Tuesday, February 11, 2020
Trademark of Quality TMQ-61001
I often see this vintage bootleg selling for ridiculously high prices which, even as a Yardbirds collector myself, I think is absurd. All of the tracks on here were originally commercially released and all of them have been easily obtainable on CD for many years. I believe they are all available again on vinyl as well thanks to Repertoire Records' recent series of Yardbirds compilations (highly recommended by the way.) Admittedly back in the mid-1970s a lot of this stuff was pretty hard to find although you could get most of it if you tried hard enough. I bought this in the early 1980s even though I already had most of it. I bought it because I wanted to hear the two Keith Relf solo tracks. I also liked the cover art and I got it at a bargain price. I certainly don't need it any longer. I keep it as a dumb collector thing even though it has a major flaw, namely all the stereo tracks were improperly recorded. Only one of the two channels was dubbed on to the record and that channel comes out of both speakers when you play the album. Thus either the vocals or some of the instruments are barely audible. Fortunately only 8 of the 17 cuts are in stereo but it is still often annoying. This reportedly is not true of all versions of this album, mine is apparently a bootleg of the bootleg. The Eric Clapton era of the group is represented by two oddly chosen cuts from "For Your Love." "Putty (In Your Hands)" is a minor song and "Sweet Music" is one of the worst songs they ever did. "Putty" is in mono and sounds fine, but "Sweet Music" is the stereo version and Relf's vocal is buried deep in the mix so it sounds ridiculous. The record jumps into the Jeff Beck era with "Steeled Blues" from 1965 which was originally the B-side on the "Heart Full Of Soul" single which is fairly easy to find. It is an instrumental credited to Beck but it is basically a generic blues given a lethargic treatment by the band although Beck and Relf (on harmonica) have their moments. It jumps forward to the two songs from "Yardbirds" that Epic Records dropped for their version of the album "Over Under Sideways Down." Both are in stereo so Beck's dazzling guitar work is generally too far down in the mix on "The Nazz Are Blue" and on "Rack My Mind" Relf's vocal is practically inaudible. The Jeff Beck/Jimmy Page era of the band is represented by "Stroll On" from the "Blow-Up" soundtrack." It is my all-time favorite Yardbirds track. It is in mono so it sounds fine although I prefer the stereo version that I have on my copy of the soundtrack album. The Jimmy Page era of the band makes up the bulk of the album which makes sense since it was the Yardbirds music that was hardest to find back in the 1970s. There are four tracks from "Little Games" which are among my least favorite tracks on the album. All are in stereo and suffer from the missing channel. The jug band style "Stealing, Stealing" and the largely instrumental psychedelic song "Glimpses" both sound okay even with the missing channel. On the poppy "Little Soldier Boy" Jim McCarty's vocal impersonation of a trumpet that runs throughout the song is buried deep in the mix which makes the song sound naked like a demo. On the commercial sounding "No Excess Baggage" the lead guitar can barely be heard. The album also features "Puzzles" which was the B-side of the "Little Games" single as well as the band's final singles "Ha Ha Said the Clown," "Ten Little Indians" and "Goodnight Sweet Josephine" along with the latter's B-side, "Think About It" written by Jimmy Page. Relf wrote "Puzzles" which has a pop-psych sound and a sizzling Page solo and I think it is a lot better than many of the tracks that made it onto "Little Games." "Ha Ha Said the Clown" was released in 1967 and features Relf with a bunch of studio musicians. It sounds fine although it is not characteristic of the band's sound and I prefer the Manfred Mann recording of the song which this version closely copies. "Ten Little Indians" was written by Harry Nilsson and also was released in 1967. The album notes say that this is a stereo track but the song was originally issued in mono so I have no idea how they got a stereo copy. To me it sounds identical to the mono version I have on a different album so perhaps the note is wrong. I like the way the song builds