Various Artists: Woody Guthrie – The Tribute Concerts

November 22nd, 2017

Lavish expansion of 1968 and 1970 Woody Guthrie tribute concerts

Bear Family’s lavish three CD, two book set collects material from two live tribute shows, featuring performances by Arlo Guthrie, Pete Seeger, Judy Collins, Bob Dylan (his first appearance after his motorcycle accident), Odetta, Joan Baez, Richie Havens, Jack Elliott, Country Joe McDonald, Tom Paxton and Earl Robinson, along with narration from actors Robert Ryan, Will Geer and Peter Fonda. The first tribute included an afternoon/evening pair of concerts staged at Carnegie Hall in 1968, the second tribute was staged at the Hollywood Bowl in 1970. Material from both tributes was released in edited, collated and resequenced form on a pair of 1972 LPs, Part 1 on Columbia and Part 2 on Warner Brothers, and eventually reissued on CD and MP3.

In honor of the fiftieth anniversary of Guthrie’s passing, Bear Family has gathered all of the extant concert materials – including the entire Hollywood Bowl concert – to recreate the original, scripted concerts by adding back narration and musical performances that were elided from the LPs, and adding in interview clips that shed light on Guthrie and the productions. The three CDs are fitted into the back cover of a 160-page hardbound book that overflows with photos, essays, press clippings, remembrances, artist and production staff biographies, ephemera, notes on production, recording and filming, a discography, a bibliography and a filmography. The book is housed in a heavy-duty slipcase alongside a reproduction of the 1972 volume, The TRO Woody Guthrie Concert Book, which itself includes photos, sheet music, and song notes from Guthrie and Millard Lampell. All together, the package weighs in at over five pounds!

Lampell’s script for the shows threads together Guthrie’s songs and autobiographical writing, Lampell’s script tells Guthrie’s story through the people he met, the stories he sang and the musicians he influenced. Highlights of the New York shows include Will Geer’s knowing tone in describing his longtime comrade, the then-recently minted starlight of Arlo Guthrie shining on his father’s “Oklahoma Hills,” the sound of Pete Seeger’s banjo and his physical embodiment of the folk movement’s hard-fought roots, and Tom Paxton’s mournful “Pastures of Plenty.” Dylan’s band-based triptych stands apart from the more traditional folk arrangements of his castmates, and shows the directions he’d been developing during his eighteen month hiatus.

For all the camaraderie and good feelings of the Carnegie shows, they weren’t without controversy, as Phil Ochs’ snub led to the deeply bitter feelings recounted in his interview. Ochs’ was particularly critical of Judy Collins and Richie Havens, the latter of whom had only then recently released his debut and performed at Woodstock. But Ochs’ recriminations were misplaced, as both artists commune with Guthrie’s legacy; Collins’ embrace of “Plane Wreck At Los Gatos (Deportee)” is tear inducing, and Havens’ slow, rhythmic performance of “Vigilante Man” is hypnotic. The show closed with the cast singing Guthrie’s alternate national anthem, “This Land is Your Land,” sending the audience out to share Guthrie’s music with the world.

The Los Angeles show largely repeated the script from New York, with Peter Fonda replacing Robert Ryan in the co-narrator chair, and Arlo Guthrie, Pete Seeger, Odetta, Jack Elliott and Richie Havens newly joined by Joan Baez, Country Joe McDonald, Earl Robinson and a house band that included Ry Cooder. Dylan’s semi-electric set felt like an outlier among the acoustic arrangements of 1968, but by 1970, the house band is heard throughout much of the Hollywood Bowl program. Stretching the songs further from their acoustic origins emphasizes their their continued relevance as artistic and social capital. The band-backed songs also provide contrast to acoustic numbers such as Baez and Seeger’s audience sing-a-long “So Long, It’s Been Good To Know Yuh.”

