince has weaved social commentary into a performance, or even a brief appearance. With a poignant a five-second sound bite Prince rocked this year’s Grammy’s. “Like books and Black lives, albums still matter,” he announced before presenting Album of the Year. The Afro set round, free and proud that night. The sight alone surely had black and brown folks across the country raising power fists from their sofas in solidarity. He stood in a glazed, bright orange, silky-fit to boot. Women swooned, viewers at home rooted on, hearts sang across the world, as Twitter erupted in mainly cathartic response. No guitar.

Prince’s approach to conveying this sort of commentary, however, varies. At the 2013 Billboard Awards during 3rdEyeGirl’s performance of “FixUrLifeUp” the words “Gun Control” were the projected backdrop. This particular night the “Purple Yoda,” as he’s endearingly known to some, was “featured” on lead guitar. Controversy, Free, When Will We B Paid, Dreamer, Ol’ Skool Company. All among plenty of songs recorded over the years denoting Prince’s stance on a variety of societal issues — stance often left open to listener interpretation. These days it seems “His Royal Badness” is taking a more direct approach to combat an often silent, yet dangerous, nemesis — One that seems glumly hovered over the Black Lives Matter movement. Indifference.

Back on the purple sofa, the definition of “indifference” was among an array of multimedia imagery Prince invited me to preview on the soundstage projector screen. “Noun. Lack of interest, concern, or sympathy: she shrugged, feigning indifference.” The words faded to blue, a new image appeared on the screen. An audio-visual technician in from Montreal led the preview referring to Mr. Nelson as “sir.” The man took notes and feedback earnestly. We viewed approximately 25 bright, distinctive, thought-provoking images.

Prince, 3rdEyeGirl, and crew have been investing at least their latest spring hours recording and rehearsing. The recent rehearsals, I’m told, are to prepare for upcoming, unannounced tours in the United States and abroad. Anticipate “Baltimore” as a likely inclusion. “We’re going to talk to Jay-Z and his people about streaming it on ‘Tidal’,” he shared with a nod. “This is first time we have ever recorded a song live on the soundstage,” Prince added, as we walked toward the studio’s parking lot. A proud yet modest smile complemented his shy eyes.

Few can comfortably ignore the current upheaval denouncing chronic cases of police brutality across the country anymore. Whether your thoughts are with Michael Brown, Freddie Gray — let alone anyone who’s faced senseless violence, or not at all — Prince’s are.

Story Courtesy Of KMSP-TV Minneapolis/St. Paul

JOHN LENNON In His Own Write (1964)

In His Own WriteIn His Own Write (1964)
“The Writing Beatle”

Here’s a .pdf of John Lennon’s 1964 book of wit and wisdom, In His Own Write, featuring an introduction by Paul McCartney. Those who remember it from back in the day recall being confused by the silly wordplay and bizarre imagery, which for many a 10-year old hypnotized by The Beatles, seemed from another world. Some scribes, then and now, have tripped over themselves to suggest that Lennon’s writings contain deeper meanings and/or philosophical insight… which surely made Lennon laugh to no end. The first solo project from any Beatle, published a month after they landed in America. Ask Google for the free software you need to read .pdf files. Sorry, but couldn’t find JL’s 1965 follow-up, A Spaniard In The Works. There are plenty of different editions of In His Own Write to be found at Amazon, HERE.
The Wrestling Dog

BJÖRK GUDMUNDSDOTTIR Björk (1977) – An 11-Year Old Björk’s Icelandic Debut Album

coverBjörk (1977)
Pre-Fame… Pre-Puberty

FIRST POSTED IN 2007: As a predictably precocious 11-year-old, the already savvy Björk Gudmundsdottir (a.k.a. Björk) landed herself a recording contract singing Icelandic versions of popular tunes. Including “Alfur Ut Ur Hol,” which, except for the harsh dialect, is a faithful rendition of The Beatles’ “The Fool On The Hill.” She even earned a platinum record for her efforts (…um… an Icelandic platinum record, that is). Since her post-puberty fame in The Sugarcubes, however, it seems there still aren’t enough Björk’s to go around, as they’ve been trading at collector’s prices ever since. What does Björk at 11 sound like? In a word… adorable. But, you can hear for yourself, below. Ten tracks of child-like wonder from a future Icelandic icon, recorded in 1977. Extremely expensive at Amazon, HERE.


Alta Mira

Johannes Kjarval

Fusi Hreindyr



Alfur Ut Ur Hol (The Fool On The Hill)



JOHN & YOKO Yoko Ono/Plastic Ono Band (1970) and John Lennon/Plastic Ono Band (1970)

YO:Plastic Ono BandJL-Plastic Ono Band
Yoko Ono/Plastic Ono Band (1970)
John Lennon/Plastic Ono Band (1970)
All Those Years Ago…

