tag:blogger.com,1999:blog-72633745513913549952024-03-05T21:31:51.881-08:00Vinyl ExamZothttp://www.blogger.com/profile/12491280907594683144noreply@blogger.comBlogger445125tag:blogger.com,1999:blog-7263374551391354995.post-40206932664065934622023-10-07T21:51:00.005-07:002023-10-10T19:45:57.228-07:00Folkesange - Myrkur<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJdEy5LsEQVi8IeR8Cn8Ufu7v3YNz180Z4DM52joalLGueTqezGD38WT6p06mvx-Johyh6AC-RZZB9U0ZGWLtcnY2e2oFjBY_yl8IaaCza37Jer7mpHiTUSi6Yc2r7qBeUWsbE6aXYqIY8NrlsLhNZUr946l5m6BLZoeW9b3kMY8uSt6ULSMjaJxVEZRzn/s2816/myr1.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2816" data-original-width="2813" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJdEy5LsEQVi8IeR8Cn8Ufu7v3YNz180Z4DM52joalLGueTqezGD38WT6p06mvx-Johyh6AC-RZZB9U0ZGWLtcnY2e2oFjBY_yl8IaaCza37Jer7mpHiTUSi6Yc2r7qBeUWsbE6aXYqIY8NrlsLhNZUr946l5m6BLZoeW9b3kMY8uSt6ULSMjaJxVEZRzn/s320/myr1.JPG" width="320" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUfGlaWIcb3dCPspRE2bdnBgamlnIPJPSeVauKkiJ_HaS5KeqUjzp3x4EisIxPZe6P1umFMxzqfx6YBZ8Spv5IQne8Djz7iqlfJonJRSBgeG2gc_nu-7FsS0yWd1mD9aj8j164hCEGY8lsM0fjCGR8Rkccx93dF3GDINTT_HEA6LxsSS2e1SJcW7AvDbaM/s2768/myr2.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2768" data-original-width="2710" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUfGlaWIcb3dCPspRE2bdnBgamlnIPJPSeVauKkiJ_HaS5KeqUjzp3x4EisIxPZe6P1umFMxzqfx6YBZ8Spv5IQne8Djz7iqlfJonJRSBgeG2gc_nu-7FsS0yWd1mD9aj8j164hCEGY8lsM0fjCGR8Rkccx93dF3GDINTT_HEA6LxsSS2e1SJcW7AvDbaM/s320/myr2.JPG" width="313" /></a></div><br /><div style="text-align: left;"><b>Folkesange</b></div><div style="text-align: left;"><b>Myrkur</b></div><div style="text-align: left;"><b>Relapse RR7426</b></div><div style="text-align: left;"><b>2020</b></div><div style="text-align: left;"><b><br /></b></div><div style="text-align: left;"><span style="font-family: trebuchet;">I was driving around listening to one of my favorite DJs Pat Murphy on KXLU when I heard him play a stunning version of "House Carpenter" the Child ballad I first heard on "<a href="https://vinylexam.blogspot.com/2012/01/joan-baez-in-concert-part-1-joan-baez.html" target="_blank">Joan Baez in Concert Part One</a>" back when I was in college and which I have loved ever since. I had never heard of the artist, Myrkur, but thanks to the internet I soon took a crash course in her music. Myrkur is the nom de disque for a Danish woman Amalie Bruun who has had a lengthy music career that I somehow missed. She made a pair of delightful jangle pop albums with Brian Harding under the name Ex-Cops. I bought both of them and find them very engaging. She also made several albums as Myrkur which are generally labeled black metal. I have the third one, "Mareridt" which was released in 2017. I know very little about black metal, I have only heard enough to know that it is not my jam. To me "Mareridt" sounds goth, rather than metal which I consider a good thing. In any case I dig the record quite a bit and the folky ballad "De Tre Piker" and the string-driven instrumental "Kætteren" clearly foreshadow this great album of mostly traditional Scandinavian music, which has become one of my favorite folk albums of all time. It is dark and moody like "Mareridt" but it is also ethereal and graceful like dream pop. It opens with "Ella" which is Bruun's own composition written in a folk style. Its Danish lyrics abound in pagan imagery poetically describing the birth and development of a witchlike woman. It is a majestic and stirring song that I find moving even when I don't understand the words. Like most of the album it is string driven with a pulsing almost tribal drumbeat that evokes primitive music. Bruun's evocative vocal is mesmerizing and the song absolutely slays me. A great track. "Fager som in Ros" is a Swedish folksong that means "Beautiful as a Rose." It is a short and sweet tale of seduction in which the young woman takes the initiative. It sounds more like a conventional folksong with its repetitive structure bolstered by a rich string sound and more stirring percussion. Bruun's wordless crooning at the end heightens the pagan feel of the song. "Leaves of Yggdrasil" is Myrkur's own composition with English lyrics. It is a gorgeous piano driven song with highly romantic lyrics tinged with paganism and full of poetic imagery. It is arguably her most successful effort at creating a modern folk song and it is one of my favorite tracks. "Ramund" is an old Danish folk saga that dates back at least to the 17th Century. Myrkur delivers a greatly abridged version that recounts the bloody exploits of the title character. The song has an appropriately somber and heavy arrangement with more tribal drumming and droning strings pushing it. "Tor i Helheim" is Myrkur's abridged adaptation of an epic poem by the 19th Century Danish poet Adam Oehlenschläger based on Norse mythology. It recounts the encounter between the gods Thor and Loki with Hel, a witchlike woman who rules the underworld eternally punishing dead cowards. It begins with some a cappella yelping from Bruun that evokes the otherworldly environment described by the lyrics. The music is melancholy and hypnotic, the perfect accompaniment for a dark journey. Side one concludes with "Svea" which has no actual lyrics but rather features Myrkur wordlessly crooning. The song is driven by the haunting strains of the viola of Stefan Brisland Ferner of the Swedish band Garmarna who introduced me to Swedish folk music many years ago. It is easy to imagine it as the soundtrack to some Viking ritual. Side two begins with "Harpens Kraft" which translates as "Power of the Harp." It is another old Danish folksong about Villemand and his future bride. She fears crossing the river with him to their wedding because the river claimed her two sisters when they tried to cross it to go to their weddings. Myrkur has truncated the song omitting the concluding section where Villemand does indeed lose his bride to the river and discovers a troll has taken her and her sisters. He slays the troll and wins back his bride. "Gammelkäring" translates as "The Old Lady" and it is a short song about an old woman who makes fine wool. It sounds almost like a silly children's song although Bruun delivers it with such seriousness that until I saw a translation of the lyrics I had no idea it was so innocuous. "House Carpenter" is of course the old English ballad collected by Francis Child that is known by many titles including "The Daemon Lover." There are numerous recorded versions of the song, but as I mentioned above, I know it from Joan Baez's recording and since Myrkur thanks Baez in her liner notes I assume that is how she knows it as well. It is about the wife of a carpenter who is seduced away from her family by the ghost of her former lover who leads her to her doom. The percussion drives the song at a brisk pace and the moaning strings enhance Bruun's superbly expressive vocal. I love Joanie's version but darkness was never her thing and Bruun eats it for breakfast. For me this is the definitive version of the song. It gave me chills when I first heard it and it still does after many listens. "Reiar" is an old Norwegian folksong that Myrkur translated into Danish. The title character is a drunk who has no luck with the ladies but who wins a bride by giving her a silver cup. The lyrics are humorous and a bit crude but Bruun solemnly performs them as though she were embarking on a journey to Valhalla. "Gudernes Vilje" means "The Will of the Gods" and was written by Myrkur. The song evokes the experience of being pregnant in vaguely pagan terms. Bruun herself was pregnant while making the album and obviously it was something very much on her mind. The lyrics clearly were resonating with her and she delivers the song with tremendous feeling. It is another song that gives me chills. The album concludes with the lovely piano driven "Vinter" which features wordless vocalizing from Bruun evoking the sensation of a winter soundscape. It sounds more new age than folk to me but I'm not complaining. It does give the album a delicate and enchanting finish. I consider this album to be a flawless masterpiece. Although it is generally not explicitly pagan and the closest it comes to witchcraft are the runes on the cover art, it does subtly evoke that culture and spirit. Since I rarely can understand the words I am mostly responding to the sound of the vocals and the music itself which is consistently dark and melancholy, even funereal at times. I have no interest in paganism, but the spiritual and mystical quality of Bruun's vision impresses me. She almost makes me want to become a warlock. Even if you have no affinity for this stuff, I think Bruun's sincerity and commitment will impress you. She has a great passion for this style of music and she</span><span style="font-family: trebuchet;"> has triumphantly succeeded in breathing life and vitality into old folk songs. </span><span style="font-family: trebuchet;">This music is timeless and I suspect it will still sound wonderful 100 years from now. I enjoy folk music more than the average person, but this transcends the genre. You needn't have any appreciation for folk music to enjoy this album. It may very well be the most beautiful album that I own and you definitely need to have it. Recommended to fans of Sandy Denny and Lo</span><span style="font-family: trebuchet;">reena McKennitt.</span></div><p></p>Zothttp://www.blogger.com/profile/12491280907594683144noreply@blogger.com0tag:blogger.com,1999:blog-7263374551391354995.post-23122237560903170412023-08-06T21:28:00.000-07:002023-08-06T21:28:10.164-07:00Sgt. Pepper Knew My Father - Various Artists<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgam7ViB0FygUFhkCbdRJKT_prbfpPy-vZunNXU32GrQOqDIzu0DlfpnS375LwrhpujN_kP6kjQayx-J6B9pt_dThbAfCsjkbGYgYtC0fK3sgEODcfCv4bOd_uEMrFn7KSn7gx1jEAeRBG17u3GrZvwhn0n_YHyBukLtZVQnFGn7l9cSAAFKSwIFCFFdZKv/s2817/IMG_8043.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2817" data-original-width="2815" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgam7ViB0FygUFhkCbdRJKT_prbfpPy-vZunNXU32GrQOqDIzu0DlfpnS375LwrhpujN_kP6kjQayx-J6B9pt_dThbAfCsjkbGYgYtC0fK3sgEODcfCv4bOd_uEMrFn7KSn7gx1jEAeRBG17u3GrZvwhn0n_YHyBukLtZVQnFGn7l9cSAAFKSwIFCFFdZKv/s320/IMG_8043.JPG" width="320" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBgDR1BGvhWLq9LM9bXPwe9LwU3Am4ze-s7cxYtRvczIVFbuF9u4U7cO8hE1Xvq9ZAIgwxvm2EEZc5-4q5lzI52RlFPdxOISjq16qenBwjgHsI_hIYT7dIzqqLnQJzvbIMQVldc_xU-h9Fb4fe-YmVlMOOhWvwXoq_Goj1rYeNohwXIGuEthaOIwl1aobK/s2882/IMG_8048.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2859" data-original-width="2882" height="317" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBgDR1BGvhWLq9LM9bXPwe9LwU3Am4ze-s7cxYtRvczIVFbuF9u4U7cO8hE1Xvq9ZAIgwxvm2EEZc5-4q5lzI52RlFPdxOISjq16qenBwjgHsI_hIYT7dIzqqLnQJzvbIMQVldc_xU-h9Fb4fe-YmVlMOOhWvwXoq_Goj1rYeNohwXIGuEthaOIwl1aobK/s320/IMG_8048.JPG" width="320" /></a></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>Sgt. Pepper Knew My Father</b></div><div style="text-align: left;"><b>Various Artists</b></div><div style="text-align: left;"><b>New Musical Express NME PEP LP-100</b></div><div style="text-align: left;"><b>1988</b></div><div style="text-align: left;"><b><br /></b></div><div style="text-align: left;"><span style="font-family: trebuchet;">I picked this up several years ago largely because "<a href="https://vinylexam.blogspot.com/2011/02/sgt-peppers-lonely-hearts-club-band.html" target="_blank">Sgt. Pepper's Lonely Hearts Club Band</a>" has been the seminal album of my record collecting life. I've worshipped it since I was a young teen. I had my doubts about this album because I only knew about half the artists on it. I'm a big fan of Sonic Youth and the Wedding Present and a fan of Billy Bragg, Michelle Shocked and the Fall so I figured it would at least be decent although I probably would have bought it even if it was full of covers by the likes of the Eagles, Kansas and Styx. I feel like the original album is indestructible, it resists even the lamest of covers with its indomitable greatness. Actually the album is better than decent and I am happy I bought it. It was a charity record benefiting a child welfare telephone line in England which seems like a very worthy cause although I bought my copy used so my money only benefited a record store. It sticks to the original running order with the title track delivered by the British hip hop trio the Three Wize Men. I don't think that hip hop is a suitable style for the song, but it is certainly different as well as adventurous and sounds better than I would have predicted. The Scottish pop group Wet Wet Wet performs "With a Little Help From My Friends" in a slick poppy style that I find even more disconcerting than the previous hip hop track, but it is done very well if you like that sort of thing. The British soul group the Christians play "Lucy in the Sky with Diamonds" in a manner that retains much of the psychedelic flavor of the original and it is largely faithful to the Beatles' arrangement. I like it but it is one of the least memorable cuts on the album. The Wedding Present are joined by the wonderful Amelia Fletcher (of my big faves Heavenly and Talulah Gosh) for "Getting Better." Their hyped up version of the song sounds more like the Wedding Present than the Beatles but I love it anyway. It is my second favorite track on the album. The Scottish duo Hue & Cry are given the task of interpreting "Fixing a Hole." It is an interesting jazzy arrangement of the song that is far more dynamic than the original. I'm impressed by it. Billy Bragg is joined by his regular collaborator pianist Cara Tivey for the difficult job of covering "She's Leaving Home" which was a double A-side chart topping single in the U.K. backed with the Wet Wet Wet track (which I suspect drove most of the sales.) Tivey's evocative piano lines carry the song and I consider them an improvement over the orchestrated arrangement of the Beatles' version. Bragg's thick accent and heavy voice undercut the sentimentality inherent in the lyrics and I prefer this version to the Beatles's own version. Chris Sievey's oddball alter-ego Frank Sidebottom closes out the side with "Being For the Benefit of Mr. Kite." I have to admit I don't get the Sidebottom schtick and find his whiny voice irritating. The arrangement of the song is similar to the Beatles' one minus the psychedelic sound effects, although Sievey inserts a bit of "Twist and Shout" into the middle of the song for some reason. I'm utterly charmed by the way the song reproduces the run-off gibberish from the Beatles' original ending of the album only to be admonished with a sneering "that's on the other side, stupid!" Side two opens with Sonic Youth's spectacular version of "Within You Without You" which is my favorite track. The band is faithful to the original arrangement, but supercharge it with guitar noise and tribal-style drumming. This thrilling track is one of my all-time favorite Beatles covers and the album is worth picking up for it alone. The British jazzers the Courtney Pine Quartet are a well-chosen choice for "When I'm Sixty-Four." They do it as a swinging instrumental taken at a faster tempo than the original. I find it very invigorating which is certainly not the case with the original version although it completely lacks the original's charm. Michelle Shocked sings "Lovely Rita" as a low-key folk song which places the focus on her lovely vocal. I find it very appealing but I do miss the psychedelic stylistics of the original. The Australian alt-rock band the Triffids perform "Good Morning Good Morning" which sounds very 1980s with the mannered vocals and big drums people liked for some reason back then. It sounds more like U2 than the Beatles but I like it anyway especially the rumbling bass line that drives the song. The Three Wize Men return for the reprise version of the title track which sounds a lot like their title track version except that the vocals are heavily processed to the point of being almost indecipherable. It is also more than twice as long as the original reprise version for no good reason that I can discern. The Fall close out the album with my favorite song on the original album, "A Day in the Life." The Fall stick pretty close to the original to my surprise only Mark E. Smith's distinctive voice and vocal style bare any resemblance to the Fall's typical sound. There is yet another version of the run-out gibberish to finish the song, this time in the appropriate place.</span> I find the track a little disappointing yet I have to admit I'm pleased that the song is respectful of the original. Although I would say this is actually a very good album, I feel it proves my theory that "Sgt.Pepper" is indestructible. These tracks are all over the place, often wildly different than the original and yet the result is still coherent and compelling. I think it validates the idea of the concept album since it can survive such a massive disparity of style and sound. Also it is just plain fun to listen to. It is made with love and spirit and I would recommend it to all Beatles fans with open minds and a taste for sonic adventure.</div><p></p>Zothttp://www.blogger.com/profile/12491280907594683144noreply@blogger.com0tag:blogger.com,1999:blog-7263374551391354995.post-7568683596378225982023-06-10T23:17:00.002-07:002023-06-11T20:14:17.558-07:00Trouble with Jackie Dee - Jackie DeShannon<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7mC5mspgldE_3VVWOTer7Rj4e1Yr-Mh8bpsM3GQIjgx08ckoIdWW7x1xK6bpfTg7aPVFqpm5ww4jsq7Gfyq8FJJYpWNiE-A7lKNa_yAPeXqYE1FTaw8R6dRx4oIqZoA-GNpiR31GMdUYZ4-NtSI36Em1LMHaMDUt_CLeYPv4OrWEiq1NetcGK_YBK-w/s2961/IMG_8038.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2961" data-original-width="2911" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7mC5mspgldE_3VVWOTer7Rj4e1Yr-Mh8bpsM3GQIjgx08ckoIdWW7x1xK6bpfTg7aPVFqpm5ww4jsq7Gfyq8FJJYpWNiE-A7lKNa_yAPeXqYE1FTaw8R6dRx4oIqZoA-GNpiR31GMdUYZ4-NtSI36Em1LMHaMDUt_CLeYPv4OrWEiq1NetcGK_YBK-w/s320/IMG_8038.JPG" width="315" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7F0JXM2WbJW5CMTHI7s-QAllUy-vBvYVxDcA5m2coUAfsdEYxir98iaYPLXh3y1jiPdgRPNzkKeF1BypsQArkJWCOTi0FgaC0U_S20mAOqaoTOOV_UBkLilwmGjwISokoOSiS5qnudBylqdWSjxcIrpDZyNsaW_J7m4zrVOqKj2NCycTgSM9JU6rYGQ/s3010/IMG_8040.