Posts Tagged ‘Pop’

NRBQ: NRBQ

Monday, April 23rd, 2018

The 1969 debut of a polyglot music legend

Originally released in 1969, this debut outlined the wide musical grasp and irreverent sensibility that would grow the band’s legend over the next 49 years. 49 years in which this initial explosion of creativity sat in the vault unreissued. 49 years in which either the group’s continuing activity diverted their attention from a reissue, or in which lawyers intermittently haggled over muddy contractual rights. Either way, Omnivore has finally liberated the album from its resting place and reissued the fourteen songs in a tri-fold slipcase with original front and back cover art, Donn Adams period liner notes, and contemporary notes by Jay Berman. Berman characterizes the band’s repertoire, even at this early point in their career, as including “nearly anything,” and the eclectic mix of covers and originals bears that out.

This first studio lineup included long-time members Terry Adams and Joey Spampinato (the latter then credited as Jody St. Nicholas), along with vocalist Frank Gadler, guitarist Steve Ferguson and drummer Tom Staley. The group stakes out the audacious corners of their musical omniverance with covers of Eddie Cochran’s rockabilly “C’mon Everybody,” Sun Ra’s avant garde jazz “Rocket Number 9,” Sonny Terry and Brownie McGhee’s folk blues “C’mon If You’re Comin’” (which the group revisited on 1972’s Workshop), and a country soul arrangement of Bruce Channel’s 1962 chart topper, “Hey! Baby.” Few bands at the time would have even known this range of material, let alone find a way to make it fit together on an album.

The original material from Adams, Spaminato and Ferguson is equally ambitious. Adams mashes up trad jazz and rock ‘n’ roll for “Kentucky Slop,” boogies hard on “Mama Get Down Those Rock And Roll Shoes,” captures the melancholy of Carla Bley’s 1964 jazz instrumental “Ida Lupino” with original lyrics, and closes the album with the piano-led “Stay With Me.” Ferguson’s trio of originals include the pop and soul influences of “I Didn’t Know Myself,” the gospel rocker “Stomp” and the country, folk and gospel flavored “Fergie’s Prayer.” Spampinato offers the album’s most ebullient moment with “You Can’t Hide,” a title the band would revisit ten years later on Tiddlywinks.

The album’s collection of first takes (including the previously unreleased first take of “Stomp” substituting for the re-recorded version that appeared on the original vinyl) provides a snapshot of the band as they played live. The set list reflects the confluence of musical interests, knowledge and talent the band members brought to the group, and the performances have an all-in quality that made second takes superfluous. Whether or not the renditions were note-perfect (and they pretty much are), they were perfect expressions of the musical ethos that sustains the band to this day. It’s a shame that the originally released second take of “Stomp” wasn’t included as part of this reissue, but that’s a nit, given the historical and artistic riches that have been sprung from the vault. [©2018 Hyperbolium]

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Juliana Hatfield: Sings Olivia Newton-John

Wednesday, April 18th, 2018

Charming and heartfelt tribute to Olivia Newton-John

Born in 1967, Juliana Hatfield was seven years old when Olivia Newton-John scored her first U.S. pop chart topper, “I Honestly Love You.” Newton-John scored again with the follow-up singles, “Have You Ever Been Mellow” and “Please Mr. Please,” and though she continued to chart adult contemporary, it took her three more years to climb back to the top of the pop chart with 1978’s John Travolta duet “You’re the One That I Want.” Hatfield, known for her work with Blake Babies, the Juliana Hatfield Three and solo has “never not loved Olivia Newton­-John,” and it shows in the endearing performances and song selection of this tribute album.

In addition to heartfelt interpretations of Newton-John icons that span 1974’s “I Honestly Love You” to 1981’s “Physical,” the song list includes several deep fan favorites. “Totally Hot,” which stalled out at #52 in 1979, is deftly recast as buzzing Suzi Quatro-styled glam rock, and the pop-country “Dancin’ Round and Round” is taken uptempo and backed by hard-charging guitar and drums. The album reaches an emotional peak with “Please Mr. Please,” as Hatfield pours every last drop of the emotion she must have felt as an eight-year-old bonding with her first artistic idol.

