Archive for January, 2011

Alain Goraguer “La Planéte Sauvage” (Fantastic Planet Original Soundtrack)

Alain Goraguer first made a name for himself as a sideman and arranger for Serge Gainsbourg, including the arrangement for Gainsbourg’s 1966 Eurovision grand prize winning song “Poupée de cire, poupée de son”.  In 1972 he scored the bizarre and moving French language animated feature “Le Planet Sauvage,” released in the States as “Fantastic Planet.” The soundtrack blends funky psyched out jazz with gorgeous woodwind, choral, and string arrangements. There’s also a few subtle appearances by the theremin.

The main descending theme appears many times, mostly on the flute or sung by an ominous choir. The standout example of the theme is “Le Bracelet,” layering clavinet and vibes under a breathy flute, with spooky pauses thrown in. If you brave the chaotic opening of “L’oiseau”, you’ll hear some beautifully dissonant glissando strings which break into an incredible version of the main theme, this time over a major key. Tenor sax solos make brief appearances here and there and there are some songs that could be outtakes from Obscured By Clouds or Dark Side of the Moon. The solo on “Générique” would be a dead ringer for Gilmore if not for the sighing strings beneath it.

The songs which deviate from variations on the main theme are the most interesting, with “Conseil de Draags” and the breathtaking psyched out waltz “Le Fusées” definitely some of the best of the 25 songs here. The jazzy “Strip Tease” comes to life in a brilliant mix of flute and sax in the middle section, married beautifully to the animation in the third act of the film.

Perhaps because of it’s function as a film score it may come across more progressive than intended, but I think it’s that twist that allows the music to stand on it’s own. It’s masterfully written and has not one boring moment. I highly recommend watching the film at least once. And see how long it takes before you start whistling the main theme.

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“Strip Tease”

:) Original Vinyl | 1973 | Pathé | search ebay ]
😉 MP3 Album | download here ]

Space Opera “Safe At Home”

It’s quite a challenge for me to write a good, subjective review on these guys.  I’ve been a big fan of their music for some time now, probably since the first time I heard the opening chords of “The Viper” from Whistler, Chaucer, Detroit and Greenhill’s 1968 album, The Unwritten Works of Geoffrey, Etc I was hooked.  That album was more of a collection of studio experimentation/tracks whereas Space Opera (1973) was conceived as an actual album – the band played lots of live festivals/gigs during the Space Opera years.  The Space Opera LP shares many of the same characteristics that made the WCD&G album so enjoyable but in place of psychedelia (or psych pop) are the more structured, studied sounds of a good progressive rock band.  It’s a classic record too, very different from the majority of  “progressive rock” and “country-rock” albums being released at the time.   Not many unknown groups who release one album in their lifetime have this many quality tracks lying around the cutting room floor.  Therefore, I was shocked and excited to find out the release of these early demo tracks from the group’s prime years.

Space Opera are closer in sound to latter day Byrds or more distantly, Moby Grape.   They had a knack for mixing blues, rock n roll, country, folk, and psych/progressive rock into something that still sounds fresh today and uniquely American (they were from Texas).  Space Opera’s guitar sound leans towards the jazz/progressive end of the spectrum.  Also, some of the tracks like the trippy reprise of “Singers and Sailors” feature vibes and David Bullock’s trance-like flute work.  The Exit 4 (named after Exit 4 studios) demos are the first 9 tracks (approximately 40 minutes) of this album, cut in 1970/1971, before Space Opera’s self title debut.  While the remaining 6 tracks, cut between 1975-1978 are very solid and musical (check out folk-rock gem “Snow Is Falling”), the Exit 4 demos are the real meat of the Safe at Home project.  Exit 4 should have been Space Opera’s debut album.  Both “Country Max” (their most popular song) and a heavily phased “Over and Over” make appearances on the Exit 4 album albeit in very good, early versions.  The remaining cuts are unique to this compilation and are nearly the equal of anything on Space Opera – these cuts sound like finished tracks rather than demos.

