Expanded reissue of the “Alice’s Restaurant” soundtrack
Two years after Arlo Guthrie debuted with Alice’s Restaurant, and the surprisingly wide popularity of its eighteen-minute title track, his comedic anti-authoritarian talking blues became a movie and a soundtrack album. In its original incarnation, the soundtrack was anchored by a two-part re-recording of the title track, but its studio setting seemed to sap the satirical audacity of the debut album’s live take. More interesting were the tracks recorded especially for the soundtrack, including Guthrie’s folk-styled instrumentals “Traveling Music” and “Trip to the City,” the meditative “Crash Pad Improvs,” and music supervisor Garry Sherman’s bluesy “Harps & Marriage.” Two vocal tracks include Al Schackman’s performance of Guthrie and Sherman’s “You’re a Fink,” and Tigger Outlaw’s poignant acoustic cover of Joni Mitchell’s “Songs to Aging Children.”
The original release was augmented with eleven bonus tracks for Rykodisc’s out-of-print 1998 reissue, expanding upon the soundtrack elements created by Guthrie and Sherman. Featured among the bonuses is instrumental continuity written and arranged by Guthrie, including the Hawaiiana “Big City Garbage” and the rock ‘n’ roll “Wedding Festivities,” and a pair of Woody Guthrie tunes sung by Pete Seeger (“Pastures of Plenty”), and Seeger with the younger Guthrie (“Car Song”). All eleven of these soundtrack bonuses are included on Omnivore’s 2019 reissue, and are augmented with a previously unreleased 24-minute rendition of “Alice’s Restaurant” that Guthrie performed in on Philadelphia folk radio legend Gene Shay’s program in 1968.
The Strangeloves – Australian sheep-farming brothers Giles, Miles and Niles Strange – were in fact a trio of New York songwriter-producers, searching for hits amid the onslaught of the British Invasion. The thressome – Bob Feldman, Jerry Goldstein, and Richard Gottehrer – had written and produced the Angels’ chart topping hit “My Boyfriend’s Back” in 1963, but with the change in musical tide, they began looking for beat groups. Rather than finding a group for which to write and produce, they made one up in the studio and created a fictional backstory. Their first single, “Love, Love (That’s All I Want from You)” bubbled under the Top 100, but their second single, “I Want Candy,” rode its Bo Diddley beat to #11. They’d score two more Top 40 singles with “Cara-Lin” and “Night Time,” and perhaps even more impressively, their original backing track for “Hang on Sloopy” was reused for the McCoy’s chart-topping hit.
The group’s one and only album is reproduced here on candy apple red vinyl, and includes their three hits, alongside several excellent album tracks. The group’s rendition of “Hang On Sloopy” includes the extra verse that was cut from the McCoys’ single, and a cover of Gary “U.S.” Bonds’ “New Orleans” infuses Cannibal and the Headhunters’ “Na Na Na Na Na” chant from “Land of 1000 Dances.” The original “(Roll On) Mississippi)” temporarily drops the dominant Bo Diddley beat for a stomping New Orleans rhythm and wild Jerry Lee Lewis-styled piano. The proto-bubblegum original “Rhythm of Love” was rewritten into a fetching power-pop tune by the appropriately fictitious Pooh Sticks, and “Just the Way You Are” closes the album with the band’s favored Diddley beat.
The musical adventures of punk icons and cowpunk reactionaries
Chip and Tony Kinman’s first band, the Dils, offered political anthems that resonated with the late-70s punk rock scene of their adopted San Francisco. A move to Los Angeles found the brothers increasingly disaffected from the growing aggressiveness of punk, and after settling into Austin, they developed the singular mix of pop punk, new wave and country that was Rank and File. Where the Dils had adopted the requisite punk sounds and styles of their times, Rank and File sounded like nothing else then extant. There was a maverick quality that was mindful of earlier country-rock pioneers, but ever the rebels, the band evolved into power chords and a more heavily produced drum sound by their third and final album. The brothers next formed the industrial techno-based Blackbird, mixing guitars and electronica (and a reworking of the Dils “Class War”) for a run of three albums. Then, just as everyone’s memories of Rank and File began to fade, the Kinmans returned to Americana with the campfire-ready western songs of Cowboy Nation.
