Archive for the ‘Reissue’ Category

Roy Oribson: Unchained Melodies

Saturday, May 18th, 2019

Second set of Orbison vocals set to new orchestral arrangements

After two volumes that set Elvis Presley’s voice to newly constructed instrumental backgrounds, producer Nick Patrick did the same for Roy Orbison with 2017’s A Love So Beautiful. In Orbison’s case, Patrick’s arrangers often found themselves reimagining existing string arrangements on the grand scale of the London Philharmonic Orchestra, and here they do the same. With the original records as templates, the arrangements echo some of the existing percussion and melodic motifs, but with Orbison’s vocals as the guide (rather than, as in the case of Orbison’s original recordings, the vocals either being sung with or over the instrumental backings), the arrangements are more studied and constructed in their support.

As on the first volume, some tracks fare better than others, though here the song selection and Orbison’s original vocals are bigger variables. The arrangement for “Unchained Melody” seems to grow organically from Orbison’s vocal, while the strings of “Blue Bayou” fill in the space that gave the original its lonesome air. More recent material, such as the posthumously released “Heartbreak Radio” and “Careless Heart,” haven’t the hook of engrained familiarity to boost them up, and album tracks such as Orbison’s 1961 cover of “The Great Pretender,” weren’t among his greatest performances. That said, the mid-charting “Crawling Back,” low-charting “Walk On,” and the UK hit cover of the Orioles’ “It’s Too Soon to Know” are welcome rediscoveries.

While not as surprising as the first volume, nor as strong in song selection (particularly in its generous helping of material from the last stage of Orbison’s career), it’s still interesting to hear these songs reimagined (though it’s not clear anyone needed to reimagine “Heartbreak Radio” twice, including the album closing rendition with contemporary country artist Cam added as a duet vocalist). None of these reworked versions replace the originals, but if you’ve listened to those classics thousands of times, this gives you an opportunity to hear something new in the familiar. [©2019 Hyperbolium]

Roy Orbison’s Home Page

The Everly Brothers: Studio Outtakes

Saturday, May 11th, 2019

Alternate takes from the Everly Brothers hit-making years on Cadence

Among early rock ‘n’ roll acts, the Everly Brothers’ catalog is one of the most thoroughly documented. In addition to album reissues and greatest hits collections on numerous labels, Bear Family has issued three omnibus box sets (Classic, covering the ‘50s, and The Price Of Fame and Chained To A Memory, covering their years on Warner Bros.), along with two themed compilations (Rock and The Ballads of the Everly Brothers), a two-disc reissue of the classic Songs Our Daddy Taught Us, and a one-disc “mini box” titled Studio Outtakes. That latter disc, featuring 36 illuminating alternate studio takes from the brothers’ Cadence-era sessions, including 26 that were not included on the Classic box set. Studio Outtakes fell out of print and is reissued here in a jewel case with a 34-page booklet that’s slimmed down from the original issue’s 64-pages.

Unlike the multi-disc Outtakes volumes on Johnny Cash, Billy Riley, Gene Vincent, Johnny Tillotson and Carl Perkins, or the grey market two-volume Cadence Sessions, the conciseness of this single disc doesn’t require slogging through the repetition of false starts, incomplete takes and a half-dozen alternates of the same title. The multi-disc outtakes sets make a nice addition to a collector’s archive, but this 79-minute single disc is the more musical experience, playing as a well-curated compilation of hits, B-sides and album tracks with the twist of alternate takes. The evolution heard in these alternate takes offer listeners a peek inside the Everly Brothers creative process, and for the most familiar songs, an opportunity to relive a bit of the experience of hearing them for the first time.