Every track is strong and worth multiple spins.  The album leads off with “Singers and Sailors/Father,” a tough bluesy hard rocker  with spiraling guitar leads and gutsy vocals.  This track segues into the excellent “Journey’s End.”  This cut has a country folk intro that eventually morphs into soft, tuneful rock that would have been fine radio fodder.  The guitar playing throughout is outstanding.  These guys were intelligent musicians that could have played any style well.  Space Opera also knew how to balance out their instrumental prowess with quality songwriting.  Check out “Psychic Vampire”, another creative gem, which is similar to “Journey’s End” in it’s mixture of soft progressive sounds and fluid, expressive guitar work.  Songs like “Marlow” and “Fly Away” show off the groups country and folk origins (with interesting chord progressions) and are no less potent than the aforementioned tracks.  All in all, Exit 4 (and Safe at Home as a whole) is a superb album by one of America’s great lost bands.

Check out the excellent Cyber City Radio interview with Space Opera founder, David Bullock (2002).

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“Snow Is Falling”

😀 CD Reissue | 2010 | buy here ]
😎 Spotify link | listen ]

Charlie Louvin

Tony, Caro and John “All on the First Day”

A couple decades before the city of Derby in the rural midlands of England was awarded city status by Queen Elizabeth II (1977), residents Tony Doré and John Clark had become boon companions at the tender age of 11. In this gentle and eminently civil environment they quickly began to play music together in various rock bands or “beat groups” as they were then called, eventually stepping up to the folk club circuit in the surrounding boroughs of Derbyshire, Nottinghamshire and Yorkshire.

It is this same bucolic atmosphere of the mid-60’s folk scene in the UK with its competing elements of traditional folk and experimentation that gave rise to phenomena like the Incredible String Band, an admitted inspiration to friends, and in Doré and Clark’s own words “We were just ‘being there'”. After the summer of love the pair temporarily parted company to attend university, Doré in London and Clark in Sheffield. It is in London that Tony and Caro met and began gigging university folk clubs together. After graduation in ’70 John moved into Tony and Caro’s London flat turned sunny commune complete with Zinnias, Dahlias, homemade candles and herbal tea.

It was here that the three started recording the songs that Doré was writing onto an extremely low-tech Ferrograph tape recorder with track-to-track capabilities. The painful sounding process that required a person to play over a pre-recorded backing track with a simultaneous mixdown did not forgive any mistakes. However it is precisely this aspect that lends the recording of “All In One Day” its considerable home-spun appeal. The trio pressed 100 vinyl copies through Eden Studios of south London in ’72 that quickly sold at their shows. There are now a number of reissues available on Gaarden and Shadoks.

The music on “All In One Day” radiates a beguiling charm and simplicity throughout. The arrangements are unpretentious but not unadorned, boasting of delightful vocal harmonies, interesting instrumentation like mandolin and flageolet, and inventive musicianship for a folk album like the subtle use of bass-wah and low-key fuzz. Tony’s voice is clear and reminiscent of early acoustic Bowie, while his wife’s hazily glowing voice on sentimental numbers like “Waltz for a Spaniel” recalls Vashti Bunyan.

While there is definitely an unity of aesthetic on “All In One Day”, the album is eclectic in its musical style, ranging from the unabashedly romantic “Waltz for a Spaniel” to the personally fractured and sardonic “There Are No Greater Heroes” and on to the humorous and playful “Don’t Sing This Song” in total stride. “Sniggylug” is the cut that seems the most out of step with the rest of the album, though no less pleasant with its guitar work reminiscent of modern North African Tuareg and its tongue-in-cheek 6/8 time jazz sensibilities. “Eclipse of the Moon” is a psyche folk gem with its surreal dreamscape lyrics, chilly reverbed slide guitar, playful mouth harp, tasteful fuzz guitar and trippy delayed vocal decrescendo at the end. It is impressive that they were able to include relatively sophisticated studio tricks like the backwards guitar and the sounds of seabirds on tracks like “Sargasso Sea”, a dark metaphorical sea chantey with allusions to William Blake and Coleridge.

After the release of “All In One Day”, the trio added musicians here and there and started playing under the moniker “Forever and Ever”, an irony however in that they never released another album and were eventually swallowed by time. The overall feel of “All In One Day” is relaxed though at times bittersweet and poignant, almost as if Doré unconsciously realized that by the early 70s something precious had come and gone; the Zinnia’s and Dahlia’s are now dried and pressed into the volume of Shelly’s poems on the mantle, the candles are burnt, but the music of Tony, Caro and John speaks to us still in our comfy chairs by the hearth.