For a star of Hank Williams’ magnitude, it’s surprising that these October 1949 radio transcriptions have had a life as rough as his own. First released by MGM in the early ‘60s in bits and pieces, the transcriptions were subjected to overdubbed applause intended to turn the studio recordings into live sets. Polygram’s 1993 reissue, Health & Happiness Shows, stripped away the manipulations, but evidenced physical problems with the transcriptions, and Time-Life’s 2011 reissue, The Legend Begins, repaired many of the transcription issues, while offering a remastering that some listeners found too heavy on the high end. This latest version features new transcriptions and remastering by Michael Graves, alongside liner notes by Colin Escott.
As with the two previous releases, this set includes the eight shows that Williams recorded on two successive Sunday’s at WSM-AM’s Nashville studio. Each show stretched to fifteen minutes when augmented by ad copy read by a local announcer, and here they clock in a few minutes shorter. Williams opens each show with the Sons of the Pioneers’ “Happy Rovin’ Cowboy” and fiddler Jerry Rivers closes each episode with the instrumental “Sally Goodin.” In between Williams sings some of his best-loved early hits, original songs and gospel numbers, and much like the later performances gathered on The Complete Mothers’ Best Recordings… Plus! (or its musical-excerpt version, The Unreleased Recordings), the spontaneity and freshness of the live takes often outshine the better-known studio versions.
Williams had a few hits in 1947 and 1948, but 1949 was the year his career really took off. Moving from Shreveport’s Louisiana Hayride to Nashville’s Grand Ol’ Opry, Williams’ catalog evolved from February’s chart-topping cover of the 1920’s show tune “Love Sick Blues,” to November’s iconic original “I’m So Lonesome I Could Cry.” The latter’s release, as a B-side to “My Bucket’s Got a Hole In It,” was still a month away when performed on this show, but as Williams explains to his radio audience, it’s performance on stage was already generating requests. It’s taken here a hair slower than on the single, and with the single’s fiddle solo omitted there’s more room for Williams and Don Helms’ pedal steel to draw out the song’s anguish.
As noted, each of the eight shows opens with Williams singing the Sons of the Pioneers’ “Happy Rovin’ Cowboy,” followed by WSM announcer Grant Turner introducing Williams to sing one of his original songs. A commercial break, unfortunately not included here, led into a second Williams song, a second commercial break, a tune by fiddler Jerry Rivers, a sacred song, and the fiddle song “Sally Goodin’” to close things out. The repetition gets a bit tiresome by the eighth go-round, but the shows are broken into discrete tracks that allow you to choose whether to listen to the continuity of a program, or navigate past the intros and outros to pick out your favorite tracks.
Williams was in fine voice for both days of recording, and the live-in-the-studio setting brought out vital performances from this initial Nashville lineup of the Drifting Cowboys. Williams omits his earliest hits (“Move It On Over” and “Honky Tonkin’”) and the then-yet-to-be-released novelty “My Bucket’s Got a Hole In It,” but features the rest of his hits to date, including 1948’s “I’m a Long Gone Daddy” and “A Mansion on the Hill,” and 1949’s “Lovesick Blues” and “Wedding Bells,” twice each, “Mind Your Own Business,” “You’re Gonna Change (Or I’m Gonna Leave),” “Lost Highway” and the upcoming “I’m So Lonesome I Could Cry.” These are terrific renderings – in both performance and sound quality – that easily sit side-by-side with the better known singles. Williams’ performance catalog at this point also included the non-charting 1947 single “Pan American” and the non-charting B-sides “I Can’t Get You Off My Mind” and “There’ll Be No Teardrops Tonight.”
The sacred songs include the only known recording of Hazel and Grady Cole’s “The Tramp on the Street,” Pee Wee King’s “Thy Burdens Are Greater Than Mine,” and the originals “When God Comes and Gathers His Jewels” and “I Saw the Light.” On the latter, steel guitarist Don Helms and bassist Hillous Butram step up to the microphone to provide backing vocals. Williams’ wife Audrey sings a number on each of the first four programs, and while her solo slots – “I’m Telling You” and a cover of Doris Day’s then-current “(There’s a Bluebird) On Your Windowsill” – don’t evidence much talent, the duets “Where the Soul of Man Never Dies” and “I Want to Live and Love” show off the chemistry she shared with her husband and her resolve to be heard.