What’s truly impressive is how quickly, and seemingly easily, the Everlys struck up their brotherly chemistry in the studio. First takes of “All I Have to Do Is Dream,” “Bird Dog,” “Bye, Bye Love,” “Claudette” and “Wake Up Little Susie” hadn’t always settled on the vocal lines or instrumental accompaniment that would turn the song into a hit, but you could hear the magic building, particularly in the brothers’ magnetic harmonies. The differences are often subtle changes in rhythm, harmony, tempo, accompaniment, instrumental balance or production effects, offering an aural lesson in the tweaks a producer and artist make as they search for a hit. For example, the softening of the vocal attitude between takes 1 and 5 of “All I Have to Do Is Dream” finds the song evolving into its dreamy final form, while tempo, lyric and key changes differentiate takes 3, 5 and 7 of “Poor Jenny.”

Rather than arranging the disc with multiple takes of the same song side-by-side, the producers have curated the track list for spinning from beginning to end. The mix of hits and lesser known sides plays like an album, with one song segueing thoughtfully into the next. The selection of material is complemented by the high quality of the original recordings, Jürgen Crasser’s mastering, Andrew Sandoval’s liner and song notes (along with quotes from Phil and Don Everly) from the set’s original 2005 issue, and numerous candid and promotional photos. As a behind-the-scenes look at the Everlys’ recording process, this set is hard to top; fans who want to dig deeper into the Everlys’ methods should also check out the songwriting demos featured on Varese Sarabande’s 36 Unreleased Recordings from the Late ‘50s and Early ‘60s. [©2019 Hyperbolium]

Timothy Leary: Turn On, Tune In, Drop Out (The Original Motion Picture Soundtrack)

Wednesday, April 17th, 2019

Rare 1967 acid-trip guide with an east-west musical soundtrack

It’s hard to imagine a more fitting album for an acid guru than a soundtrack to a film that no one’s seen, and that some speculate was never shown. A like-named film reportedly documented the first LSD trip of psychologist, and Leary’s fellow Harvard psychedelic researcher Ralph Metzner; but on record, Leary’s acid-journey guidance is accompanied by a blend of eastern and western instrumentation that includes guitar, tablas, the sitar-like veena, voices, chanting, sound effects and studio manipulations. Originally released in 1967 by the Mercury label, the album’s essence was further fuzzed by a 1966 release with the same title, but different content.

The earlier album’s spoken word ruminations on drugs, philosophy and religion are put into practice here, as Leary guides Metzner to let go of his consciousness limiting baggage – “the chess game of [his] life” – so as to fully embrace the mind expansion that lay ahead. Leary leads Metzner to focus on the metaphysical as the backing sounds flow in nameless and timeless patterns, and he bids Metzner to “float beyond fear.” Leary’s acid guru recitations are buoyed by the backing music and sounds, and Leary’s fourth wife, Rosemary Woodruff, echoes Leary and provides additional guidance.

The profundity of Leary and Woodruff’s acid insights likely depend on the level of your intoxication, but whether you now find them serious or silly, they prove to an interesting artifacts. The backing tracks are mostly placed behind narration, but the music is interesting, with “Freak Out,” “Re-Entry”and “Epilogue” suggesting the trip the instrumentalists might have taken on their own. Primarily a period piece, there is something truly entrancing about this album. It’s not something you’ll put on your iPod for the gym, but you might pull it down form the shelf to freak out your friends or enjoy a simulated trip. Real Gone’s 2019 limited edition reissue was dropped on “kaleidoscopic” multicolor vinyl for extra psychedelic effect. [©2019 Hyperbolium]

 

Pearl Harbor and the Explosions: Pearl Harbor and the Explosions

Tuesday, April 16th, 2019

Early ’80s San Francisco new wave

Pearl Harbor and the Explosions was a short-lived new wave band that developed a club following in their native San Francisco music scene. Led by Pearl E. Gates (formerly of Leila and the Snakes), their debut single on the local 415 Records label was helmed by then-neophyte producer David Kahne, and begat an album deal with Columbia. This full-length debut, produced by Kahne at the Automatt, has a crisp sound that almost borders on brittle, but highlights the pop and progressive angles of the band’s music. New versions of the 415 single’s songs (“Drivin’” and “Release It”) were produced alongside a promotional video, and released as a Warner Brothers single that garnered regional radio play.