Personally, I’ve always preferred John Lennon in ‘fuck you’ mode. It rarely made for his best “music,” but for raw attitude, Lennon was second-to-none when it came to challenging expectations. And… no one brought out that side of him like Yoko Ono. When it came to The Beatles at the end of the 60s, Lennon grumbled and played along. When it came to Apple’s business, he looked the other way. But, when it came to Yoko Ono, Lennon was routinely up on his hind legs, ready to take on his mates, the press, the puritanical establishment, even his fans, who have all experienced some degree of Lennon’s wrath as it pertains to Yoko. We all know about Lennon’s Plastic Ono Band, his first solo album after the demise of The Beatles, which found him shedding his skin and disowning his past. Many, including myself, still consider it his best work – so at this point, there’s not much else to say about it…except that this 2010 remix and remaster by Yoko Ono serves Lennon’s legacy well. Yoko’s Plastic Ono Band, on the other hand, is ripe for reevaluation. It’s nowhere near as outrageous as it was once considered, as those who carried forth the anti-music movement she was once a part of (before hooking up with Lennon) have long surpassed her anti-commercial extremes decades ago. So now, 45 years later, maybe Yoko Ono/Plastic Ono Band can finally be heard for what it is…wanton expressionism. And if intense, ear-splitting venting isn’t your thing, so be it. But, wasn’t that kinda why you liked punk in the first place? (It certainly wasn’t for Sid’s bass lines.) Besides… how often do you get to hear the great Ringo Starr in avant-garde surrounds? John Lennon, Klaus Voormann & Ringo are the entire band here, and the racket they make is seismic, considering that half of them were working on Abbey Road the year before. Other musicians appear, notably jazz legends Ornette Coleman and Charlie Haden (on the track “AOS,” from a 1968 Albert Hall rehearsal tape with Yoko), but the bulk of Yoko Ono/Plastic Ono Band, and its nearly 25 minutes of bonus material, is John & Yoko adopting an in-your-face, take-it-or-leave-it stance. Most decided to leave it…for obvious reasons. And, despite the loud, often obnoxious, anti-Yoko chorus that thrives only to rebuke her work, it’s their loss. And… they’ll never know why. We’ve got more from John & Yoko in the archives, including Plastic Ono Band Sessions (outtakes, HERE), “Happy Christmas (War Is Over)” (HERE), Live At The Fillmore East, June 5, 1971 (with The Mothers Of Invention, HERE) and Live Peace In Toronto 1969 (HERE). Plus plenty more from JOHN (HERE) & YOKO (HERE). Find both Plastic Ono Band CDs at Amazon, HERE & HERE.

Why (5:37)
Why Not (9:55)
Greenfield Morning I Pushed An Empty Baby Carriage All Over The City (5:40)
AOS (7:07)
Touch Me (4:42)
Paper Shoes (7:30)
Open Your Box (Bonus Track) (7:38)
Something More Abstract (Bonus Track) (0:47)
The South Wind (Bonus Track) (16:39)

Mother (5:37)
Hold On (1:52)
I Found Out (3:38)
Working Class Hero (3:51)
Isolation (2:52)
Remember (4:37)
Love (3:24)
Well Well Well (6:00)
Look At Me (2:56)
God (4:11)
My Mummy’s Dead (0:59)
Power To The People (Bonus Track) (3:23)
Do The Oz (Bonus Track) (3:08)

THE BEATLES Ringo Starr & His Beatles (2015) – Ringo’s Collected Work As A Beatle

Ringo & His BeatlesRingo Starr & His Beatles (2015)
For Mr. Richard Starkey Of Liverpool, England…Opportunity Knocks!

Pete kicked it off in (Son Of) Readers Links with a Ringo comp… similar to two previous comprehensive Beatles collections we’ve posted for both Lennon (HERE) and Harrison (HERE) in the past. I’ve been meaning to get a Ringo set up for years, and since his lead-singing and songwriting turns won’t even fill a vinyl LP, it should’ve been an easy enough task. For Ringo Starr & His Beatles (Pete’s original title, btw), I’ve erred on the side of inclusion, but not to the point of weighing down the concept. So, the group co-write “Flying” makes its third appearance across these collections, while “12-Bar Original,” from Anthology 2, was deemed unworthy. An instrumental “This Boy” from A Hard Day’s Night might have been a nice touch, but the whole shebang would have been naked without Ringo’s only recorded drum solo – so “The End” provides a fitting conclusion, forcing every other track into chronological order, including the Anthology 3 Lennon/McCartney outtake, “If You’ve Got Trouble” (originally envisioned for Help!). I could write a thesis on Ringo’s drumming contribution to the Beatles’ sound, especially the experimental, psychedelic years, 1966-68, when Ringo stoically resisted any temptation to freak-out, keeping it steady regardless of how drugged-up his musical accompaniment became. His was the consistent unwavering ingredient throughout The Beatles’ recorded output. It’s a study in restraint, and another distinctly characteristic element in the band’s arsenal, as if they needed another. I’m fascinated by his fills… the lazy psychedelic ones, especially. Ringo himself explains his curious appeal on another post, “A Major Demonstration Of My Drum Work” (HERE), where he cops to being a left-hander playing as a righty. The one-take “Boys” made it to another Beatles comp, the First Takes EP, HERE. 2009 source material. Thanks Pete.

Boys (2:26)
I Wanna Be Your Man (2:00)
Matchbox (1:59)
Honey Don’t (2:58)
If You’ve Got Trouble (Take 1) (2:48)
Act Naturally (2:30)
What Goes On (2:49) (Lennon/McCartney/Starkey)
Yellow Submarine (2:39)
With A Little Help From My Friends (2:44)
Flying (2:16) (Lennon/McCartney/Harrison/Starkey)
Don’t Pass Me By (3:51) (Starkey)
Good Night (3:14)
Octopus’s Garden (2:51) (Starkey)
The End (2:22)

