Archive for the ‘Reissue’ Category

Mister Rogers: Bedtime / You’re Growing / You Are Special / Coming and Going

Thursday, December 31st, 2020

Reissues of four albums of acceptance and empowerment

In celebration of the documentary Won’t You Be My Neighbor?, and the film A Beautiful Day in the Neighborhood, Omnivore released the Mister Rogers best-of compilation It’s Such a Good Feeling, alongside the instrumental collection Johnny Costa Plays Mister Rogers’ Neighborhood Jazz. They now dig deeper into the catalog with reissues of four original albums, 1992’s Bedtime, You’re Growing, and You Are Special, and 1997’s Coming and Going. Each album is bookended with unique versions of the signature songs “Won’t You Be My Neighbor?” and “It’s Such a Good Feeling,” collect songs that loosely fit around the album’s title theme, and are backed by Mister Rogers’ longtime jazz trio of Johnny Costa (piano), Carl McViker (bass) and Bobby Rawsthorne (percussion).

Bedtime features songs of comfort and reassurance that will help send a young child’s worried mind into dreaming wonder. Rogers addresses a common childhood concern on “Nighttime Sounds,” turns existential for “When the Day Turns Into Night,” and closes out the theme with “Peace and Quiet.” You’re Growing highlights the momentous physical and emotional growth that comes in a child’s early years – changes that are often confusing or frightening. You Are Special centers on acceptance, self confidence and individual empowerment, and Coming and Going is about new experiences and the comfort of the familiar. The latter visits the Neighborhood of Make Believe for several songs.

Rogers’ empathy for a young child’s concerns is demonstrated through his deeply considered validation of their feelings. His lyrical themes are universal and timeless, and in these performances, his caring has survived his corporeal form. The trio’s light jazz backings are equally empathetic to Rogers’ thoughts. Rogers’ was a unique television star, but more centrally, he was a unique friend and educator of young children, and his song catalog retains the caring that he poured into everything he did. [©2020 Hyperbolium]

Mister Rogers’ Neighborhood

Bonnie Hayes & The Wild Combo: Good Clean Fun

Monday, December 21st, 2020

Expanded 2020 reissue of 1982 pop classic

Originally released in 1982 amid the MTV/New Wave boom, this San Francisco band’s only full-length album shared some of the boom’s pop sensibilities, but with a craft that was more musically rich than its video-enhanced counterparts. Hayes’ roots in jazz might have informed some of the chords and harmonies, but her musical training never hindered the album’s pop joy, finding expression in a depth of songwriting that was often missing from the mainstream. The band’s indie label (Slash) and its corporate distributor (Warner Brothers) failed to turn any of the album’s tracks into hit singles (though “Girls Like Me” and “Shelly’s Boyfriend” both appeared on the soundtrack of Valley Girl), and Slash dropped the band after this album. A follow-up EP, Brave New Girl, was self-released in 1984, and marked the end of a surprisingly short run for a group whose debut was so brimming with life, and whose songwriter proved to have a great deal more to say (notably penning “Have A Heart” and “Love Letter” for Bonnie Raitt’s Nick of Time).

The original album was reissued in 2007 by Wounded Bird, but is augmented here by the follow-up EP, the pre-LP single version of “Shelly’s Boyfriend” (and its flip “Rochambeau,” released as The Punts), and a trio of demos that failed to make the album. The debut opens with the exuberant one-two punch of “Girls Like Me” and the cautionary sibling shout-out “Shelly’s Boyfriend.” Hayes’ slow piano intro doesn’t tip off the punchy rhythm of “Separating,” and her organ and coy vocal give “Dum Fun” a hint of new wave before her solo and Paul Davis’ scorching guitar give the throwaway-titled song some soulful musical heft. The original “Coverage” would find subsequent cover on David Crosby’s 1993 release Thousand Roads, giving Hayes’ songwriting the exposure its lyrics seemed to beg for.