Though poppier than 415 labelmates like Translator and Romeo Void, there’s a funky new wave Dance Rock undercurrent that suggests contemporaries like Missing Persons. The songs are filled with easily loved hooks, and Harbor’s singing foreshadows the rockabilly sass that would enamor Clash bassist Paul Simonon, and fuel her solo follow-up, Don’t Follow Me, I’m Lost Too. Blixa’s reissue augments the album’s original nine tracks with seven bonuses, including the non-LP flip “Busy Little B-Side,” the original 415 Records single, and a trio of live tracks from 1979.

The live material, featuring covers of Nick Lowe’s “Let’s Eat,” the Sparkletones’ “Black Slacks” and Ron Woods’ “I Can Feel the Fire,” shows off the dynamism that established the band as a popular local act. The album scraped the bottom of the Billboard chart, and though the label seemed interested in a follow-up, artistic tensions within the band blew things up. Harbor moved to England and waxed her solo album, the rhythm section hooked up with Chrome, and later with guitarist Henry Kaiser, and guitarist Peter Bilt worked with producer and Automatt owner David Rubinson. In under two years the group had formed, signed a deal, released a record and disbanded, leaving behind few traces besides this catchy album. [©2019 Hyperbolium]

Uncle Walt’s Band: Uncle Walt’s Band

Saturday, April 13th, 2019

Legendary acoustic harmony band’s 1974 debut, with 11 bonus tracks

The fusion of country, jazz, folk, blues, bluegrass and swing this trio developed in the late ‘70s isn’t without near-term antecedents (e.g., Dan Licks and His Hot Licks) or parallels (e.g., David Grisman), but the joy with which these three talented musicians – Walter Hyatt, Champ Hood and David Ball – meshed their influences and voices is in many ways without equal. Although there was fine solo work to follow – and commercial success for Ball in Nashville – there was something greater than the parts in their collaboration. With three star-quality singers blending their voices in harmony, their talents as instrumentalists might have receded into the background, had their gifts not been so substantial. Their acoustic playing is gentle, but substantial, and provides perfect backing and decoration to their singing.

Omnivore began the digital restoration of the group’s catalog with the 2018 anthology Those Boys From Carolina, They Sure Enough Could Sing, and now digs deeper with this reissue of the group’s debut. Recorded in North Carolina (in a single day, in mono, and with no overdubs!) and originally released in 1974 as Blame it on the Bossa Nova, the album was reordered and reissued eponymously in 1978, as the group was settling into Austin. Their run would last five more years and turn out another studio album (An American in Texas), a live set (Recorded Live) and a cassette collection of studio material (6-26-79). Reissues have come and gone, including the numerous versions of this debut that are documented in the liner notes, but the band’s impression on its fans has never faded.

The trio’s harmonies take in the sounds of country music’s early family acts, close harmony pop of the ‘40s, and the jazz vocal groups of the ‘50s and ‘60s. Their repertoire includes superb original material that mingles easily with lovingly arranged covers of the Delta Rhythm Boys’ jivey “Give Me Some Skin,” Robert Johnson’s “From Four Until Late,” Professor Longhair’s “In the Night,” the late ‘30s blues “Undecided,” the folk staple “Little Sadie,” and a wonderfully crooned take on the film theme “Ruby.” The trio’s harmonizing on “High Hill” is unbelievably lush, Ball’s falsetto is striking throughout the album (as are Hood’s acoustic guitar leads), and Hyatt’s “Aloha,” which opened the original LP, now closes out the album’s eleven track lineup.