THE BEATLES Winston (1961-1969) – John Lennon’s Collected Work As A Beatle

Winston (1961-1969)
John Lennon In The ’60s

FROM 2011 There are at least two reasons to listen to this “complete” collection of John Lennon’s Beatles output. The first is to study just how much ingenuity Paul McCartney routinely brings to Lennon’s material, from intuitive counter-pointing and melody-rich harmonies to quietly revolutionary bass lines, defining numerous Lennon compositions (like “Come Together” and “Sun King”) in the process. The second reason is to hear Lennon in a whole new context. We concocted this 4CD set just for the heck of it, but hearing all of JL’s music back-to-back drew attention to a most curious Lennon arranging technique – his habit of repeatedly bringing the band to a complete halt… with only a drumbeat, a riff, a voice, or just silence to fill the void. And he does it a lot, from the very beginning with “Please Please Me,” to the very end with “The Ballad Of John & Yoko” (where he and Paul just stop cold, mid-song). “Lucy In The Sky With Diamonds” is a good example, but “Don’t Let Me Down” has more stops and starts than a football game. Perhaps my favorite Beatles song, “I’m Only Sleeping,” gets halted a half-dozen times. It’s obviously a Lennon go-to device, like his sudden falsetto shifts or his dour, soul-searching lyrics. All that aside, there’s genuine magic here… because when Lennon sounds confident, he’s simply magnetic. The first 3 discs feature nearly all of Lennon’s released compositions as a Beatle, when singing lead. Disc 4 is John’s covers and odds & ends weirdness, ending with “Revolution 9″ and “Goodnight.” All re-sequenced to make you think twice about what you already know by heart. Winston boasts 2009 source files and is nearly complete – as there are grey areas in the L&M catalog (we ignored some of Anthology, vetoed “I’ve Got A Feeling,” mis-sequenced the Paul written/John sung “Every Little Thing,” split the difference on “I Want To Hold Your Hand” and finally included the overlooked “Love Me Do”… does “Flying” belong?). You hard-core types will likely notice other trivial inconsistencies. A full listen, however, should be enough to remind you just how statistically low Lennon’s dud-factor was. We pulled this same compilation stunt with George Harrison (HERE).

I’m So Tired
I’m Only Sleeping
Hey Bulldog
Yer Blues
Tomorrow Never Knows
And Your Bird Can Sing
Being For The Benefit Of Mr. Kite
It’s Only Love
Don’t Let Me Down
Sexy Sadie
Ticket To Ride
Strawberry Fields Forever
In My Life
You’ve Got To Hide Your Love Away
Good Morning, Good Morning
Cry Baby Cry
She Said She Said
Everybody’s Got Something to Hide Except Me and My Monkey
Sun King
I Want You (She’s So Heavy)

Revolution I
I’m A Loser
Dig A Pony
Happiness Is A Warm Gun
I’ll Be Back
Glass Onion
If I Fell
Come Together
No Reply
Dig It (Lennon/McCartney/Harrison/Starr)
Norwegian Wood (The Bird Has Flown)
Lucy In The Sky With Diamonds
Yes It Is
I Should Have Known Better
Mean Mr. Mustard
Polythene Pam
A Hard Day’s Night
Baby You’re A Rich Man
Doctor Robert
You’re Going To Lose That Girl
Dear Prudence
I Am The Walrus
A Day In The Life

I Feel Fine
This Boy
The Continuing Story of Bungalow Bill
Eight Days A Week
Any Time At All
Run For Your Life
It Won’t Be Long
I’ll Cry Instead
Ask Me Why
Baby’s In Black
All I’ve Got To Do
The Ballad of John and Yoko
I Call Your Name
I’ll Get You
Love Me Do – ADDED
I Don’t Want To Spoil The Party
Not A Second Time
Please Please Me
Across The Universe
Every Little Thing
Tell Me Why
Thank You Girl
The Word
There’s A Place
One After 909
When I Get Home
Nowhere Man
From Me To You
Little Child
You Can’t Do That
All You Need Is Love

FOUR – The Covers
Bad Boy
Dizzy Miss Lizzy
Money (That’s What I Want)
Rock and Roll Music
Slow Down
Leave My Kitten Alone
Twist and Shout
How Do You Do It
Baby It’s You
Please Mister Postman
You Really Got A Hold On Me
Ain’t She Sweet
Mr. Moonlight
Words of Love
And… The Others
Free As A Bird
Real Love
Cry For A Shadow (Lennon/Harrison)
Hello Little Girl
Komm, Gib Mir Deine Hand
What’s The New Mary Jane
Flying (Lennon/McCartney/Harrison/Starr)
You Know My Name (Look Up The Number)
Maggie Mae (Trad Arr. Lennon/McCartney/Harrison/Starr)
Revolution 9
Good Night

GEORGE HARRISON Was The Beatles (George’s Beatles Compositions On One Disc)

George Harrison WAS The BeatlesGeorge Harrison Was The Beatles
All George’s Beatles Songs In 74m

FROM 2009: When CD burners first hit the shelves, my very first project was this… pulling all of George Harrison’s compositions as a Beatle together onto one disc. I’m a big fan of his psychedelic years – 1966 to 1968, “Love You To” to “The Inner Light” – but there are plenty of stellar Harrison moments to enjoy, from his simple, 1961 introduction, “Cry For A Shadow” (a co-write with Lennon), to his full-blown commercial awakening in 1969 (“Something,” “Here Comes The Sun”). Instead of release dates, the sequencing here is loosely based on when Harrison first took these songs into the studio, so you can hear George’s progression from year to year. This way, The Beatles’ stripped-down White Album material appears after the raging psychedelia of Yellow Submarine, the way nature intended it. “Only A Northern Song” was actually George’s initial contribution to Sgt. Pepper’s, while “Long, Long, Long” just might be The Beatles’ single most underrated song. “I Me Mine” wound up being the band’s last official recording session – the real “The End” – as John vacationed, George, Paul & Ringo recorded the tune to finish off the lingering Let It Be album in January, 1970. Then… it was all over. The Beatles would split up only months later. We did one of these for Lennon, too, HERE. 2009 source material.