Hatfield has internalized these songs and their artist in a thousand bedroom and car singalongs, and filters them through the original artistry they helped inspire. The contentment of “Have You Never Been Mellow” retains its optimistic mid-70s introspection while being deepened by Hatfield’s additional decades of life experience, and “Hopelessly Devoted to You” could just as easily be Hatfield singing about Newton-John as it was Sandy singing about Danny. This is a treat for fans of both Newton-John and Hatfield, and the only thing missing are some Grease photo cards to stick inside your locker. [©2018 Hyperbolium]

Juliana Hatfield’s Home Page

The Oak Ridge Boys: When I Sing For Him – The Complete Columbia Recordings & RCA Singles

Monday, April 16th, 2018

The pre- and post-MCA sides of the Oak Ridge Boys

Those who know the Oak Ridge Boys from the hit singles that began with 1977’s “Y’all Come Back Saloon” and ran through crossover icons “Elvira” and “Bobbie Sue,” may be surprised to find the group’s Southern gospel roots stretch back to the 1940s. Starting out as Wally Fowler and the Georgia Clodhoppers, they became the Oak Ridge Quartet, and then in the early ‘60s, the Oak Ridge Boys. The group’s best-known lineup came together in the early ‘70s when bass singer Richard Sterban and tenor Joe Bonsall joined mid-60s arrivals Duane Allen and William Lee Golden. It was this quartet that charted with Johnny Cash on the 1973 single “Praise the Lord and Pass the Soup” and eventually expanded from gospel to country hit making.

By 1974 the group had moved from the Heart Warming gospel label to the secular Columbia where they recorded the trio of albums anthologized here: The Oak Ridge Boys, Sky High, and Old Fashioned, Down Home, Hand Clappin’, Foot Stompin’, Southern Style, Gospel Quartet Music. The self-titled Columbia debut cracked the top 40, but the remaining two albums, despite quality material and performances, failed to chart. The group’s Columbia singles fared no better, with the first six failing to chart, and the seventh, “Family Reunion,” barely scraping onto the charts at #83. A large part of the group’s problem seems to have been Columbia’s lack of service to gospel radio, but their stylistic range, which included gospel harmony, MOR ballads, country and soul diluted their identity as gospel singers without providing a ready hook for secular radio.

Which is a shame, because the singles and albums deserved an audience. The group’s debut single for Columbia, the Grammy-winning “The Baptism of Jesse Taylor,” could easily have fit country radio in 1973, but it was a year or two late to mingle with the God Rock pop hits of 1971-2. Kris Kristofferson’s “Why Me” hasn’t the wasted soul of the original, but it was a canny pick for a cover, as was their non-charting take on Paul Simon’s “Loves Me Like a Rock.” The group turned soulful with Allen Toussaint’s widely covered “Freedom for the Stallion,” and the debut album’s “Give Me a Star” provides a powerful close to the debut Columbia album. Their sophomore effort opens with the album’s non-charting single “Rhythm Guitar,” featuring honky-tonk piano and a terrific bass vocal.

The opening verse of “Nobody Special” briefly shows off the quartet’s vocal blend in an a cappella arrangement that could have supported the entire track (or an album!). Porter Wagoner’s “When I Sing For Him” gave lead vocalist Duane Allen an opportunity to really soar, a performance so moving that Wagoner asked him to sing the song at his funeral, which he did in 2007. Beyond the album’s songs of praise, the group offers Christian life principles in “We Gotta Love One Another” and “Plant a Seed,” essaying the pitfalls of part-time faith. The closing “Mighty Fine” would have made a catchy second single, had Columbia been more interested in promoting the group. Disc one is filled out with six bonus tracks that include a pair of vault tracks from All Our Favorite Songs, the singles “Heaven Bound.” and “Praise the Lord and Pass the Soup,” and the B-side “Look Away Mama.”