Baez sings both “Hobo’s Lullaby” with empathy and tenderness, and the band’s support on Odetta’s “Ramblin’ Round” inspires a looser performance than she gave in New York. Country Joe McDonald, who began his solo career the year before with Thinking of Woody Guthrie, sings a rousing version of “Pretty Boy Floyd” and provides original music for the previously unrecorded Guthrie lyric “Woman at Home.” Woody Guthrie’s performance style echoed most strongly in Ramblin’ Jack Elliott’s “1913 Massacre,” and placed back-to-back with Arlo Guthrie’s blues-rock take on “Do Re Mi,” highlights how amendable the songs are to reinvention.

The Los Angeles recording is more detailed than the tapes made from the house system in New York, and though it’s musically rich, with Guthrie’s passing two years further in the past, it doesn’t feel as urgent as the earlier shows. Disc three is filled out with interview clips that shed light on Guthrie and the tribute concerts. As Arlo Guthrie recounts in interview, and Lampell echoes in his opening essay, Guthrie had developed a legacy in the ‘30s and ‘40s, but it was the folk revival that really cemented his popular artistic immortality. The tribute concerts consolidated the discovery of the revival, acknowledging the original context in which Guthrie wrote, and renewing his songs’ significance by highlighting their ongoing relevance to then-current issues. The shows employed the folk tradition as stagecraft.

The interview segments are interesting for their mix of accurate and misremembered moments. Arlo Guthrie remembers the New York shows as benefits for the Guthrie children, when they were actually fundraisers for the newly formed Huntington Chorea organization. Rick Robbins remembers Dylan having been an unannounced surprise guest, when his role was actually advertised beforehand. This set is deluxe, even by Bear Family’s uniquely high standards, but it rests comfortably on two memorable concerts. Those seeking only a taste of the concerts might check out the CD reissue of the original concert albums. But for a fully immersive experience, this two-book, three-CD set is a welcome gift for the holidays. [©2017 Hyperbolium]

Woody Guthrie Website

Action Skulls: Angels Hear

November 20th, 2017

A Cowsill, Barnes and Bangle band together

Action Skull’s principals – John Cowsill, Billy Mumy, Vicki Peterson and Rick Rosas – each have extensive show business resumes. Cowsill began his music career in his family’s eponymous band, played with Dwight Twilley and Tommy Tutone, and plays drums as part of the Beach Boys touring band. Mumy started out in television and film before breaking into the music industry with Barnes & Barnes, worked with America and Rick Springfield, and records solo albums. Peterson rose to fame with the Bangles, and subsequently played with the Continental Drifters and Psycho Sisters alongside her sister-in-law Susan Cowsill. Rosas, who passed away in 2014, was a sought-after Los Angeles studio musician who played with Neil Young (including reunions of Crazy Horse, CSN&Y and Buffalo Springfield), Joe Walsh, Johnny Rivers and others.

The band’s genesis dates to 2013, when Cowsill, Peterson and Mumy met and sang together at a party. Mumy introduced Rosas into the mix a few days later, and quickly began writing new material for the quartet. Collaboration and demos were soon followed by live sessions at ReadyMix Music, a studio that has hosted Jackson Browne, Warren Zevon and other L.A. luminaries. The group describes their music as “canyon rock,” and that ‘70s vibe rings through the psych-tinged guitars and three part harmonies, but their sound isn’t nostalgic. Rosas death in November 2014 put the eight finished tracks on the back burner as the three remaining Skulls returned to their individual careers. But they knew they had something, and they knew that Rosas performances should be heard. So they recorded three more tracks with Mumy and John Cowsill’s son Will on bass.

The finished collection includes both solo and group vocals, often swapping within a song, and songwriting collaborations that give the album variety, but with a real group sound. The album opens with the Revolver-ish “Mainstream,” with each vocalist taking a turn up front and banding together on harmonies. Several of the songs wander into imagined worlds. “In the Future” wonders what our bad habits will look like in hindsight, and “If I See You in Another World” ponders the strength of a relationship freed of its current context. Relationships figure into many songs, as the album considers physical and hypothetical separation with warm looks homeward and lonely gazes outward. Whether this is a one-off or turns into an on-going project, it’s a terrific artifact of four accomplished artists coming together to make music. [©2017 Hyperbolium]