Cry For A Shadow (Lennon/Harrison)
Don’t Bother Me
You Like Me Too Much
I Need You
If I Needed Someone
Think For Yourself
Love You To
I Want To Tell You
Only A Northern Song
Within You Without You
It’s All Too Much
Flying (Lennon/McCartney/Harrison/Starkey)
Blue Jay Way
The Inner Light
While My Guitar Gently Weeps
Savoy Truffle
Long Long Long
For You Blue
Old Brown Shoe
Here Comes The Sun
I Me Mine

NICK LOWE 16 All-Time Lowes (1984)

16 All TIme Lowes16 All-Time Lowes (1984)
Why Not?

There are plenty of more comprehensive Nick Lowe compilations to be had these days. 16 All-Time Lowes‘ claim to fame comes from being the first compact disc collection to hit the shelves back in 1984, as issued by Jake Riviera’s Demon Records in the UK. The song selection can’t be argued with, of course, since the material is sourced from 1976-1980, primarily culled from Nick’s Jesus Of Cool/Pure Pop For Now People and Labour Of Lust, with a few extras tossed in, like some non-LP material (“American Squirm,” “Basing Street”) and Rockpile’s “When I Write The Book.” Speaking of which, the Rockpile boys (Dave Edmunds, Billy Bremner, Terry Williams) are all over this set, with a little help from Elvis & The Attractions and other assorted pals. Someone was looking for “Basing Street” last week, which is what prompted me to pull this off the shelf, providing an opportunity to plug some of the Lowe/Edmunds/Rockpile stuff buried in the archives… as well as a fun reminder of what made Nick Lowe so damned likable in the first place. We’ve got Nick’s Jesus Of Cool/Pure Pop For Now People plus “Keep It Out Of Sight” b/w “Truth Drug” 45 (all HERE) & The Wilderness Years 1974-1977 (HERE); ROCKPILE Seconds Of Pleasure, with the Nick & Dave Everly Brothers tribute EP (HERE); BILLY BREMNER Bash! (HERE) and A Good Week’s Work (HERE); CARLENE CARTER w/ Rockpile Musical Shapes (HERE); DAVE EDMUNDS Get It, Tracks On Wax 4, College Radio Network Presents Dave Edmunds and Rockpile, Odds & Edmunds (HERE); BRINSLEY SCHWARZ Hens’ Teeth (HERE) and The New Favorites Of… (HERE) and The Stiff Records Box Set (HERE). Find more related stuff by using the Search Box under the chat box. 16 All-Time Lowes is @ Amazon, HERE.

Born Fighter (3:10)
Marie Provost (2:49)
American Squirm (2:31)
Skin Deep (3:14)
When I Write The Book (3:18)
Little Hitler (3:00)
Cruel To Be Kind (3:29)
Switchboard Susan (3:48)
(I Love The Sound Of) Breaking Glass (3:13)
Big Kick Plain Scrap (2:29)
Cracking Up (3:00)
Without Love (2:28)
Nutted By Reality (2:53)
So It Goes (2:34)
They Called It Rock (3:12)
Basing Street (2:32)

MOJO PRESENTS… Beyond Saturn (2015)

Beyond-SaturnBeyond Saturn (June, 2015)

The latest free CD from the June 2015 issue of MOJO Magazine is a collection of “15 mind-blowing cosmic tracks approved by Paul Weller.” Exactly what Jam/Style Council frontman Weller’s connection is to the sometimes spacey explorations exemplified by the likes of Sun Ra, Neu! and Charles Mingus… is something I’m not aware of, but so what? I’m always up for some cosmicity, so bring on the noise. Hit the archives to find all 158 of MOJO‘s freebie CDs, dating back to 1997, HERE.

Toy Motoring (4:32)
Syd Arthur
Ode (Summer Is Leaving Me Behind) (Amorphous Androgynous Remix) (4:07)
Sand Dance (Beyond The Wizard’s Sleeve Reanimation) (7:04)
Panda Bear
Butcher Baker Candlestick Maker (3:06)
Negativland (9:33)
Public Service Broadcasting
Gagarin (3:46)
Ryley Walker
Same Minds (4:14)
Mulatu Astatke
Yekatit (3:53)
Basil Kirchin
Primitive London 2 (2:04)
Charles Mingus
Passions Of A Man (4:52)
Erland & the Carnival
Radiation (3:44)
Serpent Power
Lucifer’s Dreambox (6:41)
A Love Supreme (7:32)
Santo & Johnny
Sleep Walk (2:20)
Sun Ra And His Arkestra
Tapestry From An Asteroid (2:07)

THAT’LL BE THE DAY (1973) + STARDUST (1974) w/
David Essex, Ringo Starr, Keith Moon, Dave Edmunds

THAT’LL BE THE DAY (1973) Part one of the well done, two-film story of Jim McClain (David Essex) and his quest for music fame and fortune (and more birds) in 50s working class Britain. Also features Ringo Starr (reprising his early years as a teddy boy), Keith Moon and Billy Fury. More of a character study than a music film (though, it has some cool music), That’ll Be The Day covers McClain’s early years as a shit, routinely cheating on, then leaving his wife with a new-born baby. Producer David Puttnam told MOJO Magazine that his original idea for this film was based on Harry Nilsson’s semi-autobiographical song, “1941,” about a child abandoned by his father, only to grow up and abandon his own. Thanks to JB for sharing this film with us. Part two, the excellent, Stardust, is below. Click the pages for readable pop ups of the latest MOJO magazine about the making of the movie. Find the DVD at Amazon, HERE.

