Posts Tagged ‘Country’

Guy Clark: The Best of the Dualtone Years

Friday, March 10th, 2017

Selections from his last three albums, plus demos

The Nashville-based Dualtone label has an enviable catalog, including albums by the Lumineers, Shovels & Rope, and perhaps most precious of all, Guy Clark. Clark arrived at Dualtone in 2006 as an oft-covered songwriter and a well-loved recording artist. His three studio albums for the label were each nominated for a Grammy, and 2013’s My Favorite Picture of You took home the trophy. Clark’s May 2016 passing turned these recordings into a capstone to a thirty-nine year career that made earlier stops at RCA, Warner Brothers, Asylum and Sugar Hill. Dualtone’s 19-track collection cherrypicks Clark’s three studio albums and his 2011 live release Songs and Stories, and adds a trio of previously unreleased demos that were co-written with Hal Ketchum, Marty Stuart and Holly Gleason.

No song in this collection is more emblematic of Clark’s observational powers than “My Favorite Picture of You,” in which he draws a lifetime’s worth of knowing – “a thousand words / in the blink of an eye” – from a bent and faded snapshot of his wife. Elsewhere in the collection he turns a thrift store guitar into a ghost story, and under his watchful gaze, a roadhouse parking lot harbors the drama and detail of a novella. The dreamlike interior of that dancehall is extolled in “Cornmeal Waltz” as a fiddle moves dancers gently around the floor in three-four time. Clark was a writer’s writer, musing on the physical and psychic costs of his art in “Hemingway’s Whiskey” and turning fierce weather into humorous poetry with “Tornado Time in Texas.”

The live tracks add several of Clark’s most-loved songs to the collection, including “L.A. Freeway,” “Homegrown Tomatoes,” and “The Randall Knife.” The former features a mid-song monologue that further illuminates Clark’s poor fit in Los Angeles, while the latter draws a portrait of his grief from an elegy to his father. Clark’s mantle as a songwriter is represented by songs that were covered by Kenny Chesney, Jerry Jeff Walker, Brad Paisley and John Denver, and his influences by a cover of Townes Van Zandt’s “If I Needed You.” The three newly uncovered recordings that end disc two are guitar-and-voice songwriter demos that emphasize the songs’ folkloric qualities. The tri-fold digipak includes liner notes by Gleason and spreads 68 minutes of music across two discs. [©2017 Hyperbolium]

Guy Clark’s Bandcamp Page

OST: Wheeler

Sunday, March 5th, 2017

The real music of a fictional Nashville up-and-comer

The soundtrack to the film Wheeler makes real the fictional Wheeler Bryson. Written and sung by screenwriter, producer and actor Stephen Dorff, the songs are neither workmanlike imitations nor certified hits – laying somewhere in between studied craft and the bottled lightning of stardom. In that sense, they’re perfectly tuned to a story of Nashville aspiration that sits on the precipice of success. Dorff has a bit of rock ‘n’ roll husk in his voice, and it serves both the up-tempo numbers and the ballads. The album’s single, “Pour Me Out of This Town,” was co-written by Dorff’s late Nashville songwriter brother Andrew, and Kris Kristofferson (who appears in the film) adds “New Mister Me” to the soundtrack. If the film struck a chord with you, this thirteen song soundtrack will be a nice souvenir; but even if you’re haven’t seen the film, there’s still something here to catch your ear. [©2017 Hyperbolium]

Recent Vinyl Reissues from Varese Sarabande

Saturday, February 25th, 2017

Although vinyl LP sales hit a 28-year high in 2016, tallying $416 million in sales. CD sales, while still much larger, decayed as digital downloads, and then streaming, displaced physical media. Vinyl has spread from independent record stores to major retailers, from independent labels to the majors, and from reissues to new releases. Even novelty picture discs are making a comeback. And whether this is a transitory hipster fad, or a long-lasting inroad into the psyches of digital natives, it provides an interesting intersection between format and material, providing a medium for reanimating not just the music, but the experience of catalog material.

Varese Sarabande, an independent label whose work is split between film scores and pop music reissues, has spanned the LP, CD, MP3 and streaming eras. Tracing its lineage back to the early ‘70s classical label Varese International and a late-70s merger with the Sarabande label, the combined Varese Sarabande, in addition to releasing modern film soundtracks, sources reissue material from a number of catalogs, and is distributed by the Universal Music Group. Each of these recent album reissues is pressed on 180 gram vinyl, with the original, full-size front- and back-cover art, and in a couple of cases, bonus tracks.

Wynn Stewart – The Very Best of Wynn Stewart 1958-1962

Varese’s vinyl reissue of their 2001 CD compilation is unusual, in that it was originally released on CD, making this vinyl reissue really a first pressing. That said, the eighteen tracks provide an excellent introduction to one of the Bakersfield Sound’s primary architects. Alongside Buck Owens and Merle Haggard, Stewart shares credit for creating the west coast country sound. Harder hitting than then-contemporary Nashville, and with some sting from electric guitars, Bakersfield planted the seeds for later country-rock marriages and any number of alt.country roots revivals.

Stewart’s sound, especially his singing, had a drama that neither Owens or Haggard matched. From his earliest rockabilly work (represented here by 1958’s “Come On”) to fiddle-and-harmony driven weepers (“How the Other Half Lives” and “Wishful Thinking”), and country pop (“Above and Beyond (The Call of Love)” – a hit for Buck Owens), Stewart ranged over a variety of styles and emotions with incredible ease. His chart success was sporadic, but the brilliance of his recordings was anything but. These tracks were cherry-picked from his years with Jackpot and Challenge, and provide a terrific sampling of his early work.