Disc two opens with the ten tracks of the group’s third Columbia album, and features a second collaboration with Johnny Cash on his original “No Earthly Good.” The non-charting single “Where the Soul Never Dies” and “Jesus Knows Who I Am” offer revival tent zest, but the album’s split between old-timey gospel, country-flavored numbers and middle-of-the-road ballads doesn’t quite live up to the collection’s home-spun title. As with the previous two albums, the breadth is admirable, but it plays more like a variety show than a group’s album. The final two Columbia singles, David Allan Coe’s “Family Reunion” and George Jones’ “All Our Favorite Songs” are included along with their B-sides.

The group moved from Columbia to Dot in 1977, then to Dot’s parent, ABC, and then to ABC’s parent MCA, minted the biggest hit albums and singles of their career. In 1990, with Steve Sanders having replaced William Lee Golden as the group’s baritone, the group signed with RCA and released Unstoppable and The Long Haul. Disc 2 is filled out with four RCA singles from this period, including a grandiose cover of Mann & Weil’s Brill Building classic “(You’re My) Soul And Inspiration,” the country hit “Lucky Moon,” its bluesy B-side take on “Walking After Midnight” and the fine, but low-charting “Fall.” The set closes with a funky cover of “Go Tell it on the Mountain,” drawn from Sounds of the Season.

The Columbia sides show the group branching out from their gospel roots, but not yet fully committing themselves to the country market. As Joe Bonsall opines in Joe Marchese’s detailed liner notes, “Those were the days when we rode the fence musically trying to appease everyone… Although some of the songs were really cool, we just couldn’t seem to gain any real traction.” This set provides bookends for the group’s hit years on MCA, showing how they expanded their material and style from gospel to pop, rock, country and soul without ever dropping the thread of faith. Their Columbia material didn’t produced the mainstream fame they’d find on MCA, but it opened their ears to the opportunity that lay just ahead. [©2018 Hyperbolium]

The Oak Ridge Boys’ Home Page

Jackie DeShannon: Stone Cold Soul – The Complete Capitol Recordings

Friday, March 16th, 2018

DeShannon’s short, artistically rich early-70s stop at Capitol

After an eight-year run on Liberty/Imperial that included the Bacharach-David-penned “What the World Needs Now Is Love” and the original “Put a Little Love in Your Heart,” singer-songwriter Jackie DeShannon made a brief stop at Capitol before moving on to Atlantic. Capitol initially sent DeShannon to Memphis to record with producer Chips Moman and his American Sound studio regulars, but other than the single “Stone Cold Soul” and the LP track “Show Me,” the sessions were shelved. Her second session, recorded in Los Angeles with Eric Malamud and John Palladino, resulted in the album Songs, and just like that, DeShannon was off to Atlantic. Eleven completed Moman masters appeared in the UK on RPM’s 2006 reissue of Songs, all of which is collected here along with five additional previously unreleased Memphis tracks, and liners from Joe Marchese that include a fresh interview with the artist.

DeShannon arrived in December 1970 at 827 Thomas Street to record at a studio that had put itself on the map with iconic records by the Box Tops, Neil Diamond, Dusty Springfield and Elvis Presley. Though she’d previously tapped into her childhood love of R&B with a cover of Holland, Dozier & Holland’s “You Keep Me Hangin’ On,” settling in with Moman and his “Memphis Boys” house band afforded an opportunity to fully fuse her love of soul music with original songs and well-selected cover material. One of DeShannon’s lasting artistic assets is her dual excellence as a songwriter and an interpreter of other writers’ songs. Here she shows off her interpretive abilities with selections from William Bell, Goffin & King, Emitt Rhodes, Arlo Guthrie, Van Morrison, and the non-charting title track by Mark James, the writer of Elvis Presley’s American Studios recording of “Suspicious Minds.”