The follow-up EP is highlighted by the wondrous impressions of “After Hours” and the closing “Night Baseball,” the latter of which Hayes characterizes as a “multi-meter modal extravaganza about my love affair with San Francisco.” The pre-LP Punts single is a treat whose lack of distribution made it a rarity. The earlier version of  “Shelly’s Boyfriend” is taken at a slower tempo that is less anxious with its advice than the album take. The B-side pairs a lovely vocal with an unusual rhythm and a dash of Hayes’ jazz background in the instrumental passage. The collection’s demos were recorded by the pre-Wild Combo Punts (including producer Steve Savage on drums), and though a bit more punk rock in attitude than what ended up on the album, it’s not hard to imagine how these songs might have fit. Altogether, this is a terrific upgrade to Wounded Bird’s straight-up album reissue, and the place to start if you missed the album in its previous incarnations. [©2020 Hyperbolium]

Bonnie Hayes’ Home Page

Pop-O-Pies: Get Outta My Way

Monday, December 21st, 2020

1982 debut EP of irreverent, pointed and catchy pop-punk

San Francisco’s Pop-O-Pies may have been one of punk rock’s most melodic bands. Punk in attitude more than sound, but punk nonetheless. They alienated and then enthralled early audiences by playing a set that consisted entirely of the Grateful Dead’s “Truckin’,” and wrote original songs that sarcastically appraised Catholics and cast cops as donut eating fascists. A 1983 opening slot for Iggy Pop in Seattle so agitated the crowd that by the time the headliner appeared the mood was incredibly dark; fittingly, Pop’s set ended in 30 minutes after some stage-dancing audience members toppled the speaker stack into the crowd.

The band’s debut, the six-song The White EP, was a college radio staple, with two versions of “Truckin’” (one pop-punk, the other styled like “Rapper’s Delight”), an ode to Timothy Leary (which the LSD guru apparently took to playing at his public appearances), the hard-driving rhythm guitar monotone “Fascists Eat Donuts,” sing-song reggae “The Catholics Are Attacking,” and punk-styled lament “Anna Ripped Me Off.” The Pop-O-Pies simultaneously take the piss out of both their subjects and their listeners with songs that are funny, ironic, serious, irreverent, pointed and catchy, all at the same time.

The 2020 reissue puts the complete debut EP in digital form for the first time, and adds seven bonuses, including the poison apple “I Love New York,” a sardonic, Minutemen-styled “A Political Song” (and its acoustic reprise), the grungy “Slow and Ignorant” and the hallucinogenic collage “Lenny in Wonderland.” The added tracks show off Joe Pop-O-Pie’s range (as did subsequent albums), but having the six songs of the original EP back in print is the real prize here. [©2020 Hyperbolium]

The Pop-O-Pies’ Home Page

Rod McKuen: Greatest Hits of Rod McKuen

Friday, November 13th, 2020

Expanded edition of McKuen’s popular 1969 hits album

San Francisco poet and singer Rod McKuen was as popular with the people as he was reviled by critics. The latter labeled his works schmaltzy and facile, while the former bought his books and records, and attended his readings and concerts in tremendous numbers. The gap between his lack of critical accolades and his surfeit of popular acclaim likely hinges on the resonance his plainspoken words of isolation and spirituality struck with an audience who might otherwise not read poetry. The raspy earnestness of his vocal performances was often parodied, but the loneliness that threaded through his songs struck a deep emotional chord with listeners, and his uplifting messages provided hope.

Despite the sales of his records, McKuen’s chart success as a musical artist was limited; more successful were his songs, which were recorded by Oliver (“Jean”), Terry Jacks (“Seasons in the Sun,” an English translation of Jacques Brel’s “Le Moribond”), Damita Jo (“If You Go Away,” a translation of Brel’s “Ne Me Quitte Pas”), Perry Como (“I Think of You,” co-written with Frances Lai), Frank Sinatra (“Love’s Been Good for Me”), Perry Como (“I Think of You”), the Kingston Trio (“Ally Ally, Oxen Free”), Waylon Jennings (“Doesn’t Anybody Know My Name”), and many more. Other writings – notably “Listen to the Warm” and “A Cat Named Sloopy” – remain fan favorites in both their original poetic form, and when subsequently set to song. The former is included here as a bonus track, the latter, unfortunately not.

This 1969 collection was unusual for its time, as rather than anthologizing existing recordings, McKuen re-recorded a hand-picked collection of his most popular songs with new arrangements by Arthur Greenslade. The album was among the most popular of his catalog, selling gold, but eventually falling out of print. A 1996 CD release by Laserlight also fell out of print, after which an anthology by Varese Sarabande filled the gap. But Real Gone has now reissued the 1969 album with original cover art and six added tracks, including McKuen’s bittersweet theme song for the movie The Prime of Miss Jean Brodie, the late-night jazz love song “Rock Gently,” and a duet with Petula Clark on the oft-covered “The Importance of the Rose.” As when originally released in 1969, this collection is an excellent introduction to McKuen’s popular charms as a poet and singer. [©2020 Hyperbolium]