Dobie Gray – Sings for “In” Crowders That Go “Go Go”

The son of sharecroppers, Dobie Gray launched two iconic singles in a career that spanned more than forty years, and included numerous lesser-charting highlights. This 1965 album for the Charger label was his breakthrough, capitalizing on the minor success he’d generated with 1963’s punchy “Look at Me” by launching Billy Page’s “The ‘In’ Crowd” onto both the pop and R&B charts. The album includes the lower-charting follow-up “See You at the ‘Go-Go’,” but is stocked with superb album sides written by Gray and selected from period songwriters. Jackie DeShannon’s “Blue Ribbons” stands out with its Brill Building feel, as does the autobiographical “In Hollywood,” the country-gospel waltz “That’s How You Treat a Cheater” and the euphoric “Feelin’ in My Heart.” Gray is equally at home with crooned pop, string-lined ballads and up-tempo R&B, lending the album a see-what-will-stick variety. Varese’s reissue augments the album’s original dozen tracks with the soulful non-LP single “Out on the Floor.” This is a sweet treat for lovers of mid-60s pop, soul and R&B.

Aaron Neville – Tell It Like It Is

Aaron Neville’s 1966 album debut is both his most famous and his most obscure. Famous, because the title track remains his most emblematic hit, and obscure because other than a low-profile 1990 reissue and abbreviated collections, Neville’s recordings for Par-Lo have never received the archival treatment they deserve. Varese’s vinyl reissue isn’t the complete Par-Lo recitation one might dream of, but it does return the original eleven tracks (including two swinging George Davis instrumentals) to vinyl with a pair of bonuses: a stereo version of “Tell It Like It Is” and the B-side “Those Three Words.” Neville’s tiny label couldn’t capitalize on the single’s meteoric success, and quickly fell into bankruptcy. Neville recorded a few singles for other labels, but it wasn’t until he united with his brothers in the 1970s, and guested with Linda Ronstadt at the end of the ‘80s that his profile really took off. Those who know Neville for his softer hits of the ‘90s may be surprised by his early New Orleans soul sides. Now who will put together the complete Imperial, Minit, Par-Lo, Bell and Safari collection?

John Phillips – John, The Wolf King of L.A.

Following the 1969 break-up of the Mamas & Papas, Phillips quickly began working on this 1970 solo release with many of the same ace Los Angeles studio musicians who’d backed his group. Though it didn’t gain much traction at the time – in part due to a reported lack of promotion – it’s country-rock sound remained fresh, and the album’s reputation has grown over the years. Though it had been reissued in the UK in 1994, its critical re-evaluation was spurred by Varese’s bonus-laden 2006 edition. Varese’s LP reissue puts the album back on vinyl for the first time in more than forty-five years, with the original ten-track lineup.

For those accustomed to Phillip’s background singing in the Mama & Papas, his voice may be higher than you would have guessed and without the star quality of Cass Elliot or Denny Doherty. Still, he was an evocative singer, and his songs offer up a melancholy in keeping with the post-Altamont transition from the 1960s into the 1970s, and his personal transitions from group leader to solo artist and from husband to singleton. The album’s lone U.S. single, “Mississippi,” charted in the Top 40, but left album dwelling at the bottom of the Top 200. It’s a wonder this didn’t become a freeform radio staple alongside other FM favorites. But it’s not too late, and the full-sized cover gives you a place to clean your pot.

Linda Ronstadt – Silk Purse

Originally released in 1970, Ronstadt’s second solo album was reissued on CD in the mid-90s, and then seemed to have fallen out of print. Varese remedied this with a straight-up CD reissue last year, and now reaches out to vinyl collectors with this LP edition. The album bubbled under the Billboard Top 100, but managed to launch the single “Long, Long Time” into the Top 40. Recorded in Nashville, Ronstadt mixed pop and country material, including Hank Williams’ take on the Tin Pan Alley standard “Lovesick Blues,” Mel Tillis’ “Mental Revenge,” Goffin & King’s “Will You Love Me Tomorrow?” (which bubbled under the Top 100) and Dillard & Clark’s “She Darked the Sun.” Ronstadt returned to California for her self-titled third album, but this Southern sojourn was an important way-point in her development from a singer in the Stone Poneys to a full-blown solo star. Varese’s 180 gram vinyl reissue includes the album’s original ten tracks, and reproduces the original front and back covers. [©2017 Hyperbolium]

Mark McKinney: World in Between

Saturday, February 18th, 2017

Texas troubadour’s fifth album

Austin-based Mark McKinney inhabits that special nation of singer-songwriter that is the Texas music circuit. Though he’s gained recognition outside the Lonestar State, notably through song placements with NASCAR and ESPN, it’s his home state that supports the bulk of his extensive annual touring. His fifth solo album (he’d previously led the roots-rock band Cosmic Cowboy) will remind you of circuit stalwarts like Jack Ingram, Pat Green, Cory Morrow, Charlie Robison and Kevin Fowler, the latter of whom McKinney’s written for. Produced with his brother Eric, the record is both rootsy – acoustic, electric and slide guitars, mandolin, fiddle, harmonica and drums – and modern at the same time. It’s a clever sound that could hook Nashville fans without alienating the Austin base.

McKinney opens with a bluesy version of the Cosmic Cowboys’ “90 Miles,” the lament of a lifer musician who’s always got another gig just down the road. It’s not a revelatory sentiment, but one that rings with an authentically weary smile, and he celebrates the road in “Stories,” highlighting its personal impact and lingering memories. The music slips into strutting modern country anthems in a few places, but establishes real intimacy through the emotional strength of “Sunshine.” There are love songs and broke-up songs, and the romantic models of “Bacon & Eggs” include the unlikely duo of Bonnie and Clyde (though, to be fair, they did stay together until the very end). No doubt these songs will play well as McKinney entertains 90 miles at a time. [©2017 Hyperbolium]

Mark McKinney’s Home Page

Austin Hanks: Alabastard

Tuesday, February 14th, 2017

A country-rock album with a soul singer’s heart

Austin Hanks may set his music in country, rock and blues settings, but at root, he’s a soul singer. After leaving his native Alabama, he had a cup of coffee in Nashville before a writing deal with EMI turned him into a Los Angeles-based expat. But he brought his Southern roots with him, and they shine brightly in the blue soul of the opening “Toughest Part of Me,” as Hanks realizes that scar tissue can patch a broken heart. He lays himself on the line with a cover of James Brown’s “I’ll Go Crazy,” but he’s more regularly prone to seeking second chances, doubling back on “Delta Torches” and grasping for emotional ignition on the Springsteen-ish “Worth the Fight.”