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“Eclipse Of The Moon”

😀 CD Reissue | 2002 | Shadoks | buy here ]
:) Original Vinyl | 1972 | UK | search ebay ]
:) Vinyl Reissue | 2010 | Gaarden Records | buy here ]
😎 Spotify link | listen ]

Daniel Moore “Daniel Moore”

Daniel Moore is one of countless songwriters in the history of early rock and roll music that, despite attaining a measure of financial success through their material, never quite made a name for themselves as artists in their own right. It’s a rather old and tired tale, I’ll be honest, but what makes Moore’s story so much more frustrating is that in the midst of penning bland, superficial radio hits for artists like Three Dog Night and B.W. Stevenson, he also crafted one of the greatest ‘back to the roots’ records to come out of the early seventies.

Indeed, the songs found on Daniel Moore’s 1971 debut completely eschew the irritating soft rock sensibilities that scar his more famous material. We’re talking homegrown music here, weaving together the sounds of country, soul and blues into a tapestry that Gram Parsons once beautifully coined, ‘Cosmic American Music,’ From the very first tune, the haunting dirge “May 16, 1975,” it is clear that Moore had been keeping the Band’s first two records hot on the turntable, for the rustic vibes and mythical American spirit of those albums are everywhere. Not to say that this record is derivative, it will only take a single spin to recognize that this album stands very much on its own. From the horn-fueled rock and roll of “That’s What I Like In My Woman,” a spirited ode to wild and independent girls, to the oddly Zombies-esque ballad “Paul and Mabel,” about a preacher who “tried farming, and only grew failure,” Moore pieces together a compelling portrait of America.

As is the case with the best of all Americana, whether or not the world being invoked truly exists or is one founded in folklore and youthful romanticism isn’t really important. In most cases it’s as much about the message as the story anyways. The very last cut on the record, “Did I See You Tremble, Brother?”, may be one of the simplest, yet most powerful songs of brotherhood I have ever heard.

But I’m getting ahead of myself. The second side of the record kicks up some serious dust with the rock and roll groove of “Funky Music,” but afterwards the band drops off, and things disappear and settle into the lazy acoustics of “World War I.” It should be noted at this point that the ragtag arrangements of background singers on these tracks really tend to capture that elusive, communal charm of the Band’s earliest recordings. It’s a beautiful sound, and one that can be hard to put into words. “Ride, Mama Ride” makes as if to continue the mood, with Moore’s singing evoking something between Lowell George and a backwoods Van Morrison, but before you get too comfortable some funky electric guitar work picks up the tempo and brings back the heavy grooves. The cats playing on this record, I should add, consist of some pretty recognizable names, including Chris Ethridge and Sneaky Pete from the Flying Burrito Brothers, Chris Stainton, Don Preston, Jim Keltner, T-Bone Burnett, Jim Price, and, believe it or not, the 1969 cast of Hair.

Daniel Moore is still very active in music, and since the early 1990s has recorded a number of additional records, but despite its obscurity this still stands as his crowning achievement. I was in touch with the man himself a while back, inquiring as to whether or not this album would ever see a reissue on compact disc here in the States, but he replied that the record company still has control of the master tapes, etcetera, and he is extremely doubtful of its re-release. From what I can tell there is a rather obscure Japanese pressing available, but I’m not all that sure as to its background. If you are a fan of artists like the Band, Delaney & Bonnie, or Leon Russell you should really work at finding yourself a copy; the original vinyl doesn’t appear to be too difficult to find online.

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“May 16th, 1975”

:) Original Vinyl | 1971  | ABC/Dunhill | search ebay ]

The Pretty Things “Get the Picture?”

In London’s early 60s it seemed all the kids wanted to play American R&B and Chicago blues. Kids all throughout England exchanged guitar licks with one another in the front room of their parent’s flat – trying to emulate the sounds of Jimmy Reed, Slim Harpo or Elmore James. There was a group of young Londoners in particular who did just this, jamming after art school at the childhood home of budding guitarist Dick Taylor. When these boys, who coined themselves Little Boy Blue & The Blue Boys, started to get serious about their music and parted ways to form other groups, half of the camp went on to form a little band called The Rolling Stones while the other half formed The Pretty Things.