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3010" data-original-width="2961" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7F0JXM2WbJW5CMTHI7s-QAllUy-vBvYVxDcA5m2coUAfsdEYxir98iaYPLXh3y1jiPdgRPNzkKeF1BypsQArkJWCOTi0FgaC0U_S20mAOqaoTOOV_UBkLilwmGjwISokoOSiS5qnudBylqdWSjxcIrpDZyNsaW_J7m4zrVOqKj2NCycTgSM9JU6rYGQ/s320/IMG_8040.JPG" width="315" /></a></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>Trouble with Jackie Dee</b></div><div style="text-align: left;"><b>Jackie DeShannon</b></div><div style="text-align: left;"><b>Teenager Records 609</b></div><div style="text-align: left;"><b>1991</b></div><div style="text-align: left;"><b><br /></b></div><div style="text-align: left;"><span style="font-family: verdana;">I bought this Danish import in a used records store that does not generally carry bootlegs and I see it is also available on Discogs which prohibits the sale of bootlegs, but I find it hard to believe that this is a legitimate release. This is mostly a collection of DeShannon's early singles many of which were issued by Liberty Records but there is no mention of any licensing agreement with EMI who owned the label at the time. Also the cover artwork is a straight ripoff from DeShannon's debut album "<a href="https://vinylexam.blogspot.com/2011/11/jackie-de-shannon-jackie-deshannonin.html" target="_blank">Jackie DeShannon</a>" including the liner notes which makes no sense since none of the songs mentioned in them are on this album. So this may be considered "legal" in Denmark but I consider it a bootleg. Nonetheless I also consider it a very useful album and even if JDS is not collecting royalties from it, I'm still happy to have it. The record begins with her self-composed first single for Liberty "Buddy" backed with "Strolypso Dance" from 1958 when she was still billing herself as Jackie Dee. The rockabilly style "Buddy" is lots of fun and the album is worth purchasing for that song alone. JDS rocks out big time with lots of passion. The flipside is more subdued but I love the hiccupy vocal. The single seems very influenced by Brenda Lee. This is also true of JDS's cover of the Leiber and Stoller song "Trouble" which was the b-side of a 1959 single for P. J. Records where she was billed as Jackie Shannon. JDS has a pronounced southern accent on the song and I find her performance very charming. JDS leaves rockabilly behind with her own "So Warm" which was a 1960 single on Edison International. It is a lively song but more in the vein of a girl group sound. The self-penned "I Wanna Go Home" was the b-side and it is similar in style. "Teach Me" by D. Abrams and B. Helms and JDS's "Lonely Girl" was a 1960 single for Liberty. "Lonely Girl" is the better of the two and has a rhythm and blues flavor with a delightfully husky vocal from JDS. "Teach Me" is a romantic doo-wop style ballad that JDS sings with a lot of feeling. Side one concludes with "Back-Talk" (listed as "Back Track") which JDS recorded with Bobby Vee for the 1966 film "C'mon Let's Live a Little." It is a rocking little number that JDS sings a lot more convincingly than Vee. Despite its late recording date it fits in with the early 60s rock and roll vibe on the rest of side one. Side two opens with the JDS composition "Try To Forget Him" which was recorded in 1961 but first released on JDS's 1965 album "You Won't Forget Me." It features a big vocal from JDS that cuts through an overly fussy arrangement. It is followed by the 1962 single "You Won't Forget Me" written by JDS and Shari Sheeley. I consider it one of the best early songs in the JDS discography and her vocal is delivered with a lot of spirit. JDS's cover of the Goffin-King classic "Will You Still Love Me Tomorrow" is taken from the 1966 album "Are You Ready For This?" The song is taken at a faster tempo than normal and JDS has a very smooth and sweet vocal that reminds me of Diana Ross. It is a little too slick for my taste, I prefer the earnestness of the Shirelles' hit version. "After Last Night" was written by P. J. Proby and appeared on JDS's 1965 album "<a href="https://vinylexam.blogspot.com/2011/06/this-is-jackie-de-shannon-jackie-de.html" target="_blank">This is Jackie DeShannon</a>." It is pure girl group with an appealing vocal from JDS. The Buddy Holly covers "Maybe Baby" and "Oh Boy" both appeared on "You Won't Forget Me." I think Holly was probably an influence on JDS and her covers are respectful of his originals. I like them both but neither adds anything interesting to the originals. Randy Newman's "Did He Call Today, Mama?" was the b-side to the 1963 "Needles and Pins" single. It is another girl group type song but JDS doesn't sound very engaged by it. The album concludes with another soundtrack song, "Glory Wave" by William Dunham and Jimmy Haskell from the 1964 film "Surf Party." It is a rocker with a gospel flavor that JDS delivers with verve. Given that the soundtrack album is pricey and hard to find, I'm happy that the album's curator decided to add it to the collection. This is a real hodgepodge of a collection but it does have a consistent sound since it focuses on the pop music styles of the early 1960s. I would have preferred that it feature more of her early singles and fewer album tracks but overall I find it very satisfying. Fans of the more sophisticated pop styles JDS employed later in the decade might find this collection a bit primitive or crude, but personally I love everything she sings. Recommended to fans of Brenda Lee.</span></div><p></p>Zothttp://www.blogger.com/profile/12491280907594683144noreply@blogger.com0tag:blogger.com,1999:blog-7263374551391354995.post-16717061914730813232023-05-06T22:13:00.006-07:002023-05-08T21:21:30.544-07:00Have Yourself a Rockin' Little Christmas - Lucinda Williams<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWUMfKubeKgIPyw4dMTTVFi9-TdoA8HOrOaYqt1_1lBeSO7JgUcIlVbSEv2cL-zxpd_6wPqwopjmEnkEiFQktag8z2TGvqAT_5sKzU8lJkUh0PeqZLkbetUDpCC7xSPvh5R6yoT72Gegq0AgyESK-LSoNHP_KgtmyzZMnnd6K7hzGOhbevxGBOn30ACg/s2899/lu1.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2899" data-original-width="2890" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWUMfKubeKgIPyw4dMTTVFi9-TdoA8HOrOaYqt1_1lBeSO7JgUcIlVbSEv2cL-zxpd_6wPqwopjmEnkEiFQktag8z2TGvqAT_5sKzU8lJkUh0PeqZLkbetUDpCC7xSPvh5R6yoT72Gegq0AgyESK-LSoNHP_KgtmyzZMnnd6K7hzGOhbevxGBOn30ACg/s320/lu1.JPG" width="319" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEinTcO_4AeAtF6naJEXtycY9KvaOwQCOciNiirnsKaZSO1eNoHHW_BqIoAZjvp3R1loTkV1uFMI0ofaYfs7LdphEKwwvYaXPwJYyopfiY2usPtV5tLyQarIWRLgbFS705j4D8VxWTomSX1oxN6t7RGBNE5mszLhXZgQSiNA0Flyn0TzBFUQxjebT5v0dQ/s2830/lu2.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2760" data-original-width="2830" height="312" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEinTcO_4AeAtF6naJEXtycY9KvaOwQCOciNiirnsKaZSO1eNoHHW_BqIoAZjvp3R1loTkV1uFMI0ofaYfs7LdphEKwwvYaXPwJYyopfiY2usPtV5tLyQarIWRLgbFS705j4D8VxWTomSX1oxN6t7RGBNE5mszLhXZgQSiNA0Flyn0TzBFUQxjebT5v0dQ/s320/lu2.JPG" width="320" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjz3680rWYJHK0c8F76-2jTRdptyoC69_cNKnsxjRMgXhp6wZ-YHbhMCmzDHRY-y67PMTufoAQg1ID_x0LtDljeP8lUKgPhxtFb16jXsqbagkg1DU3Ws82qlA1bzoo9T63C1BpEggihhZdjtb5HHe8bLZZCGlGrc3BrSZn1dpUCjFJTAh3lgXAIXit-Q/s3936/lu3.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1890" data-original-width="3936" height="154" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjz3680rWYJHK0c8F76-2jTRdptyoC69_cNKnsxjRMgXhp6wZ-YHbhMCmzDHRY-y67PMTufoAQg1ID_x0LtDljeP8lUKgPhxtFb16jXsqbagkg1DU3Ws82qlA1bzoo9T63C1BpEggihhZdjtb5HHe8bLZZCGlGrc3BrSZn1dpUCjFJTAh3lgXAIXit-Q/s320/lu3.JPG" width="320" /></a></div><br /><div style="text-align: left;"><b>Have Yourself a Rockin' Little Christmas</b></div><div style="text-align: left;"><b>Lucinda Williams</b></div><div style="text-align: left;"><b>Highway 20 Records H20011-1</b></div><div style="text-align: left;"><b>2021</b></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><span style="font-family: verdana;">This is one of a series of covers albums that Lucinda Williams recorded in 2020 during the pandemic prior to the stroke she suffered in November of that year. Happily she seems to have recovered from that. This was my go-to album last Christmas. My wife thinks it is not Christmassy enough and I can see that, it is definitely more rocking and bluesy than sentimental and traditional but that suits me just fine. Also if you think Christmas should just be about the birth of Jesus, well this is definitely not the album for you. The album opens with Buck Owens' "Blue Christmas Lights." Although the song still retains some of the original's country flavor, Williams' performance sounds more R&B and has some nice guitar noise. Up next is Chuck Berry's "Run Run Rudolph" which bares little resemblance to the rock and roll original. It opens with a guitar line that sounds like it was lifted from a James Bond soundtrack and the song itself has been slowed down and given a swampy seductive feel that I find entrancing. It is right in Williams' wheelhouse and she crushes it. It is my favorite track. "Christmas Tears" was originally done by Freddie King. Williams follows the original blues arrangement which is completely compatible with her style and her guitarist Stuart Mathis acquits himself well with the solo. Merle Haggard's "If We Make It Through December" is one of the gloomiest Christmas songs I've ever heard. It is about a parent who has lost their job and can't afford to give a proper Christmas to their child. Williams keeps the country flavor and sounds even more miserable than Haggard. It is well done, but a real downer. The blues return with Charles Brown's R&B classic "Merry Christmas, Baby" which Williams gives a sultry and smoky treatment. Mathis again provides a solid guitar solo that gives the song a big lift. Williams reaches back to the 1930s with Irving Berlin's "I've Got My Love To Keep Me Warm." Technically the song isn't a Christmas song but it fits the season. Williams gives a loose, even a bit sloppy, performance quite different from the typical crooner versions I've heard in the past. I like it though, it reaches me better than most of the old-fashioned ones. "Santa Claus Wants Some Lovin'" was originally done by Albert King and Williams keeps it in the same blues rock arrangement. Her band's rocking performance and the urgency of her performance makes it one of the strongest tracks on the album. "Christmas in New Orleans" was released by Louis Armstrong in 1955. There is not much point in trying to copy the inimitable Armstrong so Williams abandons his recitative style and the big band jazz arrangement in favor of a rollicking yet slinky R&B performance that works just as well if not better. "Please Come Home For Christmas" is another Charles Brown song. It is a bluesy number that is ideal for Williams' style. I have never heard a better version and don't you even dare mention to me the Eagles' cover of this. "Little Red Rooster" is the Howlin' Wolf classic written by Willie Dixon. As you probably know the original song has nothing to do with Christmas but she has inserted Christmas references into the song that fit surprisingly well. The song is perfect for Williams and she delivers the goods. It is one of my favorite tracks. The Ramones' "Merry Christmas (I Don't Want To Fight Tonight)" makes an unlikely appearance next. It is not as rocked up as the original (which I prefer to this) but it is still a blast of high energy that she sings convincingly. The album closes with the venerable standard "Have Yourself a Merry Little Christmas" given a silky bluesy treatment that bares little resemblance to the famous Judy Garland version. This is probably wise since although I adore Williams she doesn't really have the pipes to put over an emotional and sentimental performance like Garland's. Williams' performance is arguably too laid back to do the song justice, but it does make for a mellow and appealing finish to the album. From a strictly musical standpoint this is an outstanding Christmas album. Williams has terrific taste and she has chosen songs that work really well for her. On the other hand I was playing this while trimming the tree and while it gave me plenty of energy it didn't provide much seasonal atmosphere. I don't like Christmas enough to be very bothered by this and I appreciate that I can listen to it out of season (which I have done) and it still holds up. Recommended to atheists who would rather listen to Freddie King than Nat King Cole. </span></div><p></p>Zothttp://www.blogger.com/profile/12491280907594683144noreply@blogger.com0tag:blogger.com,1999:blog-7263374551391354995.post-10139640783639452102023-03-19T22:37:00.001-07:002023-06-04T22:17:25.133-07:00Shapes of Things - Jeff Beck and the Yardbirds<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEinGi88nDTUsToypGKHuIApkkedgMv9D0WqpI2Z-rAjCNgz8LrIcbsdQhCGwMFaD8Rz_OlQSib2jCzWoCo-7PHBCrmhRw-L81dHNs5WXK-yxXVUx7MPo_HSzZh_DckYvLbTTMK5NysdCxcYMzqm4qagIwZ20Wtw4hXBW1rQyMqG4Ow_TyZpu-3YLV5_sg/s2637/beck1.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2615" data-original-width="2637" height="317" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEinGi88nDTUsToypGKHuIApkkedgMv9D0WqpI2Z-rAjCNgz8LrIcbsdQhCGwMFaD8Rz_OlQSib2jCzWoCo-7PHBCrmhRw-L81dHNs5WXK-yxXVUx7MPo_HSzZh_DckYvLbTTMK5NysdCxcYMzqm4qagIwZ20Wtw4hXBW1rQyMqG4Ow_TyZpu-3YLV5_sg/s320/beck1.JPG" width="320" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXp-hpbxqf7a7dgZuQz09t9Yd9suupfWIu_yhTfJxObMYCxIxmXHKFRW7Q_rsO1MVUaFnDoJ7ZFssxAN28k9LwiAxdb7WiAVyVC0sKz4wRIdPP3WBDqe8aJvD_AsAcFVP3_jvM538VuiiVy20Daji6SPANDpCRTfVIStkUu-JJ-xSkGWkV_87QHtT3wQ/s2711/beck2.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2711" data-original-width="2693" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXp-hpbxqf7a7dgZuQz09t9Yd9suupfWIu_yhTfJxObMYCxIxmXHKFRW7Q_rsO1MVUaFnDoJ7ZFssxAN28k9LwiAxdb7WiAVyVC0sKz4wRIdPP3WBDqe8aJvD_AsAcFVP3_jvM538VuiiVy20Daji6SPANDpCRTfVIStkUu-JJ-xSkGWkV_87QHtT3wQ/s320/beck2.JPG" width="318" /></a></div><br /><p></p><div style="text-align: left;"><b>Shapes of Things</b></div><div style="text-align: left;"><b>Jeff Beck and the Yardbirds</b></div><div style="text-align: left;"><b>Springboard SBD-4039</b></div><div style="text-align: left;"><b>1972</b></div><div style="text-align: left;"><b><br /></b></div><div style="text-align: left;"><span style="font-family: trebuchet;">I was very sad to learn of Jeff Beck's passing. After Hendrix he was my favorite rock guitarist and I worshipped him like a god when I was a teenager and I still consider his music to be an important part of my life. This is hardly the record to honor him by, I think "<a href="https://vinylexam.blogspot.com/2013/04/yardbirdsover-under-sideways-down.html" target="_blank">Yardbirds</a>" or any Yardbirds comp would be more appropriate not to mention "Truth" or "Beck-Ola" by the Jeff Beck Group or "Blow by Blow." However this is the album I've chosen and it was also the album I reached for when I heard he died even though it is a skimpy and shoddy record by a low budget record label that was slightly above bootleg level. Cratediggers of my generation may recall seeing bargain priced albums by Springboard in the bins. They put out records with obscure music by famous artists of the time generally from early in their careers and of dubious legality. I think it highly unlikely they were paying royalties on this stuff. To some degree you were getting what you paid for, as I recall the albums didn't even have inner sleeves to protect the vinyl. They were rip-offs, but if you were a fan of the artist, the music was often quite interesting and hard to find. I bought a bunch of them. The "Eric Clapton and the Yardbirds" was the first Yardbirds album I ever bought since all the Epic albums were out of print when I became interested in the band. It is an abridged version of the show released as "Five Live Yardbirds" but it actually sounded better than that album (at least until it got remastered) and featured patter not on that album. This was the second Yardbirds album I bought. I picked it up in the mid-1970s shortly before Epic restored the band to its catalog with "The Yardbirds Great Hits" which is a better introduction to the group. Nonetheless hearing this record for the first time blew my teenage mind. Beck's guitar solos took my breath away. Not having many records yet I was accustomed to listening to mid-1970s AOR or top 40 on the radio which I largely regarded as bland, so Beck's explosive and frenetic guitar work combined with the Yardbirds' pop smarts was a revelation to me. Only the Beatles with their superior songwriting excited me more. There are a mere 9 tracks on the album and Beck only appears on 8 of them since "I Ain't Got You" was recorded when Clapton was the lead guitarist in the group although I love it and consider it one of his best Yardbirds tracks so I'm not complaining. The record begins with the band's soaring 1966 single "Shapes of Things" written by band members Keith Relf, Jim McCarty and Paul Samwell-Smith. It widely considered to be one of the first psychedelic songs although its swelling riff, driven by feedback and power chords, could also be seen as a heavy-metal prototype. Beck's fiery solo embraces raga and jazz while fully rocking out and ends way too soon. It is followed by an unreleased track that is a lively instrumental version of "What Do You Want?" which appeared in a vocal version on "Yardbirds." McCarty's crisp drumming powers the song while Beck delivers a noisy smoking hot riff that culminates in a shrieking solo. The song is far more exciting than the release track. Relf's humorous "New York City Blues" was the b-side of "Shapes of Things." It is a rare foray into straight blues for Beck but he delivers the goods big time. His solo section is very compelling and majestic. "Someone to Love" is an unreleased track that is essentially a punchier version of "Lost Woman" from "Yardbirds" with different lyrics. Beck's solo is curiously subdued in comparison to the release version. "For R.S.G." is actually Bo Diddley's "Here 'Tis" which the band had previously recorded live with Clapton on "Five Live Yardbirds." This is a studio version that the band apparently recorded for the British tv show "Ready Steady Go" hence the odd title. Both the studio and live versions are very exciting, but I give this version the edge for Beck's dazzling guitarwork. He works all over the fret board and the call and response solo section is longer and more elaborate than the Clapton version. This is one of the songs that impressed me the most when I was a kid and even now it still gets my heart racing. Mike Hugg's "Mr. You're a Better Man Than I" had appeared on the American LP "<a href="https://vinylexam.blogspot.com/2019/05/having-rave-up-with-yardbirds-yardbirds.html" target="_blank">Having a Rave Up with the Yardbirds</a>" where it was one of my favorite tracks. It is driven by a hypnotic riff and Beck's fuzz-toned solo is among his best with the Yardbirds and I would argue that it was the best rock guitar solo that had ever been recorded at that time. It is followed by an unreleased instrumental version of "Someone to Love." This elongated performance gives Beck plenty of room to operate and he responds with one of the most amazing guitar solos of that era or any era for that matter. Beck begins riffing over a thunderous rhythm track driven by Samwell-Smith's throbbing bass line and McCarty's explosive drumming. His riffing grows in strength and then erupts into orgasmic blasts of feedback and raw guitar noise. I would say this is the greatest moment in the illustrious history of the Yardbirds. I remember listening to this song wearing headphones as a teen and literally trembling afterwards. This song alone justifies this record's existence. The aforementioned "I Ain't Got You" appeared originally as a b-side and was on the U.S. album "<a href="https://vinylexam.blogspot.com/2016/07/for-your-love-yardbirds.html" target="_blank">For Your Love</a>." The album ends with "I Ain't Done Wrong" which also was on "For Your Love." This is another one of Beck's best moments with the Yardbirds. He handles the blues section and the rave-up with equal aplomb. His soloing is so inspiring I can't resist breaking out my air guitar to play along. So with this album you get five legitimately released songs presumably stolen without credit from Epic/EMI four of which are essential (and easily available on legitimate releases.) You also get four unreleased songs which are extremely interesting and I would argue that "For R.S.G" and the second version of "Someone To Love" are also essential. They have appeared on a modern CD, Sony's comp "Blues, Backtracks and Shapes of Things" and there are a bunch of foreign versions of this LP so you don't have to buy this stupid record necessarily to get this music. However it is pretty easy to find and I love the cover picture and had it on display in my room when I was a teen. If you are a fan of Jeff Beck or the Yardbirds this is a must-have in some form. Maybe because I bought it so early it has an outsized importance in my mind, but it was the album that made me a fan of Beck and the Yardbirds and listening to it now about 48 years after I bought it it still sounds fresh and vital to me. Rest in peace Jeff Beck and thank you for being such a big part of my musical life. Recommended to people who prefer "Happenings Ten Years Time Ago" over "For Your Love." </span></div>Zothttp://www.blogger.com/profile/12491280907594683144noreply@blogger.com0tag:blogger.com,1999:blog-7263374551391354995.post-69078011952665239642022-10-01T23:53:00.004-07:002022-11-01T12:24:12.078-07:00If I Could Only Remember My Name - David Crosby<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNeoAUdQExvkWqL4LWulHSihM-8rbMIWiompBZGO6FjfI61kY2fmLQwU2fTT6JdWlEBCaOdhy4_iXQxgT79_Reo2jraVW1USetgUFUMcYQV0y93b6cJeu-EO8fyJIffNutdvpoatHYDgWtSPqCTYr6xkZ7Ry3UcixmWoibP25EshxphsP8tqq7XIKxgg/s2866/IMG_8051.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2820" data-original-width="2866" height="315" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNeoAUdQExvkWqL4LWulHSihM-8rbMIWiompBZGO6FjfI61kY2fmLQwU2fTT6JdWlEBCaOdhy4_iXQxgT79_Reo2jraVW1USetgUFUMcYQV0y93b6cJeu-EO8fyJIffNutdvpoatHYDgWtSPqCTYr6xkZ7Ry3UcixmWoibP25EshxphsP8tqq7XIKxgg/s320/IMG_8051.JPG" width="320" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzUSghkJXMzB3-lX2iH0vK1n2Pnp4Py-ewCaEr1QjSRvY14emLfxh2CiN35CjWOKNZ4F8NgFU1hqBQvCcCgCId7bpfaJeh2SEGjZsY9ysAH8-4MNJWVFoI8z5HfHLXhXiZ3sfcLAf-3wWTXmS8x5Q13H7cyK_jr4Q4Z583FBXyyM1dO4Ergmm6z-zv4A/s2834/IMG_8057.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2789" data-original-width="2834" height="315" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzUSghkJXMzB3-lX2iH0vK1n2Pnp4Py-ewCaEr1QjSRvY14emLfxh2CiN35CjWOKNZ4F8NgFU1hqBQvCcCgCId7bpfaJeh2SEGjZsY9ysAH8-4MNJWVFoI8z5HfHLXhXiZ3sfcLAf-3wWTXmS8x5Q13H7cyK_jr4Q4Z583FBXyyM1dO4Ergmm6z-zv4A/s320/IMG_8057.JPG" width="320" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKGl4fy8c3XMXEC_dhNRkkNZLI1X41fjOdlvnaHpqpmvM2Gqb_kfe4Hfl50tUsCo3L6RESFu0WGoVJ040aSNTtr8l7k324zrO2c7nbskkoJaK4vDl9sS1sG9Xu2miZZweYECMNkyimmG03fVhCeZ6BE93AA8KLMRB8s-cyDd-pkdti3QudoIK-3RL6Yg/s3878/IMG_8061.