Hanks doesn’t wallow, but neither does he make starry-eyed pronouncements. There’s self awareness, and perhaps even optimism in “Rise Above” and the blues-rock “Savior Self,” but Hanks is pushing his way forward rather than celebrating his arrived. The album’s title, which abbreviates “Alabama Bastard,” hints at the in-between place of cultural emigrants and the outsider emotion it creates. He turns nostalgic for “Alive & Untied,” with a warm organ intro that develops into a full-blown Muscle Shoals sound, and though there’s a party vibe to the New Orleans roll of “Lakeside,” there’s more here than pickup trucks and beer. Fans of ZZ Top, the Allmans, Skynyrd and Sons of Anarchy (for which Hanks penned “Sucker Punch”) will enjoy this one. [©2017 Hyperbolium]

Austin Hanks’ Home Page

Whitney Rose: South Texas Suite

Friday, January 27th, 2017

Superb EP from retro-inspired country singer-songwriter

Crossing paths with the Raul Malo for 2015’s Heartbreaker of the Year appears to have been predestination. Rose’s retro sensibility first showed itself on her debut album, but with Malo providing amplification, Heartbreaker showed off the ways in which classic country and pop sounds can be reborn into new music. And unlike artists who flirt with the past only to heed the siren call of the country charts (I’m looking at you Sara Evans), the sounds that fire Rose’s imagination aren’t a passing fancy. She even offers Brennen Lee’s “Analog” as a thesis statement, with its jazzy style and relaxed tempo lauding the simpler, slower times of a pre-digital world. That said, Rose is also perfectly at home with the advances women have made, declaring her freedom of footwear in “My Boots” as a marker of independence, and lending the spotlight to Redd Volkert for a stuttering guitar solo that certainly would have made Merle Haggard smile.

Her adopted Austin offers both the Tex-Mex flair (courtesy of Michael Guerra’s accordion) and social inspiration for “Three Minute Love Affair.” Rose romanticizes the brief assignation of a spin around the dance floor with a vocal that’s lost in the possibilities of a partner’s embrace. A similar romanticism fuels the crooning on Teri Joyce’s “Bluebonnets For My Baby,” with Erik Hokkanen adding wonderful fiddle lines throughout. As a Canadian ex-pat, Rose was pulled to Texas by country music and the culture that fueled it, making it something more personally fundamental than music that happened to be on the radio. She imagines a hill country pedigree in “Lookin’ Back on Luckenbach,” but it’s the strength of her emigrant’s choice that is the real draw. The EP closes with a rousing band jam that hung so far off the end of “My Boots” that it was given its own track. It’s too short, just like the EP, but with a second Malo-produced album on the way, this will have to hold you. [©2017 Hyperbolium]

Whitney Rose’s Home Page

In Memoriam: 2016

Monday, December 26th, 2016

Merle Haggard, 1937-2016

Listen to a selection of these artists on Spotify

January
Tony Lane, art director (Rolling Stone) and album cover designer
Brad Fuller, composer and music director (Atari)
Paul Bley, jazz pianist
Jason Mackenroth, rock drummer (Mother Superior, Rollins Band)
Long John Hunter, blues guitarist, vocalist and songwriter
Georgette Twain Seiff, hall-of-fame banjo player
Robert Stigwood, manager and film producer
Nicholas Caldwell, R&B vocalist (The Whispers) and songwriter (“Lady”)
Elizabeth Swados, writer, composer and theater director (“Runaways”)
Alfredo “Chocolate” Armenteros, jazz and salsa trumpeter
Pat Harrington Jr., actor and comedy recording artist (Some Like it Hip!)
Kitty Kallen, vocalist (“It’s Been a Long, Long Time”)
Troy Shondell, pop vocalist (“This Time (We’re Really Breaking Up)”)
Otis Clay, soul vocalist (“Trying to Live My Life Without You”)
Red Simpson, country vocalist and songwriter
Brett Smiley, glam rock vocalist (“Va Va Va Voom”)
Ed Stewart, radio broadcaster and television presenter (Top of the Pops)
David Bowie, vocalist and songwriter
Joe Moscheo, gospel vocalist (The Imperials) and industry executive
Giorgio Gomelsky, club owner, manager, producer and label owner
Hoyt Scoggins, country and rockabilly vocalist and songwriter
René Angélil, impresario and manager (Celine Dion)
Noreen Corcoran, actress (Bachelor Father) and vocalist (“Love Kitten”)
Pete Huttlinger, guitar virtuoso
Gary Loizzo, pop vocalist and guitarist (The American Breed)
Clarence “Blowfly” Reid, musician, songwriter and producer
Mic Gillette, brass player (Tower of Power)
Dale Griffin, rock drummer (Mott the Hoople)
Ramblin’ Lou Schriver, radio broadcaster, musician and concert promoter
Glenn Frey, vocalist, songwriter and guitarist (The Eagles)
Andrew Johnson, album cover artist (The The)
Jimmy Bain, rock bassist (Dio, Rainbow)
Joe Esposito, road manager (Elvis Presley) and Memphis Mafia member
Colin “Black” Vearncombe, vocalist and songwriter (“Wonderful Life”)
William E. Martin, songwriter (Monkees), screenwriter and voice actor
Signe Toly Anderson, vocalist (Jefferson Airplane)
Paul Kantner, vocalist, songwriter and guitarist (Jefferson Airplane)
Billy Faier, banjo player