Action Skulls’ Home Page

Peter Case: On the Way Downtown – Recorded Live on FolkScene

November 15th, 2017

Peter Case’s on-stage magic from 1998 and 2000

Peter Case has had a music career that few of his contemporaries can match. Breaking in with Jack Lee and Paul Collins as the Nerves, no one would have guessed it was the beginning of a musical road that’s now stretched more than forty years. Case’s second band, the Plimsouls, garnered a major label contract, tours and an appearance in Valley Girl, but this too ended up as prelude to a solo career launched by his eponymous 1986 album. Unlike the rock ‘n’ roll of his earlier bands, his solo work – both on record and in performance – put a greater focus on his songwriting, and it’s that songwriting that’s highlighted in these tracks taken from live radio performances in 1998 and 2000.

Both performances are drawn from Case’s appearances on KPFK’s FolkScene. The earlier set highlights material from Case’s Full Service, No Waiting, while the latter set combines material from Flying Saucer Blues and earlier releases, and adds covers of Mississippi John Hurt and Charlie Poole. Both sets were engineered by FolkScene’s resident engineer, Peter Cutler, and sparkle with the show’s warmth and Case’s creativity. Case is joined by the Full Service album band for the 1998 set, and by violinist David Perales for the later tracks.

At 40, Case was thinking deeply about the path from his childhood to his present. The title track is filled with the memories an ex-pat relishes in revisiting his hometown, while “See Through Eyes” laments the incursion of doubt that middle age brings. Case remembers his San Francisco years in “Green Blanket (Part 1)” and “Still Playin’,” and explores the roots of his rambling in the acoustic “Crooked Mile.” The first set closes with the adolescently hopeful “Until the Next Time,” while the second set opens in a more present frame of mind with “Something Happens.” Two years on, Case was still remembering notable moments from his past, but also looking forward.

The songs easily fit the band setting, but the starker guitar-and-violin arrangements of the second set provide Case’s singing and lyrics a more intense spotlight. He slips easily into the acoustic picking of Mississippi John Hurt’s “Pay Day” and wears the lyric with a familiarity that belies its mid-60s origins. Case moves easily between blues and folk, and Parales violin provides moody underlines, rapidly bowed sparks and intricate, emotional accompaniment, highlighted by his ornamental line on “Beyond the Blues.” Peter Cutler’s recording is clean and unaffected, and presents Case as you might expect to hear him in a club or on a street corner, with his musical magic at full power. [©2017 Hyperbolium]

Peter Case’s Home Page

K Phillips: Dirty Wonder

November 1st, 2017

An Americana biography of romantic dissolution

A West Texan singer-songwriter named after Kris Kristofferson has a lot to live up to. But there’s a soulfulness in Phillips’ voice, the sort you hear on deep Van Morrison tracks, and a redemptive faith in his songs that suggests Bruce Springsteen. His album ponders the end of a relationship, and though written in the first person, the stories are biographical rather than autobiographical. The split viewpoint lends a philosophical angle that musters a friend’s pain and outrage from an observational angle. The songs battle the lethargy of aftermath, ponder second chances to end things cruelly, and find their way to forgive and move on to what could be renewal. “Had Enough” opens the album with a moment of realization that signals the oncoming emotional thaw. A growing understanding of just how unraveled he’d become leads to confession and confrontation as he begs for reaction, castigates himself and looks for an exit.

Phillips finds out that letting go sometimes turns out to be harder than remaining unhappy, as neither the conventions of “Rom Com” nor the rebound of “18 Year Old Girls” prove to be a sustainable escape from real world endings. The latter features a terrific neo-psychedelic guitar coda that suggests Television playing Americana, and elsewhere the album explores country, gospel, and in the closing “Hock the Horses,” a Latin rhythm. Gordy Quist’s production balances guitar sustain with deep bass notes and gently shuffling drums, pushing Phillips ever-so-slightly forward in the mix to emphasize his emotional isolation and personalize his plight. The crucible of a failed relationship leaves scars on the tested, but even one step removed, the sparks of recrimination and salve of forgiveness make for intensely revealing stories. [©2017 Hyperbolium]