ScanScan 1Scan 2Scan 3

STARDUST (1974) This flick was a personal fave in the mid-70s, but I was suspicious of my fond and fading memories. What a surprise to see that it really is a solid film, with outstanding performances by David Essex and Adam Faith in a cautionary tale of a Beatle-esque band of British pals making it to the top. Fans of the era will spot all the cheeky references (“At least he didn’t say ‘turn left at Greenland'”) and familiar scenarios, but these now jaded eyes were relieved to find the film’s subtlety and nuance fully intact. Especially the way Faith, as the road manager, cuts quiet deals behind the band’s back to help make Essex a star (“fancy a drink?”). Dave Edmunds co-stars and supplies most of the original music and Keith Moon appears as the drummer of the fictitious Stray Cats. Nick Lowe even makes a cameo (see comments). The print is excellent. Find the DVD at Amazon, HERE. Dave Edmunds 2013 re-release of Subtle As A Flying Mallet now includes, as bonus tracks, his musical contributions to Stardust, HERE.

JOHN MAYALL The Turning Point (1969) w/ Jon Mark, Johnny Almond & Bonus Tracks

The Turning Point (1969)
An Old Dog’s Cool New Trick

FROM 2010: I originally heard this album a week before it was recorded… at my first ever concert, when John Mayall (advertised as John Mayall with “The Blues Crusade” HERE) opened for Creedence Clearwater Revival in July, 1969. I knew CCR from the radio (and my brother’s 8-track), which was why I dropped a top-tier $5.50 to be there. Mayall was only a name I’d heard, mostly in conjunction with Clapton, but his band on this night, featuring Jon Mark & Johnny Almond, left such an indelible impression that when I heard an FM free-form station playing this eventual live album (taped at The Fillmore in NYC, a week after I saw them), I was absolutely positive it was the exact same show. I was young, what did I know about touring set lists? What’s cool about The Turning Point, besides earning the veteran Mayall a rare FM radio hit with “Room To Move,” was that it was a completely fresh take on the blues, from a long time master, mentor and survivor. Mayall stripped his band down to a drummer-less four, creating, via Mark-Almond, a smooth, jazzy precursor to the FM folk/blues the duo would later specialize in after leaving this unit (you remember “The City,” right? HERE). The Point‘s overall, late-night vibe is the winning ingredient and those that have never experienced it are urged to give it a shot. Listen to the 9-1/2 minute “California” (below), if only to hear how fearless these guys were – an opening act playing slow-moving, unheard blues & jazz originals for a CCR crowd. From the sound of the response, and the one I still remember from 1969, Mayall’s Turning Point apparently won people over wherever they played. We’ve got more Mayall in the archives, including Live At Aragon Ballroom, Chicago and The Turning Point Soundtrack (both HERE) and the 1967 EP, John Mayall’s Bluesbreakers With Paul Butterfield (HERE). Get this bonus track version of The Turning Point at Amazon, HERE.

The Laws Must Change (7:22)
Saw Mill Gulch Road
I’m Gonna Fight For You JB
So Hard To Share
Thoughts About Roxanne
Room To Move
Sleeping By Her Side
(5:10) – Bonus Track
Don’t Waste My Time
(4:55) – Bonus Track
Can’t Sleep This Night
(6:20) – Bonus Track

THE BEATLES Baby It’s You (1995), Free As A Bird (1995) & Real Love (1996) – Three CD Singles With Unreleased Tracks Available Nowhere Else!

So… you’ve got the 2009 remasters, the three Anthology releases, all the BBC Recordings and the slew of vinyl oddities that haven’t been re-issued on CD yet. All set? Not yet… not without these. In 1995-96, The Beatles released three Maxi-Singles promoting Live At The BBC and Anthology 1 & 2, each containing 3 unreleased tracks available nowhere else… not counting bootlegs & fan club releases, of course [*though, “Boys” and “I’ll Follow The Sun,” from Baby It’s You, surfaced years later on 2013’s Live At The BBC Volume Two]. Here they are, all together now in one 70MB swoop. Hear the wacky re-mix for “Yellow Submarine,” below. First posted in 2009. There’s plenty more Beatles in the archives, HERE. Find Baby, It’s You (HERE), Free As A Bird (HERE) and Real Love (HERE) at Amazon.

Baby It’s You (1995)

Baby It’s You (From Live At The BBC)
*I’ll Follow The Sun (BBC LiveNov 17, 1964) Previously Unreleased
Devil In Her Heart (BBC LiveJul 16, 1963) Previously Unreleased
*Boys (BBC LiveJun 17, 1963) Previously Unreleased


Free As A Bird (1995)

Free As A Bird (From Anthology 1)
I Saw Her Standing There (Take 9 – Feb 11, 1963) Previously Unreleased
This Boy (Incomplete Takes 12 & 13 – Oct 17, 1963) Previously Unreleased
Christmas Time (Is Here Again) (Nov 28, 1967) Fan Club Only LP Release


Real Love (1996)

Real Love (From Anthology 2)
Baby’s In Black (Hollywood Bowl – Aug 30 1965) Previously Unreleased
Yellow Submarine (New 1996 Mix – May/June, 1966) Previously Unreleased
Here, There & Everywhere (Take 7+13-Jun 16 1966) Previously Unreleased