The Pretty Things had a hard-driving, raw, and energetic soul that poured out in their loose and urgently chaotic music. While The Stones skyrocketed into the stratosphere of success, The Pretty Things didn’t prove to be as lucky. Though they quickly gained immense notoriety around London by playing their guitar amps louder, their arrests and social punch-ups coupled with outrageous behavior (drummer Viv Prince was The Pretties’ Keith Moon…nuf’ said).  Though they never achieved the commercial success of their shaggy haired brethren, they did manage to influence many younger garage bands including The Shadows of Knight and The Primitives. The Pretties’ unique sound was propelled by Viv’s primeval drumming and Dick Taylor’s jagged & piercing guitar runs. Not to mention the main ingredient of The Pretty Things sound – Phil May, the man behind the painfully soul-filled vocal that exalted these tunes beyond the reach of mere mortals.

“Get The Picture” is The Pretty Things at their best, with two sides of amazing material. “You Don’t Believe Me” starts the record with a jangled pop-soul fever featuring Jimmy Page on supportive guitar and percussion duties. “Buzz The Jerk” comes next which has, quite possibly, one of the coolest intro riffs to come out of England. The title track “Get the Picture” has that head bobbing swagger that is truly infectious. They do a stellar job on Slim Harpo’s “Raining in My Heart,” with its tremolo soaked guitar work and May’s sorrowful vocals. The album closer, “Gonna Find Me a Substitute” oozes with cool. The fuzz bass drives and pushes this track while Dick Taylor lays down great guitar riffs throughout the song backing May’s perfect vocal performance. The Pretty Things may not have received the recognition and success they deserved, but they did and still continue to burn up turntables across the world. I guess some things are best kept secret.

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“Get The Picture”

😀 CD Reissue | 2000 | Snapper | buy here ]
:) Original Vinyl | 1965 | Fontana | search ebay ]

Michaelangelo “One Voice Many”

The use of the humble autoharp in rock may come as a surprise. Isn’t that the triangular doodad your elementary school teacher used to pull out of the cupboard to strum along to class sing-a-longs of “Go Tell Aunt Rhody”? And why take an instrument specifically designed for simplicity and bust a gut to play complicated stuff on it? Nevertheless, several intriguing instances of its use have come to light on rare albums from the late sixties and early seventies.

A zither is a small harp with its strings stretched across its soundbox; it has a beautiful, ethereal ringing sound, but is fiendishly difficult to play. To simplify matters, someone came up with the idea of spring-loaded bars that could be pressed down on to the strings so that felt pads under each bar deadened all the strings except those needed to sound a certain chord. Thus the “auto-harp” was born, and bingo – a simple rhythm instrument with from 3 to 21 chords, each available at the press of a button. Almost immediately other folks started working out how to put all the complexity back into the autoharp by using it for playing melodies, and some of those Appalachian guys got pretty good at this despite the instrument’s patent unsuitability for this purpose. Then a genial sixties folksinger called John Sebastian customised his harp with an electric pickup, and rock autoharp was born. Sebastian’s playing was fairly limited, but a certain Billy Miller developed an astonishing electric autoharp technique with his late sixties Texas psych outfit, Cold Sun.

Classically-trained pianist and autoharp enthusiast Angel Petersen probably never heard of Billy Miller, but she certainly caught John Sebastian toting his harp around the Village and forthwith obtained a similar electric 15-bar model, making it the centrepiece of the mildly psychedelic folk-rock combo she christened Michaelangelo, after the name she’d already given her harp. In 1971 Michaelangelo (the group) came to the notice of Columbia Records through a fortuitous meeting with electronic music producer Rachel Elkind and her partner, the synthesiser genius Wendy Carlos of Switched-On Bach fame. An album, One Voice Many, was cut in New York with Elkind and Carlos producing, and the band’s major label future should have been assured. However, the story goes that Columbia president Clive Davis was perpetually at loggerheads with Elkind and conspired to have the album suppressed. It was released but received absolutely no record label backup and quickly disappeared. Dispirited, the band dissolved soon afterwards and the album became a collector’s rarity until reissued on CD almost forty years later.

