Archive for the ‘ Pop ’ Category

R. Stevie Moore “Phonography”

| Art,Folk,Pop,Prog,Psych

Phonography

R. Stevie Moore, with hundreds of albums under his belt – most of them home-recordings released on hissy cassette tape and hand-marked CD-R – is an unrecognized genius. Born in Nashville, son to session man and Elvis’s bass player Bob Moore, Robert Steven Moore grew up in the music business. Opting to make it on his own with the reel-to-reel instead of working sessions, his dedication to independent recording has yielded troves of unaffected, wildly original music. He recently told Vanity Fair: “I’ve worked harder than anybody to become rich and famous, but I remain poor and anonymous!”

Phonography was Stevie’s first official long player, recorded from 1973 to 1976 and originally released in 100 copies on the artist’s private Vital Records. Comes with lo-fi, direct input, overloaded electric guitar, a classical approach to warbly analog synth arrangements, hi-pitched erratic vocals, oddball skits that are genuinely funny, and an exceptionally fine gift for pop songcraft. Within a few listens you’ll hear traces of Brian Wilson, The Mothers, Gary Wilson, Daniel Johnston (especially on goofball cuts like “Goodbye Piano”), and Ariel Pink, a big fan who had R. Stevie open up his recent tour.

The opener, “Melbourne,” sets an unexpected stage: an anthemic introduction on an Elka synthesizer. Then Stevie shares a few words about his background whilst taking a piss!  The album is schizophrenic, but wonderfully listenable, even through a thick wall of magnetic tape. The beauty is in the fidelity, Moore recognizes what’s special about home recordings, and the record’s flow is engaging rather than plain weird.

Phonography record is finally available on vinyl again, remastered by Sundazed from R. Stevie’s original reels with the restored Vital artwork and insert. Earlier this year a CD version was reissued by Recommended Records in the UK and it’s available on iTunes as well.

Phonography is a record like no other, and merely an introduction to the incredible world of R. Stevie Moore. Find more than you could ever handle at rsteviemoore.com.

“I Want You In My Life”

:D CD Reissue | 1998 | Flamingo | rsteviemoore.com ]
;) MP3 Album | download at amzn ]
8-) Spotify link | listen ]

Read the rest of this entry »

The Band “Rock of Ages”

| Americana,Classic Rock,Pop,RnB

Rock of Ages

I usually stay away from live albums. Rock of Ages was my last chip at The Band’s discography, but what a thrill to hear the band at their peak, a true live-rock classic.

Before this record, I’ve always felt “Across The Great Divide” plays kind of hokey at the helm of one of the top records of all time, but here it nearly brings me to tears, revealing the power of a good song. A considerable chunk of this recording’s force comes from Allen Touissaint’s horn arrangments, adding a level of raw, visceral energy, one that fails to detract from the original tunes (unlike so many last-minute horn-section supplements).

Subtle road-variations kill me: the super-slowed chorus to “Stage Fright” (it should have been like this from the beginning), the embellished arrangment for the “Rag Mama Rag” tag (Touissaint again), not to mention the killer Lowrey Organ solo from Garth Hudson, “The Genetic Method,” introducing blazing hot “Chest Fever,” and Robby Robertson’s emotic guitar solo for “Unfaithful Servant.”

I’m glad I saved it for last. Guaranteed to put everybody in a good mood. Though The Band still had more great material in the wings, specifically Northern Lights – Southern Cross, I say make this your Last Waltz.

Q. Are there any other essential live records?

“Across The Great Divide”

:D CD Reissue | 2001 | Capitol | buy amazon ]
:) Original Vinyl | 1972 | Capitol | search ebay ]
;) MP3 Album | download ]
8-) Spotify link | listen ]

Van Dyke Parks “Discover America”

| Americana,Art,Baroque,Pop,RnB

Discover America

Van Dyke Parks’ second album, released four years after his celebrated Song Cycle,  is an exploration of Trinidadian calypso music infused with Parks’ ingeniously offbeat treatment. Like its predecessor, the record is clever, intriguing, and musically brilliant. Discover America adds an unexpected ingredient: fun.

The album opener echoes that of Song Cycle‘s, an intentionally degraded song clip, “Jack Palance” performed by the Mighty Sparrow himself (those interested in exploring more calypso through this angle might investigate Mighty Sparrow’s Hot and Sweet, an album produced by Van Dyke Parks in 1974). Wooden marimbas, steel drums, island rhythms, and other calypso staples (supplied by the Esso Trinidad Steel Band) grace many of the tracks, but Parks maintains style thru vast string arrangements, orchestration, gratuitous experimental bits, and the vintage Americana themes examined in the lyrics.