The set opens with a short, previously unreleased take on Bell’s “You Don’t Miss Your Water (Til Your Well Runs Dry),” establishing the Memphis session’s southern credentials with DeShannon’s soulful vocal and the piano and guitar “goodies” (as DeShannon calls them in the liner notes) of Bobby Woods and Reggie Young. The band plays as a tight, adaptable unit, providing thoughtful backing for the rural struggle of “West Virginia Mine,” and a more optimistic mood for the poetic look at the Israeli settlements of “Now That the Desert is Blooming.” The arrangements take the cover songs in subtly new directions as the guitar, strings, horns and backing vocals of Carole King’s “Child of Mine” gently frame DeShannon’s rough-edged vocal, and an upbeat soul treatment separates the cover from Emitt Rhodes’ original of “Live Till You Die

Spooner Oldham and Dan Penn’s “Sweet Inspiration” might seem like a gimme for the American Sound crew, but DeShannon leads them with a gentler vocal groove than the Sweet Inspirations’ original, and Arlo Guthrie’s B-side “Gabriel’s Mother’s Highway” fits easily into the album’s gospel vibe. The collection features five previously unreleased Memphis recordings, including keyboardist Bobby Emmons’ “They Got You Boy” and a cover of George Harrison’s deeply moving “Isn’t It a Pity.” While the Memphis tracks don’t necessarily jump out as hit singles, the material was well picked, DeShannon was in fine voice and found real chemistry with the house band, so it’s hard to imagine why Capitol didn’t hear the commercial potential, and scrapped the sessions.

But scrap them they did, and DeShannon moved on to record in Los Angeles with a different set of studio hands. The results would be released as the Songs album, opening with one of the two songs salvaged from the Memphis sessions, “Show Me.” Written by session guitarist Johnny Christopher, the song’s musical hall style was at odds with the soul of the Memphis sessions, but indicated the variety the Los Angeles album would bring. In addition to her downbeat folk “Salinas,” upbeat funk “Bad Water” and a new arrangement of “West Virginia Mine,” DeShannon picked up Bob Dylan’s “Lady, Lady, Lay,” Hoyt Axton’s “Ease Your Pain,” McGuinness Flint’s “International,” a blistering version of the traditional “Down By the Riverside,” and original material from the session players.

The Los Angeles sessions didn’t have the regional flair or musical centeredness of Memphis, but the individual tracks were well picked and thoughtfully performed. DeShannon returned to Memphis to record Jackie for Atlantic, and edged a few singles onto the bottom of the chart, but like her earlier Memphis session, the material remained largely unknown to all but dedicated fans. Real Gone’s 25-track collection includes all of the finished tracks DeShannon recorded for Capitol, highlighted by five previously unreleased Memphis selections (1, 3, 7-9). Joe Marchese’s liner notes feature fresh remembrances from DeShannon and the booklet includes previously unpublished photos. Fans finally have the full story of DeShannon’s short lived, but artistically rich Memphis-to-Los Angeles ride with Capitol. [©2018 Hyperbolium]

Jackie DeShannon’s Home Page

America: Heritage – Home Recordings & Demos 1970-1973

Friday, February 23rd, 2018

Plotting the course of soft rock with demos from 1970-1973

The three expats that formed America in London in 1970 began their climb to stardom in late 1971 with the release of their eponymous debut. But it wasn’t until the album was reissued with the addition of “A Horse With No Name” that they captured the top spots on the album and singles charts. The debut also spun off “I Need You,” and the follow-up album, Homecoming, launched “Ventura Highway” the same year. The rest of the second album’s singles, and the third album, Hat Trick, registered successively lower on the charts, and it would take a few more years to return the band to hitsville with 1974’s “Tin Man” and “Lonely People,” and 1975’s “Sister Golden Hair.” The band has continued on to this day (minus Dan Peek, who left in 1977 and passed away in 2011), occasionally popping back up on the adult pop and contemporary charts.