Groovie Goolies: Groovie Goolies

Sunday, November 8th, 2020

1970’s TV bubblegum music

After Don Kirshner’s falling out with the Monkees he fell in as music director for the Archies – a cartoon band with no creative aspirations of their own. With Ron Dante singing lead, and Jeff Barry, Andy Kim and others contributing top-quality songs, the Archies climbed onto the charts, peaking with the national anthem of bubblegum, “Sugar Sugar.” In addition to their success on the music charts, the Archies also had a top-rated Saturday morning TV show, all of which prompted their production company, Filmation, to try and replicate their dual success. The result was the 1970-71 Groovy Goolies, a monster-themed cartoon that featured two songs per episode, one performed by the monster trio Drac, Frankie and Wolfie, and the other by a rotating lineup of guest bands such as the Bare Bones and the Rolling Headstones. In reality, as with the Archies, the songs were performed by music industry pros, in this case, Dick Monda (better known as Daddy Dewdrop of “Chick-A-Boom (Don’t Ya Jes’ Love It)” fame), the Challengers’ Richard Delvy and Ed Fournier, and studio aces Larry Carlton and Ron Tutt.

The album was released in 1970, harvesting eight songs from the television show and adding “We Go So Good Together” and “Spend Some Time Together.” The songs were written by the team of Linda Martin and Sherry Gayden, and the album was co-produced by Monda and Ed Fournier, who also appeared on the front cover as Frankie (Fournier) and Drac (Monda). Sadly, the Rolling Headstones’ original version of “Chick-A-Boom (Don’t Ya Jes’ Love It)” wasn’t included on the album. The ten tracks that did make the cut are good quality bubblegum, though without the songwriting genius of Barry and Kim. “First Annual Semi-Formal Combination Celebration Meet-The-Monster Population Party” was issued as a single to no acclaim, and the album quickly became a rarity. Real Gone’s CD reissue marks the album’s first digital appearance, and along with two vinyl versions (one pumpkin orange, the other Franken-green) this is a nice nostalgic get for those who assembled in front of the TV to rock with the monsters on Saturday mornings! [©2020 Hyperbolium]

Van Duren: Idiot Optimism

Saturday, November 7th, 2020

Rare 1970s Memphis pop-rock follow-up

The 1970s Memphis rock scene was fertile but largely ignored in its time. Big Star rose to influence and renown only decades after they failed to make a commercial impression and disbanded. Others on the scene – Icewater, Rock City, the Hot Dogs, Cargoe, Zuider Zee – caught varying degrees of reflected post-mortem Big Star spotlight on compilations and reissues, but Van Duren, who recorded one of the city’s best ‘70s rock albums, remained obscure. This 1978 release, originally on the short-lived Big Sound label, garnered favorable reviews and FM radio play, but has been little known by even those who’ve collected the endless stream of Big Star reissues and vault material, and has been selling for big dollars in secondary markets.

Spurred by the documentary Waiting: The Van Duren Story and its accompanying soundtrack, Omnivore’s gone back to the vault and reissued Duren’s debut, Are You Serious?, alongside this even rarer second album. Idiot Optimism was recorded shortly after the debut, but disagreements with the label led to it being shelved. The album appeared briefly on the Japanese Air Mail label in 1999, and again in 2003 on Terry Manning’s Lucky Seven imprint, but this is the first issue in which Duren’s been involved, and remastered from the original analog tapes, with liner notes by Duren and a previously unpublished cover photo, this is the album’s definitive rendering.

Unlike Duren’s multi-instrumentalist performance on his debut, here he engages a band. Also unlike the debut, the well of material was mostly newer, many songs having been written during the time between the debut album’s recording and its release. Duren also included the only cover he’d recorded to that point – Chris Bell’s “Make a Scene” – as well as a song he co-wrote with Jody Stephens in 1975, “Andy, Please.” He also leaned more heaviy into mid- and up-tempo numbers, having found that ballads didn’t work as well on stage, with the fetching “What’s Keeping You?” being the only piano ballad included on the album.

Jon Tiven returned to co-produce, but after a falling out with the label, Duren was left to produce most of the album with help from engineer Richard Robinson. Oddly, the record label had forsaken vinyl LPs for cassette tapes, which allowed the album to stretch out to fifteen tracks. Musically, Duren’s songs have many of the musical hallmarks of those on his debut, but the players rock a bit more freely than Duren had as a multi-instrumentalist. Tom MacGregor rips on lead guitar for “Convincing Convictions,” and Hilly Michaels opens “Torn in Half” with an inventive drum pattern alongside Jeff Batter’s synthesizer.