Omnivore’s reissue doubles the track count with eleven previously unreleased bonuses that mix period demos and live recordings, including covers of Turner Layton’s early twentieth century “After You’ve Gone,” an a cappella version of “Rock Island Line,” and a wealth of original material. The group’s vocal arrangements and instrumental prowess shine brightly on the demos, a few of which were covered by others, including Lyle Lovett’s 1998 rendering of “Lonely in Love.” The live recordings show that the fraternity the trio achieved in the studio was just as potent on stage, and that their lighthearted stage banter and effortless musicality instantly drew the audience into their groove. The twenty-page booklet includes photos, remembrances by the band’s musical associates and famous fans, and new liner notes by Mark Michael and Heidi Wyatt. This is an all-time classic, reissued in great style. [©2019 Hyperbolium]

Yum Yum: Dan Loves Patti

Saturday, April 13th, 2019

Fetching orchestral-pop eviscerated in a critical crossfire

It’s hard to say which is stranger: the creative genesis of this album or its fiery critical aftermath. In retrospect, the inferno that consumed the album two years after its 1996 release feels more fictional than the actual fiction of the album’s lyrical themes. Originally conceived as a backstory for names carved into a pair of collectible guitars (a Gibson Hummingbird shown on the front cover, and a Martin D25 shown on the back, for the gearheads out there), the album imagines the histories and emotions of the carver’s failed relationships. But written and arranged by Chris Holmes, the album’s intricate layers of orchestral pop became a post-mortem cause célèbre in an escalating war of indie scene criticism. Was Holmes serious or ironic? Was his album art or merely industrial product? Was it authentic or fake? Thomas Frank’s essay “Pop Music in the Shadow of Irony” brought these questions to bear on the career of his former roommate, and much discussion ensued.

Now, decades removed from the original release and the onslaught of analysis that followed, it’s difficult to imagine how the former begat the latter. For Holmes’ part, he suggests that Frank misconstrued his story of an artist navigating the record industry, selecting elements that fit a handy narrative. Frank described Holmes as having run an ironic play that reversed his label’s mass-market aspirations by doubling down with music that ironically harkened back to the sunshine pop sounds of the 1960s. But decades removed from the Indie vs. Alternative imbroglio of the mid-90s, it’s difficult to hear anything ironic in the album’s beautifully crafted sounds. Perhaps that’s because the made-for-AM-radio pop music from which Holmes took inspiration has turned out to have artistic value and emotional resonance that’s outlasted the taint of its arguably crass production source.

Frank labels Holmes’ claims of “heartfelt and genuine and un-ironic” as fake, and perhaps they were. He describes Holmes’ musical touchstones as “lowbrow” and “schlock,” and derides the idea that this music engenders deep, long-lasting meaning to listeners. But even if Frank is right about the layers of Holmes’ intentions, he’s wrong about the source music’s lasting relevance, and he’s wrong about the outcome of Holmes’ process. Whether or not Holmes was ironic (as were, say, Spinal Tap) or loving (as were, say, the Pooh Sticks), the end result is music to love. And if Holmes was simply faking it, he did a good enough job to render the fraud immaterial. It’s hard to imagine that either Holmes’ label, or Holmes himself, thought this music could successfully fill the market space being vacated by “Alternative,” which leaves Frank’s critique as more fantastic than the story he purports.

If you’re already lost in the multiple levels of revisionism and meta criticism, you may want to skip Brian Doherty’s critique of Frank’s essay, and the additional layers of explanation it reports from Frank and his then-editor at Harper’s. It all sums to an incredible amount of critical ink spilled over a market stiff that somehow managed to become emblematic, to a certain strain of intellectual cognoscenti, of all that is wrong with the fruits of commercial production. It’s hard to recall a pop confection that caused this much critical heartburn since the Monkees complained publicly about their own artistic disenfranchisement. And much like the Monkees, Yum Yum is better taken on its musical merits than the contortions of its creation myth.

Holmes originally developed his industry cred as part of the Chicago space rock band Sabalon Glitz, but when a solo deal materialized with a subsidiary of Atlantic, he decided to pursue the orchestral pop he had bubbling on the sideline. The lessons of Sabalon Glitz aren’t lost here, as the album is layered with vintage mellotron and chamberlin, strings, brass, organ, acoustic and electric guitars, bass and drums. Holmes’ lyrics imagine Dan lamenting his failed relationships, reminiscing about both the joys and stings of love, closing himself off to simmer in bitter thoughts, dream of better outcomes, and imagine cautiously dipping back into the romance pool. It hasn’t the stinging bitterness that informed Matthew Sweet’s Girlfriend, nor the variety of musical motifs, but Holmes’ hushed vocals and lyrics of romantic dissolution are effective, and his melodies are catchy, if not always sufficiently distinct to be instantly memorable.