in strength and its slightly trippy arrangement, but it is far from essential. "Goodnight Sweet Josephine" is bolstered by expansive use of phasing and is engaging but inane. Its flip side is much superior, in fact "Think About It" is among the very best tracks the Yardbirds ever did, boasting a heavy riff and some smoking guitar work from Page that clearly anticipates his future work with Led Zeppelin. Even though I generally disdain singles I paid five bucks to buy this 45 at Rather Ripped Records in Berkeley in 1980 and I still consider it one of my best scores. The album also contains a 1966 single by Keith Relf. The A-side is the moody "Mr. Zero" by Bob Lind which sounds nothing like the Yardbirds, but I still really like it. Its B-side is a Relf composition entitled "Knowing" which is a chamber pop track that sounds a bit like the Zombies. Despite all of this record's many flaws, the Relf single makes it worthwhile (although you can easily find it elsewhere on better albums.) I can't recommended my version of this album because of its recording defect but even a properly recorded version is a dubious purchase. The selections from "For Your Love" and "Little Games" are poorly chosen and frankly the inclusion of only legitimately released music as opposed to unreleased tracks or concert recordings makes this bootleg even more ethically questionable than a normal bootleg. "Stroll On," "Think About It," "The Nazz are Blue" and "Rack My Mind" are essential tracks that every Yardbirds fan should own, but you should look for them elsewhere. Not recommended to anyone but fanatics.
Saturday, January 18, 2020
The Royal We
I got all excited when I learned that Roxanne Clifford and Patrick Doyle had been in this Scottish group prior to forming Veronica Falls. Unfortunately this band does not sound much like Veronica Falls, they play slightly retro dance pop reminiscent of Neverever which makes sense since that band's leader Jihae Meek was the lead singer of the Royal We (then using her maiden name Jihae Simmons.) When I first played this record I was really disappointed, but with repeated spins I started to appreciate it. I do like Neverever, just not nearly as much as Veronica Falls which was my favorite band before they broke up. The album gets off to a quiet start with "Back and Forth Forever" which is an acoustic love song driven by Clifford on ukelele. The record shifts into gear with the jumping "All The Rage" which the band released as a single. It is a wonderfully poppy dance song that showcases Simmons' charisma with forceful background vocals from Doyle and Clifford that are as close as this album ever gets to the Veronica Falls sound. "That Ain't My Sweet Love" continues in a similar rocking vein although without the catchy pop hooks. Side one concludes with "Three Is a Crowd" which pumps up the sound of 1960s girl group pop to provide a framework for Simmons to vent her spleen. Joan Sweeney's violin adds some flavor to the band's sound. "I Hate Rock N Roll" also sounds like an update on 1960s pop and once again Sweeney's violin saves the song from blandness. "Willy" allows Clifford more space as a romantic counterpoint to Simmons sardonic vocal which I find very welcome. "French Legality" is a propulsive track driven by a compelling guitar riff that gets me bopping. Simmons vocal is very strong and builds in strength until she is screaming at the end. This is my favorite track after "All The Rage." "Wicked Games" is a cover of the Chris Isaak song taken at a much faster tempo than the original. Simmons rejects the sensitivity and yearning of Isaak's original vocal in favor of a more bitter and cynical approach. I don't really approve, but the song is very compelling and gives the album a stirring finish. This record shows a lot of promise although it was probably for the best that the band broke up. Veronica Falls might have benefited from a more charismatic lead singer like Simmons, but I think Clifford's more diffident style suited that band's introspective approach. Simmons is too exuberant and distracting, she needed a different band that would showcase her unbridled personality. This is still a very enjoyable record and I think the tension between the Simmons and the Clifford/Doyle styles is one of the more stimulating elements of the album. Recommended to fans of Blondie.