Duren finished mixing the album before splitting with Big Sound, but the label did a poor job of mastering, and the previous Air Mail and Lucky Seven releases used the label’s inferior master. Omnivore has returned to the original analog tapes with a new transfer by Adam Hill, and a new master by Michael Graves. Those new to Duren’s catalog will want to pick this up alongside the debut, and fans who previously picked up the earlier issues of this title will want to upgrade! [©2020 Hyperbolium]

Van Duren’s Bandcamp Page

Van Duren: Are You Serious?

Saturday, November 7th, 2020

Long-lost 1970s Memphis pop-rock classic

The 1970s Memphis rock scene was fertile but largely ignored in its time. Big Star rose to influence and renown only decades after they failed to make a commercial impression and disbanded. Others on the scene – Icewater, Rock City, the Hot Dogs, Cargoe, Zuider Zee – caught varying degrees of reflected post-mortem Big Star spotlight on compilations and reissues, but Van Duren, who recorded one of the city’s best ‘70s rock albums, remained obscure. This 1978 release, originally on the short-lived Big Sound label, garnered favorable reviews and FM radio play, but has been little known by even those who’ve collected the endless stream of Big Star reissues and vault material, and has been selling for big dollars in secondary markets.

Spurred by the documentary Waiting: The Van Duren Story and its accompanying soundtrack, Omnivore’s gone back to the vault to reissue Duren’s debut and second album, Idiot Optimism. While the latter was remastered from the original analog tapes, Omnivore’s used Bob Ludwig’s original master from the 1970s for this CD. The vinyl editions of both albums were freshly remastered by Jeff Powell at Phillips Recording in Memphis. Omnivore’s reissue of Are You Serious? includes the original thirteen tracks, performed by Duren and drummer Hilly Michaels, with help from Doug Snyder and co-producer Jon Tiven. The three tracks anthologized on the soundtrack album expand here into a surprisingly assured album-length statement of a twenty-something who was packing eight years experience as a band leader and songwriter.

Duren’s songs yearn to express his romantic feelings, acknowledging the natural connection of “Chemical Fire,” nervously marking time in “Waiting,” and confessing his innermost hope on “This Love Inside.” There are echoes of the Raspberries on “Oh Babe,” and Badfinger and Todd Rundgren on the angry “Grow Yourself Up.” “Stupid Enough” essays the chagrin of staying too long, and the acoustic closer “The Love That I Love” displays the sort of mood Alex Chilton brought to “Thirteen.”

Duren’s debut burns with the passion felt between the naivete of teen years and the growing cynicism of one’s thirties. He’s articulate, both lyrically and musically, which might seem preternatural if he hadn’t been developing his craft and polishing his songs on stage and in demo sessions for several years. Big Sounds garnered surprisingly broad FM radio play, but it didn’t translate into big sales or chart action, and the album quickly disappeared. Omnivore’s reissue includes an eight-page booklet that features new liners from Duren and previously unpublished period photos. This is a great intro to Van Duren, and a perfect complement to the parallel reissue of his second album. [©2020 Hyperbolium]

Van Duren’s Bandcamp Page

Bobby Hatfield: Stay With Me – The Richard Perry Sessions

Saturday, February 15th, 2020

Previously unreleased solo sessions from 1971

As half (and in several cases, all) of the Righteous Brothers, Bobby Hatfield’s tenor was the emotional high-wire that supercharged the blue-eyed soul hits “You’ve Lost That Lovin’ Feeling,” “Soul Inspiration” and “Unchained Melody.” In 1968 his partner Bill Medley left the act, and by 1971, Hatfield’s pairing with the Knickerbockers’ Jimmy Walker had also broken up. So it was with a solo career on his mind that he engaged with producer Richard Perry, who was hot off successful albums with Barbra Streisand and Nilsson. Initial sessions were held in the legendary Abbey Road studio in December 1971, with musical luminaries Ringo Starr, Klaus Voorman, Al Kooper and Bobby Keys, and produced the single “Oo Wee Baby, I Love You.” Hatfield was loose and ready to create new sounds as Ringo’s drumming drew winningly on the Beatles’ “Get Back,” and a cover of George Harrison’s White Album-era “Sour Milk Sea” found Al Kooper banging away on piano as Hatfield exercised his falsetto.

