Teach Me Tiger! - April Stevens

Teach Me Tiger!

April Stevens

Imperial LP-12055

1960

Even though I have records by Donna Summer, Mae West, Marlene Dietrich, Julie London and Brigitte Bardot, I think this is the sexiest record in my collection.  I was surprised and even a little embarrassed when I first played it.  I bought it because I am a fan of the albums Stevens recorded with her brother Nino Tempo in the 1960s.  On those records she comes across like a sweet girl next door.  On this album she seductively croons sultry ballads in a breathy voice that borders on a cartoonish interpretation of female sexuality.  In the liner notes she disingenuously asserts that she does not understand why people comment on the sexiness of her singing claiming that this is her natural voice and she has been singing like this since she was seven.  Sure.  I often see this record selling for a relatively high price, much more than the Nino and April records tend to sell for, even though I think the Nino and April albums are better.  I assume the difference is due to the album's sexy quality.  The album consists largely of pop standards delivered at a languorous pace with subdued and tasteful accompaniment that places all the focus on Stevens' vocals.  Among the standout tracks are George Gershwin and Buddy De Sylva's old chestnut "Do It Again" which she sings in a alluring manner similar to Marilyn Monroe's interpretation of the song.  It definitely gets me a little hot and bothered when I spin it.  "When My Baby Smiles At Me" is an even older song dating back to 1920.  The song is given an uptempo almost jazzy arrangement with more silky vocals from Stevens that makes it sound almost modern (for 1960 anyway.)  Bart Howard's "In Other Words" is well-known from Frank Sinatra's swinging version under the title "Fly Me to the Moon."  Stevens gives the song a more yearning and exotic quality that I find very compelling.  The arrangement of "I Get Ideas" evokes the songs origins as an Argentine tango although Steven's vocals are pure torch song.  I slightly prefer Peggy Lee's perkier version, but this one is very worthwhile.  Cole Porter's "I'm in Love Again" was published back in 1924 but sounds contemporary when Stevens amorously whispers and sighs her way through the lyrics.  Kim Gannon and Max Steiner's "It Can't Be Wrong" dates back to the early 1940s when Steiner composed it for the film "Now Voyager."  It is one of the most energetic songs on the album and Steven's insistent and sensuous vocal is tremendously appealing.  There are three new songs on the record.  "I'll Wait for Your Love" was written by Jeffrey, Joseph and Marilyn Hooven.  It is a pedestrian song but benefits from an atmospheric arrangement that evokes exotica and a steamy vocal from Stevens that makes it enticing.  Brother Nino contributes two songs that I consider the best tracks on the album.  In "I Want a Lip" Stevens seductively describes her desire for her lover supported by a hypnotic torch song arrangement.  I find it to be the sexiest track on the album.  "Teach Me Tiger" is the most memorable song on the record.  It should have been a hit single but apparently was too sexy for the airwaves.  Stevens coos and moans her way through lyrics that invite her lover to teach her the ways of physical love.  It is a stunning song but so over the top that I find it a little embarrassing though still lots of fun.  If you dig torch songs, this is definitely your album.  Stevens excels at conveying smoldering passion and desire.  Her voice is warm and expressive and if I listen to this record in the proper mood and setting, Stevens absolutely slays me.  The kids might find it corny or dull, but I think you older folks might want to try giving it a spin next time you are having a romantic evening and see what happens.  Recommended to fans of Marilyn Monroe.

The Holiday Inn Tapes - Roky Erickson

The Holiday Inn Tapes
Roky Erickson
Vinyl Lovers 901028
2010

This is my belated tribute to the great Roky Erickson who died last year in May.  I regret that it has taken me more than a year to get around to this, it is more a reflection of my laziness than a lack of respect for Erickson who I have greatly admired since I was a teenager when I first heard Erickson singing "You're Gonna Miss Me" with the 13th Floor Elevators on the "Nuggets" compilation.  I worshiped the Elevators when I was in college and they remain one of my favorite bands.  I think the best records for a tribute to Erickson would be the first two albums by the Elevators: "The Psychedelic Sounds of the 13th Floor Elevators" and "Easter Everywhere."  I already wrote about those two masterpieces however so I have opted for this more humble solo record.  It was recorded by Patrick Mathé of France's New Rose Records in a hotel room in Austin in 1986.  Erickson stopped by with his acoustic guitar to serenade Mathé with 10 songs which he recorded for posterity.  Mathé issued the recording on a record in 1987.  For this reissue those ten tracks have been supplemented with the "Mine Mine Mind" EP which was issued by Sponge Records in 1977.  I imagine many Erickson fans would illustrate his solo career with some of the highly charged horror-inspired tracks he performed on records like "The Evil One."  I would not dispute that, I admire that music too.  I find those songs exciting and compelling, but they do not really speak to me the way this record does.  This album emphasizes the more sensitive and romantic side of Erickson which was expressed back in his Elevator days on the songs he wrote with Clementine Hall like "Splash 1" and "I Had To Tell You."  There are exceptions to this on this recording most notably the opening track "The Singing Grandfather" which describes a homicidal maniac in lurid detail that belies the jaunty folk melody and Erickson's mellow crooning.  Erickson reprises the song at the end of the recording.  "The Times I've Had" is a hard-travelin' type folk song enlivened by Erickson's lively guitar playing.  "That's My Song" is a similar sounding track.  It is basically a song fragment notable for its optimism and Erickson's perseverance in the face of adversity.  "Mighty Is Our Love" is a pretty song but unfortunately the lyrics are monotonous and banal.  "I Look At the Moon" is one of my favorite tracks.  Erickson sings about how the moon inspires him and supports the song with kinetic fret work.  Most of these tracks are obscure and as far as I am aware were never recorded in a studio.  The two exceptions are "Don't Slander Me" which he recorded in a rocked up version in 1982 and "May the Circle Remain Unbroken" which appeared in a haunting psychedelic version on the 13th Floor Elevators album "Bull of the Woods" back in 1969.  The original tracks are definitive but I enjoy the intimacy of these acoustic versions especially "May the Circle Remain Unbroken" which I find very moving.  Roky also does a pair of Buddy Holly covers, "True Love Ways" and "Peggy Sue Got Married."  I find his earnestness very charming on these tracks and it does not surprise me that this Texas boy admired Holly whose influence I think I can hear in his work (on this album it is most noticeable on "Don't Slander Me.")  The four songs from the EP were recorded in a studio and feature a full band on three tracks.  They are all terrific.  "Two-Headed Dog" and "Click Your Fingers Applauding the Play" are among his best known songs.  They are driven by noisy hard rock riffs and feature Erickson bellowing out horror-themed bizarre lyrics.  "Mine Mine Mind" is more power pop in its sound, but it plows through similar lyrical darkness with its description of demonic possession.  "I Have Always Been Here Before" is a solo acoustic performance by Roky.  In it he sings about the devil in a surrealistic and poetic manner.  I am very fond of this record although it is essentially a bootleg.  Erickson was performing informally for a friend obviously not intending the music to end up on a record.  I doubt it would have bothered him though and the performance is so delightful and unusual that I am glad that Mathé put it out.  If you wanted to introduce someone to Erickson's work this is definitely not the place to start, but I think most fans will dig it.  I listened to it a lot following Erickson's passing and it reaffirmed my devotion to his work.  Recommended to people who prefer Erickson's cover of "It's All Over Now, Baby Blue" with the Elevators over "Bloody Hammer."