February
Maurice White, vocalist, songwriter and producer (Earth, Wind & Fire)
Leslie Bassett, Pulitzer Prize-winning composer
Bobby Caldwell, keyboardist (Terry Knight and the Pack)
Joe Dowell, pop vocalist (“Wooden Heart”)
Jimmy Haskell, arranger, composer, producer and bandleader
Ray Colcord, film and television composer, producer and musician
Dan Hicks, vocalist and songwriter
Sam Spence, composer (NFL Films)
Obrey Wilson, soul vocalist (“Hey There Mountain”)
Rick Wright, country guitarist (Connie Smith)
Roy Harris, British folk vocalist
Kim Williams, country songwriter (“Three Wooden Crosses”)
L.C. Ulmer, blues musician
Denise “Vanity” Matthews, vocalist (Vanity 6), actress and evangelist
Joyce Paul, country vocalist (“Phone Call to Mama”)
Ray West, Emmy and Oscar-winning sound engineer (Star Wars)
Paul Gordon, keyboardist and composer
Brendan Healy, actor and musician (Goldie, Lindesfarne)
Vi Subversa, vocalist and guitarist (Poison Girls)
Charlie Tuna, radio broadcaster (KHJ, KROQ, KIIS, KBIG)
Buck Rambo, gospel vocalist
Sonny James, country vocalist and songwriter
Lennie Baker, vocalist and saxophonist (Danny & The Juniors, Sha Na Na)
John Chilton, jazz trumpeter and music historian
Craig Windham, radio broadcaster (NPR)

March
Gayle McCormick, vocalist (Smith ”Baby It’s You”)
Martha Wright, vocalist and actress (South Pacific, The Sound of Music)
Gavin Christopher, R&B vocalist and songwriter
Joey Feek, country vocalist (Joey + Rory)
Chip Hooper, agent (Phish, Dave Matthews Band)
Ireng Maulana, jazz guitarist
Joe Cabot, jazz trumpeter
Bruce Geduldig, synthesist and filmmaker (Tuxedomoon)
Timothy Makaya, jazz guitarist
Ross Hannaford, rock guitarist (Daddy Cool)
Ron Jacobs, radio broadcaster (Boss Radio KHJ, American Top 40)
Sir George Martin, producer
Jon English, musician and actor
Ray Griff, country vocalist
John Morthland, music journalist
Naná Vasconcelos, Latin jazz percussionist
Ernestine Anderson, jazz vocalist
Keith Emerson, progressive rock keyboardist
Gogi Grant, pop vocalist
Ben Bagdikian, educator, journalist and media critic
Ben Edmonds, music journalist
Louis Meyers, promoter (co-founder of SXSW) and manager
Tommy Brown, R&B vocalist (The Griffin Brothers)
Lee Andrews, doo-wop vocalist and father of Questlove
Frank Sinatra Jr., vocalist and actor, son of Frank Sinatra
Steve Young, country vocalist and songwriter (“Seven Bridges Road”)
David Egan, songwriter and pianist
Ned Miller, country vocalist and songwriter
Terry James Johnson, drummer (Bar-Kays) and clinical psychologist
Phife Dawg, rapper (A Tribe Called Quest)
James Jamerson Jr., R&B bassist (Chanson)
Jimmy Riley, reggae musician (The Sensations and the Uniques)
David Baker, symphonic jazz composer, musician and educator
Wally Crouter, Canadian radio legend (CFRB)
Patty Duke, actress and vocalist
Andy Newman, pianist (Thunderclap Newman)
Larry Payton, drummer (Brass Construction)

April
Gato Barbieri, jazz saxophonist
Don Francks, jazz musician and actor
Bill Henderson, jazz vocalist and actor
Carlo Mastrangelo, doo-wop and progressive rock vocalist
Dorothy Schwartz, pop vocalist (The Chordettes)
Leon Haywood, soul and funk vocalist
Dennis Davis, rock drummer (David Bowie)
Merle Haggard, country vocalist, guitarist and songwriter
Jimmie Van Zant, southern rock musician, cousin of Ronnie Van Zant
Earl Solomon Burroughs, musician and songwriter (“Great Balls of Fire”)
Jim Ridley, editor, critic and journalist (Nashville Scene)
Tony Conrad, experimental musician
Doug Banks, radio broadcaster (KDAY, KFI, KDIA)
Emile Ford, pop musician and sound engineer
David Gest, producer and former husband of Liza Minnelli
Gib Guilbeau, country-rock musician (Nashville West)
Filthy McNasty, nightclub owner
Mariano Mores, Argentine tango composer, pianist and conductor
Phil Sayer, British voice artist (“Mind the Gap”)
Vandy Anderson, radio broadcaster (KULF, KGBC)
Elliot Spitzer, radio executive (WLIR-FM)
Lord Tanamo, ska and mento musician
Richard Lyons, culture jammer (Negativland)
Pete Zorn, multi-instrumentalist (Richard Thompson Band)
Victoria Wood, actress, vocalist and songwriter
Lonnie Mack, guitarist, vocalist and songwriter (“Wham”)
Prince, vocalist, songwriter and multi-instrumentalist
Billy Paul, R&B vocalist (“Me & Mrs. Jones”)
Remo Belli, jazz drummer and inventor of the synthetic drumhead
Harrison Calloway, musician and bandleader (Muscle Shoals Horns)