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1913" data-original-width="3878" height="158" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKGl4fy8c3XMXEC_dhNRkkNZLI1X41fjOdlvnaHpqpmvM2Gqb_kfe4Hfl50tUsCo3L6RESFu0WGoVJ040aSNTtr8l7k324zrO2c7nbskkoJaK4vDl9sS1sG9Xu2miZZweYECMNkyimmG03fVhCeZ6BE93AA8KLMRB8s-cyDd-pkdti3QudoIK-3RL6Yg/s320/IMG_8061.JPG" width="320" /></a></div><br /><div style="text-align: left;"><b>If I Could Only Remember My Name</b></div><div style="text-align: left;"><b>David Crosby</b></div><div style="text-align: left;"><b>Atlantic Records SD 7203</b></div><div style="text-align: left;"><b>1971</b></div><div style="text-align: left;"><b><br /></b></div><div style="text-align: left;"><span style="font-family: trebuchet;">I picked this up in a thrift store many years ago in order to hear how awful it was. When I gave it a spin however I was pleasantly surprised, astonished even, to find that I enjoyed it. I am far from a Crosby fan (I've mocked him in the past on this very blog) but I find this album consistently entertaining. Given how little use I have for his recordings with Crosby, Stills and Nash (and sometimes Young) I suspect the big reason for this is evident in the photos in the gatefold. I imagine if you or I went into a studio with most of the Jefferson Airplane and Grateful Dead along with Joni Mitchell and Neil Young and a couple of guys from Santana we would probably come up with a listenable album too. I may be a little prejudiced against Crosby, but I don't think this is an unfair assessment. The songs he contributes to the album are mostly slight, lyrically they make "Almost Cut My Hair" sound like poetry in comparison and musically they mostly sound like unfinished demos or jams. The album opens with "Music Is Love" which is credited to Crosby, Graham Nash and Neil Young which seems like overkill for a song that mostly consists of the phrase "everybody's saying that music is love" sung over and over. "Cowboy Movie" sounds like an outtake from "<a href="https://vinylexam.blogspot.com/2013/03/deja-vu-crosby-stills-nash-young.html" target="_blank">Déjà Vu</a>." </span><span style="font-family: trebuchet;"> It is one of the few fully formed songs on the album and recounts a misogynistic tale of outlaws in the old west. I find Crosby's vocal overwrought and annoying but since he is backed by the Grateful Dead on the song it still has a lot of power with a hypnotic bass riff from Phil Lesh and very tasty guitar licks from Jerry Garcia. If I don't pay close attention to Crosby's singing I find it one of the most compelling songs on the album. I'm going to go out on a limb here and suggest that "Tamalpais High (At About 3)" is not about the high school in Mill Valley but rather about a place where Crosby liked to do drugs. Hard to say for sure since the song has no lyrics consisting instead of Nash and Crosby crooning wordlessly in their inimitable manner. It sounds very mellow as we used to say although Jorma Kaukonen and Jerry Garcia briefly energize the song with some trippy guitar runs over Lesh and Bill Kreutzmann's rumbling rhythm track. This is the part of the song that most appeals to me. "Laughing" is my favorite track on the album. The lyrics are hippie hogwash with Crosby looking for enlightenment and finding confusion and disappointment instead. I find Crosby's vocal engaging and subtly emotional and I consider it one of his best post-Byrds performances. The song was written while Crosby was in CSN&Y but it reminds me of the music he was making during his final year with the Byrds. It has an ethereal yet slightly country sound to it with psychedelic overtones and I particularly enjoy Garcia's steel guitar licks. Side two opens with "What Are Their Names" which is credited to Crosby, Garcia, Lesh, Young and Michael Shrieve of Santana. Given that it is an inane song about Crosby trying to find who is in charge of the world and wanting peace, I'm guessing that the song emerged from a jam with the five songwriters and nobody was too concerned about the lyrics. The song sounds a lot like Paul Kantner's "<a href="https://vinylexam.blogspot.com/2016/10/blows-against-empire-paul.html" target="_blank">Blows Against the Empire</a>" album, perhaps because Kantner, Grace Slick and David Freiberg are singing on it (although half the musicians in San Francisco are apparently singing too along with Young, Nash and Joni Mitchell.) Obviously with that kind of firepower the vocal is extremely dynamic, arguably far more powerful than this silly song deserves. For me the best part of the song is listening to Garcia and Lesh do their thing which sounds very much like vintage Grateful Dead. "Traction in the Rain" is laid back psych-folk with very trippy lyrics from Crosby that sound like he really put some effort into composing for once. Laura Allan enriches the song with her autoharp strumming and gentle background vocal. The aptly named "Song With No Words (Tree With No Leaves)" features Nash and Crosby wordlessly crooning in a lovely manner although the real action in the song comes from Kaukonen and Garcia along with Gregg Rolie on piano who easily blow away Nash and Crosby's contribution. Crosby is on his own for "Orleans" which is an excerpt from an old French children's song. Crosby's vocal is multi-tracked to give it a richer sound. It is very pretty but I'm happy it is also very short. "I'd Swear There Was Somebody Here" is Crosby's own song but it sounds just as old as "Orleans." It has no words that I can decipher and is delivered acapella with Crosby multi-tracking his vocal creating a rich polyphonic sound reminiscent of medieval church music. It gives the record a spiritual conclusion which is not what I would be expecting from Crosby. This album is pretty much as stupid as I anticipated when I bought it, but it is never boring and rarely annoying which I was definitely not anticipating. I am not going to say that this is more to Lesh and Garcia's credit than Crosby's although I might be secretly thinking that. Actually aside from "Cowboy Movie" I find Crosby's singing appealing throughout the album, although not appealing enough for me to keep the record if it didn't feature his heavy friends. The music may be underdeveloped if not outright lazy, but with Crosby I'm not sure that is a fault. I prefer most of this to his more fully developed music on "Crosby Stills and Nash" or "Déjà Vu." It leaves a lot of space for his collaborators and since I generally do not dig his lyric writing, wordless crooning suits me fine. The album sounds wonderful late at night and I imagine it sounds even better if you are high. I have to admit that when I first heard this album I had to reassess my opinion of Crosby and it certainly provides some context for his generally admirable recent records. I'm never going to be a fan, but I do respect him more. Along with his work with the Byrds, I consider this the highlight of his career although admittedly I have not done a deep dive into his solo work and never will. I bought this album for all the wrong reasons, but Crosby decisively proved me wrong. I can't recall ever being so surprised by a record and I'm grateful to him for that. Recommended to fans of "Workingman's Dead" who wish it had less words and more jams.</span></div><p></p>Zothttp://www.blogger.com/profile/12491280907594683144noreply@blogger.com0tag:blogger.com,1999:blog-7263374551391354995.post-9207315491575494752022-08-07T21:47:00.002-07:002022-08-08T10:44:34.043-07:00The Goldebriars - The Goldebriars<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgB_JiZyBg9ihjSiWXf__UwETqPq0l097sR9hNQOVTz29Lg_knpa48VxRhcKOQWZW3qZs9hwVeWNmm44im3YE9kTAPYNR3RnCyVJcwMO6GfUGdT3-s2dPVpdK40jWHc3ZIX92VfKGQ0jA8IiWPFThGI-ZfkU2OYXW0Z0uvBB66v3JahrPTal6JDSs8aRg/s2931/IMG_7558.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2931" data-original-width="2905" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgB_JiZyBg9ihjSiWXf__UwETqPq0l097sR9hNQOVTz29Lg_knpa48VxRhcKOQWZW3qZs9hwVeWNmm44im3YE9kTAPYNR3RnCyVJcwMO6GfUGdT3-s2dPVpdK40jWHc3ZIX92VfKGQ0jA8IiWPFThGI-ZfkU2OYXW0Z0uvBB66v3JahrPTal6JDSs8aRg/s320/IMG_7558.JPG" width="317" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8FgqFIeqsM86ReUpFp667M9YVt2mm7RTwtIKnn_CbFIhMKaIfKJUzFY0iskgC0DwQkEYhQwvhx4nkNFH4zlTHRSpY7FgAopeI_QoVzK0mRs1SkfmvJZk1ox-DFoKUCEC9BDmBAbZq0hHTgkLMaRGNq4QmuUGz18HQHVllVaHmaXQcJP3Xe68WxG9NdQ/s2939/IMG_7562.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2939" data-original-width="2929" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8FgqFIeqsM86ReUpFp667M9YVt2mm7RTwtIKnn_CbFIhMKaIfKJUzFY0iskgC0DwQkEYhQwvhx4nkNFH4zlTHRSpY7FgAopeI_QoVzK0mRs1SkfmvJZk1ox-DFoKUCEC9BDmBAbZq0hHTgkLMaRGNq4QmuUGz18HQHVllVaHmaXQcJP3Xe68WxG9NdQ/s320/IMG_7562.JPG" width="319" /></a></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>The Goldebriars</b></div><div style="text-align: left;"><b>The Goldebriars</b></div><div style="text-align: left;"><b>Epic Records BN 26087</b></div><div style="text-align: left;"><b>1964</b></div><div style="text-align: left;"><b><br /></b></div><div style="text-align: left;"><span style="font-family: trebuchet;">I first encountered Curt Boettcher as a young teen in the liner notes on the back of my copy of "The Association's Greatest Hits!" where he was listed as one of the producers. I was obsessed with that album for a little while so the names associated with it stuck with me. Thus I remembered Boettcher when I encountered him in Sagittarius and the Millennium and became a fan. This was his first foray into commercial music. He formed the Goldebriars while in college with Sheri and Dottie Holmberg and Ron Neilson. Given that his career was largely devoted to extravagantly arranged sunshine pop, I was a little surprised to find Boettcher leading a folk group, but once I spun the record I recognized his style instantly. The group sings mostly folk songs with folk style accompaniment but the vocals are pure sunshine pop. They feature elaborate harmonies with multi-tracking to give the music an astonishingly rich and vibrant sound. This is evident on the opening track "Railroad Boy" which is a traditional song that is often known as "The Butcher's Boy." Joan Baez recorded it on her second album which I assume is where the group picked it up. It is one of those wronged maiden type ballads. The Holmberg sisters' voices blend beautifully and complement Boettcher's delicate voice and the result is a lovely and haunting performance. "He Was a Friend of Mine" is a well-known traditional song that the Byrds made famous the following year on "<a href="https://vinylexam.blogspot.com/2011/04/turn-turn-turn-byrds.html" target="_blank">Turn! Turn! Turn!</a>" when Roger McGuinn changed the lyrics to be about John F. Kennedy. Dave Van Ronk recorded it on his "Folksinger" album in 1962 and it was in Bob Dylan's early repertoire. It is a gloomy song but it sounds practically euphoric with the Goldebriars' enthusiastic vocal arrangement. "Come Walk Me Out" is listed as a traditional song but it is actually Bonnie Dobson's song "Morning Dew." That poor woman was always getting screwed out of her royalties - Tim Rose claimed a songwriting credit on it when he recorded it for "<a href="https://vinylexam.blogspot.com/2016/11/tim-rose-tim-rose.html" target="_blank">Tim Rose</a>." My favorite version is the Grateful Dead's intense and emotional cover of it on "<a href="https://vinylexam.blogspot.com/2011/03/grateful-dead-grateful-dead.html" target="_blank">The Grateful Dead</a>." In contrast the prettiness of the Goldebriars' version diminishes the song's gravity although I have to admit it sounds fabulous. I could say the same about "Alabama Bound" which is credited to Leadbelly although the song predates him. The grittiness of the song does not benefit from Boettcher's pretty vocal and the Holmbergs' captivating harmonies. They sound condescending and out of touch with the song. "Pretty Girls and Rolling Stones" is attributed to the Goldebriars themselves but it sounds convincingly like a folk song. It's a girl chasing I gotta ramble type of song. They sing it with winning enthusiasm. "A Mumblin' Word" is an old spiritual about the crucifixion of Jesus that is also known as "He Never Said a Mumblin' Word" and "They Hung Him On a Cross." This song was also sung by Leadbelly. Boettcher's vocal is a little more grounded and coarse than usual but I still feel like the song's arrangement trivializes the subject even though I'm not the least bit religious myself. This is equally true of "Old Time Religion" which has got to be the slickest version of that old song around. I don't actually like traditional versions of the song and I find the Goldebriars' performance invigorating and pleasantly brief (a mere 1:37 in length.) The gospel theme continues with "Long Time Travellin'" which is equally slick but I find it more successful than the other religious songs because of its folk propulsion and more traditional harmonies. It reminds me of the Seekers' work in this vein. It is followed by a gorgeous version of the venerable old folk song "Shenandoah" which I consider one of the highlights of the album. The vocals absolutely send me. It resoundingly points towards Boettcher's future as a sunshine pop master. "No More Auction Block" is an old anti-slavery spiritual that had previously been recorded by Odetta. This is arguably the most ridiculous song on the record. The contrast between the mesmerizing vocals and the harshness of the lyrics is almost comical. "Sing Out Terry O'Day" was written by Boettcher in a folk style. The group sings the song with great vigor and verve and again remind me of the Seekers. From a folk standpoint it is perhaps the most credible song on the album particularly in Boettcher's urgent vocal. The album concludes with "Voyager's Lament" which is an English language version of "Un Canadien errant" which was written by </span><span style="font-family: trebuchet;">Antoine Gérin-Lajoie. I first heard it on the debut album by Ian and Sylvia where it blew me away however the song dates back to 1842. The song describes the unhappy exile of a French-Canadian following the Lower Canada Rebellion in 1837-1838. The Goldebriars strip the Canada references from the song in the English section of their performance and then they sing a verse in the original French which is then crossed with "Plaisir d'amour" (uncredited) which is sung in English. I find Boettcher's creativity in the song breathtaking and immensely pleasurable. When I first got this album I played this track over and over savoring the vocal richness and the brilliant splicing of the two songs. This is my favorite track and its dazzling arrangement again foreshadows Boettcher's future career. I think that if I were a folk purist I'd probably hate this album or at least have serious problems with it. The music is almost totally divorced from the foundations of the songs. However I am far from being a folk purist. I prefer folk-rock to folk and I like Curt Boettcher a lot more than I like Pete Seeger. Boettcher basically used these folk songs as a vehicle for his own creative interests and that is fine with me. There were lots of performers who did these songs the "right way" if I feel like hearing that (and I have to confess I seldom do.) Hardly anyone arranged music like Boettcher did so this album is more valuable to me. Recommended to people who think it would have been cool if Brian Wilson had produced a Seekers album.</span></div><p></p>Zothttp://www.blogger.com/profile/12491280907594683144noreply@blogger.com0tag:blogger.com,1999:blog-7263374551391354995.post-73029276377503820772022-05-31T00:14:00.007-07:002023-05-20T22:53:21.940-07:00Barbra Joan Streisand - Barbra Streisand<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhoCaEmc0xsp5whHkK_DVyryRAgBS0k4H5CKx4TYmBEZAQB15Q6GtN2wNPih1ocQjDBbSaJBV1gBCoo3TMLQNmm1uX4Px-IU9OvYBnb9mOMZuigJzBrL7WLUJ3jeiT36Zl0LxnHOh9cpaOhls4pKVVgEcK7RbcYJEik2TiE9_7onXcEScQ6_yD4l3QBvg/s2873/IMG_7565.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2859" data-original-width="2873" height="318" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhoCaEmc0xsp5whHkK_DVyryRAgBS0k4H5CKx4TYmBEZAQB15Q6GtN2wNPih1ocQjDBbSaJBV1gBCoo3TMLQNmm1uX4Px-IU9OvYBnb9mOMZuigJzBrL7WLUJ3jeiT36Zl0LxnHOh9cpaOhls4pKVVgEcK7RbcYJEik2TiE9_7onXcEScQ6_yD4l3QBvg/s320/IMG_7565.JPG" width="320" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQKIbq0q9427SACCwoBdoxZ2uhlJToC5u9mYgCjw4eiTge42VlR9havMT8j9MDFWwbeb527P8hBwSkJLIY340Rv6AfSL7mLxztLvYIj5AIUWzGOzJgPh9mxhD_ipZAQGs8bA0hBxMT-WgiPLRx8AX1q5DXRvu3EvvFx4cg3whPEpggpJDzAGeDZwZUdQ/s2882/IMG_7569.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2868" data-original-width="2882" height="318" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQKIbq0q9427SACCwoBdoxZ2uhlJToC5u9mYgCjw4eiTge42VlR9havMT8j9MDFWwbeb527P8hBwSkJLIY340Rv6AfSL7mLxztLvYIj5AIUWzGOzJgPh9mxhD_ipZAQGs8bA0hBxMT-WgiPLRx8AX1q5DXRvu3EvvFx4cg3whPEpggpJDzAGeDZwZUdQ/s320/IMG_7569.JPG" width="320" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRbiXb0NkdmyHVGtzYWB20stp8_AKnvRAacFem-3v-SyOZWM_lLXWlQEdR4TWsuAqlLFkGYsGzFlA2v8vdX6OufzmZN0g-o1nHxUVIJESbc7aXqCx_43LuNGt2kGTsoNGV_sD-lpQ_mcneeJj0rjOWL8BTo3Nd31brlFuvEedhT6WWKYda1hcyct9haw/s3967/IMG_7573.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1913" data-original-width="3967" height="154" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRbiXb0NkdmyHVGtzYWB20stp8_AKnvRAacFem-3v-SyOZWM_lLXWlQEdR4TWsuAqlLFkGYsGzFlA2v8vdX6OufzmZN0g-o1nHxUVIJESbc7aXqCx_43LuNGt2kGTsoNGV_sD-lpQ_mcneeJj0rjOWL8BTo3Nd31brlFuvEedhT6WWKYda1hcyct9haw/s320/IMG_7573.JPG" width="320" /></a></div><br /><div style="text-align: left;"><b>Barbra Joan Streisand</b></div><div style="text-align: left;"><b>Barbra Streisand</b></div><div style="text-align: left;"><b>Columbia PC 30792</b></div><div style="text-align: left;"><b>1971</b></div><div style="text-align: left;"><b><br /></b></div><div style="text-align: left;"><span style="font-family: trebuchet;">I am now much older than my father was when I was living with him and I'm becoming more appreciative of the influence he had on the development of my musical tastes. As a teenager I felt disdain for his music even though he had the first the Mamas and the Papas, Janis Joplin, Santana, Linda Ronstadt and Creedence Clearwater Revival albums that I ever heard. Mostly I associated him with easy listening type stuff like Frank Sinatra, Andy Williams, Al Martino, Vikki Carr, Johnny Mathis and above all Barbra Streisand who was his great favorite. I loathed this stuff at the time although as I reached middle age I started to dabble with it particularly Sinatra. Nonetheless I have a very limited appetite for it and to this day if I hear Martino crooning "Spanish Eyes" (which my father played over and over) I cringe. I was surprised a while back when I found myself wanting to hear this album again. My father had it on an 8-track tape (yecch) and played it often. I did not like it much at the time but I preferred it to his other Streisand albums and I was intrigued by the two John Lennon covers, "Mother" and "Love" which I had never heard since I had yet to buy "Plastic Ono Band" where they first appeared. Somehow this album stuck to me which led me to buy it a few years ago. Listening to it again after all those years was definitely a little weird, but once I got past the memories and nostalgia it generated in me, I found I enjoyed it as music. It was Streisand's third album of contemporary music following "What About Today?" and "Stoney End." The knock on Streisand's forays into contemporary music is that she can't rock. I won't dispute that but I still find merit in her work in this vein. Unlike some crooners she is not condescending about the material and sings her heart out. She is too uptight to rock convincingly but she definitely emotes a lot which I find engaging most of the time. The album benefits from the presence of the producer Richard Perry who was one of the most successful producers of the era. He was always excellent at providing a setting for the artist to succeed and compensating for their limitations as his exemplary work on "<a href="https://vinylexam.blogspot.com/2011/02/ringo-ringo-starr.html">Ringo</a>" demonstrates. This album mostly features songs that suit Streisand's style and sensibility and I imagine she had no trouble relating to songwriters like Carole King and Laura Nyro. The arrangements and supporting musicians are also well chosen for her. My favorite tracks have always been the two Lennon songs which is probably a minority opinion even from a Beatles fan. I admit that Lennon's own versions in particular his gut-wrenching performance of "Mother" are superior and more heartfelt but I am still taken with the depth of feeling Streisand brings to the songs. "Love" in particular is given a spartan but appealing chamber pop arrangement that places all the focus on Streisand's gorgeous vocal. "Mother" has a more robust arrangement driven by dual