Maybe Tomorrow - The Iveys

 

Maybe Tomorrow

The Iveys

Audio Clarity ACL 0056

1969

This is a Russian bootleg of Badfinger's debut album originally released in West Germany, Italy and Japan by Apple Records under their original name, the Iveys.  This version features a 2016 copyright for Universal Music, which used to operate in Russia, but I can't believe that this is an authorized release.  I have a couple of other albums put out by Audio Clarity and they are decently made although presumably none of them were generated from the original masters, but more likely from CDs.  I consider myself a passionate record collector but not a fanatic.  If I were a fanatic I would shell out the hefty price that original copies fetch (sometimes more than $1000 in collectible condition.)  It would not be a bad investment, a little over a decade ago you could get one for about $300 to $500 and it will likely keep going up.  Even though I have been a fan of the band since I was a child I've never seriously considered buying an original.  For most of my early life I couldn't afford it and now I just don't care enough to spend that much on a record, particularly when half of it appeared on the easy to find Badfinger album "Magic Christian Music" and even more particularly because I have it on a CD.  Logically I don't need it, but my record collecting is based more on passion than logic.  When I came across a reasonably priced version of this album, I couldn't resist it.  I have no regrets because it is a really good record and it deserved a wider release.  Apple really screwed these guys for reasons I don't understand but I'm inclined to blame Allen Klein.  Anyway I like having a decent facsimile of it on vinyl because that's the kind of nutty record collector I am.  The album opens with "See-Saw, Granpa" by Pete Ham.  It is a rollicking rocker with a power pop flavor and a hot guitar solo.  It was not included on "Magic Christian Music" but it is better than many of the songs on that album.  It gives this album an energetic opening.  Tom Evans wrote "Beautiful and Blue" which did make it onto "Magic Christian Music."  It is a stately ballad that sounds like a retread of the band's single "Maybe Tomorrow" but not nearly as memorable.  It is followed by Ron Griffiths' "Dear Angie" which was the band's second single.  Griffiths would be expelled from the band following "Magic Christian Music" but his sole songwriting contribution to the band is a quality one.  The song is a romantic ballad with a punchy arrangement but a mildly sultry feeling.  It reminds me of "Butterfly" era Hollies.  Mike Gibbins contributes "Think About the Good Times" which is a slight but fun song that reminds me of the Easybeats.  "Yesterday Ain't Coming Back" was written by Ham and Evans and it is another romantic ballad that sounds like Paul McCartney.  It benefits from an elaborate arrangement that makes it seem deeper and richer.  "Fisherman" is a folky tune by Evans.  This was last track on side one of the original pressing but on this version of the album the concluding song is Ham's "They're Knocking Down Our Home" which originally appeared near the end of side two.  It reminds me of Paul McCartney's music hall type songs.  I consider it the worst song on the album, but I guess the folks at Apple disagreed because they stuck it on "Magic Christian Music" as well.  Side two opens with Evans' "Maybe Tomorrow" which was the debut single by the Iveys.  It flopped but it is such a good song that I expect at least some of the blame must lie with the chaos and ineptitude at Apple.  It is one of my favorite Badfinger songs although I prefer the re-mixed version on "Magic Christian Music."  It is followed by Ham's punchy McCartneyesque rocker "Sali Bloo."  It features the guitar intro that is supposedly missing from the legitimate CD issue of this album although it does appear on my CD version of the album which is a bootleg.  I like the song very much and it provides some welcome energy but it was omitted from "Magic Christian Music" to that album's detriment.  Evans' "Angelique" was on the English version of "Magic Christian Music" but dropped from the American version.  It's a romantic ballad with chamber pop flourishes.  It borders on sappiness but I like it anyway.  Ham's "I'm in Love" did make it on to the record presumably because it is so poppy and commercial.  It was originally followed by "They're Knocking Down Our Home" which would be a rough stretch for me, so I'm not all that upset that the Russkies moved it to side one.  Instead we get the original album closer "I've Been Waiting" which is a terrific majestic song featuring dynamic guitar work in the instrumental break.  It is my second favorite song on the album after "Maybe Tomorrow" and I'm flabbergasted that it was not included on "Magic Christian Music."  It is doubly misfortunate that it was omitted because it showcases a heavy side to the band that seldom surfaced on their later albums.  It gives the original album a powerful finish.  There are a two bonus tracks at the end of this record.  Evans' "No Escaping Your Love" was the b-side of the Ivey's second single and it is a pleasant slice of bubble gum.  The second bonus track is Evans and Ham's "And Her Daddy's a Millionaire" which was the b-side to the "Maybe Tomorrow" single.  It is a very engaging power pop track that reminds me of the Kinks.  I like both songs but I wish the Russkies had stuck to the original album's format.  It is a a strong enough album that I resent them tampering with it.  Nonetheless I'm happy to have this album even though the songs that are also on "Magic Christian Music" sound better there.  This record sounds a little thin to me, almost tinny in places and other times it sounds muddy.  "Magic Christian Music" sounds cleaner and more defined in its sound.  Maybe this is attributable to Audio Clarity using inferior sources although people have complained about the sound on original pressings as well.  In any case I'm no audiophile so I'm content with this album but if the bean counters at Universal Music ever decide to do a proper re-mixed vinyl reissue of this album I will happily buy it.  I think you can argue that it is at least as good as "Magic Christian Music" (especially the truncated American version) and a significant album in its own right that deserves more respectful treatment.  Recommended to Bee Gees fans who wish they weren't so sappy.