May
Candye Kane, blues and swing vocalist and songwriter
John Stabb, punk rock vocalist (Government Issue)
Peter Behrens, drummer (Trio)
Tony Gable, percussionist and graphic designer
Julius La Rosa, pop vocalist
Buster Cooper, jazz trombonist
Bill Backer, jingle writer (“I’d Like to Teach the World to Sing”)
Tony Barrow, press officer (The Beatles)
Johnny Sea, country vocalist (“Day For Decision”)
Emilio Navaira, tejano and country vocalist, guitarist and songwriter
Guy Clark, singer and songwriter
John Berry, punk rock guitarist (Beastie Boys)
James King, bluegrass musician
Nick Menza, rock drummer (Megadeth)
Marshall Jones, bassist (Ohio Players)
Floyd Robinson, country vocalist and songwriter (“Makin’ Love”)
Rick Vanaugh, country drummer (The Time Jumpers)

June
Alan Wise, promoter and manager (Factory Records)
Muhammed Ali, boxer and spoken word artist (“I Am the Greatest”)
Mac Cocker, radio broadcaster (Australia’s Double J)
Mark Parenteau, radio broadcaster (WBCN)
Dave Swarbrick, violinist, vocalist and songwriter (Fairport Convention)
Bobby Curtola, Canadian teen idol (“Hand in Hand With You”)
Dan Sorkin, radio broadcaster (WCFL, KFRC, KSFO)
Brian Rading, rock bassist (Five Man Electrical Band)
Christina Grimmie, vocalist and songwriter (The Voice)
Chips Moman, songwriter and producer
Henry McCullough, rock guitarist (Grease Band, Spooky Tooth, Wings)
Charles Thompson, jazz pianist and organist
Attrell Cordes, hip-hop, soul and R&B artist (P.M. Dawn)
Tenor Fly, rapper and ragga vocliast
Bill Ham, manager, producer and songwriter (ZZ Top)
”Dandy” Dan Daniel, radio broadcaster (WMCA, WYNY, WCBS)
Wayne Jackson, R&B trumpeter (Mar-Keys, Memphis Horns)
Freddy Powers, country songwriter and producer
Leo Brennan, Irish musical patriarch
Harry Rabinowitz, conductor (Chariots of Fire) and composer (I, Claudius)
Dr. Ralph Stanley, mountain music banjoist, vocalist and songwriter
Bernie Worrell, keyboardist and composer (Parliament-Funkadelic)
Mack Rice, songwriter (“Mustang Sally” “Respect Yourself”)
Scotty Moore, rock ‘n’ roll guitarist
Rob Wasserman, bassist
Don Friedman, jazz pianist

July
Teddy Rooney, actor, musician and son of Mickey Rooney
Bob Goldstone, music industry executive (Thirty Tigers)
William Hawkins, poet and songwriter
Danny Smythe, rock drummer (The Box Tops)
Vaughn Harper, radio broadcaster (WBLS “The Quiet Storm”)
Carole Switala, vocalist and puppeteer (Mr. Rogers’ Neighborhood)
Steve Young, musician (Colourbox, MARRS) and songwriter
Johnny Craviotto, rock drummer and drum maker
Charles Davis, jazz saxophonist
Bonnie Brown, country vocalist (The Browns)
Alan Vega, vocalist, songwriter (Suicide) and visual artist
Claude Williamson, jazz pianist
Gary S. Paxton, vocalist, songwriter and producer
Fred Tomlinson, vocalist and songwriter (“The Lumberjack Song”)
John Pidgeon, rock music writer and BBC radio executive
Lewie Steinberg, R&B bassist (Booker T. & the M.G.’s)
George Reznik, jazz pianist
Marni Nixon, playback vocalist (West Side Story, My Fair Lady) and actress
Roye Albrighton, vocalist and guitarist (Nektar)
Allan Barnes, jazz saxophonist (The Blackbyrds)
Sandy Pearlman, writer, producer and manager (Blue Oyster Cult)
Lucille Dumont, vocalist, songwriter and television star
Nigel Gray, record producer (The Police, Siouxsie and the Banshees)
Penny Lang, folk musician

August
Ricci Martin, musician, entertainer and son of Dean Martin
Patrice Munsel, coloratura soprano
Richard Fagan, songwriter (“Sold (The Grundy County Auction Incident)”)
Pete Fountain, jazz clarinetist
B.E. Taylor, pop vocalist and songwriter (“Vitamin L”)
Ruby Winters, soul vocalist (“Make Love to Me” “I Don’t Want to Cry”)
Padraig Duggan, folk musician (Clannad, The Duggans)
Glenn Yarbrough, vocalist and songwriter
David Enthoven, manager and record label executive
Ruby Wilson, blues vocalist
Connie Crothers, jazz pianist
Bobby Hutcherson, jazz vibraphonist
Preston Hubbard, bassist (Roomful of Blues, Fabulous Thunderbirds)
Lou Pearlman, producer and manager (Backstreet Boys, *NSYNC)
Irving Fields, pianist, composer and bandleader (Bagles and Bongos)
Matt Roberts, rock guitarist (3 Doors Down)
Tom Searle, guitarist (The Architects)
Louis Stewart, jazz guitarist
Headley Bennett, reggae saxophonist
Derek Smith, jazz pianist
Gilli Smythe, vocalist (Gong)
Toots Thielemans, harmonica player, guitarist and whistler
Rudy Van Gelder, recording engineer (Bluenote)
Monty Lee Wilkes, sound engineer (The Replacements, Nirvana)
Hubert Dwane “Hoot” Hester, country and bluegrass fiddler