K Phillips Home Page

Various Artists: The Roots of Popular Music – The Ralph S. Peer Story

October 30th, 2017

The recordings and song publishing of a legend

It’s hard to imagine someone more important to American popular music than Ralph S. Peer. His pioneering achievements in blues, country, jazz and Latin music vaulted him into the highest echelon of A&R, and his career as a publisher built a foundational catalog that remains sturdy to this day. Peer’s recordings of Mamie Smith, Jimmie Rodgers and the Carter Family, and a publishing catalog that stretched from Bill Monroe to Perez Prado to Hoagy Carmichael to Buddy Holly speaks to his ears for originality and his unprejudiced love of music. His talent for placing songs with singers exemplifies the sort of contribution a non-musician can make to music, and his extrapolation of regional and societal niches into popular phenomena speaks to a vision unclouded by the status quo.

Ralph Peer was not the only producer to explore the musical landscape of the United States, but unlike his peer John Lomax, Peer was less a folklorist, and more a producer whose studio was in the trunk of his car. In 1927 he discovered Jimmie Rodgers and the Carter Family in a single session in Bristol, Tennessee, and found additional success prospecting in Latin America. His interests in musical areas outside the popular mainstream led him to back the newly formed BMI, which in turn would spur the growth of radio as a medium for records, rather than live performances. The fruits of those labors are heard here in the songs he placed with Jimmy Dorsey, Bing Crosby, Elvis Presley and others.

The chronological running order of the first two discs gives listeners a sense of how Peer had his fingers in multiple genres at once. The enduring legacy of his work as a publisher is heard on disc 3, in recordings of songs whose appeal continued to grow after Peer’s 1960 death. The focus on Peer’s publishing catalog leaves out many of his landmark recordings, such as Fiddlin’ John Carson’s “Little Old Log Cabin in the Lane.” The hardcover book includes notes from Peer biographer Barry Mazor, photographs and artifacts, but its lack of discourse on the set’s musical selections renders it more of an exhibit catalog than the liner notes for a fifty-song anthology. Pick up Mazor’s book, and the combination will tell you the story in words and music. [©2017 Hyperbolium]

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Whitney Rose: Rule 62

October 30th, 2017

Country, soul and girl group blossom under Rose’s command

With her friend and mentor Raul Malo co-producing, and a studio band drawn from the Mavericks, Jayhawks and Asleep at the Wheel, Canadian-born, Austin-based Whitney Rose doubles up on the retro country pop highlighted on 2015’s Heartbreaker of the Year. Across nine originals, and covers of “Tied to the Wheel” and “You’re a Mess,” Rose plugs into ‘70s country vibes, girl group sounds and, on “Can’t Stop Shakin’,” a deep soul groove. There’s an echo of Danny O’Keefe’s “Goodtime Charlie’s Got the Blues” in the downbeat mood of “You Never Cross My Mind,” and the rolling rhythm of the bittersweet “Trucker’s Funeral” suggests John Hartford’s “Gentle on My Mind.”

Rose is decisive as she leaves behind the wreckage of failed romances, and definitively cuts the ties that bind. She leaves without anger, and though hardened by experience, the emotional toll still leaves her numb, and on the Brill Building-worthy “Better to My Baby,” remorseful. Malo pops up throughout the album, singing harmony on “You Don’t Scare Me” and adding terrific guitar leads along with ace Kenny Vaughn. Malo and co-producer Niko Bolas showcase Rose’s vocal charms while also giving the musicians and songs room to shine. Chris Scruggs’ steel, Aaron Till’s fiddle and Jen Gunderman’s piano and organ are perfectly staged, and Rose is commanding as she eases herself into songs whose classic tones belie their originality. [©2017 Hyperbolium]

Whitney Rose’s Home Page

Eilen Jewell: Down Hearted Blues

October 23rd, 2017

Sparkling Jewell covers the blues

Eilen Jewell’s voice has always been from another era. From her earliest country folk to the country shuffles, western swing and hot club jazz that have filled out her catalog, Jewell’s often had at least one peep-toed shoe in the 1930s. Even as she added electric guitars and growling saxophones to the mix with 2009’s Sea of Tears and 2014’s Queen of the Minor Key, she retained the out-of-time otherworldliness of her vocals. Her last album, 2015’s Sundown Over Ghost Town, dialed back the jazz, rock and R&B to electric country folk that married the directness of Woody Guthrie to the choked emotion of Billie Holiday. Two years later, the blues are back, as Jewell rips through a brilliantly selected and deftly executed collection of covers.