Omnivore has resuscitated this album from the deep sea of critical burial with ten bonus tracks that include a fuzz mix of “Uneasy” that lends the song a Jesus & Mary Chain sound, along with U.K. B-side covers of Prince’s “When You Were Mine,” the Ronettes’ “Baby, I Love You,” and the Muppets’ “Rainbow Connection,” and six previously unreleased demos that had been developed on for a follow-up album that never came to fruition. The gentle reimagining of the iconic hits would have kicked the critical lambasting (which was still engendering bitterness in 2011) into another gear, but add a sweet coda to the original album. The demos offer similar sounds to the album, but with an upturn in the lyrical outlook. “Summertime” has an outro hook worthy of the Archies (that’s a compliment), “I Took Advantage of the Spring” skips along hopefully, and though Holmes eventually re-recorded “Holding Out for Love” with Ashtar Command, the planned follow-up album surrendered to disappointing commercial results and “changes at the record label.”

The original album may be the rediscovered gem, but the demos show even more clearly that if Holmes was putting on a charade, it was an Andy Kaufman-like bid to maintain character. Which would have been a lot of work for no obviously attainable gain. The simpler explanation, the one that most closely fits Occam’s razor, is that Holmes was sincere about this project; that he loved the pop music from which he drew nostalgic inspiration, and that these sources continue to ring with emotional resonance that inspires authentic, long-lasting emotional responses in its fans. That Thomas Frank couldn’t connect with this is more a reflection of Thomas Frank’s musical preferences (or rhetorical needs) than of the music, its fans, or the musicians that it influenced. Omnivore’s reissue includes a booklet featuring previously unpublished photos, and informative liner notes by Erik Flannigan, adding up to the package this album deserved from the start. [©2019 Hyperbolium]

Robin Lane & The Chartbusters: Many Years Ago

Monday, March 18th, 2019

Boston band gets its due, with electrifying bonus live tracks

The Los Angeles-born, Laurel Canyon-bred Robin Lane developed her musicality as a Golden State folky, but broke through as an east coast rock ‘n’ roller. Lane migrated from California to New York and then north to Boston, where she formed a band that quickly established itself in the late ‘70s as a regular at The Rat. Club and college dates led to a record deal with the soon-to-be-bankrupt Private Stock label, and then a more fruitful signing with Warner Brothers. The group’s self-titled 1980 debut spun off the singles “When Things Go Wrong” and “Why Do You Tell Lies?,” with the former turning up as the eleventh video played on MTV’s first day on the air. Lane’s original material was emotionally moving and melodically catchy, and her voice had the heft to lead a talented band made up of former Modern Lovers Asa Brebner and Leroy Radcliffe, Reddy Teddy bassist Scott Baerenwald and Sidewinders drummer Tim Jackson.

Formed in the middle of punk rock’s golden age, the Chartbusters managed to deploy their seasoned talent with enough passion to fit in among the less instrumentally gifted. Live and on record, the band was incredibly tight, but never seemed out of place among their punk rock colleagues. The album gained regional and college radio airplay, despite the band’s sense that it didn’t capture the essence of their guitar-centered sound, but failed to break nationally. A live EP, 5 Live and a sophomore LP, Imitation Life, failed to break the band beyond Boston, and they were dropped by their label. Lane’s pregnancy and the birth of her daughter combined with the band’s disappointing commercial results to seal the group’s fate. One more independently released 1984 EP, Heart Connection, was produced before Lane went into hiatus that eventually produced new career directions.