September
Fred Hellerman, folk singer, songwriter and guitarist (The Weavers)
Kacey Jones, singer, songwriter and humorist
Jerry Heller, agent, promoter and manager (N.W.A.)
Bud Isaacs, steel guitarist
Lewis Merenstein, producer (Van Morrison, Gladys Knight, John Cale)
Clifford Curry, R&B vocalist (“She Shot a Hole in My Soul”)
Prince Buster, ska singer-songwriter and producer (“One Step Beyond”)
”Crazy” Eddie Antar, electronics retailer
Chris Stone, studio owner (The Record Plant)
Leonard Haze, rock drummer (Y&T)
Don Buchla, pioneering synthesizer designer
Jerry Corbetta, vocalist, keyboardist and songwriter (Sugarloaf)
Trisco Pearson, R&B vocalist (Force M.D.’s)
Charmian Carr, actress and vocalist (The Sound of Music)
Micki Marlo, vocalist (“What You’ve Done To Me” “Little By Little”)
John D. Loudermilk, songwriter and vocalist (“Tobacco Road”)
Richard D. Trentlage, jingle writer (Oscar Mayer, McDonald’s)
Rob Meurer, vocalist and songwriter (Christopher Cross)
Stanley “Buckwheat Zydeco” Dural Jr, zydeco accordionist
Kashif, R&B vocalist, instrumentalist, producer and songwriter
Jean Shepard, country vocalist and songwriter
Joe Clay, rockabilly vocalist and guitarist
Royal Torrence, soul vocalist (Little Royal and the Swingmasters)
Nora Dean, reggae and gospel vocalist (“Barbwire”)
Oscar Brand, folk vocalist and songwriter, radio host (WNYC)
Michael Casswell, session guitarist (Brian May)

October
Joan Marie Johnson, pop vocalist (The Dixie Cups)
Caroline Crawley, vocalist (Shelleyan Orphan, This Mortal Coil)
Rod Temperton, keyboardist and songwriter (“Thriller” “Off the Wall”)
Peter Allen, radio broadcaster (Metropolitan Opera)
Don Ciccone, pop vocalist (The Critters) and songwriter
Leo Beranek, acoustic engineer and co-founder of BB&N
Robert Bateman, songwriter (“Please Mr. Postman”), vocalist (Satintones)
Sonny Sanders, songwriter, arranger and vocalist (Satintones)
Robert Edwards, R&B vocalist (The Intruders)
Ted V. Mikels, filmmaker and record label owner
Phil Chess, producer and record company executive
Chris Porter, americana vocalist, songwriter and guitarist
Mitchell Vandenburg, americana bassist and songwriter
Dave Cash, radio broadcaster (Radio London, BBC Radio 1)
Herb “The Cool Gent” Kent, radio broadcaster (WVON, WJJD and V103)
Pete Burns, vocalist and songwriter (Dead or Alive)
Bobby Vee, pop vocalist
Hazel Shermet, actress and singer (New Zoo Revue’s Henrietta Hippo)
John Zacherle, TV host, recording artist and radio broadcaster
Ron Grant, film and television composer (Knot’s Landing)
Tammy Grimes, actress and vocalist (The Unsinkable Molly Brown)
Curly Putman, country songwriter (“Green, Green Grass of Home”)

November
Bap Kennedy, vocalist and songwriter
Bob Cranshaw, jazz bassist
Kay Starr, pop and jazz vocalist
Jean-Jacques Perrey, electronic music producer
Laurent Pardo, bassist (Elliott Murphy’s Normandy All-Stars)
Sir Jimmy Young, radio host (BBC Radio 1 and 2) and vocalist
Al Caiola, guitarist, composer and arranger
Leonard Cohen, vocalist, songwriter, poet and novelist
Raynoma Gordy Singleton, songwriter and second wife of Barry Gordy Jr.
Billy Miller, magazine publisher (Kicks) and record label owner (Norton)
Leon Russell, vocalist, pianist and songwriter
Holly Dunn, country vocalist and songwriter
David Mancuso, disc jockey and private party host (The Loft)
Mose Allison, jazz pianist, vocalist and songwriter
Cliff Barrows, musical director (Billy Graham Evangelistic Association)
Milt Okun, producer, arranger, conductor and publisher
Don Waller, music journalist and vocalist
Mentor Williams, songwriter (“Drift Away”), producer and engineer
Sharon Jones, soul vocalist (The Dap Kings)
Al Batten, bluegrass banjo player and band leader
Hod O’Brien, jazz pianist
Craig Gill, rock drummer (Inspiral Carpets)
Al Broadax, television and film producer (The Beatles, Yellow Submarine)
Florence Henderson, actress and vocalist
Pauline Oliveros, composer, educator and accordionist
Tony Martell, record industry executive (CBS Records) and philanthropist
Ray Columbus, vocalist, songwriter, manager and television host
Carlton Kitto, jazz guitarist

December
Mickey Fitz, punk rock vocalist (The Business)
Mark Gray, country vocalist and songwriter (“Take Me Down”)
Herbert Hardesty, saxophonist (Fats Domino, Dave Bartholomew)
Wayne Duncan, bassist and vocalist (Daddy Cool)
Mohamed Tahar Fergani, Algerian vocalist, violinist and composer
Greg Lake, vocalist, bassist and songwriter (King Crimson, EL&P)
Palani Vaughan, Hawaiian vocalist and songwriter
George Mantalis, pop vocalist (The Four Coins)
Valerie Gell, rock ‘n’ roll vocalist and guitarist (The Liverbirds)
Bob Krasnow, record executive and co-founder of the R’n’R Hall of Fame
Joe Ligon, gospel vocalist (Mighty Clouds of Joy)
Barrelhouse Chuck, blues vocalist, songwriter and pianist
Jim Lowe, songwriter (“The Green Door”) and radio broadcaster
Ahuva Ozeri, Israeli singer-songwriter
Betsy Pecanins, blues singer and songwriter
Päivi Paunu, vocalist and Eurovision contestant (“Muistathan”)
Bunny Walters, Maori pop vocalist (“Brandy” “Take the Money and Run”)
Fran Jeffries, vocalist, dancer and actress (The Pink Panther)
John Chelew, producer and concert promoter (McCabe’s Guitar Shop)
Bob Coburn, radio broadcaster (“Rockline,” KLOS)
Léo Marjane, French vocalist (“Seule ce soir”)
Gustavo Quintero, Columbian singer-songwriter
Gordie Tapp, radio broadcaster and television performer (Hee Haw)
Andrew Dorff, country songwriter (“My Eyes” “Somebody’s Heartbreak”)
Dick Latessa, actor and Tony winner (Hairspray)
Sam Leach, concert promoter (The Beatles)
Betty Loo Taylor, jazz pianist
Frank Murray, manager (The Pogues) and tour manager
Mick Zane, rock guitarist (Malice)
Rick Parfitt, vocalist, songwriter and guitarist (Status Quo)
George Michael, pop vocalist and songwriter
George S. Irving, musical theater and voice actor
Alphonse Mouzan, jazz drummer
Pierre Barouh, lyricist (A Man and a Woman), composer and actor
Debbie Reynolds, actress and vocalist
Billie Joe Burnette, country vocalist and songwriter (“Teddy Bear”)
Rich Conaty, radio broadcaster (WFUV’s The Big Broadcast)
Allan Williams, booking agent and manager (The Beatles)
Johnny Canton, radio broadcaster (WDGY, WCCO)
David Meltzer, poet and jazz guitarist