After gaining attention with their debut EP, AHS 1005, and the transcendent follow-up single “Help You Ann,” Boston’s Lyres released their first full-length album. The focus remained resolutely on catchy, stripped-down garage rock, with just a hint of psych in the tremelo guitar and whining organ tone. Singer, vocalist and organist Jeff “Monoman” Conolly wrote just as good as he borrowed, with his new songs that intertwining easily with choice covers of the New Colony Six, Kinks, Mickey and the Clean Cuts, and Pete Best’s post-Beatles “The Way I Feel About You.” Richard Harte’s production gives the instruments fidelity and definition without forsaking the band’s garage roots, and Conolly’s voice found its spot in the mix.
Rick Coraccio’s bass is more of a throb than a rhythm, which leaves drummer Paul Murphy plenty of room for his snare and cymbals. Guitarist Danny McCormack offers up economical guitar solos that make the most of his Dynalectron’s unusual tone, and Conolly’s organ lurks behind most of the songs with high-pitched notes. Best of all, the music is relentless in its danceable rock ‘n’ roll grooves, and Conolly proves himself a tireless frontman. It was hard to top the wicked guitar riff of “Help You Ann,” but the chorus of the opening “Don’t Give It Up Now” is nearly as hypnotic.
The album has been reissued several times with varying bonuses. The original U.S. vinyl had ten tracks, augmented on the promo by “I Really Want You Right Now.” The French New Rose label issued a vinyl LP that added eight bonuses (four from the AHS 1005 EP, three from the “Someone Who’ll Treat You Right Now” EP and a cover of Pete Best’s “I’ll Try Anyway”). Matador issued a CD that added nine bonuses (five session tracks, three from the “Someone Who’ll Treat You Right Now” EP and the Pete Best cover). And here, Ace of Hearts (in conjunction with Munster) includes only the five bonus session tracks offered on the Matador release.
In 1981, while many of us were still discovering the Nuggets compilation and Pebbles series, Jeff Conolly had already worked backwards and ingested garage rock’s roots. Breaking out of Boston’s rock scene with this debut four-song EP, Lyres had both the muscle and melodicism of ‘60s hitmakers like the Standells, Sonics, Chocolate Watchband and Boston’s Remains. As good as was the EP (and the concluding cover of the Hangmen’s “What a Girl Can’t Do” is really, really good), the 1983 follow-up single, “Help You Ann,” was even better. With an unforgettable guitar riff and a hypnotic lyric hook on the flip “I Really Want You Right Now,” this could easily have been a regional hit that broke through to the national charts, had it only been released in 1965.
Although Alex Chilton and Jody Stephens revived Big Star in 1993 with the help of the Posies’ Jon Auer and Ken Stringfellow, they never sought to recreate the full majesty of their seminal studio recordings. The 2.0 lineup lasted nearly 18 years of intermittent live performances and the studio album In Space, but with Chilton’s passing in 2010, Big Star morphed from a going concern into a well spring of reissues, archival releases, biographies, documentaries and tribute performances. The first of the tributes took place within days of Chilton’s passing, as Big Star’s remaining three members were joined by the band’s friends and colleagues to deliver a musical wake at SXSW.
By the end of that year, a more formal tribute was organized with a live performance of Big Star’s Third, complete with the album’s full, original orchestration. And from that show, a core musical collective formed to tour the tribute internationally, engaging guest musicians and orchestras at each stop. A full rendering of Third remains the centerpiece of the show, but with the addition of material from Big Star’s first two albums and Chris Bell’s post-Big Star work to fill out the story. This 2017 performance features Big Star’s Jody Stephens and musical director Chris Stamey alongside Ken Stringfellow and Jon Auer (The Posies, Big Star), Mike Mills (R.E.M.), Jeff Tweedy and Pat Sansone (Wilco), Ira Kaplan (Yo La Tango), Robyn Hitchcock, Benmont Tench (Tom Petty & The Heartbreakers), Dan Wilson (Semisonic), and a full chamber orchestra.
Paying tribute to a band as beloved as Big Star is a tricky proposition. Covering too closely offers nothing new or of yourself, while straying too far risks losing touch with the object of your tribute. Add to that a small catalog that allows for talmudic-like study by fans and the stretch from single song cover to a full concert and album reading, and the balance point seems to grow more elusive. As musical director, Stamey has plotted out musical waypoints that anchor these covers to the familiar originals, while at the same time employing vocalists and harmony singers whose tone and style are reverent, yet fresh. The combination of familiar and new renews the chestnuts that had fossilized into icons, and animates the songs that were never performed live by the original band.