The Chartbusters original recording history is catalogued here in full, with all three Warner releases complemented by a pre-Warner indie single, the post-Warner EP, and a wealth of previously unreleased demos, session tracks, and live material; all that’s missing is the 2003 reunion, Piece of Mind. The debut album, despite the band’s reservations, still resounds with a great deal of rock ‘n’ roll charm. Those who first heard the band live may have been disappointed by Joe Wissert’s bright production, but the guitars aren’t exactly buried, and the drums add a lot of punch to the mix. Lane is commanding as she opens the album with a triple-shot of emotional counsel, and sings of longing that’s personal (“Be Mine Tonight”) and spiritual (“Without You”). She captured her in-the-moment reaction to Nancy Spungen’s death on the rocker “I Don’t Want to Know,” and the guitars offer Byrdsian-chime and McCartney-seque bass on “Kathy Lee.”

But even with Lane’s intense vocals, the band’s impassioned playing, and an album full of memorable lyrics and melodic hooks, the label couldn’t find a way to break the band beyond New England. Whether it was the production, the New Wave album cover, or just the random breaks of the music business, neither the singles nor the album charted nationally. The subsequent live EP, recorded at Boston’s Orpheum Theater, includes three songs not otherwise recorded by the band (“Lost My Mind,” “When You Compromise” and “8.3”), along with a scorching cover of Johnny Kidd & The Pirates’ “Shakin’ All Over.” The recording captures the band’s strength as a stage act, as well as the crowd’s enduring love for their hometown band. But again, the spark of regional enthusiasm couldn’t be grown into a national fire.

The band’s sophomore album was released the following year, and though it’s a solid effort, it didn’t have the obvious singles of the debut. The band’s continuing intensity is heard on “No Control” and the title track, and the poppier “Pretty Mala” and closing ballad “For You” are easily liked, but nothing here reaches out and really grabs the listener’s by the ears like the debut. The band’s tenure on Warner Brothers closed with a good album that wasn’t good enough to hurdle past the failed launch of the superior debut. The 1984 EP Heart Connection opens strongly with “Hard Cover,” and includes three tracks whose keyboards and handclaps date the recordings in a way that don’t affect the previous releases. The EP sessions produced seven additional tracks that are included here as bonuses. The quality of this material could certainly have merited the release of a full album, but was consigned to the vault until now.

Additional demo material includes a pair of pre-Chartbusters recordings, “Rose for Sharon” and “Never Enough” that show off Lane’s California country-folk roots. They also explain the surprise with which Lane’s earliest fans greeted the rock ‘n’ roll sound of the Chartbusters. “Never Enough” was recorded by the Pousette-Dart Band as the title song of their fourth album before Lane rewrote it as “When Things Go Wrong.” The band’s pre-Warner Brother single includes the original versions of “When Things Go Wrong” and “Why Do You Tell Lies,” along with a moving folk-pop original titled “The Letter.” This early material’s connections to Lane’s musical influences is both a treat and a revelation. Disc two is filled out with a 1980 demo of the singer-songwriter styled “The Longest Thinnest Thread,” and the fragile, violin-lined “Little Bird,” taken from the band’s 2002 reunion album.

Disc 3 is dedicated to live material, including the 5 Live EP and seventeen previously unreleased tracks recorded in clubs (Paradise Rock Club and Jonathan Swift’s) and studios (RCA and Normandy Sound) between 1979 and 1981. The Normandy tracks, apparently recorded before an intimate audience, are particularly electrifying. The band is tight and powerful, and Lane’s punk-inspired energy is mesmerizing at the mic; it’s here that the band’s reservations about the sound of their debut album become clear. These tracks also show off the wealth of original material the band had early on, with many of these songs never having made it past live performance. Additional in-concert highlights include a terrifically urgent cover of Del Shannon’s “Keep Searchin’ (We’ll Follow the Sun)” and a stomping rock ‘n’ roll treatment of Willie Dixon’s “Violent Love”