A second set of sessions convened later in Los Angeles’ legendary Western Studios (home to Phil Spector, the Beach Boys, and others), where a single was cut covering Lorraine Ellison’s “Stay With Me.” Perry built the production with a full orchestra and chorus, and Hatfield lit it up with an impassioned vocal that echoes Ellison’s iconic original. The L.A. sessions also produced covers of Cole Porter’s “In the Still of the Night” (a song written for the 1937 film, Rosalie, and not, alas, the Five Satins’ 1956 doo-wop classic) and Billy Fury’s “Run to My Lovin’ Arms.” The former aligns with the Tin Pan Alley-era material that Hatfield recorded earlier in his career, while the latter overclocks the emotional tenor of the chorus similarly to Jay and the Americans’ original.

Also included here is the B-side to both singles, “Rock ‘n’ Roll Woman” (a blues-rock Hatfield original that sings of life on the road, rather than the Buffalo Springfield’s hit), and covers of Harrison’s “What is Life” and two exploratory approaches to Holland, Dozier & Holland’s “Baby Don’t Do It.” Perry’s growing renowned apparently pulled him away from this project, leaving the two singles as the only commercial output. And though Hatfield recorded Messin’ in Muscle Shoals at the legendary FAME studios, these unfinished sessions demonstrate he had many more ideas than he ever got to release. This is a nice complement to Ace’s Other Brother: Solo Anthology 1965-1970, providing valuable insight into Hatfield’s state at the start of the 1970s, as well as his creative process. A nice get for fans. [©2020 Hyperbolium]

Milton Delugg & His Orchestra: Music for Monsters, Munsters, Mummies & Other TV Fiends

Sunday, February 9th, 2020

Excellent orchestral-pop renditions of early-60s TV themes

The early ‘60s was a golden age of opportunistic cross-marketing, as television executives collaborated with the music industry to expand the brands of their shows. Record albums from the casts (or in many cases, only the producers and talent commissioned by the program’s licensors) hit the market for Bonanza, Get Smart, Gomer Pyle, the Man From U.N.C.L.E., the Addams Family and numerous other classic television programs. Many of these, including the  recently reissued Munsters album, were lightweight novelties meant to quickly cash in on a show’s popularity. But a few were professionally arranged and conducted albums of orchestral pop, and such is this effort from composer, arranger and bandleader Milton Delugg. Which isn’t to suggest there was no intention to quickly cash in, but Delugg’s talent elevates the album well beyond that initial motivation.

Gathered here are snappy new arrangements of the theme songs from television’s The Munsters, The Addams Family, Bewitched, The Alfred Hitchcock Hour, and The Outer Limits. Each is cleverly orchestrated and performed, adding new sizzle to the easily recognized themes.  There’s Duane Eddy-styled twang, harpsichord, horns and full-kit drumming for the Munsters, a march that turns into jazzy flute and muted horns for the Addams Family, and dramatic horns and discordant xylophone for the Outer Limits. These are great tunes, professionally rendered in inventive new arrangements that will please fans of the TV originals, as well as fans of 1960s orchestral pop.

The album is filled out by seven original monster-themed instrumentals that are as lively as the TV tunes. “Creature from Under the Sea” is an uptempo waltz filled with mystery, pathos and danger, “Frankenstein” has has a kinetic flavor that would have worked nicely in a spy film, “Ghoul Meets Ghoul” makes a slinky nod to the Pink Panther theme, and a heavy Latin beat and horn accents for “The Mummy.” With the original 1964 vinyl selling for big dollars, it’s great to have this enjoyable collectable back in print, if only briefly for this ghoulish green vinyl limited edition. Hopefully someone can get the digital rights and reissue as a CD or download for analog-deficient listeners! [©2020 Hyperbolium]

The Munsters: The Munsters

Sunday, February 9th, 2020

Surf-styled 1964 novelty returned to mono vinyl

With The Munsters finding fans among a teenage television audience, the concept was ripe for spin-off marketing. Producers Joe Hooven and Hal Winn assembled the Wrecking Crew and a vocal group named the Go Go’s to record a dozen light-surf novelty tunes written by uncredited scribes, and a future collectible was born. None of these songs have the adolescent archness of Mad Magazine’s records, or the scene detail of Gary Usher’s surf ‘n’ drag albums, but there’s entertainment to be found in the bump and grind sax of “Vampire Vamp,” the ersatz Jan & Dean falsetto of “(Here Comes the) Munster’s Coach,” the Shadows-styled guitar of “Eerie Beach,” and the various Munster references. This was reissued on CD and limited edition purple vinyl in 2018, with the latter now getting a second life on ghastly grey mono wax. Not an essential, but interesting for fans of mid-60s pop novelties. [©2020 Hyperbolium]