Although likely to be described in current-day reviews as Acid Folk, One Voice Many’s signature sound is predominantly folk-Baroque, with the autoharp frequently sounding more like a harpsichord than the Fender Rhodes-like tone of Billy Miller, particularly on the Bach-influenced instrumentals “Take It Bach” and “300 Watt Music Box”. Elsewhere, it sounds not unlike a Farfisa organ. Either way, there’s nothing remotely schoolmarmish about Petersen’s virtuoso playing. The picture of the band on the cover shows an earnest, studious-looking quartet, and the carefully-arranged music within generally bears this out, though it’s by no means sombre and there are some rocking and even exhilarating touches. The autoharp’s main foil is Steve Bohn’s clean, countrified electric guitar, and the two frontline players interweave their lines exquisitely within the four instrumental numbers. On the six songs, Petersen’s and Bohn’s respective lead vocals are workmanlike rather than attention-grabbing, but when harmonised and multi-tracked they produce a breezy, floating Harpers Bizarre-style texture. The highlights for me are the opening funky country-rocker “West”, the tinkling, twinkling “300 Watt Music Box”, the pulsating generation-gap rocker “Son (We’ve Kept The Room Just The Way You Left It)” and the shameless sunshine pop of “Okay” with its whistled accompaniment. Avoid the 2007 Fallout bootleg and go for the 2009 Rev-Ola licensed pressing.

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“Son (We’ve Kept the Room Just the Way You Left It)”

😀 CD Reissue | 2009 | Revola | buy here ]
:) Original Vinyl | 1971 | Columbia | search ebay ]

The Electric Prunes “Underground”

When the Electric Prunes are remembered at all, it’s for their seductive nightmare of a 1967 single, “I Had Too Much to Dream (Last Night).”  Culled from their first album, “I Had Too Much to Dream” set a template for the best of the band’s work: distorted guitars and vocals, bizarre lyrics and a spooky vibe.

By the time of their second album, the Prunes were tired of being considered a prefab band.  Fed songs from some of L.A.’s best psych-garage writers, controlled in the studio by producer/Machiavelli Dave Hassinger and often replaced on record by studio musicians, the band broke out of the prefab mold and wrote many of the songs on Underground.

The result was a more cohesive album than their first album, even if the many of the album’s best songs were contributed by other songwriters. Goffin-King’s “I Happen to Love You” is one of the disc’s strongest tunes, and the duo of Annette Tucker and Nancie Mantz of “I Had Too Much to Dream” fame, contributed “Antique Doll,” another standout track.

But the songs contributed by band members are not throwaways by any means.  “The Great Banana Hoax” by members Jim Lowe and Mark Tulin has as much in common with the Monkees as the Standells, but is nevertheless memorable (and not banana flavored in the least), as are the pair’s other contributions, especially the brooding “Everybody Knows You’re Not in Love” and “Wind-Up Toys.”

Alas, Underground would be the last album for the real Electric Prunes; subsequent albums of pseudo-religious music (sung in Latin at times) used studio musicians playing under the moniker “the Electric Prunes,” while the actual Electric Prunes faded from view. Dirty shame.

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“Wind Up Toys”

:) Vinyl Reissue | 2009 | Hi Horse | buy here ]
😀 CD Reissue | 2000 | Collector’s Choice | buy here ]
😎 Spotify link | listen ]

Vernon Wray “Wasted”

Born at Fort Bragg, NC in ’24, Vernon “Lucky” Wray is the much lesser known but no less talented older brother  of the original Shawnee rocker Link Wray of “Rumble” fame. Having learned to play guitar by the age of 11, Vernon played rhythm guitar and bass behind Link for the better part of Link’s career.

Vernon was a tortured innovator. He ran one of the country’s first DIY record labels called Rumble Records named after the family hit in 1958, and was host to an American Bandstand knock-off out of DC called “The Milt Grant Show”.  Around this time Vernon acting as manager and producer of the Ray Men, decided to set up a family recording studio, which had a number of temporary homes that included the family grocery store before coming to a temporary rest in a ramshackle shed on the family property in Accokeek, Maryland where it was famously dubbed “Wray’s Shack 3 Tracks”. This humble set-up produced a genuine musical treasure trove which included the classic Ray Men cuts on the Swan imprint, the spectacular Link Wray LP as well as a bevy of recordings from other local musicians.

Despite his success, life on the east coast was just a bit too hectic for Vernon. In the spring of ’72 he packed up the back wall of the recording shack and high-tailed it to Tuscon, AZ to “mellow out”. In Tuscon he rebuilt the recording studio renaming it Vernon Wray’s Record Factory after upgrading it to eight tracks from three. It was here that Vernon was able to put to tape his much mellower solo work released in two batches as “Superstar at My House” and “Wasted”. The former being released exclusively on cassette and 8-track tape, and the latter by Vermillion Records on vinyl in a run of about 400 copies sold only at shows in Tuscon. Both albums are extremely rare and prized.