Gene Autry: A Melody Ranch Christmas

Monday, December 19th, 2016

geneautry_amelodyranchchristmasA winter harvest of 1940s & 1950s radio performances

Gene Autry was a triple threat with successful careers in film, radio and television. It’s from his weekly Melody Ranch radio program that Varese has assembled twenty-three Christmas related performances. Although most of these songs are now considered standards, several of them – “Here Comes Santa Claus,” “Rudolph the Red-Nosed Reindeer,” “Frosty the Snow Man” and “An Old Fashioned Tree” – were introduced by Autry himself. The recordings span 1942 through 1955, and the backings range from the Melody Ranch Hard-Way Six to the orchestras of Carl Cotner and Paul Sell. Autry’s castmates include Johnny Bond, vocal groups the Pinafores and Cass County Boys, comedian Pat Buttram, and a special appearance by Rosemary Clooney. There are several rare performances of songs that Autry never released commercially, including a recitation of “Twas the Night Before Christmas” and Pat Buttram’s original “Did You Ever Hafta Sleep at the Foot of the Bed?” Restored from lacquer transcription discs, the sound quality is very good, and the performances superb. This is a terrific complement to Autry’s studio Christmas albums, and a warmly nostalgic addition to your family’s holiday soundtrack. [©2016 Hyperbolium]

Gene Autry’s Home Page

Don Rich and the Buckaroos: Guitar Pickin’ Man

Friday, December 16th, 2016

donrich_guitarpickinmanBuck Owens’ right-hand man picks and sings

Buck Owens had hits before teaming with Don Rich, but together they led the Buckaroos to unparalleled commercial and artistic success. Owens first met Rich in Tacoma, Washington, where the latter grew up playing fiddle and the former was taking a break from his Capitol Records contract. Rich gigged with Owens around town and on local television, and after a stint in college, joined him in the studio for 1959’s “Above and Beyond” and “Excuse Me (I Think I’ve Got a Heartache).” Rich switched to acoustic guitar for 1961’s B-side “Mirror, Mirror on the Wall” and electric lead for 1963’s “Act Naturally.” The latter was perhaps not coincidentally Owens’ first #1, and the first in an uninterrupted string of fifteen chart toppers.

Owens and Rich equipped themselves with sparkling Telecasters (tuned down a half step to reduce string breakage and get a fatter tone) and Fender Twin Reverb amps, and with the bass and drums given more prominence, the Bakersfield Sound was born. Music poured out of the Buckaroos at an incredible rate, filling albums and the singles charts, and spilling over from Buck Owens’ albums into a dozen albums led by Rich. It’s from this torrent of creativity that Omnivore has cherry-picked eighteen tracks, three from Buck Owens albums, fourteen from Buckaroos’ albums, and a previously unreleased version of “Guitar Pickin’ Man,” recorded for the Hee Haw television program.

The selections favor vocal tracks, though Rich’s guitar playing is highlighted both here and on a sprinkling of instrumentals. Among the latter is the stuttering lead of “Chicken Pickin’,” the western atmosphere of “Meanwhile Back at the Ranch,” and the genre-bending “Bossa Nova Buckaroo Style.” Rich’s vocals weren’t as sorrowful as Owens’, though he strikes a similar tone for Bonnie and Buck Owens’ “Number One Heel,” and recalls Owens’ own double-tracking on “You Bring Out the Best in Me.” Rich wrote a lot of the Buckaroos’ material, often working with Red Simpson and other co-writers when not covering catalog material from Owens and Merle Haggard.

For all of his acknowledged importance to the Bakersfield Sound, Don Rich’s name was rarely above the title. His only solo album, Don Rich Sings George Jones, was recorded in 1970 and shelved until 2013, and his 1971 release with Buck Owens’ son Buddy, We’re Real Good Friends, remains out of print. Ditto for most of the Buckaroos’ albums, save these. This new collection joins That Fiddlin’ Man as a look into Rich’s work with Owens and the Buckaroos, more of which is highlighted on Omnivore’s recent double-CD The Complete Capitol Singles: 1957-1966. The 12-page booklet includes photos, credits and liner notes from Rich’s adoring sons, fleshing out the family man behind the guitar. [©2016 Hyperbolium]

Buck Owens and the Buckaroos: The Complete Capitol Singles 1957-1966

Friday, December 9th, 2016

buckowens_completecapitolsingles5766The towering Capitol singles of Buck Owens

Having already been feted with exhaustive box sets, multidisc anthologies, vault finds, tribute albums, a posthumous autobiography, and dozens of original album reissues, one might ask: what’s left to say? As it turns out: plenty. Collecting Owens’ A’s and B’s from his most commercially fertile years, this generous two-disc set replays Owens’ emergence and dominance as both a country hit maker and a maverick artist. Recording in Hollywood, two thousand miles from Nashville, he added a new chapter to the country music playbook with the driving, electric Bakersfield sound, and established himself as an iconoclastic force on the both the singles and album charts. Among the fifty-six tracks collected here are twenty-two Top 40 hits, including an astonishing string of thirteen consecutive chart toppers.