Parks reimagines and rearranges traditional material on Discover America, as well as borrowing two killer tunes from Allen Touissaint (“Occapella” and “Riverboat”) and Lowell George’s “Sailin’ Shoes” (Little Feat actually play on Park’s “FDR In Trinidad”). The adapted material is brilliantly produced and addictingly melodic. Couple of standouts include the lilting “John Jones” and mind boggling “G-Man Hoover” (a tune as weird as it is captivating), though the entire album is consistently 5-star. A masterpiece from a master.

Song Cycle is great but not for everyone. If you’re looking to play Van Dyke Parks in a public forum, this is the album. I would submit that it’s catchy, fun, odd, and funky enough to be played just about anywhere. Have it with you this summer.

“John Jones”

:) Vinyl Reissue | Sundazed | buy sundazed ]
:D CD Reissue | 1990 | Warner | buy amazon ]
:) Original Vinyl | 1972 |  Warner | search ebay ]
8-) Spotify link | listen ]

uReview: Bob Dylan “Self Portrait”

| Folk,Pop,uReview

Self Portrait

allmusic: 2 stars
Robert Christgau: C+
Rolling Stone’s Greil Marcus: “What is this shit?”
Rolling Stone today: 4 stars

TRS uReview:
[ratings]

mp3: Wigwam

:D CD Reissue | 1989 | Sony | buy amazon ]
:) Original Vinyl | 1970 | Columbia | search ebay ]

Cat Mother & The All Night News Boys “The Street Giveth…and the Street Taketh Away”

| Classic Rock,Pop

Street Giveth

I first bought this 1969 release on Polydor vinyl the following year when I saw a copy for fifteen shillings in a bargain bin in Woolworth’s and noticed that it had “produced by Jimi Hendrix and Cat Mother” on the cover. I’d also heard the track “Marie” on John Peel’s radio show on Radio One, and been impressed by its bittersweet theme and clever production. On the basis of these two recommendations I handed over the fifteen bob. Well, this tentative bargain turned out to be, IMHO, one of the best rock albums, not just of 1968, which is itself saying something, but EVER, and remains to this day my favourite pop/rock album of all time. 

Despite its quality, and despite the celebrity co-production credit, it sold only modestly in the US and hardly at all in the UK, hence its appearance in Woolies’ bargain bin. It’s since been re-released twice in CD format, probably just for Hendrix completists (being the only album ever officially known to have been produced by Jimi for another artist), both times in very small quantity production runs, and I was lucky enough to score a copy of the second (2003) CD release whilst it was current and therefore available at a sensible price. 

The five unknown musicians, all vocalists, all writers, and all multi-instrumentalists to session musician standard, produce a string of self-penned songs in a breathtaking variety of styles, from funky riff-rock (“Can You Dance To It”) through tramping Steeleye-style electric folk (“Boston Burglar”), sixties Baroque (“Marie”) and tongue-in-cheek revivalist rock’n’roll (“Good Old Rock’N’Roll:” the medley covered by The Dave Clark Five) to string-laden hippy-dippy epic (“Bramble Bush”) and swamp-tinged, chilled-out instrumental jam (“Track In A”). Musicianship, vocals, and production are faultless throughout. 

When the original album came out the track listing on the sleeve omitted the three final tracks from side 2, namely “Bramble Bush,” “Probably Won’t” and “Track In A” (“Nebraska Night”). Instead, the seven components of the “Good Old Rock’N’Roll” medley were credited as separate tracks. Oddly, the CD release, with completely redesigned packaging, repeated this mistake. Rest assured, the three aforementioned tracks are all present on the CD as they were on the original vinyl. 

Pending a further CD re-release, if one ever happens, copies are now available only rarely and at collector prices. However, if you happen to chance on a used copy at a sensible price, don’t hesitate: snap it up. You won’t regret it.

“Boston Burglar”

:D CD Reissue | 1997 | Polygram | buy amazon ]
:) Original Vinyl | 1968 | Polydor | search ebay ]

Double Zappa |FZ| 1968-1969 Solo

, | Art,Double Zappa,Pop,Psych

zappa 68-69

These two mostly instrumental albums are the first Frank Zappa solo records. Sans Mothers, Zappa used these forays to assert his interest in serious composition, drawing on influences like Igor Stravinsky, Edgar Varèse, and of course, popular rock and roll music.

Lumpy Gravy (1968-)
Lumpy Gravy is a wildly impressive collection of musical ideas, set in two musical suites. Incorporating surf and pop rhythm sections with musique concrete and absurdist vocal samples (recorded inside a piano with all the keys pressed down, nabbing harmonics from the resonating strings nearby), it does in fact feel like “phase two of We’re Only in It for the Money,” borrowing its wonderful sped-up, tape manipulated feel. The composition is loaded with themes that would be recycled on later releases (“Bwana Dik,” “Oh No,” “King Kong”). Recorded with the Abnuceals Emuukha Electric Symphony and meticulously spliced and diced by FZ, Lumpy Gravy is a monumental achievement – but only a drop in the bucket from one of rock’s most prolific composers.