Beach Blanket Bingo - Donna Loren

Beach Blanket Bingo

Donna Loren

Capitol  T2323

1965

This is the sole 1960s album by actress-singer Donna Loren.  The album features songs from the soundtrack of the movie "Beach Blanket Bingo" which Loren appeared in although she only sings one of the songs in the film.  I occasionally see copies of this in record bins and often ones in collectible condition have a hefty price tag, which is hardly merited by the quality of the record.  I'm assuming cultists who dig the AIP beach party movies have driven up the price.  I liked the movies as a kid but even then I knew they were stupid and nowadays I find them practically unwatchable even as kitsch.  Nonetheless I was curious about the record and I have a thing for 1960s woman singers, so when I finally found a reasonably priced copy I bought one although frankly I still think I overpaid for it.  Most of the album was written by the songwriting team of Guy Hemric and Jerry Styner who cranked out a bunch of songs for movie soundtracks in the 1960s.  The exceptions are "Freeway" by Mike Curb and "Cycle Set" by hot rod song specialists Gary Usher and Roger Christian.  Loren doesn't sing on "Freeway" which is a rocked up surf/hot rod style instrumental.  "Cycle Set" is my favorite song on the record although it has a rock arrangement that is not really Loren's style.  It sounds a lot like the songs the duo wrote for the Beach Boys and Jan and Dean.  Loren sounds more comfortable warbling "I Think, You Think" which was done by Frankie and Annette in the movie.  It is an inane song with a childish melody that irritates me enormously.  "It Only Hurts When I Cry" was Loren's song in the film and it is my other favorite track.  It is a romantic ballad with a dramatic arrangement that lets her show off her pipes.  It reminds me of Dusty Springfield and Timi Yuro.  "These Are the Good Times" is a sappy song that Avalon did in the film.  Loren sings it better than him, but the song is too weak to be worthy of her emotional vocal.  "I'll Never Change Him" is pop fluff but it is enjoyable thanks to Loren's enthusiastic vocal.  "Fly Boy" is more pop fluff that Loren enlivens with a robust vocal.  "New Love" sounds like a Supremes song with the rhythm section replaced by Hollywood hacks.  It is pleasant enough but forgettable and the fussy arrangement distracts from Loren's vocal.  "I Am My Ideal" is basically a musical comedy song sung by Harvey Lembeck in the film.  It is hopeless but Loren gives it a game try that suggests had she been born a generation earlier she might have had a career in Hollywood musicals. "Beach Blanket Bingo" is the theme song from the film and it is both catchy and dumb.  Loren can't do much with it but it will probably appeal to fans of the film.  I make no claims about the worthiness of this album although considering the source material it is miraculous that it is actually listenable.  Maybe famed producer David Axelrod deserves some of the credit but I think it is mostly Loren's skill as a singer.  Even singing dreck, she is still compelling.  I wish she could have made a record worthy of her talent with quality songs in the vein of Jackie DeShannon or Sandie Shaw's material.  I think she could have done pop-soul stuff or even Bacharach-David and I think it is our loss that the Capitol bean-counters didn't give her better opportunities.  I don't actually recommend this record but if you find a cheap one and you like 1960s girl singers it is worth investigating, although there are a couple of CD comps of her 1960s music that would probably be a better investment.  I'm happy to have this though because Loren's voice was made for vinyl, and I play this more often than it deserves although I inevitably find myself wishing it was better.  Recommended to Lesley Gore fans.