CHEAP TRICK Live At The Joint 1995 (Unreleased)

coverLive At The Joint 1995
Unreleased Soundboard Gem

Originally an FM broadcast from The Hard Rock in Las Vegas, this high quality live set is said to be from the original feed, sans any annoying DJs or intermissions. Fans looking for a well-tuned snapshot of Cheap Trick, circa 1995, need look no further. There are some fun song selections, like CT’s slow burning version of Lennon’s “Cold Turkey,” not to mention a star-aligning take of “Magical Mystery Tour” that should immediately make you wonder why the tune isn’t a standard Beatles cover for any pop band. Besides a rewarding pass at “Don’t Be Cruel,” you should already know what else to expect. In 1995, Cheap Trick was in between labels and albums, but you wouldn’t even know what they were promoting by the set list, anyway. There’s more CT in the archives, including… Bun E’s Basement Bootlegs: Vols. 1 – 4 (6CDs, HERE), In Color + The Unreleased Steve Albini Sessions (2CDs HERE), The Essential Cheap Trick (2CDs HERE), Cheap Trick At Budokan – The Complete Concert (2CDs HERE) and the recalled solo LP from ROBIN ZANDER, Countryside Blvd. (HERE).

Introduction (0:10)
She’s Tight (3:23)
Girlfriend (4:39)
I Want You To Want Me (4:25)
Cold Turkey (7:25)
Heaven Tonight (5:55)
Magical Mystery Tour (4:42)
Band Introductions (0:31)
Don’t Be Cruel (3:45)
The Flame (6:04)
Ain’t That A Shame (4:59)
Surrender (4:18)
Voices (4:27)
Need Your Love (8:07)
Dream Police (3:53)
Goodnight (1:36)

BOBBY WHITLOCK Bobby Whitlock + Raw Velvet (1972) plus… A Rock ‘n’ Roll Autobiography (2010 pdf)

Bobby Whitlock (1972)
Raw Velvet (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 two solo albums were released in 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 the debut 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 it 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. The quick follow-up contains more of the same, with a new emphasis on more rockin’ riffs that work convincingly within Whitlock’s style. FrontHe even revisits the Dominoes’ “Tell The Truth,” albeit juiced with a sped up tempo. Many of the pals Whitlock supported over the years show up to support him on both of these sets, recently reissued on vinyl in 2013 (HERE & HERE), including Clapton, his fellow Dominoes, D&B, George Harrison (BW’s work went uncredited on All Things Must Pass) and many others. This rip comes from Where There’s A Will There’s A Way: The ABC-Dunhill Recordings, which remasters both LPs on a single disc. Find it at Amazon, HERE. Find lots of BW with D&B (HERE) and EC (HERE) in the archives.

Where There’s A Will (3:45)
Song For Paula (3:17)
A Game Called Life (4:15)
Country Life (3:06)
A Day Without Jesus (3:24)
Back In My Life Again (3:31)
The Scenery Has Slowly Changed (3:53)
I’d Rather Live The Straight Life (2:30)
The Dreams Of A Hobo (3:24)
Back Home In England (2:51)

Tell The Truth (3:51)
Bustin’ My Ass (3:32)
Write You A Letter (2:30)
Ease Your Pain (3:04)
If You Ever (3:18)
Hello L.A., Bye Bye Birmingham (3:57)
You Came Along (3:05)
Think About It (3:09)
Satisfied (2:57)
Dearest I Wonder (3:49)
Start All Over (3:25)

Screen Shot 2013-05-29 at 9.05.28 AMA Rock ‘n’ Roll Autobiography: Bobby Whitlock (2010)

Here’s a pdf of Whitlock’s 2010 autobiography. You can get a hard copy at Amazon, where there’s a slew of 5-star reviews, HERE.

JOHN DEBNEY The Passion Of The Christ (2004), PETER GABRIEL Passion (1989) plus…
VARIOUS ARTISTS Passion-Sources (1989)

Passion Of The ChristPassion
JOHN DEBNEY – The Passion Of The Christ (2004)
PETER GABRIEL – Passion (1989)
Jesus, These Are Good Soundtracks

RE-UPPED FROM 2009 Despite the criticism leveled at director Mel Gibson, The Passion Of The Christ is the most fearless telling of the Passion Play ever filmed. Presented in subtitled Latin, Hebrew and ancient Aramaic languages, no crowd-drawing movie stars, and two bloody hours of Jesus getting the bejesus beat out of him (with an R rating, no less), all should have added up to a disaster at the box office. So give Gibson his props for having the balls to pony up 30 million of his own dollars to write and direct a movie that could have ended his directing career faster than an ugly drunk driving episode actually did. That same chutzpah characterized the film’s soundtrack, which was also co-produced by Mel. Score composer John Debneythe lightweight behind such movie music filler as Elf, The Hot Chick and Liar, Liar – shouldn’t have even been allowed anywhere near the set, much less entrusted with underscoring The Greatest Story Ever Told, yet somehow the pair responded with this, Oscar nominated gem – a spacey, unsettling, often neo-psychedelic swirl of Mid-East ethnicity, characterized by haunting, grieving, wailing choruses and darkly moving, quietly surreal, deftly nuanced rhythms.

But… credit where credit might be due. It’s possible Debney received some of his divine inspiration from Peter Gabriel’s majestic 1989 score for Martin Scorsese’s, The Last Temptation Of Christ, one of the first instances of indigenous regional music being used to backdrop the Nazarene’s life and death. It was groundbreaking, rooted as it was in the culture’s ethnic stew of Hebrew niguns, Middle Eastern snake-charming melodies and regional atmospherics – though, in Gabriel’s hands, it was far more rhythmic and percussion heavy. Passion was unique for its revelation that there’s more power to be unearthed in the music of ancient cultures than in any Hollywood orchestral concoction. And, as it stands, you’ll likely never hear another bombastic, Roman-ized fanfare introducing the Saviour again… and we have these two prominent scores to thank for that. Amazon has The Passion Of The Christ for as little as a penny (HERE), and Passion for as cheap as a buck (HERE).