organs from Billy Preston and Perry. I appreciate the majestic and dynamic quality of the performance and at the risk of sounding like a philistine, I'm kind of relieved not to have to experience the pain Lennon brought to the song. My other favorite track is "I Mean To Shine" written by Donald Fagen and Walter Becker prior to the rise of Steely Dan. They apparently had a low opinion of the song and never bothered to record it themselves, but I think it is a delightfully uplifting and inspired song which gives Streisand an opportunity to shine herself. She's backed by Fagen on organ along with members of the female rock band Fanny and a whole bunch of studio pros who give Streisand a solid foundation for her exuberant vocal. I also like her performance of Mathew Moore's "Space Captain" which had been part of Joe Cocker's stage show as documented on the "Mad Dogs and Englishmen" album. Compared to Cocker's throat-shredding histrionics, Streisand sounds tame but it is still one of her most energetic performances and the closest she comes to rocking out on the album. The song has a punchy arrangement by Fanny and they support her along with Preston and kudos to Perry for pairing his clients Fanny and Streisand. They work together extremely well. There are three Carole King songs </span><span style="font-family: trebuchet;">(all from "Tapestry")</span><span style="font-family: trebuchet;"> on the album which makes sense considering King and Streisand's similar backgrounds. Streisand sounds comfortable on all of them but I like "Where You Lead" the best. It has plenty of propulsion courtesy of Streisand's vibrant vocal supported by another spirited arrangement and performance by Fanny. Preston's organ riffs and the background singers give the song a winning soulful flavor that makes Streisand seem less uptight and it is the one other song on the album besides "Space Captain" that suggests Streisand is capable of rocking out. Her upbeat performance of "Beautiful" is enjoyable but kind of forced as if she was trying too hard. I think it would have benefited from the looseness that King brought to her own version of the song and that is also true of "You've Got a Friend" although I greatly prefer Streisand's version to James Taylor's hit version. The remaining songs are closer in tone to the standards and show tunes that Streisand started her career with rather than actual rock songs. Laura Nyro's "I Never Meant To Hurt You" is a sensitive song that benefits from Streisand's over-emotional style and gives her plenty of opportunities to show off her pipes. I think it is the song that fits her best, but it is far from my favorite. There is a medley of Burt Bacharach and Hal David's "One Less Bell To Answer" and "A House Is Not a Home" which is also right in her wheelhouse although I prefer the far more subdued versions by The 5th Dimension for the former and Dionne Warwick for the latter. Streisand invests so much emotion in them she makes their lyrics seem trivial since they can't match her intensity. They do sound nice though. Buddy Johnson's "Since I Fell For You" is an old-fashioned romantic ballad that was a hit for Lenny Welch in 1963. It is basically the sort of the song Streisand could do in her sleep and she easily crushes Welch in emoting and vocal acrobatics but the song hardly fits the contemporary feel of the rest of the album. This is equally true of "The Summer Knows" from the film "Summer of '42" by Michel Legrand and Marilyn and Alan Bergman. It may have been a contemporary song but it is a lot closer to "People" or "My Man" than it is to any kind of rock music particularly with Dick Hazard's easy listening arrangement. Of course it sounds gorgeous but I am not a fan of it. I am a fan of this album though. Part of me feels like it is a mistake, that Streisand should stick to the standards and show tunes she excelled at. On the other hand I relate much more strongly to John Lennon and Carole King than Rodgers and Hammerstein or Kander and Ebb. I would rather hear her sing contemporary music even if it is not her strength. It gives me more of an opportunity to appreciate her tremendous gift. Sure she is too stiff and over-emotes too much, but this album fascinates me. The dialectical tension between the styles of traditional pop standards and contemporary rock music that drives this record is intriguing and stimulating to me. This record has been in my life for decades even though for much of that time I did not have a copy of it. I never forgot it and it was nearly as firmly imprinted in my psyche as my early Beatles albums. I'm delighted that I finally do have a copy again and although I don't play it as much as my father did, it does spend plenty of time on my turntable. Recommended to Timi Yuro fans.</span></div><p></p>Zothttp://www.blogger.com/profile/12491280907594683144noreply@blogger.com2tag:blogger.com,1999:blog-7263374551391354995.post-65566739185087674332022-04-17T22:51:00.001-07:002022-10-10T16:11:54.557-07:00A Giant Crab Comes Forth - Giant Crab<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVpALTEirIoOrEeSPpNzJIFUFAvYRJ1FN0ELBS2cGtYYJOLhoZhxtQHlELR6NcTc-q4XeLqNNd27Jmf6VARWhWE1Y9VnhCjVe_cd02uk7NDOAmMZvT8IDSeeG2k1utz_vzm2c_LyF74uaAHIbRMxYqQY435lq3EZHNBrUd31OGx6IZWDSvSLsna8WN5Q/s3018/IMG_7284.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3018" data-original-width="3008" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVpALTEirIoOrEeSPpNzJIFUFAvYRJ1FN0ELBS2cGtYYJOLhoZhxtQHlELR6NcTc-q4XeLqNNd27Jmf6VARWhWE1Y9VnhCjVe_cd02uk7NDOAmMZvT8IDSeeG2k1utz_vzm2c_LyF74uaAHIbRMxYqQY435lq3EZHNBrUd31OGx6IZWDSvSLsna8WN5Q/s320/IMG_7284.JPG" width="319" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7W0jzuPt93ccv6hxoLl3MVJcLX_wNpQR96LkR_sU2h97P9r-m7YBqb1ccI1woVqzat3Awtk3az6SbsXncOMQjz0Gbo20XIJ8Ri_UGw-oeu4NmSXpqOjLuvdq9btCoSJeFudwfuYrpR63pOV7zEqUE4hrVXEoq09dzd8TTnOaiyMsIRzgIfy9oSGv7Pw/s3006/IMG_7287.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3006" data-original-width="3004" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7W0jzuPt93ccv6hxoLl3MVJcLX_wNpQR96LkR_sU2h97P9r-m7YBqb1ccI1woVqzat3Awtk3az6SbsXncOMQjz0Gbo20XIJ8Ri_UGw-oeu4NmSXpqOjLuvdq9btCoSJeFudwfuYrpR63pOV7zEqUE4hrVXEoq09dzd8TTnOaiyMsIRzgIfy9oSGv7Pw/s320/IMG_7287.JPG" width="320" /></a></div><br /><div><b>A Giant Crab Comes Forth</b></div><div><b>Giant Crab</b></div><div><b>UNI 73037</b></div><div><b>1968</b></div><div><b><br /></b></div><div><span style="font-family: trebuchet;">When I was in college I thought I knew everything I needed to know about 1960s rock after I read a bunch of rock encyclopedias and histories of the era. How many good records could have come out in the decade? I figured I could get them all. I was wrong. 40 years later and I am still working on it. By the time I was in my thirties I assumed I had all the essential classics but then the internet came along and I found out there were a lot more worthwhile records out there that I had never heard of. The Santa Barbara based band Giant Crab was not in any of the books I read as a youth. I first heard them on a specialty program on my favorite college radio station KXLU. I loved the song I heard and checked out the band on the internet. Eventually I was able to find their two albums. This is their excellent debut album. It begins with a spoken intro by Johnny Fairchild who was a Santa Barbara disc jockey who helped the band get on the radio. It simulates a dramatic news flash although its impact is diminished by an attempt to work all the song titles from the album into the intro which makes it sound contrived. Most of the album was written by the band's talented leader Ernie Orosco with occasional help from his band mate and brother Ruben (or maybe his other brother Raymond - it is not clear on the song credits) as well as the album's producer Bill Holmes. Most of the songs are catchy sunshine pop like "It Started with a Little Kiss," "Groovy Towne," "Thru the Fields," "Believe It or Not" and "The Answer is No." These songs feature charming vocal harmonies and elaborate arrangements often bolstered by punchy horn support from band members Dennis and Kenny Fricia. "Directions," "Intensify Your Soul" and </span><span style="font-family: trebuchet;">"The Chance You Take" </span><span style="font-family: trebuchet;">are harder in sound with a soulful flavor and heavier instrumentation. They remind me of the Rascals. "Watch Your Step" is pop-psych with hypnotic keyboard riffs driving it. "Hot Line Conversation" is also pop-psych and the heaviest song on the album. Its lumbering riff and organ washes make me think of early Iron Butterfly. The album closer is a slow and majestic ballad called "Why Am I So Proud?" that gives the record an emotional finish. There are also four covers on the album. "Enjoy It" was written by Scott English and Claus Ogerman and it plays to the bands' sunshine pop strengths. English also wrote "Hi Ho Silver Lining" with Larry Weiss and it was a British hit for Jeff Beck and I think it should have been one here as well. The cover version doesn't stray too far from the Beck version. The Beck version is more energetic and I miss his guitar solo but since singing was hardly Beck's strength, I welcome Ernie Orosco taking a crack at the song. Both versions are worthwhile. "I Enjoy Being the Boy" was written by Marc Bellack and bubblegum stalwart Joey Levine. It is less inane than a lot of Levine's stuff and features a lovely arrangement that makes it seem less lightweight than the lyrics would suggest. My favorite of the covers and my favorite track overall is "Lydia Purple" by Don Dunn and Tony McCashen. It appeared on the debut album by the Collectors earlier in the year. Giant Crab's version is heavier and more propulsive which I appreciate but I think the song's moodiness and portrayal of alienation was better served by the Collectors' chamber pop arrangement. I still love the Giant Crab version though. This is such a good album that I'm surprised it is not better known. It deserved a better fate. I was already middle-aged when I finally got a copy which I regret. I would have ate this up back when I was a teenager worshipping the Turtles and the Hollies. Even in my dotage it still is immensely appealing to me. It is records like this that humble me and keep me from getting too cocky about my knowledge of rock history. If you dig pop-psych or sunshine pop this album is essential. I've played it a bunch of times in recent years and it still makes me happy whenever I give it a spin. Recommended to fans of the Strawberry Alarm Clock.</span></div>Zothttp://www.blogger.com/profile/12491280907594683144noreply@blogger.com0tag:blogger.com,1999:blog-7263374551391354995.post-81785372857598538452022-02-13T19:23:00.008-08:002023-06-04T22:21:54.678-07:00Peter and Sophia - Peter Sellers and Sophia Loren<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjbETJLwJq9Ay6sqy6QjvfWvZoMcwAnvtRYApwbjtOXx8ivU5INBj31CrPVVdiy8s1UtsPnhLAbxPSHyjR_Hc94Q42qw78utLOM9OTB3rnWzmP-FXV4-3ygN48VGz1TTPD5TDcmEdzvZmfCNlaecn7-YxqW_BVEku1GUkkf1CV7pGKZLXhmFhtRQYk0JA=s2889" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2884" data-original-width="2889" height="319" src="https://blogger.googleusercontent.com/img/a/AVvXsEjbETJLwJq9Ay6sqy6QjvfWvZoMcwAnvtRYApwbjtOXx8ivU5INBj31CrPVVdiy8s1UtsPnhLAbxPSHyjR_Hc94Q42qw78utLOM9OTB3rnWzmP-FXV4-3ygN48VGz1TTPD5TDcmEdzvZmfCNlaecn7-YxqW_BVEku1GUkkf1CV7pGKZLXhmFhtRQYk0JA=s320" width="320" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgQ3aTnzAggpFAAhDOox9g7yfjFc6Jl1yLZzSdCeP8NO_W2gpkL0iYfo2d83Fly60CQMkYBkcEyjBzLhglDUPiF2R7inv8HS4KBu-s8eCl0BH1ZSuv1o6wqEgc8qZn2obaM3G53V74HO0CzkEVhpDEMiwPGeP3_NyZZKnVmLVAaYM1_Ve_P59QvGnc2dw=s2891" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2891" data-original-width="2890" height="320" src="https://blogger.googleusercontent.com/img/a/AVvXsEgQ3aTnzAggpFAAhDOox9g7yfjFc6Jl1yLZzSdCeP8NO_W2gpkL0iYfo2d83Fly60CQMkYBkcEyjBzLhglDUPiF2R7inv8HS4KBu-s8eCl0BH1ZSuv1o6wqEgc8qZn2obaM3G53V74HO0CzkEVhpDEMiwPGeP3_NyZZKnVmLVAaYM1_Ve_P59QvGnc2dw=s320" width="320" /></a></div><div style="text-align: left;"><b>Peter and Sophia</b></div><div style="text-align: left;"><b>Peter Sellers and Sophia Loren</b></div><div style="text-align: left;"><b>Parlophone PMC 1131</b></div><div style="text-align: left;"><b>1960</b></div><div style="text-align: left;"><b><br /></b></div><div style="text-align: left;"><span style="font-family: trebuchet;">I first heard the song "Goodness Gracious Me!" when some joker on KXLU played it. Even though the song is racist and inane, it stuck in my head and led me to purchase this record although I was certain it would be awful. I was largely correct about that but I have no regrets. Sophia Loren was my first movie star crush as a child and I'm still fond of her. I also was a big fan of Peter Sellers as a child, but that has not lasted. I find him tedious and annoying now. The record was produced by the great George Martin probably one of the least distinguished albums in his discography. He had a long association with Sellers producing his comedy records in the 1950s. The album is a mix of music and comedy bits. I like Loren's two solo numbers which are the beguiling and silly "Zoo Be Zoo Be Zoo" and Rodgers and Hart's "To Keep My Love Alive" which chronicles the various ways that a woman murders her many husbands. Loren is not a strong singer but her voice is pleasant and warm. I find her engaging. I think her best performance comes in Leslie Bricusse's "I Fell in Love with an Englishman" in which she breathily croons and then speaks of her love for the title character who is voiced by Sellers as an upper class twit in one of his typically exaggerated caricatures. There are three more duets with Sellers and Loren which I find simultaneously appealing and annoying. The best is easily "Goodness Gracious Me!" which describes an Indian doctor fending off an amorous patient's advances. George Martin commissioned the song for inclusion in the film "The Millionairess" which has a similar plot. It was rejected but a photograph from the film was still used for the cover of this album. Sellers' caricature of an Indian is blatantly racist and unfunny but Loren's ardent wooing of him is genuinely sexy. The song is mercilessly catchy and whenever I hear it, it sticks in my head for awhile. It was a hit in England and inspired a follow-up "Bangers and Mash" in which Sellers portrays a Cockney who marries an Italian woman during World War II and finds himself missing English food because his wife only serves him Italian food. It is as stupid as it sounds. Sellers can't resist showing off, adopting an American accent for the middle section and then an Italian accent for the final verse. I can barely stand his clowning but Loren is charming. The final duet is the swinging "Fare Thee Well" which Sellers starts singing in his normal voice which is too weak for the demands of the song. Of course Sellers being Sellers that does not last long as he quickly breaks into his bag of accents to muck up the song. </span><span style="font-family: trebuchet;">Loren struggles with the song as well which is beyond her skills but unlike Sellers she gamely sticks with it to the end.</span><span style="font-family: trebuchet;"> Sellers has three musical numbers of his own. In Gershwin's "Oh! Lady Be Good" he thankfully does not sing. It is an up-tempo jazz number performed by Ron Goodwin and his orchestra in which Sellers uses his voice to sound like a piccolo although I think he sounds more like a clarinet or a saxophone. If I am to believe his dumb patter at the end of the song he apparently recorded his voice at a slower speed and then they speeded up the tape for the record. It sounds like a George Martin type thing to do. If nothing else the song does cook and it is neither offensive nor tedious unlike most of Sellers' other tracks. He poorly impersonates an old timey crooner for "Ukelele Lady" which dates back to 1925. He is accompanied by the faux 1920's jazz band "The Temperance Seven" who later had a hit with "You're Driving Me Crazy." The song is tiresome and pointless to me. The worst of the three is "Grandpa's Grave" in which Sellers portrays a cockney singer named Eugene Squills regaling the audience with a ditty about moving grandpa's grave to the sewer. It is moronic but still better than Sellers' comedy bits which comprise the rest of the album. I find them all painful and unfunny. In "'Smith'" he portrays a pompous thespian describing his latest play in mind-numbing detail. "Setting Fire to the Policeman" finds him nostalgically recalling his favorite childhood prank of setting policemen on fire. "Why Worry?" employs a man in the street interview approach to allow Sellers to show off a variety of English accents as he trivializes the arms race and the nuclear bomb. The worst track is easily "Africa Today" in which Sellers portrays the savagely racist Brigadier Sir John Hanley-Adamant droning on and on about abusing his African servants. I know he is mocking him but it is still hard to listen to. I find it mind-boggling that anyone ever thought this was funny. If Sophia Loren were not on this record, I would have discarded it long ago. Her charisma and allure are enough to get me to endure Sellers' contributions. I could just record her bits and listen to them without Sellers, but I have to admit that terrible though they may, I do find Sellers' tracks fascinating in their awfulness. I can't recommend this record, but if you like Sophia Loren as much as I do you might want to seek it out.</span></div><p></p>Zothttp://www.blogger.com/profile/12491280907594683144noreply@blogger.com0tag:blogger.com,1999:blog-7263374551391354995.post-45166252790751265052022-01-29T21:22:00.002-08:002022-02-03T13:17:21.927-08:00For Christmas With Love - Judith Durham<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEis3fMvWSWHSEZmkUMOPl7ZSO8WO5rQ5fw5LsIDRpz78xJmlu8EgUpdDjtNymn4VLzh0TFluicZCL-XOuDjeUaXduOHgMmiK1Ulha_tay_HF0R7uy7awmS2-uaXfPgLZ2GqUcWi-gnCrBAGdnsWkVOKp8SnFIoTH5_x1KwQG9zjZggoY5Z757RaYafT2Q=s2923" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2923" data-original-width="2921" height="320" src="https://blogger.googleusercontent.com/img/a/AVvXsEis3fMvWSWHSEZmkUMOPl7ZSO8WO5rQ5fw5LsIDRpz78xJmlu8EgUpdDjtNymn4VLzh0TFluicZCL-XOuDjeUaXduOHgMmiK1Ulha_tay_HF0R7uy7awmS2-uaXfPgLZ2GqUcWi-gnCrBAGdnsWkVOKp8SnFIoTH5_x1KwQG9zjZggoY5Z757RaYafT2Q=s320" width="320" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEiO0WO3u5W14mzllHEfwsO3VOJqxgSVJ3SoCj6ttsxSF7okhyv8nLzheOISfbNenUUPj7ESIPRJdoiFmc4CS7oVUyL7851XCW1R5y5tZ9Bbz9DfywqfjRvH62Cjcrzc5FRvri-IzVoA6GZ_aW7BKCRiFSXis6J6V6uYnkWObjbK8k0Lbt6DOrMTZthzMw=s2984" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2984" data-original-width="2936" height="320" src="https://blogger.googleusercontent.com/img/a/AVvXsEiO0WO3u5W14mzllHEfwsO3VOJqxgSVJ3SoCj6ttsxSF7okhyv8nLzheOISfbNenUUPj7ESIPRJdoiFmc4CS7oVUyL7851XCW1R5y5tZ9Bbz9DfywqfjRvH62Cjcrzc5FRvri-IzVoA6GZ_aW7BKCRiFSXis6J6V6uYnkWObjbK8k0Lbt6DOrMTZthzMw=s320" width="315" /></a></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>For Christmas With Love</b></div><div style="text-align: left;"><b>Judith Durham</b></div><div style="text-align: left;"><b>Columbia SX 6374</b></div><div style="text-align: left;"><b>1968</b></div><div style="text-align: left;"><b><br /></b></div><div style="text-align: left;"><span style="font-family: trebuchet;">This is a mono pressing of the British version of Judith Durham's Christmas record. It differs from the Australian version by having one additional track "Just a Closer Walk With Thee." Curiously the song features a 1965 copyright on the inner label which is also the date that the song appeared on The Seekers' album "<a href="https://vinylexam.blogspot.com/2011/07/world-of-our-own-seekers.html" target="_blank">A World of Our Own</a>" but it is not that version. I believe it is the version she released on a 1967 single in Australia. I prefer The Seekers' version which features harmonies from the boys and a folk style arrangement to this version with its gospel organ and piano accompaniment although she sings both great. Although this album was recorded at Capitol Records studio in Los Angeles I don't believe it was ever released here. This was her first solo album after leaving The Seekers and being a big fan of that group I have long coveted it. I finally found a copy last year but I was disappointed when I played it. Arguably it is more of a gospel record than a Christmas record. Every song is religious aside from "White Christmas," "Lullaby for Christmas Eve" and "The Christmas Song." "The Lord's Prayer," "My Faith" and "Come On Children, Let's Sing" are not Christmas songs at all. Her piety is obviously sincere and her singing is heartfelt, but this is not my cup of tea and it sounds nothing like The Seekers so I shelved it after a couple of spins. I brought it back out at Christmas and played it while trimming the tree and I liked it better probably because my expectations were different. "White Christmas" opens the album in an orchestrated easy listening style version. Durham delivers a pleasant vocal but the track is otherwise unremarkable. "Mary's Boy Child" was written by Jester Hairston and was released as a single by Harry Belafonte in 1956. His version had a slight calypso flavor to it which is not present in this stiff orchestrated version. The song lacks the warmth of the Belafonte recording even though Durham sings it impeccably. The album finally comes to life with a jumping gospel style performance of "Go Tell It On a Mountain" driven by piano and organ. Durham showed an interest in gospel with The Seekers but really shows her affinity for it here and I love the way she hits the high notes at the end. This is one of my favorite tracks. The record loses this energy with the heavily orchestrated "Lullaby for Christmas Eve" which had been a single for Jack Jones in 1964. Nonetheless it is a sweet song and at least it isn't religious. Durham's soaring vocal on "The Lord's Prayer" impresses me but I dislike the song and the heavy inspirational arrangement. "My Faith" is even worse. Durham sings it like she means it, but the song is just too sappy for me to tolerate. The record picks up with the lively gospel song "Come On Children, Let's Sing" which was recorded by Mahalia Jackson in 1960. I love Durham's voice and she sings it well but she can't compete with Jackson. She sounds stilted by comparison. I wish there were more songs like "The Christmas Song" on the record. She seems more inspired by the religious stuff, but she still sings this well and it is a much more appealing song to me. "Just a Closer Walk with Thee" fits well with the rest of the album both in terms of sound and content even though it was recorded earlier. As I said before I prefer The Seekers' version but this is still pretty compelling. Most of the arrangements on this album are stodgy and conservative, so it is surprising that "Silent Night" is given an up-tempo treatment including drums, probably the most dynamic version of the song that I have ever heard. I'm not sure that the song is well-served by such treatment but I like it anyway especially with Durham's exquisite vocal. The album concludes strongly with a kinetic gospel arrangement of "Joy to the World" that inspires Durham to loosen up and have some fun. It is my other favorite track on the album. Although there are parts of this album that I enjoy, I have to admit there is no way I would keep it if Durham was not singing on it. I like her voice so much I would listen to her sing just about anything even a bunch of hymns, but I'm not going to listen to it very much. I'm alienated by religion and I prefer folk arrangements to easy listening ones so I'll just stick with my Seekers albums. Recommended to religious Judy Collins fans who dislike folk music.