Omnivore’s volume of demos and home recordings shows that the band was always destined for success. The magic blend of their voices was present from the beginning, and even as teenagers, they had a clear idea of their direction. Although many of these demos were successfully re-recorded for their albums, the excitement of recording together for the first time gives these initial takes their own unique feel. The earliest recordings were laid down at Chalk Hill Studios in 1970, and combines material from their debut (“Riverside” “Here” “Rainy Day” “Donkey Jaw”) with songs that never made it back to the studio. All are surprisingly well played and recorded, with the acoustic and electric guitars in balance and the harmony and backing vocals tightly arranged and sung.

The second set of recordings, from 1972 and 1973, were recorded at Gerry Beckley’s home studio, and include several titles that ended up on Hat Trick, songs and fragments that were never completed, and bits of studio chatter. Of interest to even casual fans will be a 1972 take of “Ventura Highway” that preceded the hit recording, and a vocal isolation of “A Horse With No Name” that’s nearly a cappella. Tracks 1, 3, 6, 7, 9 and 14 have been previously released on earlier America anthologies, but the remaining ten tracks are issued here for the first time. Founding member Dewey Bunnell provides original liner notes, and period photographs by Henry Diltz grace the cover and booklet. This is a great find for the band’s fans! [©2018 Hyperbolium]

America’s Home Page

The Choir: Artifact – The Unreleased Album

Saturday, February 17th, 2018

Cleveland garage rock legends’ stellar unreleased 1969 album

Many rock ‘n’ roll fans were introduced The Choir through the appearance of their 1966 single “It’s Cold Outside” on Pebbles, Vol. 2. In those pre-Internet days, fans learned from the album’s liner notes of the band’s Cleveland roots (and teased Stiv Bators’ 1979 cover), but failed to learn of the connection between the Choir and Cleveland’s greatest-ever pop export, Raspberries. What many found out later is that the Choir’s Wally Bryson, Jim Bonfanti and Dave Smalley would join with Eric Carmen (who’d unsuccessfully auditioned to sing with the Choir) to form Raspberries. Even less known was that after the Choir initially disbanded in 1968, they reformed a few months later with three new members, including organist Phil Giallombardo, joining keyboard player Kenny Margolis and drummer Jim Bonfanti.

This latter lineup recorded ten tracks in 1969, unsuccessfully shopped the results to labels, released a cover of the Easybeats’ “Gonna Have a Good Time Tonight,” and broke up for good in 1970. Although the title track of this collection was included on a 1976 Bomp EP, and three more turned up on Sundazed’s 1994 collection Choir Practice, the rest of the 1969 project was only recently rediscovered by the studio owner’s son, and is issued here for the very first time. By this point in the Choir’s history their sound was heavier than the garage rock of 1966, anchored by Hammond organ and hard rock, psychedelic guitars. Touches of pop-jazz (ala BS&T) and progressive rock mingled in, but the band retained their melodic roots in the British Invasion, as evidenced here by a cover of the Kinks’ “David Watts.”

Phil Giallombardo cites Procol Harum as a primary influence, but you can also hear the Left Bank’s baroque pop in “Anyway I Can,” Steppenwolf’s roar in “If These Are Men,” Robin Gibb’s fragility in “Have I No Love to Offer,” Santana’s organ magic in the instrumental “For Eric,” and the Lovin’ Spoonful’s good-timey vibes in “Mummer Band.” What’s most bewitching about this material is that three years on from “It’s Cold Outside,” the new lineup touches on the band’s earlier pop roots while seamlessly transitioning to a new, heavier direction that includes explosive drumming, heavy organ and blistering guitar solos. These are finished stereo productions, packaged with a 12-page booklet that includes period photos and a band family tree. It’s hard to imagine how no one took a commercial interest in these tapes at the time, but it’s great to have them now! [©2018 Hyperbolium]