The Olive Garden/Night Sky (1:57)
Bearing The Cross (3:43)
Jesus Arrested (4:37)
Peter Denies Jesus (1:59)
The Stoning (2:25)
Song Of Complaint (1:33)
Simon Is Dismissed (2:25)
Flagellation/Dark Choir/Disciples (5:54)
Mary Goes To Jesus (2:47)
Peaceful But Primitive/Procession (3:36)
Crucifixion (7:38)
Raising The Cross (2:13)
It Is Done (3:37)
Jesus Is Carried Down (4:40)
Resurrection (5:04)

The Feeling Begins (4:00)
Gethsemane (1:26)
Of These, Hope (3:55)
Lazarus Raised (1:26)
Of These, Hope (Reprise) (2:44)
In Doubt (1:33)
A Different Drum (4:40)
Zaar (4:53)
Troubled (2:55)
Open (3:27)
Before Night Falls (2:20)
With This Love (3:39)
Sandstorm (3:02)
Stigmata (2:28)
Passion (7:38)
With This Love (Choir) (3:21)
Wall Of Breath (2:29)
The Promise Of Shadows (2:13)
Disturbed (3:36)
It Is Accomplished (2:56)
Bread And Wine (2:19)

Passion – Sources
As the name implies, Passion – Sources is the water well of inspiration for Peter Gabriel’s soundtrack score to The Last Temptation Of Christ. Proving once again that if you want to do something right (or at least close), go to the source. Includes regional musics from the likes of Nusrat Fateh Ali Khan, Shankar, Abdul Aziz El-Sayed and various Moroccan, Ethiopian and Middle Eastern musicians passing on what they’ve learned from the generations that came before them, dating back to the time of Christ. Still a bargain at Amazon, HERE.

Nusrat Fateh Ali Khan and Party Shamas-Ud-Doha Bader-Ud-Doja (4:53)
Baaba Maal
Call To Prayer (3:54)
Shankar And The Epidemics
Sankarabaranam Pancha Nadai Pallavi (5:06)
Kudsi Erguner
Ulvi (1:37)
Hossam Ramzy
Fallahi (3:01)
Sabahiya (2:21)
Unknown Ethiopian Musicians
Tejbeit (2:45)
Mahmoud Tabrizi Zadeh
Prelude In Tchahargah (3:19)
Unknown Moroccan Musicians
Wedding Song (2:42)
Abdul Aziz El-Sayed
Magdelene’s House (2:48)
Yoky (2:08)
Nass El Ghiwane
Ya Sah (2:21)
Les Musiciens Du Nil
Al Nahla Al ‘Ali (2:57)
Antranik Askarian and Khatchadour Khatchaturian
Song Of Complaint (3:09)

BERNARD HERRMANN The Day The Earth Stood Still (1951) – Limited Edition, In Stereo w/ Bonus Tracks

The Day The Earth Stood StillThe Day The Earth Stood Still
Sci-Fi’s Definitive Music Score, circa 1951

LIMITED EDITION UPGRADE While he was composing one of science fiction’s greatest music scores, Bernard Herrmann had not yet conceived of The Outer Space Suite (later used in The Twilight Zone) or his visionary work with the great Alfred Hitchcock. Herrmann’s film career began in 1941 with Citizen Kane and ended in 1976 with Taxi Driver, which should tell you something about the guy’s depth and consistent quality. Composed in 1951, The Day The Earth Stood Still‘s sound and style touched virtually every sci-fi score that followed, even into 60s television shows like “Lost In Space.” (In fact, some of this music was actually used in the un-aired pilot for the show, before composer John Williams was brought in for the TV series.) Plenty of Herrmann’s patented tension-through-repetition style is evident, as is this music’s genre-defining Theremin work. It’s before-you-were-born music that can creep you out like nothing else. An all-time great that should be in any soundtrack collection. This is the Limited (to 1,200 copies) Edition offered in true stereo, with cool bonus tracks, where you can hear conductors Herrmann and Alfred Newman fine-tuning the sounds and effects. There’s more from the essential Bernard Herrmann in the archives, including Twilight Zone: The 40th Anniversary Collection (4CDs HERE), The Twilight Zone (Unreleased Box) – 51 Original Television Soundtrack Scores, 1959-1964 (7CDs HERE), The Twilight Zone (Conducted By Joel McNeely) (HERE) and Psycho x 3 (HERE). WATCH THE CLASSIC MOVIE, HERE. Find The Day The Earth Stood Still at Amazon, HERE.