</span></div><p></p>Zothttp://www.blogger.com/profile/12491280907594683144noreply@blogger.com0tag:blogger.com,1999:blog-7263374551391354995.post-59461812049706510902021-11-26T21:56:00.002-08:002021-11-27T14:39:40.491-08:00Bad Rice - Ron Nagle<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-h96YMEtlwEo/YaGdN8UrOrI/AAAAAAAAE9E/b5eGLA5xJ30hdfnzdTyxky3H2Y5r13NVACPcBGAsYHg/s2932/IMG_7296.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2932" data-original-width="2930" height="320" src="https://1.bp.blogspot.com/-h96YMEtlwEo/YaGdN8UrOrI/AAAAAAAAE9E/b5eGLA5xJ30hdfnzdTyxky3H2Y5r13NVACPcBGAsYHg/s320/IMG_7296.JPG" width="320" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-YdRaOTWPU5M/YaGdN3oaivI/AAAAAAAAE9E/95zIswUBqXgweWUwUfoBvZdSORBEVfjWgCPcBGAsYHg/s2987/IMG_7299.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2987" data-original-width="2985" height="320" src="https://1.bp.blogspot.com/-YdRaOTWPU5M/YaGdN3oaivI/AAAAAAAAE9E/95zIswUBqXgweWUwUfoBvZdSORBEVfjWgCPcBGAsYHg/s320/IMG_7299.JPG" width="320" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-S2lgg9q_yU0/YaGdN_bNdJI/AAAAAAAAE9E/ARi6CFsn5Uk7MGz9_wIbfvj5tn9eLuZ3gCPcBGAsYHg/s4032/IMG_7305.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2072" data-original-width="4032" height="164" src="https://1.bp.blogspot.com/-S2lgg9q_yU0/YaGdN_bNdJI/AAAAAAAAE9E/ARi6CFsn5Uk7MGz9_wIbfvj5tn9eLuZ3gCPcBGAsYHg/s320/IMG_7305.JPG" width="320" /></a></div><div style="text-align: left;"><b>Bad Rice</b></div><div style="text-align: left;"><b>Ron Nagle</b></div><div style="text-align: left;"><b>Warner Bros. WS 1902</b></div><div style="text-align: left;"><b>1970</b></div><div style="text-align: left;"><b><br /></b></div><div style="text-align: left;"><span style="font-family: trebuchet;">My obsession with the San Francisco Sound led me to Ron Nagle's mid-1960s group the Mystery Trend. For many years they were a mystery to me, a trippy name I encountered on old concert posters or histories of the San Francisco rock scene. Eventually I heard their excellent 1967 single "Johnny Was a Good Boy" which whetted my appetite to hear more. Finally I got the Big Beat CD compilation of their unreleased recordings and was enormously impressed. Their music was of astonishingly high quality and deserved an actual album back when they were still active. Unfortunately they were totally out of touch with the hippie zeitgeist of that era with their commitment to well-crafted songs and chamber pop along with their total disdain for the psychedelic scene. I figured I had satisfied my curiosity about the Mystery Trend but then several years ago I came across this album while flipping through a record bin. I had no idea what it was, I was just struck by how weird and ugly it was. As I examined it I remembered who Nagle was and eagerly bought it. It sounds nothing like the Mystery Trend but I was not disappointed I bought it. The album gets off to an exciting start with "61 Clay" which is a Chuck Berry style rocker that reminds me that Nagle was an rhythm and blues/rock and roll fanatic when he first got into music. There is a smoking guitar solo from Ry Cooder that kicks out the jams and puts the song over the top. The lyrics are pure teen rebellion with a little matricide thrown in. It is easily my favorite track on the album. The record's momentum continues with the rollicking boogie "Marijuana Hell" which Nagle co-wrote with John Blakeley. The song outlines the evils of marijuana with all the fervor of "Reefer Madness." I assume it is a joke although Nagle's drug of choice was alcohol and he never hid his contempt for hippie culture so who knows. The album abruptly shifts direction with the melancholy "Frank's Store" which is driven by Nagle on piano and a poignant string arrangement by the album's producer Jack Nitzsche. Nagle's vocal is full of emotion and puts across the sadness in the lyrics very effectively. The album returns to boogie with "Party in L.A." although this is not an ode to partying down with some Angelenos. The party of the title is the Communist Party (or some like-minded variant) and the song describes a child custody dispute between a leftist activist mom and a centrist father. Just your typical pop song. Side one concludes with "That's What Friends Are For" which returns to singer-songwriter melancholy. Nagle croons the lyrics about the nature of a relationship while accompanying himself on piano. Side two starts with "Dolores" which is lushly orchestrated by Nitzsche. It sounds like something by Nagle's idol Burt Bacharach until I listen to the lyrics which I interpret as an older woman teaching a boy the ways of love. "Capricorn Queen" is a raucous rocker about Nagle's addiction to alcohol. It features a frenetic rockabilly style vocal from Nagle and is another one of my favorite tracks. "Sister Cora" is a wonderful riff-driven banger about the title character's ability to cure folks' ills and solve their problems. The album settles down with "Somethin's Gotta Give Now" which has a country feel to it and displays some of the pop craftsmanship Nagle exhibited with the Mystery Trend. The country sound continues with the lumbering "Family Style" which features mildly vulgar and humorous lyrics about a disorderly family. The record concludes with "House of Mandia" which manages to combine the two musical directions on the album. The verses are powered by a heavy riff over which Nagle bellows about a working class man's misery while the choruses are silky smooth pop with Nagle crooning a description of a tropical paradise supported by Nitzsche's sugary string arrangement. Normally I would have a problem with such a schizophrenic record. The abrupt shifts between rock and singer/songwriter pop are definitely jarring to me, but the consistency of tone and overall intelligence of the record smooth it over somewhat. I definitely prefer the rock side though. Nagle's career was primarily teaching art and creating ceramic art with a lot more success than he had as a musician. However he was no dilettante, he had genuine chops and great integrity as a musical artist and certainly deserved a better fate. He is often compared to Randy Newman because they both value musical craftsmanship and display a dark sense of humor. Nagle is far less cynical than Newman though and he likes rock a lot more than him as well. He is also a better singer. This album is well worth seeking out. You rarely find such a stimulating combination of intelligence and sincere love of rock and roll. Recommended to people who think it would be cool if Randy Newman jammed with Creedence Clearwater Revival.</span></div><p></p>Zothttp://www.blogger.com/profile/12491280907594683144noreply@blogger.com0tag:blogger.com,1999:blog-7263374551391354995.post-64968099841407432822021-11-14T21:49:00.003-08:002023-06-07T21:26:20.966-07:00How Do You Do? - Mouth and MacNeal <p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-shKFn74M9Zc/YZGSS1MaMaI/AAAAAAAAE8g/8L736u-6UugL1yshxt0Jwly5-MD4lRQfwCPcBGAsYHg/s2916/IMG_7290.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2902" data-original-width="2916" height="318" src="https://1.bp.blogspot.com/-shKFn74M9Zc/YZGSS1MaMaI/AAAAAAAAE8g/8L736u-6UugL1yshxt0Jwly5-MD4lRQfwCPcBGAsYHg/s320/IMG_7290.JPG" width="320" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-5pS6OXctt5g/YZGSS5r40WI/AAAAAAAAE8g/0WknpZqY-AE1UJH9nCJ-CcWrEbrgZOYlwCPcBGAsYHg/s2930/IMG_7293.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2930" data-original-width="2891" height="320" src="https://1.bp.blogspot.com/-5pS6OXctt5g/YZGSS5r40WI/AAAAAAAAE8g/0WknpZqY-AE1UJH9nCJ-CcWrEbrgZOYlwCPcBGAsYHg/s320/IMG_7293.JPG" width="316" /></a></div><br /><div style="text-align: left;"><b>How Do You Do?</b></div><div style="text-align: left;"><b>Mouth and MacNeal</b></div><div style="text-align: left;"><b>Philips PHS 700-000</b></div><div style="text-align: left;"><b>1971</b></div><div style="text-align: left;"><b><br /></b></div><div style="text-align: left;"><span style="font-family: trebuchet;">As I get older my memories of my youth are getting fuzzier which I am not happy about although there is plenty of stuff from back then I wish I could forget. For some reason I still remember 1972 quite well. That was the year that I consider my first year as a fan of pop music. I have liked music as long as I can remember but that was the year it became important to me. It began that summer when my family rented a vacation cabin at Lake Tahoe that had no television. It did have a radio that was tuned to a top 40 station all day long. In retrospect the summer of 1972 was not a particularly good year for music, but back then I loved what I heard. I remember singing along to Sammy Davis Jr.'s "Candy Man," Gallery's "Nice to Be with You," Elton John's "Rocket Man," Gilbert O'Sullivan's "Alone Again (Naturally)," Bill Withers' "Lean On Me," and my two favorites "Brandy" by Looking Glass and "How Do You Do?" by this band. When we came back home I convinced my mom to give me an old clock radio she was not using much and with access to my own radio I was hooked. My tastes rapidly evolved once I discovered the oldies stations (and later AOR when I got a radio with FM) and soon I did not listen much to top 40 radio at all. The Beatles obliterated any interest I had in collecting popular music from the 1970s on vinyl although I did eventually come to like and buy Elton John and Bill Withers albums. I also bought the Looking Glass album many years ago. This record I bought last year online mostly out of nostalgia. As usual with childhood memories, "How Do You Do?" is not as good as I remembered but I am not sorry about the album which is better than I expected. This is the 1972 American release of this Dutch duo</span><span style="font-family: trebuchet;">'s 1971 debut album which features an identical track selection and running order but different cover art. The duo consisted of a male singer named Willem Duyn who performed under the apt pseudonym Big Mouth shortened to Mouth here. He has the kind of loud gravelly voice that people seemed to dig back then. He sounds like a cross between John Fogerty and David Clayton-Thomas. His partner was </span><span style="font-family: trebuchet;">Sjoukje van't Spijker who performed under the name Maggie MacNeal. She has a smoother, sweeter voice that acts as a refined counterpoint to Mouth's growling. The album opens with "A.B.C" which was written by Andreas Holten and the album's producer Hans van Hemert. The song has a spoken (or shouted in Mouth's case) intro before it gets down to its pounding riff. The dynamic between Mouth's bellowing and MacNeal's silky crooning is displayed to impressive effect. It gives the record a strong start that is largely dissipated by a lumbering and lethargic cover of Ivory Joe Hunter's "I Almost Lost My Mind." "I Heard It Through the Grapevine" was lifted from MacNeal's 1971 solo debut single. It follows the familiar arrangement of the Marvin Gaye classic and MacNeal delivers a robust vocal which with her heavily accented English reminds me of Mariska Veres of Shocking Blue. This cover is pointless but I enjoy it. "Hey, You Love" was written by van Hemert and the album's arranger Harry van Hoof. Much of the tune is stolen from "Rule Britannia" and is largely pedestrian although I like the interplay between MacNeal and Mouth. "Remember (Walking in the Sand)" was taken from the debut Big Mouth single from 1971. Somehow the song is even more melodramatic than the Shangri-Las' classic original with Mouth's histrionic yowling suggesting he's auditioning for a Joe Cocker cover band. Side one closes with "Rosianna" which was written by the Manhattan Transfer's Gene Pistilli along with Terry Cashman and Tommy West and was featured on the Transfer's debut album. It is a rollicking country style song that does not play to the duo's strengths but it is still engaging. Side two opens with van Hemert's </span><span style="font-family: trebuchet;">"Why Did You, Why?" which is a slow soulful song beautifully sung by MacNeal supplemented by some subdued roars from Mouth. "How Do You Do?" was written by van Hemert and van Hoof. When I bought this album I don't think I had heard the song for at least 40 years. I remembered it as a boisterous rocker which it definitely is not, although I was so naïve back then maybe it really did sound rocking to me. Once I got over my initial disappointment that it was not like I remembered, I started to like the song again. It is charming with a touch of bubblegum and to my great surprise an appealing string arrangement. I like the shifts in tone and the contrast between the rowdy sections featuring Mouth and the softer sections with MacNeal although she cuts loose in a few places to show off her own ability to bring the noise. The song is extremely catchy and sticks in my head all day whenever I play it just like it did when I was kid. "Land of Milk and Honey" is another Holten/van Hemert collaboration. It sounds very Europop with a bit of a Mediterranean flavor. Mouth reins in his vocal and listening to him I can easily imagine someone like Tom Jones performing it. Jones could also cover van Hemert and van Hoof's "Tell Me World" which is more bouncy Europop that reminds me of ABBA. "It Happened Long Ago" was written by Leo Bennink and Rudy Bennett and was the b-side of the first Big Mouth single. It has a dramatic arrangement that almost achieves the impossible task of overwhelming Mouth's emoting. The album ends with John Lennon's "Isolation" which was the b-side of MacNeal's debut single. It lacks the intensity of Lennon's version but MacNeal sings it with feeling and I am grateful that Mouth is not around to muck it up. This is definitely a minor record, but I find it mostly entertaining. Mouth and MacNeal work well together. On his own I would find Mouth hard to listen to since he is so intense and overbearing and the material is not strong enough to contain him. MacNeal is more my style and I think she is a good singer, but she isn't good enough to stand out with such ordinary material. Mouth brings the energy and intensity that she lacks. This is exemplified by "How Do You Do?" which probably would have been a hit for anyone, but is made more memorable by their chemistry. I expect some of my fondness for this record is nostalgia and objectively I can't deny that most of the songs are mediocre, so I am hesitant to fully endorse it. I enjoy it but I know I am not going to play it much. Nonetheless if you like the music of this era (I have mixed feelings about it) you will likely find stuff on here that will appeal to you. You could definitely do worse. Recommended to Sonny and Cher fans who dig ABBA.</span></div><p></p>Zothttp://www.blogger.com/profile/12491280907594683144noreply@blogger.com0tag:blogger.com,1999:blog-7263374551391354995.post-46075469315091874392021-10-10T19:30:00.003-07:002021-10-10T19:33:20.917-07:00Folksingers 'Round Harvard Square - Joan Baez, Bill Wood and Ted Alevizos<p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-5pO1rYHLJlc/YWN-j3Q3rVI/AAAAAAAAE7Y/ZBtwMZQbTRwO74Df-rph6716_rrhothmwCPcBGAsYHg/s2937/IMG_7278.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2931" data-original-width="2937" height="319" src="https://1.bp.blogspot.com/-5pO1rYHLJlc/YWN-j3Q3rVI/AAAAAAAAE7Y/ZBtwMZQbTRwO74Df-rph6716_rrhothmwCPcBGAsYHg/s320/IMG_7278.JPG" width="320" /></a></div><br /><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-XPyQ_61fUOY/YWN-qccnIBI/AAAAAAAAE7c/A6Zi58fq-cgl8guOKE-6pDHkXLSiPQV1wCPcBGAsYHg/s3026/IMG_7281.