The dozen selections here weigh towards the 1950s and 1960s, with sides drawn from the Chess, Checker, Excello, Ace, Finch and Bluesville labels. The disc opens with a killer take on Charles Sheffield’s “It’s Your Voodoo Working,” driven by the spellbinding guitar of Jerry (“Not Moby Grape’s”) Miller. The covers include singles and deep album tracks made popular by Howlin’ Wolf, Big Maybelle, Little Walter and Otis Rush, and reach back to earlier sides from Bessie Smith (“Down Hearted Blues”) and Moonshine Kate (“The Poor Girl’s Story”). This is a connoisseur’s’ selection, highlighted by a rockabilly-inflected take on Betty James “I’m a Little Mixed Up” and a smokey, Peggy Lee-styled read of Little Walter’s “Crazy Mixed Up World.”

Jewell loosens up her voice, not to a full blues shout, but with an extroverted passion that, supplemented by Miller’s wicked guitar playing and a crack rhythm section, leaps from the speakers with authority. Even when playing coy, there’s no doubt who’s in charge, and unlike idiosyncratic stylists such as Holly Golightly or Lucinda Williams, Jewell takes a lighter touch in rethinking her covers. Jewell tips her hat to the material without losing centerstage, and in doing so the album sheds new light on the songs and the singer. The diverse material, drawn from the 1920s through the 1960s, fits together into a cohesive album, aided by Miller’s range of guitar styles and a flexible rhythm section. From start to finish, this is a love letter to the blues. [©2017 Hyperbolium]

Eilen Jewell’s Home Page

Flamin’ Groovies: Fantastic Plastic

October 2nd, 2017

The Flamin’ Groovies rise again

San Francisco’s Flamin’ Groovies broke into the underground with a string of critically revered records – Sneakers, Supersnazz, Flamingo and Teenage Head – whose lack of commercial success drove the band to musical itinerancy. By 1971, founder Roy Loney had left the band, and his co-founder, Cyril Jordan joined with Chris Wilson to shift the band from retro- and blues-influenced rock ‘n’ roll towards British-invasion styled pop. They resurfaced in the UK five years later, releasing the iconic “Shake Some Action” and three albums full of solid originals and covers of the Beatles, Byrds and others.

But much like the band’s original lineup, the revised and revitalized Groovies garnered critical accolades, but didn’t break through commercially. Chris Wilson left the band in 1980, and though various configurations and editions of the group have reunited and toured off and on, it’s been nearly forty years since Cyril Jordan and Chris Wilson have collaborated on new material. For this reunion, they recorded with original Groovies bassist George Alexander and latter-day drummer Victor Penalosa over the course of three years, laying down ten originals and covers of the Beau Brummels and NRBQ.

The band charges out of the gate with the Stones-ish “What the Hell’s Goin’ On,” reaching back to the band’s bluesier roots (though oddly crossed with the central riff of John Mellancamp’s “Hurts So Good”) and playing to Jordan and Wilson’s guitar chemistry. There are numerous moments that rekindle memories of the band’s jangly 1970s Sire albums, including the harmonies of “She Loves Me,” the hopeful “Lonely Hearts,” the Shadows-styled instrumental “I’d Rather Spend My Time with You” and a cover of NRBQ’s “I Want You Bad.” The chime reaches its apex with the Byrdsian closer “Cryin’ Shame.”