While the hits will be familiar to most, and the B-sides to many, only the most ardent Owens fans will recognize the earliest Capitol singles. This quartet of originals, waxed in 1957, sounds more like Buddy Holly-styled rock ‘n’ roll than the Bakersfield sting Owens would later develop. The low twanging guitar, sweetly phrased lead vocal and backing chorus of “Come Back” is more doo-wop than country, and its waltz-time B-side “I Know What It Means” sounds like Nashville going pop. “Sweet Thing,” co-written with Harlan Howard, has rockabilly licks supplied by guitarists Gene Moles and Roy Nichols, and its ballad B-side, “I Only Know That I Love You” has a lovely guitar solo to accompany its double-crossed lyric.

Owens returned to Capitol’s studio in 1958 with a reconstructed backing unit that included fiddler J.R. “Jelly” Sanders and Ralph Mooney on steel. It was from this session that “Second Fiddle” launched Owens onto the country chart. The same group, which also included pianist George French, Jr., bassist Al Williams and drummer Pee Wee Adams, cut a 1959 session from which “Under Your Spell Again” climbed to #4. By year’s end, Sanders was out and Don Rich was in, Harlan Howard’s “Above and Beyond” carried Owens one notch higher, to #3, and Howard and Owens’ “Excuse Me (I Think I’ve Got a Heartache)” then reached #2. The B-sides include the charting “I’ve Got a Right to Know,” and the ironic “Tired of Livin’.” Ironic, because the song’s sad-sack complaint about a lack of success was fronted by a Top 5 hit!

1961 found Owens paired with Rose Maddox for the double-sided hit “Mental Cruelty” b/w “Loose Lips,” and he just missed the top slot twice more with “Foolin’ Around” and “Under the Influence of Love.” The success of his A-sides dipped slightly in 1962, though he was still charting regularly, minting staples like “You’re For Me,” and the B-side “I Can’t Stop (My Lovin’ You).” Owens turned out an incredible amount of high quality, original material throughout the ‘60s and ‘70s, winningly vacillating between sunny elation and sorrowful heartbreak. He also had an ear for other songwriters, recording albums dedicated to Harlan Howard and Tommy Collins, and charting covers of Pomus & Shuman’s “Save the Last Dance for Me” and Wanda Jackson’s “Kickin’ Our Hearts Around.”

Owens finally topped the charts in 1963 with Johnny Russell’s “Act Naturally,” kicking off a string of #1s that stretched into 1967. Incredibly, all of disc two’s singles topped the chart, except for a return duet with Rose Maddox that stalled at #15 and a 1965 Christmas single. The A-sides from this era are among the most iconic of Owens’ career, including “Love’s Gonna Live Here,” “My Heart Skips a Beat,” “I’ve Got a Tiger By the Tail,” “Waitin’ in Your Welfare Line,” “Open Up Your Heart” and Don Rich’s “Think of Me” (which became a staple for the Mavericks). The B-sides include the chart-topping “Together Again,” the stalwart “Don’t Let Her Know” and the woeful “Heart of Glass.”

The classic lineup of the Buckaroos had come together in 1964, with Owens and Rich joined by bassist Doyle Holly, drummer Willie Cantu and steel player Tom Brumley. Their chemistry was immortalized on Live at Carnegie Hall, and their instrumental skills carried “Buckaroo” to the top of the country chart. More importantly, it was this lineup that doubled down on Owens’ rejection of the Nashville Sound. The polite drum accents of 1961’s “Foolin’ Around” might have alarmed Music City’s gentry, but it was only a prelude to the more insistent tom-toms of “My Heart Skips a Beat,” Don Rich’s twangy fills and solo on “Act Naturally” and Willie Cantu’s full-kit drumming on “Before You Go.”

While Nashville was busy courting pop fans with syrupy layers of strings and choruses, Owens was stripping his sound down to guitars, bass, fiddle and drums, and riding the beat. He also bucked another Nashville standard by recording with his band, rather than picking up session players. Red Simpson sat in for a few sessions in ‘65 and ‘66, and James Burton provided the sputtering electric lead on “Open Up Your Heart,” but what you hear on all the singles from ‘64 onward are the Buckaroos. The set ends with Owens’ last hit of 1966, “Where Does the Good Times Go,” two singles shy of the end of his continuous string of #1s, and well short of the success that ran up to Don Rich’s 1974 death. Owens moved on from Capitol to Warner Brothers, and returned again in the late ‘80s, but mostly retired from the studio to run his businesses and perform on the weekends at his legendary Bakersfield club.

The singles are presented in the order of their release, and remastered in mono from the original reel-to-reels. The brightness that Owens laid into the masters remains, but with more bottom end than you likely remember from AM radio. Owens emerges from these sides as a pioneering artist who wrote, sang (often doubling himself on harmony), picked guitar and led a band that was both revolutionary and commercially successful. And with the masters having come from the Buck Owens’ estate, you can add top-flight businessman to his resume. The CD package includes a 20-page booklet highlighted by Dwight Yoakam’s introductory notes, excerpts from Owens’ autobiography, detailed personnel and session data, and label and picture sleeve reproductions. All that’s missing is ‘67-’75, so here’s hoping for a sequel! [©2016 Hyperbolium]

Buck Owens’ Home Page