Orchestral Manoeuvres in the Dark: The Punishment of Luxury

Monday, January 29th, 2018

They’re back – with catchy, intellectually-stimulating electronic pop

The bottom-heavy digital beats of today have all but obliterated the analog pop synthesis that sparked in the late-70s. OMD’s first single, “Electricity” (and its politically-conscious B-side “Enola Gay”) had many antecedents, but the mix of cool synthesizers and warm vocals sounded revolutionary in 1979. Even as the pre-programmed sounds of cheap Casio keyboards became hackneyed, OMD’s combination of analog and electronic instruments gave a modern edge to the former without letting the latter sap the music’s humanity. Although their early music combined intellectual subject matter with pop hooks and experimental sounds, they reached the zenith of their popularity in America in 1986 with the straightforward commercial ballad “If You Leave.”

The shift into the mainstream caused a rift between the band’s founders, with Andy McCluskey leaving in 1988, and co-founder Paul Humphreys carrying on with a varied cast until 1996. It would be ten more years until Humphreys and McCluskey rejoined under the OMD banner, returning to the band’s roots with a tour that included 1981’s seminal Architecture and Morality, a celebration of 1983’s avant-garde Dazzle Ships, and new material that began with History of Modern. 2017’s The Punishment of Luxury is the third album since the reformation, and the group’s first in four years. The title, derived from a nineteenth century painting by Giovanni Segantini, evokes the illusory value of luxury and the oppression of manufactured demand.

The reformed OMD has continued to explore the combination of industrial-inflected electronics, found sounds, intellectual subjects and catchy melodies with which they started. They wrap their dire warnings in bewitchingly catchy melodies, airing the tension between advancement and subversion that’s inherent in machine-based modernity. The cheeriness of the album’s title track obscures its analysis of a first-world so bathed in convenience, that the spark of its now lukewarm embrace no longer creates sensation. Numbed isolation found in the banality of commoditized information and the inevitability of decay is played in counterpoint to the human thirst for renewal.

The search for redemption reaches its zenith on “Ghost Star,” which poetically weaves together longing, lost chances, existentialism and hope. The magic of OMD is their ability to dress heady topics and synthesized, at times mechanical, backings in warm vocals and major keys. The mechanical overlord of “La Mitrailleuse” is illuminated by vocal effects and percussive backings that hang between snare drumming, typewriting and automatic gun fire – both horrific and danceable at the same time. The album closes with an invitation to face the challenges of modern life, suggesting that whether or not they’re surmountable, the journey may be worth failure. Those whose interest in OMD dates back to their earliest years will be delighted by this new album, and those who’ve yet to indulge can jump in right here. [©2018 Hyperbolium]

Orchestral Manoeuvres in the Dark’s Home Page

Big Star: Live At Lafayette’s Music Room – Memphis, TN

Saturday, January 20th, 2018

Regrouping between #1 Record and Radio City

Over the past thirty years, the size of Big Star’s posthumously released catalog (including reissues, a box set, archival dig, biography, documentary and tribute concert), has grown to match their stature as a key influence in rock music. What’s remained dear, are recordings of the band as a live act. With their debut having been stillborn commercially, the band played relatively few shows, and recorded even fewer. The scant live material known to exist includes rehearsals and a board tape from the Overton Park band shell in Memphis, an in-studio appearance on New York radio station WLIR-FM, and a widely bootlegged set opening for Badfinger in Cambridge.

The 2009 box set Keep An Eye on the Sky introduced another live performance, recorded in January 1973 in Memphis. Those same tracks are presented here in a standalone volume, with new restoration and mastering by Michael Graves, augmented by new liner note from Bud Scoppa, and a download of a previously unreleased 1972 radio interview with Alex Chilton and Andy Hummel. Recorded as a trio, after the departure of Chris Bell, the set list includes material from the debut, #1 Record, the yet-to-be-recorded follow-up Radio City, and covers of the Kinks, T-Rex, Todd Rundgren and Flying Burrito Brothers.