There are dabs of psychedelia on “End of the World” and the jammy coda to their cover of “Don’t Talk to Strangers.” There’s also a defiant anthem, “Let Me Rock,” that would have sounded at home at the Grande. Jordan and Wilson lean to the group’s British rebirth, but give their due to the band’s full range of blues, R&B, rock, rockabilly and pop roots. Jordan’s original cover art pays tribute to Jack Davis’ cover for Monster Rally and RCA’s Living Stereo logo, and the CD is screened with an homage to the Laurie Records label. The retro touches are nice, especially for an album that’s a great deal more vital rock ‘n’ roll than nostalgic rehash. [©2017 Hyperbolium]

Flamin’ Groovies Facebook Page

The Rolling Stones: Their Satanic Majesties Request

September 22nd, 2017

The Stones’ red-headed stepchild gets a lavish 50th birthday party

Released between Between the Buttons and Beggars Banquet, the Rolling Stones’ 1967 foray into psychedelia has often been heard as a divisive outlier. Recorded in sessions spread throughout a tumultuous year, and often relegated to also-ran status as a me-too derivation of the Beatles’ Sgt. Pepper’s Lonely Hearts Club Band, the album hadn’t the conceptual grandiosity to create such a stir. Worse, the band’s own indifference, exemplified by quotes printed inside this lavish four-panel album-sized package, hasn’t redeemed the album’s image. But on this fiftieth anniversary, one can ask whether the album has been fairly assessed, and see if hindsight illuminates the work more clearly than the flashing, multicolored light shows of 1967.

First and foremost, Satanic Majesties was a clear break from the tough, R&B-driven music on which the Stones had minted their reputation. The overt use of mellotron, oscillators and studio manipulations gives this album textures unlike any of the band’s other releases. And while drugs certainly influence other Stones recordings, none are so entrenched in psychedelia as this album. 1967 was a year of band turmoil, with Mick and Keith having been arrested on drug charges in February, Brian Jones’ girlfriend leaving him for Richards in March, Jones being arrested on drug charges in May, and the band’s manager, Andrew Loog Oldham, leaving the fold. And it was at an intersection of personal tribulation and acid-drenched communal ethos that the Stones recorded this album.

The sessions were chaotic and weighed-down by hangers-on, and with Oldham abandoning ship, the band was left to produce themselves. The results were uneven – with jeweled classics rubbing elbows with uneventful jams. The album’s release on December 8 was foreshadowed by the single “In Another Land,” written and sung by bassist Bill Wyman. The tremelo-processed vocal, harpsichord, mellotron and dream-within-a-dream lyrics fit the album’s mood. With the A-side credited to Wyman (and with the B-side, “The Lantern,” credited to the Stones), the single scraped into the Top 100, leaving the album to generate its own publicity.

The LP performed well commercially, reaching #2 on the U.S. chart with the help of a late December single of “She’s a Rainbow” backed by “2000 Light Years From Home.” Critics were mixed, and though the album earned a gold record in America, it seems to have been largely forgotten by the Stones the moment it was released. The studio recording of “2000 Light Years From Home” was used to introduce the group’s 1972 stage show, but it wasn’t until 1989 that they performed it live, and it was another eight years before they performed “She’s a Rainbow.” The rest of the material remained at rest on record, and the group’s return to rock ‘n’ roll with 1968’s “Jumpin’ Jack Flash” and the rock, blues and country of Beggars Banquet, rendered Satanic Majesties an anomaly.

Beyond the hit single, the album has many charms. “Sing This All Together,” while not of the caliber as the hit single, opens the album with group vocals that echo the feeling of communal opportunity that was in the 1967 air. The track’s middle jam is edged along by percussion and horns until the vocals return and lead into the memorable guitar-riff that opens “Citadel,” “In Another Land” and the terrific “2000 Man.” Side one closes with the return of “Sing This All Together (See What Happens),” which, unlike the taut reprise of “Sgt. Pepper’s Lonely Hearts Club Band,” is an unstructured eight-minute improvisational jam that returns to the album-opening mood before segueing into a theremin rendition of “We Wish You a Merry Christmas.”

The indulgence that closes side one is redeemed by the perfection that opens side two. Introduced by a carnival barker, Nicky Hopkins’ music-box piano and John Paul Jones’ string arrangement key the brilliant and beautiful “She’s a Rainbow,” with bass and acoustic rhythm guitar reigniting the song each time it slows. The group’s blues roots shine through “The Lantern,” particularly in the blistering electric guitar riffs, but the tablas and flute jam of “Gomper” hasn’t aged well. The latter pales in particular comparison to the inspiration of “2000 Light Years From Home.” It’s this latter track, with discordant piano, mellotron, theremin, dulcimer, oscillator flourishes and a lyric of growing physical and emotional distance that will haunt your memory long after the record’s finished playing.