Saturday, December 28, 2019
Smokey Robinson and the Miracles
This is a reissue of the second Christmas album released by Smokey Robinson and The Miracles which was originally issued on Tamla as TS307. I put it on to trim the tree this year and found it very pleasing. It features an engaging mix of original songs and traditional carols. The traditional carols are given Motown style arrangements with strong rhythm sections over which the Miracles deliver typically dynamic vocal arrangements with stimulating harmonies. I particularly like the driving performance of "Go Tell It On The Mountain." They also offer up lovely performances of combined melodies of "Deck the Halls" with "Bring a Torch, Jeannette Isabella" and "Away in a Manger" with "Coventry Carol." "God Rest Ye Merry Gentlemen" is given a jazzy arrangement by Wade Marcus that features terrific ensemble singing by the group. It is one of my favorite tracks. In contrast the sappy arrangement of Mel Torme and Robert Wells' classic "The Christmas Song" leaves me indifferent despite the gorgeous vocals. "Jingle Bells" is basically indestructible and easily survives its Motownization. Among the original songs the most striking one is "A Child is Waiting" by Joe Hinton and Patti Jerome. It is not a Christmas song, but rather a song endorsing adoption, but with its generosity of spirit and heart-warming message it fits in well with the rest of the album and gives the record an uplifting finish. The originals also include two songs by Stevie Wonder and Syreeta Wright. "I Can Tell When Christmas is Near" is the better of the two. It is driven by a catchy piano riff and features a lively performance by the group. "It's Christmas Time" is also piano driven but is more sedate emphasizing Robinson's sensitive vocal. It recounts the events around the birth of Jesus. Robinson wrote "I Believe in Christmas Eve" which is also a religious song but has enough of a pop flavor that I still find it very appealing. Ron and Deborah Miller's "The Day That Love Began" previously appeared on Stevie Wonder's 1967 Christmas album. I find the song corny and don't really care for either version but I give the edge to Wonder for a more convincing vocal. "Peace on Earth (Goodwill Toward Men)" by Jimmy and Ann Roach is the most undistinguished of the original songs but it is still pleasant to listen to. The absence of any real standout songs keeps this album from being an essential Christmas record and I would prefer more secular Christmas songs, but this is still a very worthwhile record that should appeal to most fans of the group. Recommended to religious Motown buffs.
Monday, November 18, 2019
Sympathy for the Record Industry SFTRI 749
I was listening to "She Rocks" on KXLU a few weeks ago when I heard them play a bunch of Muffs songs to open the show. At first I was delighted, but then I realized this could not be good unless Kim Shattuck was there with them in the studio. Alas that was not the case, she had died of ALS and they were playing a tribute to her. I was shocked. I had just seen her and the Muffs at a show a few years ago where Shattuck performed with her usual exuberance and vitality. ALS seems a particularly cruel disease for someone who was such a dynamic and energetic person. Even as she was dying she had the will and determination to complete the final Muffs album which I find touching and inspiring. This was the Muffs' fifth album. My favorite record of theirs is "Blond and Blonder" but I don't have it on vinyl. I love this one almost as much though, so I think it is a worthy record for a tribute to her. It is more subdued than the first four albums, more power pop than pop punk with a cheerful feel to it as reflected in its apt title. Long time fans might miss the force of the earlier albums, Shattuck rarely even cuts loose with any of her trademark screams. I find it charming myself and appreciate her attempt to change her style without sacrificing her integrity. She delivers 17 delightful pop songs that make me feel really really happy just as advertised. There are several songs in the familiar Shattuck style - noisy, fast-paced, riff driven songs like "Freak Out," the ebullient "Really Really Happy," "The Whole World," the frenetic "By My Side" and the scream-laden "Oh Poor You." There is a more pronounced pop feeling and melodic sound to "A Little Luxury," "How I Pass the Time," "I'm Here I'm Not" and one of my favorite cuts, "My Lucky Day" with its exhilarating "wooo's" driving it home. Numerous songs have a traditional, retro pop sound like "Something Inside," "Everybody Loves You," the doo-wop flavored "Fancy Girl," and the girl group sounding "Slow." I really like the bouncy "Don't Pick On Me" which sounds like a Monkees or Raiders cover. "And I Go Pow" has a similar garage band sound to it. "My Awful Dream" is the most unique song on the record and one of the more unusual songs in the Shattuck catalog. It is an acoustic performance that showcases the expressiveness of Shattuck's voice as she croons the angst laden lyrics. It even features a harmonica solo. I love it. The album closes with the introspective "The Story of Me" in which Shattuck examines the contradictions within her but seems to be happy with who she is which sums up this album rather nicely. As much as I love the earlier Muffs albums, I have to admit that this one appeals to me more in many ways. I was quite taken by the ferocious energy and youthful humor of the debut album and "Blond and Blonder" back in the 1990s, but now that I'm older I'm appreciative of the maturity and sensitivity of Shattuck's music on this album. No one is ever going to mistake her for Joni Mitchell or Leonard Cohen, but there is a grace and purpose to her lyrics on this album that I find engaging. Although pop appeal has always been apart of her style, I greatly enjoy the more pronounced melodicism on this album. The growth displayed on this record makes her premature demise even sadder for me. I would have loved to hear what directions her music would have taken as she grew older. She was such a special artist, so bold and creative, I'm really going to miss her. Recommended to fans of Cub.