As pleasing as it is to finally have the second album and both EPs in the digital domain, it’s the generous helping of the band in prime live form that will get you on your feet. The three discs are delivered in a four-panel slipcase, with photos, cover art, and new liner notes by Brett Milano; as noted earlier, all that’s missing is the readily available reunion album. Listening to this set, it’s clear that the vagaries of fame often have more to do with circumstance and luck than raw talent, the latter of which the band had in abundance. As Lane opined in Tim Jackson’s 2014 documentary, “Maybe it’s easy to get stuck in Boston, be a big thing in Boston, and then the rest of the world doesn’t even know about you.” Perhaps with some of the luck that didn’t find the band in 1980, this set will help renew and expand the band’s much deserved acclaim. [©2019 Hyperbolium]

Robin Lane’s Songbird Sings Organization

Van Duren: Waiting – The Van Duren Story

Friday, February 15th, 2019

A 1970s Memphis pop act even more obscure than Big Star

Obscured by the success of soul music emanating from Stax, Hi and American, the 1970s Memphis rock scene was as potent as it was little heard. Decades after their commercial failure, Big Star actually became big stars, and others Memphians making pop and rock music at the time – Icewater, Rock City, the Hot Dogs, Cargoe, Zuider Zee – eventually caught varying amounts of reflected spotlight. But even among all the retrospective appreciation, singer, guitarist and songwriter (and Memphis native) Van Duren remained obscure; his 1977 debut Are You Serious? was reissued in limited quantities by the Airmail and Water labels, his 1979 follow-up Idiot Optimism got stuck in the vault for twenty years, and his later albums went undiscovered by many of those who would appreciate them.

That lack of renown is now set to be corrected by this soundtrack and a like-named documentary. Pulling together material from his two late-70s studio albums, a 1978 live show, previously unreleased sessions at Ardent, and the 1986 album Thin Disguise, the collection easily makes the case for Duren having been the artistic peer of his better-known Memphis colleagues. Duren’s public renaissance was stirred by two Australian fans, Wade Jackson and Greg Carey, whose latter-day discovery of Are You Serious? turned into a two-year documentary project that sought to understand why the albums didn’t hit, and why Duren didn’t achieve the fame that his music deserved.

No one is guaranteed fame, not even the talented, and as noted, Memphis wasn’t exactly a springboard for rock band success, yet Duren’s connections with Ardent, Chris Bell, Jody Stephens, Andrew Loog Oldham and Jon Tiven might have tilted the odds in his favor. From his debut, recorded with Tiven on electric guitar and Hilly Michaels on drums, the set’s opening “Grow Yourself Up” has the chugging beat of Badfinger and a vocal melody that favorably suggests the early-70s work of Todd Rundgren. “Chemical Fire” offers a touch of southern funk in its bassline, and the ballad “Waiting” is filled with the yearning its title implies. A pair of live-on-the-radio tracks show how well Duren’s material translated to performance, and how easily he could summon the same level of vocal emotion on stage as in the studio.

The earliest track on this collection, the 1975 demo “Andy, Please,” was cut at Ardent with Jody Stephens on drums and vocal harmonies. It’s as assured as the album cut two years later and features a hint of Eric Carmen in the vocal and a terrific guitar outro from Jack Holder. The second album’s cover of Chris Bell’s “Make a Scene” offers a slice of power pop, and two tracks from Duren’s latter-day band Good Question (including the local hit “Jane”) remain consistent with the quality of his earlier work. Listening to Duren’s music, your head will know that his lack of recognition wasn’t unusual in the breaks-based world of commercial success; but your ears and heart will continue to wonder how he could have fallen so thoroughly through the cracks. Here’s hoping the new interest in his career leads to full reissues of his original albums, and more widespread recognition of his more recent material! [©2019 Hyperbolium]