“Duodenum (Theme From Lumpy Gravy)”

:D CD Reissue | 1995 | Zappa Records | from amazon ]
:) Original Vinyl | 1968 | Verve |  search ebay ]

Hot Rats (1969)
I wouldn’t say this album is notably better than any other FZ record, but it caught on big. Maybe it’s the short, catchy title; may be the toned down weirdness;  could be that Zappa just cut all the bullshit and delivered an undeniable slab of rock that the masses could dig and critics would acclaim. Two of these tracks (“Peaches En Regalia” and “Son of Mr. Green Genes”) even made the legendary (albeit illegal) jazz standards tome, The Real Book, proving the album was the equal of contemporary ‘musician’s music.’ While “Peaches,” featuring Shuggie Otis on bass guitar, may have been the zaniest track ever to become a standard (played on baseball stadium organs to this day), the rest of the album eschews condensed complexity in favor of long form jams and sickening guitar work. Captain Beefheart’s vocal performance on the hot-licked “Willie The Pimp” might be one of his defining moments, though certainly not from Capn’s viewpoint – his distaste for FZ’s production prowess begins here. The rest of the album is fully instrumental – groovy, melodic, jazzy, brilliant, essential listening. In case you haven’t heard it by now:

“Peaches En Regalia”

:D CD Reissue | 1995 | Zappa Records | from amazon ]
:) Original Vinyl | 1969 | Reprise | search ebay ]

Gene Clark “No Other”

| Country Rock,Folk,Pop

No Other

Barely understood when it was released in 1974, No Other is Gene Clark’s most polarizing record but generally considered essential today.

Almost every song an epic, Clark’s songwriting was never up for debate, nor his genuinely poetic verses, but it’s Thomas Jefferson Kaye’s production that would weed out hordes of would-be fans. I contend the producer made only one mistake: the use of “power gospel” backing vocals on every track is probably what turns most people off to No Other. Strike the voices and this record would be hailed as a mid-70s masterpiece for Clark’s efforts as much as its lush, candied orchestration.

The record starts off without skipping a beat from the Clark oeuvre; “Life’s Greatest Fool” sounds like a natural step forward from his earlier country rock. The supporting musicians are perfectly in tune with the vision; I want to dig in deeper with the sound every listen, so I hardly consider it overcooked. One tune does embody Gene’s new super-glam image in sound, where you can “hear the cocaine” churning the record: the sinister title track, “No Other,” is slathered with sleazy synth lines and electric guitars. Whether for camp or pure songcraft it’s an irresistable jam and centerpiece of the record.

All of the numbers possess the signature Gene Clark sound. Say when he waits for “Strength Of Strings” to reach full crescendo before sinking into his minor-tinged verse with that untouchable heartworn vocal. Clark is one of the world’s greatest songwriters, his skill in transforming traditional progressions to his unique brand of song unmatched.

Give this record the right chance and you’ll reach the point where you appreciate every overdone detail, down to the gorgeous sleeve and awesomely hideous poster of Gene decked in flowing garments, beads, and makeup in front of an airbrushed Gene Clark monument. I only have the record, but the CD resissue is reportedly worth it for the alternative versions and “Train Leaves Here This Morning,” a retake from the Expedition.

“No Other”

:D CD Reissue | 2003 | WEA/Rhino | amazon ]
:) Orig Vinyl | 1974 | Asylum | search ebay ]
8-) Spotify link | listen ]

Sheridan/Price “This is to certify that….”

| Art,Pop,Psych,Sunshine

This Is To Certify That...

This is one of the better albums coming from the Move family tree. It was released in 1970 though it has a clear 1967/1968 sound and is one of the best albums of its kind. Rick Price entered the Move sometime in the late 60s, contributing bass and guitar to “Shazam“, “Looking On” and “Message From The Country.” Mike Sheridan had previously been leader of the Nightriders which were a Birmingham group that specialized in the merseybeat sound and 50s rock n roll.

The Nightriders were sort of a breeding ground for future Move members, most importantly Roy Wood. During Price’s tenure with the Move, he and Sheridan started writing songs together for the above album. Both Sheridan and Price share vocals and writing chores on an album that veers into power pop, psychedelia, sunshine pop and progressive pop. There are horn and string arrangements on this beautiful album that recall some of Paul McCartney’s soft moments on the Beatles’ classic White Album (think “Martha My Dear” or even the Move’s great “Beautiful Daughter”). Some of the heavier moments like “Sometimes I Wonder,” “Lamp Lighter Man,” and “Lightning Never Strikes” sound like excellent 68/69 era Move outtakes. In fact, “Lighting Never Strikes” was released as a Move single at the tail end of the 60s. Sheridan and Price’s version is just as good though not as trippy, with a splendid backwards guitar solo, slashing acoustic guitars and crashing drums. Other songs such as the string laden pop number “Davey Has No Dad” or the trippy “Picture Box” have a beautiful child-like, story song whimsy that hints at a Ray Davies influence.