Saturday, October 12, 2019
My Tennessee Mountain Home
I bought this several years ago in an antique store in Jamestown, ND - the home of the World's Largest Buffalo (it is a giant statue.) I sometimes buy country albums from the 1970s for artists I really like even though almost all of them were primarily singles artists. If I were smart I'd just buy compilations. The two big exceptions to that are Willie Nelson and Dolly Parton. Since they mostly wrote their own material, their albums have a higher quality than the single plus filler formula most of their peers employed. Parton made many fine albums in the 1970s but this is my favorite. It is a concept album focused on her childhood. The cover of the album depicts the house she grew up in and there is a picture of the home she was born in inside the gatefold along with pictures of her as a child as well as some family members. It also has liner notes written by her father and mother. The album begins with "The Letter" in which she recites a touching letter she wrote home when she first came to Nashville in 1964. The only music is a harmonica playing "Home Sweet Home." "I Remember" is a heartfelt tribute to her parents. It is enhanced by her gift for evocative descriptions. "Old Black Kettle" is a lively tune that describes cooking with the kettle of the title and provides a rosy picture of growing up in the country. "Daddy's Working Boots" as you probably can guess pays homage to her hard-working father. Parton has always had a way with symbols and metaphors and the boots serve that function in this song. "Dr. Robert F. Thomas" is an ode to the doctor who delivered her as a baby. The song celebrates his good deeds and perseverance as a country doctor. Side one concludes with "In the Good Old Days (When Times Were Bad)" which is a remarkable song that vividly describes her hardships growing up with mixed feelings of nostalgia and relief as reflected in the chorus when she sings "no amount of money could buy from me the memories that I have of then, no amount of money could pay me to go back and live through it again." The song is an old song that she originally released as a single in 1968 but it fits the theme of the record so well it is hard to blame her for wanting to re-record it for this album. On a record suffused with nostalgia, it provides some much needed realism. Side two begins with "My Tennessee Mountain Home" which was the single off the album. It is an idealized vision of her childhood that has great resonance. Its emotional impact is a testament to her genius as a songwriter and a performer and it is one of my favorite songs in her enormous catalog. "The Wrong Direction Home" describes how she misses her mountain home. In "Back Home" she joyously does return home. "The Better Part of Life" is more nostalgia enlivened by her richly expressive remembrances. "Down on Music Row" recounts her early experiences in Nashville. The story she tells is very detailed and celebrates RCA which is a little misleading since she did not sign with RCA until years later. Still it makes for a happy ending and gives the album some satisfying closure. I have to admit that the sentimentality and nostalgia that permeates this album would probably annoy me in the hands of a lesser artist. Parton's skill with imagery and her incomparable sincerity as a vocalist are able to convince a city-slicker like me that she really did have a wonderful childhood growing up impoverished in the country. It also helps that her musical accompaniment is so tasteful and subdued, allowing her voice and the lyrics to convey the feelings in the song. She is so full of love for the subjects of her songs, that she charms me and persuades me of the truth of her vision. This is a flawless album that is essential for Parton fans and recommended to anyone looking for a little warmth and affection to brighten up their lives.