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3026" data-original-width="2953" height="320" src="https://1.bp.blogspot.com/-XPyQ_61fUOY/YWN-qccnIBI/AAAAAAAAE7c/A6Zi58fq-cgl8guOKE-6pDHkXLSiPQV1wCPcBGAsYHg/s320/IMG_7281.JPG" width="312" /></a></div><br /><div><b>Folksingers 'Round Harvard Square</b></div><div><b>Joan Baez, Bill Wood and Ted Alevizos</b></div><div><b>Veritas Records 1</b></div><div><b>1960</b></div><div><b><br /></b></div><div><span style="font-family: trebuchet;">This is easily the most collectible of Joan Baez's officially released records, I sometimes see it priced over $100 which I think is ridiculous if you are going to value it on the basis of quality. I like Joanie and have most of her Vanguard albums all of which are much better than this and a whole lot cheaper as well. I paid about fifteen bucks for my copy which I think is still a bit high but I am glad I have it. Of course the record is collectible because of its rarity much more than the music. It was recorded in Boston in 1959 when Baez was beginning her rise to stardom and prior to her signing with Vanguard. She shares the bill with two other Boston area folk singers, Bill Wood and Ted Alevizos both of whom retreated into academia after this record although Alevizos recorded some albums of Greek folk music as well. Baez dominates the record appearing on ten of the eighteen cuts including six solo performances. She also dominates talent-wise. Wood is a competent singer with a pleasant voice and a good guitar player but his music is completely ordinary. Alevizos has a wonderful voice but his style is old-fashioned. Even on the tentative performances she offers on this record, Baez's charisma and expressiveness are impactful. The record opens with the traditional murder ballad "On the Banks of the Ohio" which Baez recorded again in a superior version on "Joan Baez, Vol. 2." She sings it prettily but without much feeling which is fine with me since I dislike this genre of folk song anyway. She perks up on the spiritual "O What a Beautiful City" which gives her an opportunity to display the electifying power of her voice when she chooses to unleash it full force. My favorite of the six solo performances is her version of the old folk song "Sail Away Ladies." I'd prefer a rawer country arrangement but there is no denying the appeal of Baez voice in full flight. "Black is the Color" is not my type of song but I can't fault the beauty of Baez's interpretation although she gives a stronger performance of the song on "<a href="https://vinylexam.blogspot.com/2012/01/joan-baez-in-concert-part-1-joan-baez.html" target="_blank">Joan Baez In Concert Part 1</a>." I think anyone who heard her perform this would know she was going to be a star. "Lowlands" is an old sea shanty that she sings in a far too subdued manner for my liking. "What You Gonna Call Your Pretty Little Baby" is a religious song about the birth of Jesus also known as "Mary Mary" and "Virgin Mary." I don't like the song but Baez's strong vocal makes it tolerable to me. "Kitty" is a duet between Baez and Wood. She sings harmony for the most part but has a verse for herself. Needless to say I find myself focusing entirely on Baez although I like the vigor of Wood's guitar work. It was originally recorded by the ballad duo Marais and Miranda. "So Soon in the Morning" is an uptempo spiritual driven by Wood's dynamic guitar. Baez does not have much space to do her thing but it is an engaging track. The country flavored "Careless Love" is my favorite track on the record. Baez mostly sings harmony but I find her loose and playful performance charming, even a little bit sexy. The song is about the consequences of premarital sex. Bill Wood kicks off side one with his solo performance of "Le cheval dans la baignoire" (misspelled "beignoire" on the cover) which was written by the French singer Stéphane Golmann (also misspelled on the cover.) Wood starts the song by reciting the story of the song in English and then he sings the song in French. It is an energetic performance mostly played for humor. "John Henry" is such a familiar song I don't see the point of covering it. I like Wood's energetic fast-paced guitar work but his vocal is not up to the task of making his cover interesting. "Travelin' Shoes" is a nice I-gotta-ramble type song that needs more grit than Wood can provide. "The Bold Soldier" is an old fashioned style performance akin to the likes of Burl Ives who recorded the song himself. Ted Alevizos takes his turn with the mournful "Walie Walie" which is also known as "When Cockle Shells Turn Silver Bells." He sings the song beautifully but his performance could have been recorded in the 1920s, he makes Baez seem even more utterly contemporary by comparison. This is also the case with the glacially slow "Rejected Lover." "Astrapsen" is a Greek song that inspires Alevizos to deliver his most animated performance. I like it so much that I'd probably be tempted to buy one of his Greek records if I came across a cheap one in the bins. Unfortunately the energy of this song dissipates with the dreary "Lass From the Low Country" which puts me to sleep. The album ends on a high note with a stirring performance by the trio on the spiritual "Don't Weep After Me." Alevizos is a strong singer but Baez cuts right through him with her soaring soprano but she is nice enough not to overwhelm her partners too often although it obvious she could blow them off the stage. I don't encourage anyone to run out and grab this record unless you are a Joan Baez completist with deep pockets. I like parts of it but there aren't enough of those parts to get me to sit through the whole thing very often. Side one is all Baez and I imagine most owners of this record just play that side but I would rather just listen to one of her early Vanguard albums. If you are a fan of commercial folk music from the 1940s and 1950s and you come across a reasonably priced copy of this, you probably won't regret buying it. It is too genteel for me but I appreciate its merits. Recommended to fans of the Weavers.</span></div>Zothttp://www.blogger.com/profile/12491280907594683144noreply@blogger.com0tag:blogger.com,1999:blog-7263374551391354995.post-7501835596237671842021-07-03T20:59:00.003-07:002021-08-23T14:53:30.082-07:00Joy - Apollo 100<div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-mLD45FkyEE8/YNlITBRS4II/AAAAAAAAE2w/ZcL-jqUY1g0p00qhq3s3EPM6auVAaRE5wCPcBGAsYHg/s2836/joy2.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2836" data-original-width="2818" height="320" src="https://1.bp.blogspot.com/-mLD45FkyEE8/YNlITBRS4II/AAAAAAAAE2w/ZcL-jqUY1g0p00qhq3s3EPM6auVAaRE5wCPcBGAsYHg/s320/joy2.JPG" /></a></div><br /><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-mJlOxjD2844/YNlIbHDyIbI/AAAAAAAAE20/67OUsqf8hf0KGa6C4oy98Hof3hUHW0ayQCPcBGAsYHg/s2828/joy.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2828" data-original-width="2826" height="320" src="https://1.bp.blogspot.com/-mJlOxjD2844/YNlIbHDyIbI/AAAAAAAAE20/67OUsqf8hf0KGa6C4oy98Hof3hUHW0ayQCPcBGAsYHg/s320/joy.JPG" /></a></div><br /><div><b>Joy</b></div><div><b>Apollo 100</b></div><div><b>Mega Records M31-1010</b></div><div><b>1972</b></div><div><b><br /></b></div><div><span style="font-family: trebuchet;">I have a long history with this ridiculous record. When I was a kid my sister took ballet classes and my mother would force me to go to her dance recitals which I regarded as torture. At one of them however the girls danced to the title track of this album, "Joy" which is a rock version of J. S. Bach's "Jesu, Joy of Man's Desiring." I was not into music back then but the song absolutely enthralled me. The song was a top ten hit in the U.S. so I began to hear it occasionally on the radio although I failed to catch the artist. You couldn't just whip out your phone and ask it what you were hearing back then, you couldn't even whip out your phone since it was hard wired into the wall of your home. The years went by and I became obsessed with the Beatles and other 1960s bands and I lost interest in tracking down this record. By the time I was in college I was into Bach and had acquired multiple copies of his arrangement of the song. I didn't think I needed this version but occasionally I would hear it on the radio or in a movie and realize that it still appealed to me. Eventually more than thirty years after I first heard the song as a child I finally bought this album. I have to admit that even now when I put it on the turntable and hear the harpsichord riff for "Joy" fading up, I still get a little excited. The song is so kinetic and engaging I can't resist its allure. Unfortunately that is not true for the rest of the album, in fact none of it even comes close. Apollo 100 was a bunch of studio musicians led by keyboardist Tom Parker who seems to have specialized in instrumentals and pop arrangements of classical music. "Mad Mountain King" is a stiff arrangement of Grieg's "Hall of the Mountain King" which is in total contrast to the effervescence of "Joy." The song picks up steam in the end but I've heard symphony orchestras rock more convincingly than this. "Mendelssohn's 4th" is taken from the second movement of his "Symphony No. 4 in A Major." It is a ludicrously jaunty arrangement that is a vulgar travesty of the original work which I suppose you could argue is the most rock and roll approach one could take to this but I still don't like it.</span><span style="font-family: trebuchet;"> "Evil Midnight" is an arrangement of Saint-Saëns' "Danse Macabre" that sacrifices much of the mood and atmosphere of the original for energy. It sounds like something you would hear in Disneyland aside from the dumb drum solo. Parker returns to Bach for "Air for the G String" which was adapted from the second movement of his "Orchestral Suite in D Major." The beginning of the song follows the Bach model but then Parker takes it in a jazzier direction complete with a sax solo and vibes. My fondness for the Bach original prevents me from endorsing this, but I give Parker points for trying something different. He also has an arrangement from a more modern composer namely Leroy Anderson and his "Jazz Pizzicato" although that piece is already so pop music oriented that Apollo 100 essentially plays it as written. Parker contributed a few of his own songs to the record. I think the most interesting one is</span><span style="font-family: trebuchet;"> "Tamara" which he co-wrote with Brian Hunter and Tony Ritchie. </span><span style="font-family: trebuchet;"> For the most part it sheds the classical pretentions for a pop melody and a heavy section in the middle. Its chamber pop style suits Parker extremely well and I wish more of the record sounded like this. His other songs are less successful. </span><span style="font-family: trebuchet;">"Exercise in A Minor" sounds like a classical pianist jamming with a samba band. The pretty but vapid "Classical Wind" could be the soundtrack to a TV commercial. There are two other original songs on the album not written by Parker. "Reach for the Sky" was written by Tony Ritchie and Del Spence. It comes closest to replicating the euphoric sound of "Joy" although it is too derivative to be truly memorable. "Libido" was written by Apollo 100 guitarist Vic Flick and Reg Leonard and it features a pleasant melody with catchy guitar lines and a tasteful string arrangement. It sounds like a cross between a European film soundtrack and a Belle and Sebastian outtake. I have no regrets about buying this album but I wish more of it sounded like "Libido" and "Tamara" and less of it featured "rock" versions of the classics. When I was younger I was into prog-rock and appreciated the idea of classical-rock fusion. I have less tolerance for it now, but even back then I think I would have found Parker's style to be insipid. I prefer the audacious vulgarity that Emerson, Lake and Palmer brought to their heavy interpretation of "<a href="https://vinylexam.blogspot.com/2017/01/pictures-at-exhibition-emerson-lake.html" target="_blank">Pictures at an Exhibition</a>" which seems like an experiment worth trying. Parker's approach just sounds like he is dumbing down the music to me. The exception of course is "Joy" which does fuse the dynamic quality of rock with Bach's original music. Bach has always been the exception that proves the rule. From Paul Simon to Procol Harum to the Toys to the New York Rock and Roll Ensemble, Bach's music has frequently been successfully transposed to rock probably because the strength of his musical motifs lends itself to rock melodies. I can't unconditionally recommend such a silly record especially since you can just buy the single of "Joy" and likely have all the Apollo 100 you will ever need. However if you love "Joy" as much as I do and you come across this album (which is generally pretty cheap), you will probably find stuff you like on it if you buy it. I don't play it much but I enjoy it when I do. Recommended to fans of Focus.</span></div>Zothttp://www.blogger.com/profile/12491280907594683144noreply@blogger.com0tag:blogger.com,1999:blog-7263374551391354995.post-47696887105632163702021-05-30T21:30:00.005-07:002021-05-30T21:36:49.245-07:00Folk Rock - The Fleetwoods<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-NywePwXUrkw/YLQ8Hd7cayI/AAAAAAAAE14/Ls2qQIkxGJsZ3HvPonKOw--tWmCCPSgPQCPcBGAsYHg/s2755/folk.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2748" data-original-width="2755" src="https://1.bp.blogspot.com/-NywePwXUrkw/YLQ8Hd7cayI/AAAAAAAAE14/Ls2qQIkxGJsZ3HvPonKOw--tWmCCPSgPQCPcBGAsYHg/s320/folk.JPG" width="320" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-hP1U7oVn88E/YLQ8HVt_dEI/AAAAAAAAE14/qTmsJVT-fTkaUmP9gsoL46RJfnC8FAx5gCPcBGAsYHg/s2763/folk2.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2750" data-original-width="2763" src="https://1.bp.blogspot.com/-hP1U7oVn88E/YLQ8HVt_dEI/AAAAAAAAE14/qTmsJVT-fTkaUmP9gsoL46RJfnC8FAx5gCPcBGAsYHg/s320/folk2.JPG" width="320" /></a></div><br /><div style="text-align: left;"><b>Folk Rock</b></div><div style="text-align: left;"><b>The Fleetwoods</b></div><div style="text-align: left;"><b>Dolton BLP-2039</b></div><div style="text-align: left;"><b>1965</b></div><div style="text-align: left;"><b><br /></b></div><div style="text-align: left;"><span style="font-family: trebuchet;">I am a sucker for folk-rock. Slap that label on an album and I'll probably buy it or at least think long and hard about it. I didn't even hesitate about this one, I bought it as soon as I saw it. I am a fan of the romantic lush pop recorded by the Fleetwoods in the late 1950s and early 1960s so even though I was pretty sure this was not really folk-rock, I knew I wanted it. This was their final album and it seems like a desperate attempt to stay relevant with the changing times, but I find it worthwhile and enjoyable. About half the record is folk-rock and most of the remainder is commercial pop given a "folk-rock" treatment, namely jangly electric guitars over a rock rhythm section. The group's vocal harmonies are the biggest strength of the record and the primary reason I play this when I could be listening to the Byrds instead. The group tackles several folk-rock classics. Their cover of Bob Dylan's "All I Really Want To Do" regrettably sounds more like the Cher version than the Byrds version but I dig the Fleetwoods' vocals more than either. The arrangement for Dylan's "It Ain't Me Babe" was obviously lifted from the Turtles' hit version. It lacks the force of the Turtles' version but sounds very pretty nonetheless. Their version of Sylvia Fricker's "You Were On My Mind" closely imitates the hit version by We Five right down to the big hooky bass line that drives it. The vocal is a little stiff, but I like the group's enthusiasm. Their version of Gordon Lightfoot's "For Lovin' Me" is weirdly given a bossa-nova style arrangement rather than a folk-rock one even though it is an actual folk song. It sounds lovely and I like it a lot but it does not mesh with the rest of the album. I have my doubts about the folkiness of Gale Garnett's "We'll Sing In The Sunshine" even though she stuck it on an album called "My Kind of Folk Songs" and it charted on Billboard's country chart. The arrangement is straight pop and the song suits the Fleetwoods very well. I prefer it to the original. The rest of the songs are basically pop songs. Lee Hazlewood's "Not The Lovin' Kind" was a top 40 hit for Dino, Desi and Billy and the Fleetwoods' performance sounds very similar. It is not a folk song but I think it is the most convincing folk-rock performance on the album. Their version of the Toys' hit "A Lover's Concerto" begins with some harpsichord suggesting a chamber pop approach befitting its J. S. Bach origin, but then the jangly guitar and rhythm section kick in giving it an unconvincing folk-rock sound. "You Can't Grow Peaches On a Cherry Tree" has a vaguely folk feel to it but it could also be an easy listening song. I presume they picked it because the Browns released it as a single around this time and they have a similar sound. It was also covered by Nancy Sinatra later. Jerry Cole's "Run, Don't Walk" sounds more surf than folk-rock to me and rocks about as hard as any Fleetwoods' song I have ever heard. Their cover of the Fortunes' British Invasion hit "You've Got Your Troubles" also doesn't sound like folk-rock and sticks to the hit version for its arrangement. I like it more than the hit version because I prefer the Fleetwoods' vocal. I never bought Sonny and Cher as a folk-rock act and the Fleetwoods cover of their "Baby Don't Go" doesn't even bother to force it into a folk-rock arrangement. Since I can barely tolerate Sonny Bono's nasal whine I prefer the Fleetwood version once again for its superior vocal. The concluding song on the album "This Is Where I See Her" was written by John McCartney and the album's arranger Billy Strange. Although it has a folk-rock arrangement, it is straight romantic pop with a nice swelling chorus. It is perfect for the Fleetwoods' style and I wish more of the record sounded like it. It is easily my favorite track and although the Fleetwoods were obviously out of touch with the zeitgeist of the time this song suggests they might have had a future if they had followed this vein a little. This song's quality does make me regret that this was the Fleetwoods' final album. This record is too much of an oddity for me to endorse it whole-heartedly, I suspect some Fleetwoods fans will be alienated by its rocked up sound and non-fans may dismiss it as derivative. I personally eat it up and play it more than any of my other Fleetwood albums even though I fully recognize that it is not up to the standard of their classic work. It is not all that easy to find but if you are a folk-rock nut like me you might want to give it a try if you stumble upon a copy. Recommended to fans of the Tokens.</span></div><p></p>Zothttp://www.blogger.com/profile/12491280907594683144noreply@blogger.com0tag:blogger.com,1999:blog-7263374551391354995.post-58602820541318064512021-05-02T20:16:00.001-07:002021-05-02T20:16:29.704-07:00Stockholm 67 - The Electric Prunes<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-Pu3Q4YM4Ffc/YI9IRQSq2OI/AAAAAAAAE0s/hIlwX57YS84mzgkZUYNqODnam2oy3q9RACPcBGAsYHg/s2836/prunes.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2836" data-original-width="2819" height="320" src="https://1.bp.blogspot.com/-Pu3Q4YM4Ffc/YI9IRQSq2OI/AAAAAAAAE0s/hIlwX57YS84mzgkZUYNqODnam2oy3q9RACPcBGAsYHg/s320/prunes.JPG" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-zKd5tw2wJzQ/YI9IRY3fw2I/AAAAAAAAE0s/f9UaMskVXugwrusfOjm_Krl69jZh_Lh5QCPcBGAsYHg/s2717/prunes2.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2717" data-original-width="2652" height="320" src="https://1.bp.blogspot.com/-zKd5tw2wJzQ/YI9IRY3fw2I/AAAAAAAAE0s/f9UaMskVXugwrusfOjm_Krl69jZh_Lh5QCPcBGAsYHg/s320/prunes2.JPG" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-z-iz6EpOX0g/YI9IRXZxoWI/AAAAAAAAE0s/kIUOfK_3yr0EVv73vjdBH_davEfnN_pDQCPcBGAsYHg/s3770/prunes3.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1889" data-original-width="3770" src="https://1.bp.blogspot.com/-z-iz6EpOX0g/YI9IRXZxoWI/AAAAAAAAE0s/kIUOfK_3yr0EVv73vjdBH_davEfnN_pDQCPcBGAsYHg/s320/prunes3.JPG" width="320" /></a></div><br /><div style="text-align: left;"><b>Stockholm 67</b></div><div style="text-align: left;"><b>The Electric Prunes</b></div><div style="text-align: left;"><b>Sutro Park SP1010</b></div><div style="text-align: left;"><b>2012</b></div><div style="text-align: left;"><b><br /></b></div><div style="text-align: left;"><span style="font-family: trebuchet;">I like the first three albums by the Electric Prunes, "The Electric Prunes," "Underground" and <a href="https://vinylexam.blogspot.com/2012/04/mass-in-f-minor-electric-prunes.html">"Mass in F Minor,"</a> but I think if you are going to own just one Prunes album this is the one to get. It is a live album professionally recorded by Swedish radio from a concert in Stockholm in December 1967. Since the Prunes were undermined by their management and record company during their recording sessions, this live album arguably represents the purest and most effective expression of the Prunes' vision and capabilities as a band. There are only eight songs but the band offers up high energy and elongated versions of them that shred the original studio recordings. The album opens up with "You Never Had It Better" which was the B-side of a single. The studio version is a riff-driven psych rocker that is one of my favorite Prunes tracks. The live version follows that blueprint but with a more thunderously heavy performance. Ken Williams has a blistering guitar solo that is even better than the smoking studio version. Vocalist James Lowe apologizes for America's involvement in the Vietnam War prior to launching into the Prunes' biggest hit "I Had Too Much to Dream (Last Night)." The song is missing the psychedelic sound effects of the studio version but otherwise sounds similar. "Try Me on for Size" was on their first album. It opens with a blast of acid rock guitar that is right out of the Big Brother and the Holding Company playbook before launching into the song's hypnotic riff. Lowe's vocal is far more impassioned than the studio version and Williams unleashes an extended killer guitar solo that I find thrilling. Mark Tulin's bass solo is less compelling but energetic. The song evolves into an acid rock jam that is unlike any of their studio recordings. This is the highlight of the record for me. The record slows down with "I Happen to Love You" which was on "Underground." Lowe introduces the song as a Monkees reject that they picked up. Lowe's vocal is grittier than the studio version and the band's performance is heavier with a wonderful rave-up at the end. Side two opens with a cover of Muddy Waters' blues classic "I Got My Mojo Workin'." The song is more garage-psych than it is blues however with Tulin laying down a mesmerizing bass riff over which Williams unleashes sizzling torrents of acid rock guitar. Lowe delivers a riveting vocal that reminds me of Jim Morrison at this best. "Long Day's Flight (Til Tomorrow)" is another track from "Underground." Williams and Lowe again shine on this track which crushes the studio version with its power and energy. It is followed by a tremendously exciting cover of Howlin' Wolf's "Smokestack Lightning" which is highlighted by Lowe's charismatic vocal and William's dynamic guitar runs. The song was probably inspired by the Yardbirds' classic cover which has long been my favorite version, but this one is arguably even more exhilarating. The record concludes with "Get Me to the World on Time" which was the band's second top 40 single. The band kicks out the jams on the song with electrifying riffing from Tulin and Williams that gives the record an explosive finish. What a breath-taking set! I wish I could have been there. I first heard this on CD about 20 years ago and it was revelatory to me. I was a fan of the Prunes but I had no idea they were this talented. I was thrilled when it finally came out on vinyl in 2012 in a very handsome package. It is among my favorite records. If you like edgier garage rock or hard-psych this is a must have. I rate it among the best recordings of the genre. Recommended to fans of the Chocolate Watchband.