The fallout of #1 Record’s commercial failure, and Bell’s subsequent departure, left Big Star as more of a concept than a working band. The trio lineup had Chilton singing Bell’s leads (e.g., “My Life is Right”), and Stephens doing his best to fill in the harmonies. For a band that’s a man down, with no wind at their backs, an uncertain future ahead, and a passive crowd waiting to see Archie Bell & The Drells, they still muster plenty of emotion and energy. Chilton shows off his solo guitar skills on several tunes, including “She’s a Mover” and “Don’t Lie to Me,” and strums a mini-acoustic set that leads off with “Thirteen” and closes with “Watch the Sunrise.”

The stereo room recording isn’t as nuanced as their carefully crafted studio work, but it’s balanced and full, and Stephens and Hummel’s rhythm work comes across as both melodic and powerful. The audience, which to be fair, had likely never heard of Big Star, is oblivious to what’s happening in front of them and offers smatterings of polite applause. The trio could easily have taken the lack of response as a negative comment on their performance, but the set actually picks up steam several times, and after covers of Todd Rundgren’s “Slut” and the Kinks’ “Come on Now,” the band closes with the fiery take on the song that would open Radio City’s, “O My Soul.” The performance is sparse and raw compared to the finesse of the album’s layered productions, casting the set’s best-known songs in new light. Robert Gordon captured the effect perfectly in his 1992 liner notes for the original issue of Big Star Live:

“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.”

Chilton and Hummel’s laid-back, 14-minute 1972 interview covers the creation of #1 Record, group dynamics, Chilton’s musical tastes, touring and allusions to future recording. It’s an interesting peek into the mindset of musicians that don’t yet realize their first album isn’t going to be vested as an icon until several decades after its release. The interviewer asked, “Is the album out yet in the stores?” and Andy Hummel presciently replies, “Yeah, the album should have hit the stores today. I believe. That’s what they told us, but, you know, you never can tell when they’re actually gonna get there.” That reality-tinged optimism is a microcosm of the bridge this set constructs from the euphoria of the debut to the grief of its failure to the renewal that was still ahead. [©2018 Hyperbolium]

Big Star’s Home Page

Sam Marine: Big Dark City

Wednesday, January 3rd, 2018

Hard-charging, guitar-driven roots rock

There’s a delirious feeling you get at the end of the night when exhaustion, alcohol and dawn combine into a euphoric feeling of opportunity. You can sense this in Sam Marine’s roots rock stories of late nights that blend into mornings after. His rhythms echo the heartland pulse of John Mellencamp, with drummer Mitch Marine (Brave Combo, Smash Mouth, Dwight Yoakam) and bassist Aaron Stern providing the muscle behind hard-charging electric guitars. Marine’s vocals have a raspy edge that suggests Springsteen and Mellencamp, but on “Freeze ‘em Out” he sings with the sort of urgency Robin Wilson brought to the Gin Blossoms. At only five songs, the EP is packed with memorable songs in which Marine explores the anonymity, rootlessness, connections and friendships one can find in the heart of a big, dark city. [©2018 Hyperbolium]

Sam Marine’s Home Page

Chris Bell: Looking Forward / I Am the Cosmos / Complete

Saturday, December 30th, 2017

The most detailed look yet at Chris Bell before and after Big Star

Chris Bell’s untimely death in 1978 not only robbed the world of his musical greatness, but also froze his artistic assets. A full appraisal of his art was retarded by the paucity of available recorded material that lingered for many years after his passing. Big Star’s debut, #1 Record, despite the contemporaneous critical praise and retrospective glory lavished upon it, had been poorly distributed at the time of its 1972 release. Reissued in 1978, apparently to Bell’s delight, it’s imported manufacture delegated it to specialty shops. That same year, Bell’s solo single, “I Am the Cosmos,” was released on Chris Stamey’s Car label, but it would be fourteen more years until Ryko’s 1992 full-length I Am the Cosmos really started to flesh out the Chris Bell story. By then, Big Star had become an iconic reference among 1980s indie pop bands, and with Alex Chilton’s new Big Star formation in 1993, interest in Bell continued to grow.