Monday, October 7, 2019
Atlantic SD 7205
This was the first Aretha Franklin album that I owned. I bought it as a teenager in the used record store that briefly existed in my suburban home town. It was a small enough store that I could go through all the records in the pop music bins which is how I noticed it. My taste in soul back then was more Motown than Atlantic. I was familiar with Franklin's big hits but I was not yet a fan. This album totally changed that, but I originally bought it primarily because it was recorded at the Fillmore which I was obsessed with at the time. It is still my favorite of Franklin's live albums. It was re-released in a greatly expanded version on CD covering all three of her nights at the auditorium including King Curtis' performances. I'm sure it is wonderful but I'm happy with this smaller sampling. It is a flawless album, over forty-five minutes of greatness. The vinyl version kicks off with her explosive performance of "Respect" taken at a much faster pace than her classic single. It is an amazingly energetic performance that blows me away every time I hear it. At the end of the song Franklin promises the audience that they will enjoy her show as much as any they have ever seen. It is a bold promise but I think she delivered. She changes pace with Stephen Stills' "Love the One You're With" which she slows down and makes sound like a gospel song. It is a brilliant interpretation that I greatly prefer to Stills' own version. She also makes Simon and Garfunkel's "Bridge Over Troubled Water" sound like a hymn. She sings it with such feeling and passion, she absolutely slays me. I like the original but it sounds stilted and phony in comparison. The most remarkable cover on the album is her uptempo performance of the Beatles' "Eleanor Rigby." Supported by propulsive back up vocals from the Sweethearts of Soul, Franklin utterly transforms the song into an exciting and upbeat workout. Curiously she sings the song in the first person which makes it seem more personal. I think the Beatles' melancholy version is more suitable for the lyrics, but Franklin's cover is a lot more fun. Her biggest challenge on the record is taking on David Gates' sappy "Make It With You." I've always loathed the original single by Bread. It is a testament to her genius that she makes this lightweight song seem powerful and meaningful with her heartfelt performance. Side one concludes with a lively version of "Don't Play That Song" which was a hit for Ben E. King in 1962. Franklin covered it on her album "Spirit in the Dark" in 1970. I am a fan of King and like his version, but when Franklin covers a song, it becomes hers. Side one is devoted to showing the hippies that she can beat them at their own game with her absolute dominance of some of their classics. Side two showcases her own music. It opens with her and Ted White's "Dr. Feelgood." It is a slow, smoldering blues that gradually builds in strength leading to some explosive vocal pyrotechnics that take my breath away. It is a sensual song but at the end she takes the audience to church with her incredible spirit. Which is an appropriate segue for her performance of "Spirit in the Dark" which is her spiritual ode to the power of music. It is an incredibly compelling performance and just when you think it can't get any better than this, she brings out Ray Charles, literally her only peer in soul singing. What a thrill it must have been for the audience to see the King and Queen of Soul together on that stage. Charles slows down the tempo for a funky interpretation of the song featuring a dazzling call and response with Franklin. Then Charles takes Franklin's place at the electric piano and delivers a smoking piano solo that gets me bopping. Charles resumes singing and rouses the crowd with his mesmerizing gospel style vocal. At the end of the song Franklin proclaims him to be "the Reverend Righteous Ray" to which I can only reply "Amen!" When I heard this song as a teenager it instantly converted me into a fan of soul music. I had never heard anything like it and it still thrills me all these years later. This album is a must buy just for that song alone. The record comes back to earth to conclude with her robust vocal on Ashford and Simpson's "Reach Out and Touch (Somebody's Hand)" which had been a hit for Diana Ross the year before and I suspect she picked it just to show Ross who is the boss. What a show! The band is excellent and Franklin is inspired. I wish I could have been there. This is one of my favorite live albums. It has so much feeling and atmosphere, it is everything a good live album should be. I consider it one of her essential recordings. It fully displays her unparalleled skill as an interpreter and the boundless expressiveness of her voice. Recommended to fans of Ray Charles, her only rival when it comes to the soulful interpretation of pop music.