Hardly Electronic - The Essex Green

Hardly Electronic

The Essex Green

Merge LC 29279

2018

Back in the late 1990s and early 2000s I was heavily into the Elephant 6 bands and this group was one of my big faves.  I used to listen to their "Everything is Green" CD all the time and would dearly love to see it reissued on vinyl someday.  They came to town on tour with another band I liked, the Ladybug Transistor (Jeff Baron and Sasha Bell were in both bands at the time.)  I got all excited but life intervened and I missed the show.  It bugged me for years and it only got worse when the Essex Green broke up.  Then 12 years after their final album, this album appeared and the band went on tour.  I finally got to see them at the Zebulon and it was worth the wait.  I had a great time and they sounded wonderful.  I was hoping they would keep going but then the pandemic hit and the band appears to be hibernating again.  If this is the end, it is a wonderful way to finish.  The album opens with the irresistible "Sloane Ranger" which I think is one of their best ever songs.  I'm not sure what is the connection to the British social stereotype mentioned in the title but it seems to be a paean to escape and freedom.  It features an exhilarating organ riff and a propulsive rhythmic drive that makes it very exciting.  I can't help bopping around when I listen to it.  I played it over and over when I got the album and it was the highlight of their show at the Zebulon for me.  "The 710" continues in a similar power pop vein.  It is sweetly sung by Bell as she describes a romantic adventure.  The chorus is extremely catchy and inviting.  "Don't Leave It in Our Hands" is the most remarkable song on the album and again one of the best things they've ever done.  It opens with a killer rhythm track upon which are layered multiple vocal lines and soaring harmonies.  The rousing chorus swells like the Arcade Fire at their best.  The lyrics are poetic and enigmatic but I interpret them as a warning against the alienating influence of social media and cellphones on the younger generation.  The lyrics are ominous but the music is  stirring, almost ecstatic.  A truly great song.  The tone shifts dramatically with the tender chamber pop of "In the Key of Me" which features introspective lyrics about a relationship that seem autobiographical.  The song is delicately crooned by Bell until the poppy middle section which sounds like radiant sunshine pop.  "Modern Rain" is more melodic chamber pop driven by electric piano and featuring lovely harmonies.  I think it is a song about creativity but I find it ambiguous. Side two opens with the upbeat "Catatonic" which has a sunshine pop sound and an ebullient vocal from Bell.  "Patsy Desmond" is a haunting moody song that recalls the singer's experiences with the title character.  The lyrics are poetic and evocative and I find the song very compelling.  There is another dramatic tone shift with "Bye Bye Crow" which is a jaunty country rocker.  "Another Story" dissects a female acquaintance with a classic pop sound that evokes the 1960s but still sounds modern in the classic Elephant 6 manner.  It really pushes my buttons with its punchy rhythm section and ringing riff.  The album concludes with "Bristol Sky" which has a folky flavor with chamber pop flourishes and more poetic and enigmatic lyrics.  It gives the album a gentle yet resonant finish.  I should note that the CD version of this album has 4 additional songs which I'm a little miffed about.  They are all good although the only one I really miss is "Smith & 9th" and if I were programming the vinyl I would have swapped it for "Bye Bye Crow."  I'm a big fan of Merge and appreciate them releasing this record but I don't think omitting those songs treats it or vinyl buffs fairly.  I don't like ranking albums, but I think this may be the best album the Essex Green have ever made.  It's maturity, lyrical depth and sonic richness impress me and I'm hoping I won't have to wait until 2030 to hear their next one.  Recommended to fans of early Belle and Sebastian.