Prelude/Outer Space/Radar (3:52)
Danger (0:25)
Klaatu (2:19)
Gort/The Visor And The Ray/The Telescope (2:28)
Escape (0:56)
Arlington (1:12)
Lincoln Memorial (1:32)
Nocturne/The Flashlight/The Robot/Space Control (6:02)
The Elevator/The Magnetic Pull/The Study/The Conference/The Jeweler (4:33)
Panic (0:46)
The Glowing/Alone/Gort’s Rage/Nikto/Captive/Terror (5:14)
The Prison (1:45)
Rebirth (1:37)
Departure (0:56)
Farewell (0:37)
Finale (0:39)
Solar Diamonds I & II (1:08) (Unused)
Outer Space (1:58) (Without Theremin Track)
The Magetic Pull (1:56) (Without Overlays)
The Visor And The Ray (2:17) (Separated Elements)
Discrete Theremin Tracks (5:39)
Studio Rehearsals And Outtakes (12:58)

MALLARD Mallard / In A Different Climate (1975-77) – Featuring Members of Captain Beefheart’s Magic Band

Mallard & In A Different Climate (1975/1977)
A Thankless Captain Beefheart Called Them “A Bunch Of Quacks”

UPGRADED The only two releases from Mallard, a revamped version of The Magic Band, without the services of vocalist/leader Captain Beefheart. Features Mark Boston (Rockette Morton), Art Tripp (Ed Marimba) & Bill Harkleroad (Zoot Horn Rollo) – Mallard’s core trio – along with John French (Drumbo), John Thomas, Sam Galpin, John Bundrick and a few others. The band line-up changed, not just from LP-to-LP, but sometimes from track-to-track, as French left halfway through Mallard and Tripp was replaced before In A Different Climate. What you’ll hear are echoes of what made The Magic Band great; aggressive rhythms, halting time shifts, the patented guitar/marimba interplay… plus, some not-so-convincing stabs at crossover appeal. Vocalist Galpin, however, is a poor substitute for the good Captain – a role John French would inherit (and nail) in future Magic Bands into the new millennium. Includes a re-working of “Peon,” from Captain Beefheart’s Lick My Decals Off, Baby. The debut was reportedly financed by Jethro Tull’s Ian Anderson. We first posted this back in 2009, but now have an upgrade @320 to offer, with many thanks to Slidewell. BONUS: We’ve also included an epub of John French’s book, Beefheart: Through The Eyes Of Magic (ask Google what software you need to read it). This also provides an opportunity to remind you of some of the other rare Magic Band related material to be found in the archives, including… THE MAGIC BAND Back To The Front (HERE), The Peel Sessions July, 2004 & 21st Century Mirror Men (both HERE), JOHN FRENCH (a.k.a. Drumbo) O Solo Drumbo (HERE), ZOOT HORN ROLLO DrumboWe Saw A Bozo Under The Sea (HERE), CAPTAIN BEEFHEART & HIS MAGIC BAND Trout Mask Replica, Trout Mask House Sessions + Grow Fins Promo Sampler (all HERE), I’m Going To Do What I Wanna Do (Live At My Father’s Place 1978) (HERE), Hoboism 1970-1981 (HERE, bootleg), The Dust Blows Forward: An Anthology (HERE), The Revenant Demos (1965-1967) (HERE), Bat Chain Puller, Shiny Beast (Bat Chain Puller), Dust Sucker & Son Of Dust Sucker (all HERE), The Spotlight Kid/Clear Spot (HERE in Readers Links, August 7, 2014) and for you gotta-have-it-alls, Live London ’74 – Theatre Royal, Drury Lane – London 1974 & London 1974, featuring The “Tragic Band,” the Captain’s 1974 Magic Band replacements, (both HERE). This Mallard post is the 1995 reissue, which you can find at Amazon, HERE.

Back On The Pavement
She’s Long And She’s Lean
Road To Morrocco
One Day Once
Desperados Waiting For A Train
A Piece Of Me
Reign Of Pain
South Of The Valley
Winged Tuskadero
Green Coyote
Your Face On Someone Else
Mama Squeeze
Old Man Grey
Texas Weather
Big Foot

THE UNDISPUTED TRUTH Cosmic Truth (1975) – Norman Whitfield’s Psych Lab

Cosmic Truth (1975)
Norman Whitfield’s Psych Lab

The common knock on The Undisputed Truth is that they were the sorry step child to The Temptations. Truth be told, musically anyway, Undisputed’s sound was often more akin to the spaced psychedelia of early Parliament/Funkadelic. But, those with finely tuned ears will immediately recognize The Temps’ songwriting and production styles, courtesy of one of the original brick layers of the Motown sound, and one of the greatest 60s songwriters ever, Norman Whitfield. What Whitfield did for The Temps in the late 60s, he also did for The Truth in the early 70s – expanding the perimeters of modern soul to encompass highly stylized rock, funk and psychedelia. The bands even shared some of the same material (it was The Truth who first recorded Whitfield’s “Papa Was A Rolling Stone”). It’s been said that producer Whitfield used the band (his studio creation) as lab rats to experiment with new sounds, more guitars and spacier constructs, and Cosmic Truth is a great example of his vision. The Truth’s take on the Temps’ “(I Know) I’m Losing You” shows how Whitfield could stretch a song’s root components to the breaking point, infusing extended guitar solos and jazzy interludes, while reinventing vocal arrangements from the ground up. The fuzz bass and stinging guitar work in “1990” are worthy examples, and the soulful take on Neil Young’s “Down By The River” (the LP’s only non-Whitfield composition) is worth a listen, too. Speaking of NORMAN WHITFIELD… hit the archives for more of his work, including his first two productions for ROSE ROYCE, Car Wash and Rose Royce II (HERE), THE TEMPTATIONS Psychedelic Soul 2CD (HERE, w/Rare Extended Mixes) and 1969’s Puzzle People & 1970’s Psychedelic Shack (HERE). Find Cosmic Truth on vinyl at Amazon, HERE.

Earthquake Shake (5:54)
Down By The River (6:35)
UFO’s (4:18)
Lil’ Red Ridin‘ Hood (4:02)
Squeeze Me, Tease Me (3:53)
Spaced Out (3:11)
Got To Get My Hands On Some Lovin (2:36)
1990 (4:02)
(I Know) I’m Losing You (6:52)