The next cache of Bell material to turn up were pre-Big Star recordings by The Jynx, Rock City, Christmas Future and Icewater on collections dedicated to Big Star and the Ardent label. In 2009, Rhino Handmade provided further insight into Bell’s post-Big Star period with an expanded edition of I Am the Cosmos. Omnivore now pulls this all together, expanding upon what’s been excavated before with three new releases. First is the single CD Looking Forward: The Roots of Big Star, which adds six previously unissued tracks to the existing corpus of pre-Big Star material. Second is a deluxe reissue of I Am the Cosmos that adds eight tracks to the 2009 Rhino Handmade reissue. Third is an omnibus vinyl-only box set, The Complete Chris Bell, which collects the material from the first two sets, and adds an excerpt from Rich Tupica’s forthcoming biography, There Was a Light: The Cosmic History of Big Star Founder Chris Bell.

What’s immediately striking about the material on Looking Forward: The Roots of Big Star is how good it sounds. Ardent studio owner John Fry had the presence of mind to train a handful of musicians on recording technique, and let them practice in the studio’s down time. These sessions were free from the pressure of a studio clock or a label’s budget, and they allowed the musicians to explore their craft as players, engineers and producers. The six previously unreleased tracks include recordings by The Wallabys (“The Reason”) and Icewater (“A Chance to Live”) and four backing tracks. Big Star fans drawn to the backing track “Oh My Soul” will find it unrelated to the Chilton song of the same name, but the chugging groove is infectious and Bell’s guitar work superb. The unfinished “Germany” has fine vocal overdubs, and the gritty guitar on the alternate of “Feeling High” is terrific.

What shines through the early Ardent sessions is everyone’s unbridled enthusiasm, and for Chris Bell in particular, an optimism that had yet to be crushed under the weight of #1 Record’s commercial failure. From the earliest track, “Psychedelic Stuff,” through the British Invasion tones of the Wallabys, breakthrough compositions like “All I See is You,” and material that would be re-recorded by Big Star, everything rings with a sense of musicians chasing their muse, unencumbered by commercial considerations and with a growing sense that they could make music as meaningful and moving as their idols. Alec Palao’s liner notes include insightful interviews with John Fry, Steve Rhea, Terry Manning, Alan Palmore, Jody Stephens, Tom Eubanks, providing detail on the scene, sessions and tracks.

The eight tracks added to I Am the Cosmos include alternate versions, backing tracks and mixes that provide the final clues as to the journey Bell’s songs took throughout his lifetime. As Alec Palao notes, “unless some new studio sessions come to light in the future, [this set] is essentially the last word on the work of this quixotic talent.” Omnivore relocates the Icewater and Rock City tracks Rhino added in 2009 to a more natural spot on Looking Forward, and adds several mixes from the Big Star documentary Nothing Can Hurt Me. Bob Mehr’s liner notes tell of Bell’s spiritual, musical and geographical odysseys to record, overdub, mix and find a record deal. Alec Palao’s track notes further dissect Bell’s artistic restlessness by piecing together details of his intercontinental quest for perfection.

The avalanche of material that’s been posthumously released on Big Star, Chris Bell and Alex Chilton might feel Elvis- or Jimi-like, had the band not been so thoroughly ignored in their prime. The drive to learn how these artists came to produce #1 Record, Radio City and Third, and what became of them afterwards is delayed discovery rather than morbid curiosity. The books, documentary, reissues, best-ofs, box sets, archival artifacts, resurrections, reunions, and tribute performances might overwhelm lesser artists. But in the case of Chris Bell, the before and after provide a surround that magnifies the all-too-brief artistic flame. Those new to the Big Star canon should start with their albums, those who’ve already imbibed will want to dig the roots and the afterwards, and those who’ve already thoroughly explored the periphery will find something of value in upgrading. [©2017 Hyperbolium]