Prized for good reason. “Wasted”, released in ’72 is rare in more ways than just its limited availability – as a lost classic it’s pure gold. Laced throughout with the sparkling guitar work of his brother Link, the tasteful drumming of his other brother Doug, Vernon’s understated piano and a host of interesting stereo production effects, the album has a lot to offer musically.

More countrified in its spirit and laid-back in tone than his earlier work with his brother at the front, “Wasted” is lyrically lonely and heartfelt while managing to not become mired in depression.  On songs like “Facing All the Same Tomorrows” and “Prison Song” Vernon’s smooth honey voice is balm to the world weariness that he speaks to. The heavy themes Vernon sings about are at the same time personal and universal as exemplified by the cut “Faces in the Crowd” in which Vernon confronts the isolation that he must have felt in the cities of the East coast and offers the hope of a salvation tendered by “Mother Nature out West”, as embodied by the lively flute playing in the background.

Even though there is a common thread of world weariness throughout, not all of it is expressed in a heavy musical manner. Vernon romps through the swampy floor stomper “Tailpipe” in which he likens the effect of his latest romance on his person to a dilapidated car – you can decipher the analogy in the title. The relatively upbeat country bar-room “tear in my beer” vibe of “When I Start Drinking” has just the right amount of twangy drunken camaraderie to make you smile.

The casual listener might find some of his lyrical themes dated or trite on songs such as “God is Color Blind”, however someone familiar with the other songwriting of the early 70’s Wray brothers can see the unabashed sincerity shine on in a way that is still relevant. Vernon wanted a better world. I hope he found it in 1979 after he passed away. Our world is about to get much better as “Wasted” has recently been licensed for a vinyl rerelease by Sebastian Speaks out of Nashville.

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“Tailpipe”

:) Original Vinyl | 1972 | Vermillion | search ebay ]
:) Vinyl Reissue | 2011 | Sebastian Speaks | order here ]

Lee Hazlewood “Love and Other Crimes”

Shortly after the release of the million-selling Nancy & Lee, Lee Hazlewood exercised his newfound clout with Reprise and headed to Paris to record a new solo album. Along for the ride were rhythm guitarist extraordinaire Donnie Owens and Wrecking Crew members James Burton, Hal Blaine, Chuck Berghofer, and Don Randi. If Hazlewood’s stream of consciousness notes on the back of the album are to be believed, they lived the life of the jet set, their days and nights a bacchanal of fine wine, beautiful women, and Lotus Europas with all the extras. Fortunately for us, Hazlewood and crew still managed to find the time to record the stunning Love and Other Crimes.

A baroque precursor to his minimalist Requiem For An Almost LadyLove and Other Crimes finds Hazlewood in a reflective mood, sifting through the ashes of a love gone wrong. Yet the album isn’t all loser’s tears and raindrops – by the end of side two, Hazlewood is unbowed, undefeated, and above all, unrepentant.

This is prime Hazlewood and essential listening for fans of the man and his work. With its sophisticated production, this is a truly great sounding album, and at just under thirty minutes, it demands to be listened to from start to finish. James Burton and company effortlessly shift from country-fried pop to jazzy lounge to elegant ballads and back again. Among the inventive arrangements, “She Comes Running” and “Pour Man’” successfully pair twangy guitar and harpsichord, with “Pour Man’” coming off like a mash-up of Merle Haggard’s “Mama Tried” and Paul Mauriat’s “Love Is Blue.” And you haven’t heard Burton’s trademark volume swell technique until you’ve heard it on full display in “Rosacoke Street.” Even Chuck Berghofer’s distinct upright bass work deserves special mention – listen for his famous “These Boots Are Made For Walkin’” bass slide at the end of “Pour Man’.”

Tracking down an original copy of this album is highly recommended – to these ears, Hazlewood’s voice has never sounded better. Although Love and Other Crimes doesn’t appear to have been reissued as a stand-alone CD, tracks from the album are available on several compilations. However, note that the import LHI compilation, which inexplicably shares the same title and cover art as Love And Other Crimes, only contains four tracks from the album. A better bet is Rhino Handmade’s two-disc Strung Out On Something New, which presents Hazlewood’s three Reprise albums in their entirety, as well as a handful of hard‑to-find singles produced by or featuring Hazlewood.

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“Forget Marie”

:) Original Vinyl | 1968 | Reprise | search ebay ]
😀 CD Reissue | 2008 | Rhino Handmade | 2CD Comp | buy here ]