Posts Tagged ‘Numero Group’

The Creation: Action Painting

Saturday, March 18th, 2017

The Creation gets their due with deluxe box set

Many U.S. listeners were first introduced to the Creation via the inclusion of their debut single, “Making Time,” in the film Rushmore. It was a canny selection, harboring the angst of the early Kinks and Who, but without the familiarity that’s turned their viscerality into a nostalgic echo. Fans have been serviced by reissues and compilations, but never before a comprehensive box set of their mid-60s glory. Numero fills the void with this 2-CD, 46-track collection, served up with a hard-covered 80-page booklet of photographs, ephemera, label and sleeve reproductions, liner notes by Dean Rudland and detailed session notes by Alec Palao.

Like many bands of the beat era, a complete catalog of the Creation’s releases includes singles, albums, mono and stereo mixes, versions prepared for foreign markets, and sundry odds ‘n’ sods. Numero collects all of this, starting with the original mono masters on disc one and four (of the original eight) mono sides by the pre-Creation Mark Four kicking off disc two. The bulk of disc two is taken up by new stereo mixes created for this set by Alec Palao (and approved by original producer Shel Talmy), along with previously unissued backing tracks for “Making Time” and “How Does It Feel to Feel,” and an unedited cut of “Sylvette.”

The stereo mixes maintain a surprising amount of the original recordings’ punch. To be sure, there’s alchemy in the mono sides, but the guitar, bass, drums and vocals are each so individually driven that the stereo mixes don’t drain the records of their attack. And spreading out the guitar, lead and backing vocals adds welcome definition to many tracks. Even more interesting is that both in mono and stereo, producer Shel Talmy’s distinctive style – particularly in recording the drums and the presence of Nicky Hopkins on piano – puts these tracks in a sonic league with the early sides he made with the Who.

The earliest Mark Four singles (unfortunately not included here) featured cover songs, but by 1965 the group was recording original material that had the blues base of the Yardbirds with the garage attitude of Mouse & The Traps and the Shadows of Knight. The B-side “I’m Leaving” finds Eddie Phillips wringing truly original sounds from his guitar as the drums vamp a modified Bo Diddley beat for a then-generous 3:32 running time. It was a sign of what was to come, as the group’s 1966 debut as the Creation sported what many believe to be the first use of a bowed guitar.

Eddie Phillips departed in late 1967, but with vault material still being released, and tours still being offered, the band soldiered on into 1968. They added Ron Wood in between his time with the Birds and the Jeff Beck Group, and he played on a handful of singles that started with “Midway Down” and its flip, “The Girls Are Naked.” Some iteration of the group (exactly which is a subject of discussion in Palao’s session notes) recorded posthumously released covers of Larry Williams’ “Bony Moronie” and Cannonball Adderley’s “Mercy, Mercy, Mercy,” and the group’s final single, “For All That I Am” garnered little attention in its Germany-only release.

At well over two hours of music, Numero’s set provides a definitive recitation of the Creation’s original mono run, a worth-hearing restatement in stereo, and the odds ‘n’ sods that mark a spelunking of the vault. The book is rendered in microscopic print, but it’s worth digging out a magnifying glass to read Palao’s meticulous recording and mixing notes. The reproduced photos, correspondence, labels, picture sleeves and tape boxes perfectly complement this salute to a band whose commercial fortunes never rose to the level of their musical and stage artistry. [©2017 Hyperbolium]

Various Artists: Afterschool Special – The 123s of Kid Soul

Wednesday, October 12th, 2016

various_afterschoolspecialthe123sofkidsoulInfectious collection of 1970s kid soul

In the same way that “A Hard Day’s Night” launched a thousand rock bands, the Jackson Five launched a wave of family and kid bands that rolled on for decades. A few – including the Osmonds, DeFrancos and New Edition – found fame, but many more issued obscure records that have become crate diggers’ rarest finds. The archival Numero Group label has pulled together a collection of this delicious bubblegum soul, packed tightly around the seminal kid soul year of 1973. The track list reaches back to 1970 for the Folkways-released “James Brown” (CD/LP only) and the topical “I’m Free, No Dope For Me,” hits its choreographed stride with Magical Connection’s 1972 “Girl Why Do You Want to Take My Heart,” and is fully consumed by 1973.

Jimi HillIronically, just as the Jackson Five’s chart results were fading, their influence was blooming in charming, adolescent lead vocals and propulsive soul backings on obscure indie labels. Among the jewels are the Scott Three’s “Runnin’ Wild (Ain’t Gonna Help You)” and Next Movement’s “Every Where You Go,” but you can also hear the Jacksons’ impact in Jimi Hill’s Memphis-tinged “Guessing Games” and Leonard (Lil’ Man) Kaigler’s frantic “You Got Me Believing.” The sounds of the Dells and Dramatics and some harder funk backings are also here, but the kid vocals always bring your ears back to Michael Jackson in his early prime. By the mid-70s you can hear the beat of disco in “I Love You Still” and jazz-funk in “Love Got a Piece of Your Mind,” but it’s still sweet as candy.

Greer BrothersThere are a few actual hitmakers here. Chicago’s Brighter Side of Darkness reached the Top 20 with “Love Jones,” appeared on Soul Train and released a full album on the 20th Century Fox label (coincidentally, also the home of the DeFranco Family). But their follow-up indie single “Because I Love You” failed to click and the group quickly faded. The Next Movement never hit the top of the charts, but after a scattering of singles in the ‘70s and ‘80s they landed in Las Vegas where they continue to perform to this day. Numero Group has put together a brilliant collection (including a terrifically potent cover of Gil Scott-Heron’s “The Revolution Will Not Be Televised” and the original protest song “We Don’t Dig No Busing”) and magnified it with detailed liner notes, rare photos and label reproductions. [©2016 Hyperbolium]