</span></div><p></p>Zothttp://www.blogger.com/profile/12491280907594683144noreply@blogger.com0tag:blogger.com,1999:blog-7263374551391354995.post-88315171213129959092021-03-07T18:01:00.002-08:002021-07-07T14:23:32.203-07:00Electronic Sound - George Harrison<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtxkEkki_ZTvHCMatcNVFm4zU2MaK3z1CTEPyfwO1x5dOV1hHVybFcml_HQZinibvLbm-uZb5vug3ZE3zFDnGyoqTL2K0Q2kuvnvKJeSlx0GwbDNGnuz6ZTekH9jYXO-YgJ1JJdkqpLPyK/s2796/electronic.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2796" data-original-width="2771" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtxkEkki_ZTvHCMatcNVFm4zU2MaK3z1CTEPyfwO1x5dOV1hHVybFcml_HQZinibvLbm-uZb5vug3ZE3zFDnGyoqTL2K0Q2kuvnvKJeSlx0GwbDNGnuz6ZTekH9jYXO-YgJ1JJdkqpLPyK/s320/electronic.JPG" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-RChIXaBY9D8/YEVh4dz0p0I/AAAAAAAAEzI/tWOYQNhbZ6kDfEDZrQRTFMsyf0XipE1AwCPcBGAsYHg/s2842/elec2.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2828" data-original-width="2842" src="https://1.bp.blogspot.com/-RChIXaBY9D8/YEVh4dz0p0I/AAAAAAAAEzI/tWOYQNhbZ6kDfEDZrQRTFMsyf0XipE1AwCPcBGAsYHg/s320/elec2.JPG" width="320" /></a></div><p></p><div style="text-align: left;"><b>Electronic Sound</b></div><div style="text-align: left;"><b>George Harrison</b></div><div style="text-align: left;"><b>Zapple ST-3358</b></div><div style="text-align: left;"><b>1969</b></div><div style="text-align: left;"><b><br /></b></div><div style="text-align: left;"><span style="font-family: trebuchet;">I don't think it is unfair to suggest that if George Harrison hadn't been a Beatle who happened to own his own record company, this recording would never have found its way onto vinyl. It consists of two side long recordings of experimental music performed on a Moog synthesizer. Side one is listed on my version of the album as "Under the Mersey Wall" but it is actually "No Time or Space" which was recorded in Los Angeles in 1968. Reportedly it is actually an edit of a demonstration of the Moog for Harrison by electronic music pioneer and Moog sales rep Bernard Krause who was upset that Harrison appropriated it without permission for his record. It begins with percussive bursts that sound like gunfire before some sci-fi style noodling emerges. They are punctuated by short blasts of white noise that sound like escaping air. Krause expands his palette of sounds in a variety of ways but the structure of short figures of melody interspersed with percussive sounds continues. It actually does sound like someone attempting to demonstrate all the capabilities of the instrument. It goes on for 25 minutes and I usually find it tedious to listen to but if I am feeling mellow I can make my way all the way through it and even appreciate some of it, particularly the sci-fi passages which have some psychedelic charm. There is an energetic section about two-thirds of the way into the recording which I find stimulating if I am in the right mood, it sounds like someone destroying a ship's horn while tap dancing on a synthesizer keyboard. If nothing else it does display Krause's impressive skill with the instrument. Krause was so miffed with Harrison that he chose not to share this skill with him which left Harrison at a disadvantage when he later recorded side two in England which he entitled "Under the Mersey Wall." This one is mercifully shorter clocking in at a mere 18 minutes. Harrison sounds like a guy who is learning a new instrument, he is far less dynamic and bold than Krause but he also has more of a pop sensibility so his noodling is more melodic. He is drawn to drones which is appealing to me and he is less inclined than Krause to deliver blasts of noise. He uses the Moog more like a conventional synthesizer. I would appreciate it if the recording was more structured and less tentative, but I do find it mostly pleasant and if I am in the right frame of mind, even engaging. On the rare occasions that I pull this off the shelf, I generally just listen to "Under the Mersey Wall." I can't say that I'm sorry that Harrison didn't pursue electronic music beyond this album, but I think he could have become pretty good at it. I generally would rather listen to "Under the Mersey Wall" than most of "Living in the Material World." Many Beatles fans dislike this record, but I respect it and admire Harrison's adventurous spirit in creating it. One could argue that it was a display of arrogant self-indulgence that Harrison believed his experiments were worthy of a public audience, but he did get a chump like me to fork over 15 bucks for a used copy of this album so I don't think he was wrong. I have no regrets about buying it and I listen to it more than John and Yoko's experimental records (although I think they are more interesting.) Recommended to people who think Eno is too pop-oriented.</span></div>Zothttp://www.blogger.com/profile/12491280907594683144noreply@blogger.com0tag:blogger.com,1999:blog-7263374551391354995.post-52146044852452886452021-01-18T22:56:00.000-08:002021-01-18T22:56:15.325-08:00We Shall Overcome - The Freedom Singers<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-hvwk54cd8HM/YAYgIZtDRgI/AAAAAAAAEtU/IWLtjs1lNlAS0TmJxA_aCKwShoufeV9ygCPcBGAsYHg/s2907/Freedom.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2907" data-original-width="2890" height="320" src="https://1.bp.blogspot.com/-hvwk54cd8HM/YAYgIZtDRgI/AAAAAAAAEtU/IWLtjs1lNlAS0TmJxA_aCKwShoufeV9ygCPcBGAsYHg/s320/Freedom.JPG" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-uJ3eLkWq2Q0/YAYgIZfXVBI/AAAAAAAAEtU/368nCLQVgTANautX3KcsthU870IfLwlcACPcBGAsYHg/s2882/freedom2.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2851" data-original-width="2882" src="https://1.bp.blogspot.com/-uJ3eLkWq2Q0/YAYgIZfXVBI/AAAAAAAAEtU/368nCLQVgTANautX3KcsthU870IfLwlcACPcBGAsYHg/s320/freedom2.JPG" width="320" /></a></div><br /><div style="text-align: left;"><b>We Shall Overcome</b></div><div style="text-align: left;"><b>The Freedom Singers</b></div><div style="text-align: left;"><b>Mercury MG 20879</b></div><div style="text-align: left;"><b>1963</b></div><div style="text-align: left;"><b><br /></b></div><div style="text-align: left;"><span style="font-family: trebuchet;">This is a post in honor of MLK day. Lately during these divisive and tumultuous times, I have been listening to political music from the 1960s, much of it folk music. The debut album by the Freedom Singers is one of my favorites. The group came out of the Student Nonviolent Coordinating Committee and several members were field secretaries for SNCC. They were formed to spread the message of civil rights equality and to raise funds for SNCC activities. I first encountered the group on an album called "Newport Broadside" which features political songs from the 1963 Newport Folk Festival. I bought it because I was interested in the songs performed by Bob Dylan and Phil Ochs but the three tracks by the Freedom Singers greatly impressed me. Aside from Joan Baez they are easily the best singers on the record which is otherwise comprised of music by white folkies. Two of the tracks they performed are also on this record, "Dogs" and "Get on Board." I was so impressed that I bought this record when I came across it in a record store many years ago. The record opens with "Dogs" by civil rights activists James Bevel and Bernard Lafayette which uses the ability of different breeds and types of dogs to get along as a comparison for race relations. The group performs acapella as they do throughout the album with only handclaps for percussive support. They are applauded at the end of the song so I assume they had a small audience present when they recorded this album. "Woke Up" is derived from an old gospel song but the lyrics have been adapted to focus on freedom rather than Jesus. The group are superb singers and their harmonies are very invigorating to hear. This is one of my favorite tracks on the album. Next up they tackle the popular traditional folk song "I'm a Man of Constant Sorrow." They have changed the setting of the song from Kentucky to Georgia where the group was formed and where most of them are from. The song is not specifically about the civil rights struggle nor is Leadbelly's "Sylvie" which they perform after it. The song is also known as "Bring Me Little Water Sylvie" and describes a thirsty farm worker seeking water. The group deliver a powerful interpretation of the song that gets a strong reaction from the audience. This is followed by another Leadbelly song "Pick a Bale of Cotton" which also has no obvious connection to the civil rights movement aside from perhaps the hardships suffered by black farm laborers. I'm not complaining though as the group delivers a very spirited performance. "We Shall Overcome" is such a cliché at this point I have trouble relating to it. Whenever I hear Pete Seeger or Joan Baez singing it, I wince. However the Freedom Singers are such skilled singers that they keep my attention as they deliver it and restore some of its potency for me. Side two opens with "Ain't Gonna Let Nobody Turn Me Around" which is derived from a gospel song but instead of heading to heaven they are marching to freedom with topical references to segregation and reactionary city commissioners. It is a heartfelt and stirring performance. "We Shall Not Be Moved" is another spiritual that has been adapted for civil rights activism and given an energetic interpretation by the group driven by their wonderful harmonies. It is followed by a mournful version of "Cotton-Eyed Joe" that will be unrecognizable to fans of Rednex's high energy dance song. I don't perceive any connection to the civil rights aside from the song's pre-Civil War origins as a song sung by slaves on plantations. "Get On Board" is derived from a 19th Century gospel song called "The Gospel Train." Instead of riding to Zion, the song encourages fighting for human rights and freedom with topical references to getting arrested and resisting angry mobs. It is a very engaging rendition. This theme continues on "Freedom Train" where the slow somber pace of the song showcases the remarkable vocal harmonies of the group. The album concludes with an enthusiastic performance of the gospel song "This Little Light of Mine" that substitutes the light of freedom for the light of God and gives the record an impassioned and uplifting finish. When I was younger I was a fan of more pointed and aggressive political music, but as I've gotten older I prefer more subtle music like this that stresses emotion over dogma. Much of this music is not overtly political at all but I think its aura of brotherhood and decency is more effective than most political music that I have heard. Even beyond the lyrical content, the remarkable singing skill and the warmth of the performances make this an enormously appealing album. I find it makes an inspirational soundtrack for contemplating the legacy of Dr. King and the Civil Rights Movement and hoping that during the difficult days ahead that this country will still reach the promised land of racial equality. Recommended to fans of the Impressions.</span></div><p></p>Zothttp://www.blogger.com/profile/12491280907594683144noreply@blogger.com0tag:blogger.com,1999:blog-7263374551391354995.post-76717119444714150762021-01-13T17:04:00.010-08:002021-06-21T17:48:11.548-07:00Christmas Party - The Monkees<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-jefJpi--xlM/X_EcOtUn59I/AAAAAAAAErU/-cVJgFnWKyUdjMr1R9E2rZgH9reOMoXhACPcBGAsYHg/s2791/IMG_6928.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2750" data-original-width="2791" src="https://1.bp.blogspot.com/-jefJpi--xlM/X_EcOtUn59I/AAAAAAAAErU/-cVJgFnWKyUdjMr1R9E2rZgH9reOMoXhACPcBGAsYHg/s320/IMG_6928.JPG" width="320" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-hPJ6oKOsI3w/X_EcOoCWUoI/AAAAAAAAErU/NToOg8AX2DQeApOAuvIDChom4nD6z3SPwCPcBGAsYHg/s2868/IMG_6932.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2840" data-original-width="2868" src="https://1.bp.blogspot.com/-hPJ6oKOsI3w/X_EcOoCWUoI/AAAAAAAAErU/NToOg8AX2DQeApOAuvIDChom4nD6z3SPwCPcBGAsYHg/s320/IMG_6932.JPG" width="320" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-64rBSkksi6w/X_EcOr85PxI/AAAAAAAAErU/zwnZVsVclsswgHYo57al5St7jLnBZsxYQCPcBGAsYHg/s4027/IMG_6922.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1971" data-original-width="4027" src="https://1.bp.blogspot.com/-64rBSkksi6w/X_EcOr85PxI/AAAAAAAAErU/zwnZVsVclsswgHYo57al5St7jLnBZsxYQCPcBGAsYHg/s320/IMG_6922.JPG" width="320" /></a></div><br /><div style="text-align: left;"><b>Christmas Party</b></div><div style="text-align: left;"><b>The Monkees</b></div><div style="text-align: left;"><b>Rhino RI 573134</b></div><div style="text-align: left;"><b>2018</b></div><div style="text-align: left;"><b><br /></b></div><div style="text-align: left;"><span style="font-family: trebuchet;">This was my go-to record this past Christmas. Even though I knew this would not really be a Monkees album when it came out, I was still excited to get it last year. It is basically a Micky Dolenz record with cameos from Michael Nesmith and Peter Tork, plus some archival recordings by Davy Jones. To be even more accurate it is closer to being a Fountains of Wayne album with lead vocals by Dolenz which I think is probably a good thing. I love the Monkees but I have my doubts about Dolenz on his own and besides I am also a Fountains of Wayne fan. That band's Adam Schlesinger played bass and keyboards for most of the tracks and produced most of it as well. He brought in bandmate Brian Young to play drums on the record and Jody Porter for a track as well. Schlesinger had also had a big role in the prior Monkees' album "Good Times!" He died last year of Covid-19 which along with Peter Tork's passing in 2019 gives this record a special poignancy for me. The album opens with "Unwrap You At Christmas" by XTC's Andy Partridge which features a bouncy poppy tune to accompany mildly salacious lyrics. "What Would Santa Do" was written by Rivers Cuomo of Weezer. It is a punchy tune with an ebullient chorus and amusing lyrics in which the singer gets cuckolded by Santa Claus so you know this record is not directed at the kiddies. Davy Jones sings "Mele Kalikimaka" by Robert Alex Anderson. The vocal is lifted from a Christmas cassette Jones made in 1991 with Chip Douglas featuring new instrumental backing from Schlesinger and crew. It is the sort of music hall type song Jones excelled at and his performance is very charming. "House of Broken Gingerbread" was written by Schlesinger and Michael Chabon. It is power pop with psych overtones featuring an inspired vocal from Dolenz that reminds me of the Monkees' "Porpoise Song." The lyrics describe more Christmas debauchery. Michael Nesmith croons the venerable classic "The Christmas Song" by Robert Wells and Mel Tormé which is given a lush interpretation with country embellishments courtesy of Pete Finney's steel guitar. Even in his prime Nesmith did not have the chops to handle this song, but I find his clumsy yet sincere vocal rather endearing. His son Christian produced and arranged the song and plays guitar and keyboards on it as well. "Christmas Party" was written by power pop heavies Peter Buck and Scott McCaughey. It is the most raucous and hard rocking song on the album as is appropriate for a song about a wild Christmas party that name checks James Brown, Darlene Love and, in a nod to Monkees fans, Auntie Grizelda. The song opens with some Monkees dialogue that I assume was lifted from their TV series. The side concludes with a lovely cover of Big Star's "Jesus Christ" by Alex Chilton. Prior to this album I would never have believed that Micky Dolenz would someday be singing a song from "Third" but here it is and he does it very convincingly. Side two opens with a cover of Wizzard's "I Wish It Could Be Christmas Everyday" by Roy Wood. It is an exuberant song with a sunshine pop sound worthy of the Turtles. Jones takes on another Christmas classic with Jay Livingston and Ray Evan's "Silver Bells." Once again the vocal is lifted from Jones's Christmas cassette with tasteful new instrumental backing. The song suits Jones very well. Dolenz returns with a delightful cover of Paul McCartney's "Wonderful Christmastime." It sticks pretty close to the McCartney version and is one of my favorite tracks on the album. Nesmith dips into the past with his version of Claude and Ruth Thornhill's "Snowfall" which dates back to 1941. The song was produced by Nesmith's son Jonathan who also plays all the instruments and sings back up. Nesmith's vocal is pretty weak but his son covers up for him with a very dense and rich arrangement. Peter Tork finally makes an appearance humbly warbling "Angels We Have Heard On High" in a bare bones country arrangement featuring Tork on banjo. Tork's voice sounds frail presumably due to his illness, but I nonetheless find his performance moving and charming, easily the most authentic moment on the album. Dolenz gets to break out his soul man schtick for the rhythm and blues Christmas classic "Merry Christmas, Baby" by Lou Baxter and Johnny Moore. The song is given a heavy lumbering treatment that gives Dolenz plenty of room to emote. The record concludes with a 1967 acapella performance of the 16th Century Spanish song "Riu Chiu" which was taken from "The Monkees" tv show and is the only track to feature the group performing together on the record. It is a little jarring to hear the lads sounding so young, but it does give the record a memorable and touching finish. I love this album but I have to admit it is not very cohesive. The Dolenz tracks and the tracks from his bandmates sound like they come from entirely different albums. On the other hand you could say that about some of the original Monkees albums as well. I dig the eclecticism and there are no tracks on here that I do not thoroughly enjoy. It will be spinning on my turntable for many Christmases to come. Recommended to fans of Sloan and the Posies.</span></div><p></p>Zothttp://www.blogger.com/profile/12491280907594683144noreply@blogger.com0tag:blogger.com,1999:blog-7263374551391354995.post-25399836933622308892020-11-30T15:57:00.005-08:002023-03-19T22:42:10.650-07:00John Prine - John Prine<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-nmUNUGKyWOE/X8M3w_pOavI/AAAAAAAAEpY/RZGF4fHsUMANcomGDl6BY6Sy0PjO1ncXQCPcBGAsYHg/s2834/IMG_6707.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2820" data-original-width="2834" src="https://1.bp.blogspot.com/-nmUNUGKyWOE/X8M3w_pOavI/AAAAAAAAEpY/RZGF4fHsUMANcomGDl6BY6Sy0PjO1ncXQCPcBGAsYHg/s320/IMG_6707.JPG" width="320" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-3s5ebEUArHc/X8M3w4VewBI/AAAAAAAAEpY/Iq0A-N7a7AQOwaSsBiMe_vuK4Wn781lKACPcBGAsYHg/s2889/IMG_6708.