Saturday, August 24, 2019
Gene Pitney was basically a singles artist. If he ever recorded an essential album, I have not heard it. His albums generally contain a hit single or two and a bunch of filler so most people who are not big fans should probably just pick up a compilation. I'm a moderate fan but I like Pitney's voice enough to pick up his albums when I run across a bargain. Since his records are relatively easy to find and generally not expensive, I've ended up with a bunch of them. I rarely play them but I enjoy them when I do. This is my favorite of the ones in my collection. The album begins with a bang with Pitney's soaring melodramatic performance of Barry Mann and Cynthia Weil's "I'm Gonna Be Strong" which was a top ten single for Pitney. The song showcases Pitney's range and strength as a singer, but it is a little over the top for my taste. My favorite version of the song is Jackie DeShannon's cover of it on "This is Jackie DeShannon" and I also prefer Tim Rose's performance of the song on "Tim Rose." It is followed by "Walk" by Howard Greenfield and Helen Miller which is a charming, jaunty song that lightens the mood of the record. Van McCoy's "I Love You More Today" is a pedestrian and sappy country-flavored ballad that Pitney makes listenable with his emotional vocal. The record picks up again with the upbeat and poppy "Who Needs It" which was written by the successful British songwriting team of Len Beadle and Robin Conrad (a pseudonym for Peter Callender.) It has a British Invasion sound and is one of my favorite tracks on the album. "Follow the Sun" was composed by Peter Udell and Gary Geld who wrote Brian Hyland's big hit "Sealed With a Kiss." The song has a rhythm and blues sound to it which Pitney bolsters with his robust vocal. "Lips Are Redder On You" was written by legendary British producer Joe Meek. It is a cheerful poppy song that Pitney puts over with ease. Side two opens with another Greenfield/Miller composition "It Hurts To Be In Love" which was a top ten single for Pitney. The song was originally intended for Neil Sedaka and Pitney recorded his version over the original Sedaka backing track, I think I still hear Sedaka on the background vocal. It is an extremely catchy and appealing song, one of my all time Pitney favorites. Al Kooper wrote "The Last Two People on Earth" with Bob Brass and Irwin Levine. Blues Project fans should not get too excited, the song is utterly mediocre although the science fiction theme is kind of interesting. The main reason I bought this album was to hear "That Girl Belongs to Yesterday" which was written by Mick Jagger and Keith Richards. The song was deservedly a hit single in England where it was the first Jagger/Richards song to crack the top ten. The song sounds nothing like the Rolling Stones, but its dramatic character is perfect for Pitney's emotional style. It is my favorite track after the title cut and the album is worth buying for it alone. "E se domani" is an Italian song written by Giorgio Calabrese and Carlo Alberto Rossi. I presume this is the same version that appeared on Pitney's Italian language album "Gene Italiano" released earlier in the year although I have no idea why it was stuck on this album as well. This old-fashioned song is fine if you like that sort of thing but it does not fit in with the rest of the record at all. "Hawaii" is another Kooper/Brass/Levine composition. I would not say it is better than "The Last Two People on Earth" but it is a lot more fun. The album concludes with "I'm Gonna Find Myself a Girl" by Ray Adams, Elaine Adams and Valerie Avon who were in the English pop group, The Avons. It is a subdued but enticing love song that features a double tracked vocal from Pitney that reminds me of the Everly Brothers. It gives the album a pleasant finale. Six of the twelve tracks on this record are memorable and worthwhile which is a good ratio on a pop album in the mid-1960s. As a result I play this album as much as I play my Pitney compilation album. If you are a Pitney fan, it is well-worth seeking out and probably would appeal to most fans of pre-Beatles pop music. Recommended to fans of the early Warner Bros. Records era Everly Brothers.