The performers’ deep affection for the material is evident throughout, and the split between earlier material on disc one and Third on disc two mirrors the changes in the band’s personnel, circumstances and resulting direction. The song sequence for Third has long been debated, and the order selected here doesn’t seem to match any of the well-known sequences; i.e., the 1975 test pressing on Stax, the 1978 vinyl issue on PVC, the 1992 CD issue on Ryko, the 2016 Complete Third on Omnivore, or any of the many reissues in between; notably missing are the test pressing’s covers of “Femme Fatale” and “Whole Lotta Shakin’ Goin’ On,” and reissue inclusions “Till the End of the Day” and “Nature Boy.” Still, no matter the track selection or order, the musical schizophrenia of the original sessions comes across in both the individual songs, and the idiosyncratic range of material.
Bonus-laden reissues of Steve Goodman’s final two albums
Goodman lived his entire professional career on borrowed time. Diagnosed with leukemia in 1969, he made the most of his 15 years on the public stage. His best known song, “City of New Orleans,” was a hit for Arlo Guthrie, and again for Willie Nelson, and is recounted from his debut album in live form on Artistic Hair. But his most sung song is the Chicago Cubs victory anthem “Go Cubs Go,” included as a bonus track on this reissue of Affordable Art. The latter album, the last released during Goodman’s lifetime, includes a double-header of baseball-themed tracks in its original lineup, “A Dying Cub Fan’s Last Request,” and a sprightly dawg-grass arrangement of the national pastime classic “Take Me Out to the Ballgame.”
Goodman recorded for Buddah and Asylum before inaugurating his own Red Pajama label with this pair of albums, reissued here with eighteen bonus tracks between them. 1983’s Artistic Hair was constructed from live material cherry-picked from a decade’s worth of recordings. The selected tracks show off the intimate stage presence that matched the intellectual intimacy of Goodman’s music. The material features a half dozen originals, including the humorous realities of “Elvis Imitators” and “Chicken Cordon Bleus,” and the icons “City of New Orleans” and “You Never Even Called Me By Name.” Goodman’s covers ranged widely from early twentieth century tunes “Tico Tico,” “Red Red Robin” and “Winter Wonderland” to Shel Silverstein’s acoustic blues, “Three-Legged Man.”
The album’s ten bonus tracks, originally released on the posthumous No Big Surprise: The Steve Goodman Anthology, feature a similar mix of originals and covers, including Goodman’s chanty about a notorious Chicago-area towing company, “Lincoln Park Pirates,” the ad-libbed stage performer’s nightmare, “The Broken String Song,” and the celebration of love’s polyglot nature, “Men Who Love Women Who Love Men.” Covers include Leroy Van Dyke’s tongue-twisting “The Auctioneer,” the Albert Brumley spiritual “I’ll Fly Away” and the mid-30s dance tune “It’s a Sin to Tell a Lie,” popularly recorded by Fats Waller, the Ink Spots and Patti Page. Goodman is relaxed and confident as he variously performs solo and with a band, and while the settings and recording quality vary, the constructed set is a treat.
Affordable Art mixes live and studio tracks, with a song list composed almost entirely of originals. The album opens with the instrumental “If Only Jethro Was Here,” featuring Goodman on mandola and Jim Rothermel on recorder, and highlighting mandolinist Jethro Burns’ absence. Burns himself is heard on an old-timey rendition of “Take Me Out to the Ballgame,” which is stretched into a double with Goodman’s “A Dying Cubs Fan’s Last Request,” and legged into a triple with the bonus track “Go Cubs Go.” As on his previous album of live material, Goodman is heard both solo and with a band, including the driving drums and electric slide of “How Much Tequila (Did I Drink Last Night)?” and an acoustic ensemble highlighted by Marty Stuart’s mandolin and Jerry Douglas’ dobro on the hopeful “When My Rowboat Comes In.”
All music files are posted with the express permission of the recording artist or record label. Files are available for at most 30 days. If any of these files infringe upon rights that you hold, please notify us at the e-mail contact below and they will be removed.
Reviewed items may have been purchased, rented, borrowed, bartered, streamed, received as gifts or supplied by artists, authors, filmmakers, publishers, manufacturers or publicists.
Hyperbolium.com is a participant in the Amazon Services LLC Associates Program, an affiliate advertising program designed to provide a means for sites to earn advertising fees by advertising and linking to amazon.com
Expanded reissue of the “Alice’s Restaurant” soundtrack