The music hall closer, “On With the Show,” seems to both mimic the frame of Sgt. Pepper’s and anticipate that of Magical Mystery Tour, and provides an entertaining coda to the album. The album’s psychedelic underpinnings glow on many tracks, including the band’s preceding hit, “Ruby Tuesday,” and singles recorded during the Satanic Majesties sessions, “We Love You” and “Dandelion.” Unfortunately, these period tracks aren’t included as bonuses – nor are the outtakes and demos that have been bootlegged elsewhere. But what’s here was freshly remastered by Bob Ludwig at Gateway Mastering (2016-mono, 2017-stereo), and pressed onto both vinyl (from a lacquer cut by Sean Magee at Abbey Road) and hybrid SACDs.

The two vinyl LPs and two SACDs are housed in a heavyweight, four-panel fold-out cover, with the album’s original lenticular art restored to the front cover and the gatefold art to the inside. A 20-page booklet includes an essay by Rob Bowman, and candid photos from Michael Cooper’s original cover shoot photo session. The package is hand numbered, and the pressing is advertised as a limited edition. So what’s actually new here? The mono master is the same as was used for the 2016 box set (vinyl and CD), but it’s reproduced here with a new vinyl lacquer, and as a first-ever high resolution mono release on the hybrid SACD. The stereo remaster is new, as is its vinyl lacquer. The lenticular cover art isn’t new, but has been out of circulation for many years.

For those who’ve already collected the original mono and stereo vinyl, reissue stereo vinyl and SACD, and reissue mono vinyl and CD, the wholly new elements here are the high-resolution layer on the mono hybrid SACD and Bob Ludwig’s new stereo remaster. Are they worth the duplication? That depends on how much you value this album – particularly the punchier mono mix – or whether having mono, stereo, vinyl, redbook and high resolution digital in one three-pound package simply tickles your collector’s fancy. The absence of contemporaneously recorded singles, alternates and outtakes may disappoint some, but having the original dozen tracks, mono and stereo, with lenticular cover art intact will be a treat for the album’s faithful fans. [©2017 Hyperbolium]

The Rolling Stones’ Home Page

Peter Himmelman: There Is No Calamity

September 15th, 2017

Philosophical rock ‘n’ roll looks at the world’s ills and cures

It’s been three years since Peter Himmelman rebuffed his own doubts with the introspective The Boat That Carries Us. The disillusion displayed in the 2007 documentary Rock God gave way to a more emotionally agile life that turned obstacles into opportunities for recalibration, and found happiness in the realities that his youthful dreams of fame had spawned. On this follow-up he focuses on dialectical questions of the mind and heart, looks outward at society’s barriers and wonders how one’s thoughts and emotions create and might ultimately contribute to the resolution of the world’s problems.

The opening “245th Peace Song” condemns the toxic political and social atmosphere that currently dominates America, but Himmelman seeks healing in place of scapegoating; pleading for solutions rather than protesting problems. He laments fear’s corrosive impact on societal bonds and advocates collective action as an antidote. At turns Himmelman can be defeated, deterministic, nihilistic and existential, noting that rich men run the world, wondering if we can even know whether meaningful decisions exist, and pitying those who coast through life without the friction that creates opportunities for redemption.

But in his heart, Himmelman is an optimist. The gospel-tinged “Ropes or Wings” opines that bitterness and hate are choices, but that hope, kindness and mercy are always ready options. He contemplates the seemingly infinite wealth of one’s memories, and cleverly rhymes his way through the impressionistic “Ribbon of Highway.” He strikes an inspirational tone that is part Springsteen and part Neil Diamond on several tracks, and the guitar playing, particularly the solo on “Smoke and Flames,” will remind you of how much you miss rock music. This album is intellectually deep and emotionally soulful, which will come as no surprise to Himmelman’s many fans. [©2017 Hyperbolium]

Peter Himmelman’s Home Page