Big Star: Live on WLIR

Thursday, February 7th, 2019

Reissue of seminal 1974 live recording

With so much Big Star material having been issued and reissued over the past thirty years, it may be difficult to remember what a blinding light from the cosmos this live set was upon its original Rykodisc release in 1992. Fans had memorized every detail of the band’s slim album catalog and adjunct singles, and in those very early internet years, there was little else to know about the band. Even Alex Chilton’s reemergence in the late ‘70s had failed to shed much retroactive light on a band that had come and gone before most fans had even heard of them. Robert Gordon brilliantly described the sensation of hearing this live set for the first time in the liner notes of the original Rykodisc release:

“You find an old picture of your lover. It dates from before you’d met, and though you’d heard about this period in his or her life, seeing it adds a whole new dimension to the person who sits across from you at the breakfast table. You study the photograph and its wrinkles, looking for clues that might tell you more about this friend you know so well–can you see anything in the pockets of that jacket, can you read any book titles on the shelf in the background. You think about an archaeologist’s work. When you next see your lover, you’re struck by things you’d never noticed. The skin tone, the facial radiance–though the lamps in your house are all the same and the sun does not appear to be undergoing a supernova, he or she carries a different light. As strikingly similar as the way your lover has always appeared, he or she is also that different. You shrug and smile. Whatever has happened, you like it. That’s what this recording is about.”

It’s hard to imagine this album having the same sort of revelatory impact in a world now populated by multiple live sets, demos, rehearsals, alternate takes and mixes, a reformed band, new material and posthumous tributes; yet, it remains one of the preeminent artifacts of Big Star’s first run, and an essential element of the canon. Recorded at Hemstead, New York’s Ultrasonic Studios for broadcast on Long Island’s WLIR, the band shows off a three-piece lineup of Chilton, Jody Stephens, and Andy Hummel’s replacement on bass, John Lightman. The material is drawn from both #1 Record and the then-recently released Radio City, with the lion’s share from the latter. The performances are loose, with Chilton energized in both his singing and guitar playing – perhaps not yet realizing that Big Star’s commercial fortunes were about to flatline for a second time.

Chilton’s vocal on “You Get What You Deserve” and the extended jam of “She’s a Mover” free the songs from the amber of the studio albums, and a solo acoustic mini-set includes “The Ballad of El Goodo,” “Thirteen,” “I’m in Love With a Girl,” along with a cover of Loudon Wainwright’s “Motel Blues.” When first released, the disc stood on its own as a document of the band in action; it’s now complemented by an earlier live set captured on Live At Lafayette’s Music Room – Memphis, TN, and the rehearsals and live material found on Nobody Can Dance. Combined with the studio albums, the live performances fill out an arc that eventually extended to the reformed band’s coming out on Columbia: Live at Missouri University and Live in Memphis, as well as their latter-day studio album, In Space. Omnivore’s reissue includes new liners from Robert Gordon and a new interview with John Lightman. It also includes stage patter not found on Ryko’s original, and a louder remaster. [©2019 Hyperbolium]

Fastball: All the Pain Money Can Buy

Wednesday, December 12th, 2018

Twentieth anniversary edition of Austin band’s commercial high point

Twenty years on from the success of their 1998 single “The Way,” the album from which it sprang still sounds fresh. The band’s sophomore release for the Hollywood label produced two more hits (“Fire Escape” and “Out of My Head”), and sold more than a million copies in its first six months of release. The album drew inspiration from pop, soul and psych, but expressed them through a then-modern-rock aesthetic. The effortless melodies and instrumental focus on guitar, bass and drums has aged well, giving away its ‘90s origin without feeling boat-anchored to the decade’s trends. This anniversary edition augments the original thirteen tracks with compilation tracks, two excellent B-sides, and of particular interest to fans, four previously unreleased demos highlighted by the original 4-track cassette recording of “The Way.” The collection closes with bonus covers of the Replacements “Androgynous,” Bacharach & David’s “This Guy’s in Love With You,” and an acoustic take on “The Way.” Scott Shindler’s liner notes include newly sourced interviews with the band, and the booklet includes numerous period photos. This is a nice upgrade for those who’ve long loved this album, and the perfect entry point into Fastball’s catalog for newbies. [©2018 Hyperbolium]

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