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2883" data-original-width="2889" src="https://1.bp.blogspot.com/-3s5ebEUArHc/X8M3w4VewBI/AAAAAAAAEpY/Iq0A-N7a7AQOwaSsBiMe_vuK4Wn781lKACPcBGAsYHg/s320/IMG_6708.JPG" width="320" /></a></div><div style="text-align: left;"><b>John Prine</b></div><div style="text-align: left;"><b>John Prine</b></div><div style="text-align: left;"><b>Atlantic SD 8296</b></div><div style="text-align: left;"><b>1971</b></div><div style="text-align: left;"><b><br /></b></div><div style="text-align: left;"><span style="font-family: trebuchet;">As Covid-19 rages unchecked through the country, I feel fortunate that no one close to me has come down with it or succumbed to it. For me the Covid gut check came back in April when I heard that John Prine died from it. It really brought home to me the danger of the virus. I've admired Prine for many years although I have to admit that when I first heard him back in the 1970s as a teenager I was turned off by his homespun voice. Eventually as I developed a taste for country and folk music, I came to appreciate his grit and authenticity. This is my favorite of his albums. It was his debut album and it is stunningly impressive, one of the great debut albums of that era. It is loaded with classic songs that reveal Prine's sensitivity and insight into the lives of ordinary people. Americana doesn't get any better than this. The album opens with the catchy "Illegal Smile" which I always thought was a drug song although Prine claimed it was more about mental escapism. I think it works either way. I assume the reference to being in court with a judge named Hoffman is a reference to the biased judge who presided over the trial of the Chicago 7. "Spanish Pipedream" is another escapist song with humorous lyrics set to a perky country melody. "Hello In There" is one of Prine's best songs. It is a poignant description of an old man's loneliness supported by a very lovely tune. I think "Sam Stone" is Prine's greatest song. It is an incredibly bleak and tragic tale of the downward spiral of a drug-addicted veteran. It is so depressing I would find it unbearable were it not for the brilliance of Prine's unforgettable words. Even though Prine delivers it in a matter-of-fact laconic style the song is absolutely riveting. "Paradise" sounds like an old country classic particularly with Prine's brother Dave driving it with his fiddle. You can easily imagine the Carter Family covering it and I am partial to the covers of it by Jackie DeShannon and the Everly Brothers, but Prine does sing it with more feeling than is typical with him probably because it was a highly personal song for him. It is about the Kentucky town his parents were born in being ravaged by coal company strip mining. The side concludes with "Pretty Good" which is about as close as Prine comes to rocking out on the album. It is slow but noisy and punchy with loud electric guitar and organ runs. It reminds me of Bob Dylan with the Band or Neil Young when he is leaning country. That is even true of the lyrics which are slightly surreal and tongue in cheek. Side two opens with "Your Flag Decal Won't Get You Into Heaven Anymore" which features humorous and understated criticism of supporters of the Vietnam War. "Far From Me" is a mournful country song about a disintegrating relationship driven by Leo LeBlanc's sorrowful steel guitar lines. "Angel From Montgomery" vividly describes the unhappiness of a disillusioned middle-aged woman. My favorite version of this much-covered song is Bonnie Raitt's performance on "Streetlights" but Prine's version is very affecting, particularly Bobby Emmons melancholy organ accompaniment. "Quiet Man" is more vague than most of the songs on the album, but it makes up for its lack of focus with a forceful rock sound that reminds me of the Band. "Donald and Lydia" depicts the love affair between an overweight country girl and a young soldier who though separated in their real lives, meet in their dreams to make love. It is a beautiful song that shows Prine's gift for evocative language. "Six O'Clock News" is a grim song about a troubled young man who kills himself. According to Prine the youth kills himself when he finds out that he was born because of an incestuous relationship between his mother and grandfather. The song is enigmatic enough that I did not realize this from the lyrics, but listening to it after learning about it I can perceive the clues that indicate this. The album concludes with "Flashback Blues" which is a jaunty upbeat tune with a western swing sound courtesy of Noel Gilbert's fiddle playing. In contrast to the cheerful music the lyrics look back on a hard-living past with poetic imagery. If this had been the only album Prine ever recorded he would still have to be considered one of the greatest songwriters in rock. His gift for generating powerful emotions with understated evocative lyrics is almost unparalleled and as a rock wordsmith he ranks with the best American songwriters like Dylan, Randy Newman, John Fogerty, Bruce Springsteen and Dolly Parton. No song on this album is less than good, many are great and four of them, "Hello In There," "Sam Stone," "Paradise" and "Angel From Montgomery," are immortal classics. To my mind that makes this album a masterpiece that everyone ought to own. John Prine was an American treasure and I greatly mourn his passing. Recommended to Springsteen fans whose favorite album is "Nebraska."</span></div>Zothttp://www.blogger.com/profile/12491280907594683144noreply@blogger.com0tag:blogger.com,1999:blog-7263374551391354995.post-68280139139069246712020-10-24T19:01:00.002-07:002022-08-20T23:55:37.122-07:00Jim Brown Tells It Like It Is! - Jim Brown<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-uOUSSlzNklw/X5S0A4QFRLI/AAAAAAAAEoo/hwWcU5dNwGkj0A6LI2OmHqpGTI4qaB4IACPcBGAsYHg/s2725/brown.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2725" data-original-width="2715" height="320" src="https://1.bp.blogspot.com/-uOUSSlzNklw/X5S0A4QFRLI/AAAAAAAAEoo/hwWcU5dNwGkj0A6LI2OmHqpGTI4qaB4IACPcBGAsYHg/s320/brown.JPG" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-8YqInQyFbiw/X5S0A-B_FyI/AAAAAAAAEoo/AUHxo10AbzMXZ15M9ls_VBmRK32oA5rTgCPcBGAsYHg/s2754/brown2.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2724" data-original-width="2754" src="https://1.bp.blogspot.com/-8YqInQyFbiw/X5S0A-B_FyI/AAAAAAAAEoo/AUHxo10AbzMXZ15M9ls_VBmRK32oA5rTgCPcBGAsYHg/s320/brown2.JPG" width="320" /></a></div><br /><div style="text-align: left;"><b>Jim Brown Tells It Like It Is!</b></div><div style="text-align: left;"><b>Jim Brown</b></div><div style="text-align: left;"><b>Main Line Records MLP 101</b></div><div style="text-align: left;"><b>1967</b></div><div style="text-align: left;"><b><br /></b></div><div style="text-align: left;"><span style="font-family: trebuchet;">I bought this at a garage sale in West Hollywood for fifty cents about thirty years ago. I bought it out of curiosity, gave it a single spin and then eventually it ended up on my purgatory shelf of records I'm thinking of discarding. I pulled it out this summer and gave it another spin in the wake of the turmoil and racial activism that was sweeping the country. I was impressed and also depressed that it still sounds relevant today. The record was made to benefit the Negro Industrial and Economic Union (later renamed the Black Economic Union) which Brown founded. The record consists of recordings of Brown's speeches as well as interviews with journalist Bill Jorgensen who also acts as a narrator for the record. The record opens with some football highlights featuring Brown and recordings of civil rights activism before segueing into his speech at Jim Brown Farewell Day at Cleveland Municipal Stadium upon retiring from the National Football League. The speech excerpt contains no reference to football but rather is devoted to racial equality and Brown's beliefs regarding the proper approach to it which involves economic betterment and earning respect. This is followed by Brown explaining his program to Jorgensen in an interview which involves getting black Americans and supportive whites to join his union and providing the members with education, training and financial support through loans. Brown believes economic self-sufficiency will lead to greater racial equality and social integration. Jorgensen next interviews Brown about black nationalists. Brown expresses respect but also distances himself from them because of their lack of organization and their attempts to separate from mainstream society. Brown also makes some general comments about racism and how it deprives black males of their ability to be a "man." The side concludes with some comments about racial violence. He states that the violence is one-sided, that blacks are always on the receiving end of the violence. He also criticizes riots as being unconstructive and a senseless destruction of property. At the end of side one Jorgensen calls Brown a revolutionary and endorses his approach of equality through economic achievement. Side two opens with Brown interviewing a new member of his union in his office. He talks about the membership process. Next Brown discusses the benefits of his union for young people and black businessmen. This is followed by Brown talking about the people who have helped him in his life noting that some of them were white. He argues that although racism is prevalent in American society, that there are sympathetic white people who can help the movement. The next track is about black pride. He approves of the expression of pride in their African heritage by young blacks. He talks about his use of the term "negro" instead of "black" or "Afro-American" (which he does throughout the record) which I don't understand. He doesn't justify it, just notes that you can get away with it if you don't act like an "Uncle Tom." He again addresses black nationalism which he associates with young people on the West Coast. He is sympathetic but rejects economic separatism considering it an impossibility. He next speaks about black Muslims whose popularity he attributes to racism. He believes they would be irrelevant if there was racial equality. This leads into a discussion about Muhammad Ali whose defiant position he attributes to the historical emasculation of the black man. I'm not sure why he feels a need to defend Ali or why he chooses such a convoluted defense. He doesn't agree with Ali but he does not oppose him either. He positions himself somewhere in between Ali and Martin Luther King Jr. who he also does not agree with. The record concludes with Jorgensen outlining and defending Brown's positions presumably addressing white listeners which is reinforced by a clip of John F. Kennedy asking white people to try to relate to black Americans' frustration and impatience with racial inequality. I suspect that white people are the principle target of this record. It is so defensive and wary about being offensive that I think some black listeners of the time would have found it condescending or wishy-washy. It is also extremely male-centric. Brown's perspective is defined by a macho interpretation of masculinity. He rarely has anything to say about black women. He even complains about black men's authority being usurped by black women in their homes, not allowing them to be the "pillar of strength" in their families. Given the prominence of women in the Black Lives Matter movement and the current civil rights struggle, this is the most dated aspect of the album along with Brown's insistence on using the term "negro." Brown's entire ethos revolves around a man being a <u>man</u>. This is clearly his problem with Dr. King's movement, the idea of being passive and non-violent in the face of aggression is an anathema to him - hardly surprising when you consider the style of football he played. I think it is also at the core of his economic position. A man should not take hand outs or complain about others, he should earn his own way in order to gain respect. Fifty years later Brown's economic solution still makes sense to me. It is why I find this record relevant. I wish it was more of a historical artifact, but most of the problems that Brown talks about are still around today. It is an interesting record and Brown is an engaging speaker, so I moved it off the purgatory shelf and back into my collection. That said, I would only recommend it to black Republicans and misogynist liberals.</span></div><p></p>Zothttp://www.blogger.com/profile/12491280907594683144noreply@blogger.com0tag:blogger.com,1999:blog-7263374551391354995.post-92000093757954331752020-10-10T18:33:00.002-07:002020-10-11T16:59:22.161-07:00Live Peace In Toronto 1969 - The Plastic Ono Band<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSbvc86KVo5Wx6KpC3XfYmeBNtPtDULY8tcEzDF9sDEKK1xtd4NcrL6Yaoxyb7MJtZlwoX84YtPWnciv0vWyXABmNcMbf5SwkmHkoHpwekvvU8hgJ8O586c39610J3ShoOJWEtV0PYdrxq/s2828/plastic.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2828" data-original-width="2794" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSbvc86KVo5Wx6KpC3XfYmeBNtPtDULY8tcEzDF9sDEKK1xtd4NcrL6Yaoxyb7MJtZlwoX84YtPWnciv0vWyXABmNcMbf5SwkmHkoHpwekvvU8hgJ8O586c39610J3ShoOJWEtV0PYdrxq/s320/plastic.JPG" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-JkEHtVavNcQ/X4JMxZim7wI/AAAAAAAAEnw/zPB-R5NGEtEe-y4JEanKjRMCs9VKy62jQCPcBGAsYHg/s2767/plastic2.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2753" data-original-width="2767" src="https://1.bp.blogspot.com/-JkEHtVavNcQ/X4JMxZim7wI/AAAAAAAAEnw/zPB-R5NGEtEe-y4JEanKjRMCs9VKy62jQCPcBGAsYHg/s320/plastic2.JPG" width="320" /></a></div><br /><div style="text-align: left;"><b>Live Peace in Toronto 1969</b></div><div style="text-align: left;"><b>The Plastic Ono Band</b></div><div style="text-align: left;"><b>Apple Records SW-3362</b></div><div style="text-align: left;"><b>1969</b></div><div style="text-align: left;"><b><br /></b></div><div style="text-align: left;"><span style="font-family: trebuchet;">My longtime hero, John Lennon, would have turned 80 yesterday if he had not been murdered 40 years ago. I find that staggering and a little depressing as well. I like to imagine what he might be like if he were still with us. I hope he would still be making music, but I'm pretty sure it would not sound anything like this record which I think is unquestionably the hardest rocking album he released outside of the Beatles and that includes his album actually titled "<a href="https://vinylexam.blogspot.com/2013/05/rock-n-roll-john-lennon.html" target="_blank">Rock 'N' Roll.</a>" The album was recorded under chaotic circumstances at a rock festival in Toronto by an ad hoc band with little rehearsal time. The record begins with Lennon announcing that they are only going to play songs they know because they have never played together before. It gets off to a roaring start with Carl Perkins' "Blue Suede Shoes" which features a sizzling guitar solo from Eric Clapton. I enjoy Lennon's enthusiastic vocal. It is followed by an extremely heavy version of "Money." I like the power of the new version but the vocal is much weaker than the version Lennon sang with the Beatles. Lennon does better with "Dizzy Miss Lizzie" which is also heavier that the Beatles version but retains the intensity and charisma of that version. The band tackles an original Beatles song with "Yer Blues" off of the "White Album." Lennon and Clapton had performed the song together previously on the Rolling Stones' television show "Rock and Roll Circus." The arrangement is similar to the Beatles' version although the song does benefit from the heaviness of the Plastic Ono Band sound and Clapton offers up another smoking guitar solo. The next song is Lennon's solo single "Cold Turkey" which had yet to be released at the time of the concert. Yoko Ono makes her presence felt with banshee wails and bleats in the background. I prefer the studio version, this sounds a little sloppy which is hardly surprising since Lennon says they have never performed it before. Side one concludes with a lumbering version of Lennon's first solo single "Give Peace a Chance." It is messy and Lennon apparently couldn't remember the words to the verses but it gets the job done. Side two features Yoko doing "her thing all over you" as Lennon puts it. Like many Beatlemaniacs I loathed Ono's music when I was younger and almost never played side two of this record. I grew to like her music however as I got older and now play the second side as well. The opening track "Don't Worry Kyoko" is my favorite Ono song although I prefer the studio version. Ono howls away over a plodding riff from the band that I think ought to be taken at a little faster tempo. I still find it compelling though, especially compared to the next song "John, John (Let's Hope For Peace)" which had been introduced in the "Amsterdam" segment of John and Yoko's "<a href="https://vinylexam.blogspot.com/2011/02/wedding-album-john-and-yoko.html" target="_blank">Wedding Album</a>." It features Ono running through her throat shredding bag of tricks over drones of guitar feedback. If I am not in the right mood it sounds interminable and torturous and even if I am in the right mood it can be kind of grueling but it offers an inspired performance from Ono that impresses me. She and the band exit the stage but leave their instruments on emitting a prolonged cycle of ringing feedback to conclude the song. This is definitely a young man's album - loud, heavy, confrontational and experimental. It is hard to believe that the same two artists were responsible for the cozy domestic bliss of "Double Fantasy" a mere 11 years later. I assume that if Lennon were still around making music it would be a lot more like "Double Fantasy" than this which would be fine, I'd be thrilled to have any kind of music from him. But this album represents many of the qualities I most admire in Lennon including his fearlessness, his honesty, his brashness and his sincerity. Listening to it 80 years after his birth I'm reminded of how much I miss him and how much he has meant to me throughout my life. Recommended to Kabuki theater fans who dig rock and roll.</span></div><p></p>Zothttp://www.blogger.com/profile/12491280907594683144noreply@blogger.com0tag:blogger.com,1999:blog-7263374551391354995.post-68639416022418744762020-09-27T18:05:00.001-07:002020-09-28T14:33:11.666-07:00Teach Me Tiger! - April Stevens<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-R2lPk9qkBeY/X3Ecxo8HNhI/AAAAAAAAElI/FOcghYiDALwiY-BUScq0qzUptBomOrbYACPcBGAsYHg/s2828/IMG_6717.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2828" data-original-width="2795" height="320" src="https://1.bp.blogspot.com/-R2lPk9qkBeY/X3Ecxo8HNhI/AAAAAAAAElI/FOcghYiDALwiY-BUScq0qzUptBomOrbYACPcBGAsYHg/s320/IMG_6717.JPG" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-eHC0Prrse40/X3EcxiYnb4I/AAAAAAAAElI/Re8jlam0tUowirMvDsbBKMhz0FDmMwSXACPcBGAsYHg/s2832/IMG_6721.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2810" data-original-width="2832" src="https://1.bp.blogspot.com/-eHC0Prrse40/X3EcxiYnb4I/AAAAAAAAElI/Re8jlam0tUowirMvDsbBKMhz0FDmMwSXACPcBGAsYHg/s320/IMG_6721.JPG" width="320" /></a></div><br /><b>Teach Me Tiger!</b><div><b>April Stevens</b></div><div><b>Imperial LP-12055</b></div><div><b>1960</b></div><div><b><br /></b></div><div><span style="font-family: trebuchet;">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.</span></div>Zothttp://www.blogger.com/profile/12491280907594683144noreply@blogger.com0tag:blogger.com,1999:blog-7263374551391354995.post-6591034120143231542020-09-05T18:07:00.000-07:002020-09-06T20:17:51.684-07:00The Holiday Inn Tapes - Roky Erickson<div class="separator" style="clear: both; text-align: center;">
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<b>The Holiday Inn Tapes</b><br />
<b>Roky Erickson</b><br />
<b>Vinyl Lovers 901028</b><br />
<b>2010</b><br />
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<span style="font-family: "trebuchet ms" , sans-serif;">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 "<a href="https://vinylexam.blogspot.com/2011/02/nuggets-original-artyfacts-from-first.html" target="_blank">Nuggets</a>" 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: "<a href="https://vinylexam.blogspot.com/2011/03/psychedelic-sounds-of-13th-floor.html" target="_blank">The Psychedelic Sounds of the 13th Floor Elevators</a>" and "<a href="https://vinylexam.blogspot.com/2011/04/easter-everywhere-13th-floor-elevators.html" target="_blank">Easter Everywhere</a>." 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 </span><span style="font-family: "trebuchet ms" , sans-serif;">Math</span><span style="font-family: "trebuchet ms" , sans-serif;">é with 10 songs which he recorded for posterity. </span><span style="font-family: "trebuchet ms" , sans-serif;">Math</span><span style="font-family: "trebuchet ms" , sans-serif;">é 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 </span><span style="font-family: "trebuchet ms" , sans-serif;">"Click Your Fingers Applauding the Play"</span><span style="font-family: "trebuchet ms" , sans-serif;"> are</span><span style="font-family: "trebuchet ms" , sans-serif;"> 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. </span><span style="font-family: "trebuchet ms" , sans-serif;">"I Have Always Been Here Before"</span><span style="font-family: "trebuchet ms" , sans-serif;"> 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 </span><span style="font-family: "trebuchet ms" , sans-serif;">Math</span><span style="font-family: "trebuchet ms" , sans-serif;">é 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."</span>Zothttp://www.blogger.com/profile/12491280907594683144noreply@blogger.com0