This is an exceptional if little known Move album that will appeal to fans of the Beatles, Kinks and even lovers of soft, sunshine pop sounds.

“Lightning Never Strikes”

:D CD Reissue | 2007 | Ace | amazon ]
:) Original Vinyl | 1970 | Gemini | ebay ]
8-) Spotify link | listen ]

The Scruffs “Wanna Meet The Scruffs?”

| Pop

Wanna' Meet The Scruffs?

The Scruffs were a late 70s power pop band who released this great debut album in 1977 (off the Power Play Records label).  Even though the Scruffs looked like a group of hip New Yorkers they actually hailed from Memphis, Tennessee. All 13 tracks were written by guitarist Stephen Burns though lead guitarist Dave Branyan gets partial credit for three numbers.  Other important members of the Scruffs included bass player Rick Branyan and drummer Zeph Paulson.

The Scruffs sound is similar to Big Star (especially their great sophomore effort), wild, careening and reckless with neurotic lyrics about masturbation, boy-girl relationships and teen alienation.   While the playing may come off as sloppy it’s still engaging and in a weird way calculated – these guys were a pretty tight group who knew exactly where they wanted to take their music.  Tracks like “Break The Ice,” “This Thursday,” and “I’ve Got Something” are relentless, loud rockers that cut like a sharp switchblade but remember this was 1977, the punk era.  Most of the other tracks are anchored down by ringing guitars, great hooks, and vulnerable, heart broken vocals; in fact, every song on Wanna Meet The Scruffs has something on offer, whether it be a catchy guitar riff, stinging solos, or an anthemic chorus.  “My Mind” and “She Say Yea” were influenced by the Beatles and Byrds but also early 70s American power pop greats like the Raspberries and Big Star.  Those two tracks are all-time power pop classics but other numbers like the album closer “Bedtime Stories” isn’t far behind with its beautiful intro and timeless melodies – these are magical songs.  Also, many tracks wield an uncompromising sense of humor with strange lyrics like “Im a failure and my entire life was meant for killing time” (from “I’m A Failure”) or  “Dear Jean, all I ever wanted from you was a little revenge and your phone number” (from “Revenge”).  This music is elegant but at the same time shambolic, and while phoney, manufactured groups like the Knack and Rubinoos completely disappoint, the Scruffs were the real deal, delivering 13 fine, romantic power pop tracks.  Wanna Meet The Scruffs is ace from start to finish, making it one of the best lps from 77.

Rev-Ola records did a nice straight up reissue of Meet The Scruffs back in 2002, no significant bonus tracks though, just a couple of alternate takes.  They would record material for a second album but these tracks would not see a release till the late 90s (Teenage Girls) and while good, are not up to par with the songs on Wanna Meet The Scruffs.  A true classic.

“She Say Yea”

:D CD Reissue | 2002 | Revola | buy at amazon ]
:) Original Vinyl | 1977 | search ebay ]
8-) Spotify link | listen ]

Moby Grape “The Place And The Time”

, | Classic Rock,Country Rock,Pop,RnB

The Place And The Time

If you’re not convinced Moby Grape were one of the hippest, baddest, realest, and rawest bands of the late 1960s then grab this new outtakes and live cuts compilation from Sundazed and try to explain otherwise.

The Place and the Time collects unissued recordings by Moby Grape and presents them more or less chronologically from 1967 to 1968 over 2 LPs. Side One combines auditions (“Indifference,” “Looper”) and demo cuts (“Stop,” “Loosely Remembered”)  with “Rounder,” an instrumental outtake from the sessions for the Grape’s legendary debut album. Side Two focuses on outtakes from the Wow album sessions, ending with a scorching version of Bob Mosley’s “Soul Stew.” Side Three rounds out later 1968 Grape demos, many of which would form the Moby Grape ’69 album, and Side Four includes a triplet of killer live cuts from 1968 – just listen to the overwhelmed crowd react to the onslaught of “Changes.”

I love the Sundazed mono pressings, but the stereo live cuts are particularly atmospheric; it puts you right on the stage with the band and hearing these tracks pressed to vinyl (for the first time in their sadly neglected lifespan) is a real warp zone. Moby Grape fans who haven’t picked up the recent reissues (where some of these are bonus tracks) should clamber to get on board with these discs, the recordings are rock solid in sound and it’s a treat to spin these dusty gems and listen to the mighty Grape tear shit apart.

“Soul Stew”

:) 180 Gram Vinyl | 2009 | Sundazed | buy from sundazed ]
:D CD | 2009 | Sundazed | buy from sundazed | amazon ]