Posts Tagged ‘Real Gone’

Milton Delugg & His Orchestra: Music for Monsters, Munsters, Mummies & Other TV Fiends

Sunday, February 9th, 2020

Excellent orchestral-pop renditions of early-60s TV themes

The early ‘60s was a golden age of opportunistic cross-marketing, as television executives collaborated with the music industry to expand the brands of their shows. Record albums from the casts (or in many cases, only the producers and talent commissioned by the program’s licensors) hit the market for Bonanza, Get Smart, Gomer Pyle, the Man From U.N.C.L.E., the Addams Family and numerous other classic television programs. Many of these, including the  recently reissued Munsters album, were lightweight novelties meant to quickly cash in on a show’s popularity. But a few were professionally arranged and conducted albums of orchestral pop, and such is this effort from composer, arranger and bandleader Milton Delugg. Which isn’t to suggest there was no intention to quickly cash in, but Delugg’s talent elevates the album well beyond that initial motivation.

Gathered here are snappy new arrangements of the theme songs from television’s The Munsters, The Addams Family, Bewitched, The Alfred Hitchcock Hour, and The Outer Limits. Each is cleverly orchestrated and performed, adding new sizzle to the easily recognized themes.  There’s Duane Eddy-styled twang, harpsichord, horns and full-kit drumming for the Munsters, a march that turns into jazzy flute and muted horns for the Addams Family, and dramatic horns and discordant xylophone for the Outer Limits. These are great tunes, professionally rendered in inventive new arrangements that will please fans of the TV originals, as well as fans of 1960s orchestral pop.

The album is filled out by seven original monster-themed instrumentals that are as lively as the TV tunes. “Creature from Under the Sea” is an uptempo waltz filled with mystery, pathos and danger, “Frankenstein” has has a kinetic flavor that would have worked nicely in a spy film, “Ghoul Meets Ghoul” makes a slinky nod to the Pink Panther theme, and a heavy Latin beat and horn accents for “The Mummy.” With the original 1964 vinyl selling for big dollars, it’s great to have this enjoyable collectable back in print, if only briefly for this ghoulish green vinyl limited edition. Hopefully someone can get the digital rights and reissue as a CD or download for analog-deficient listeners! [©2020 Hyperbolium]

The Munsters: The Munsters

Sunday, February 9th, 2020

Surf-styled 1964 novelty returned to mono vinyl

With The Munsters finding fans among a teenage television audience, the concept was ripe for spin-off marketing. Producers Joe Hooven and Hal Winn assembled the Wrecking Crew and a vocal group named the Go Go’s to record a dozen light-surf novelty tunes written by uncredited scribes, and a future collectible was born. None of these songs have the adolescent archness of Mad Magazine’s records, or the scene detail of Gary Usher’s surf ‘n’ drag albums, but there’s entertainment to be found in the bump and grind sax of “Vampire Vamp,” the ersatz Jan & Dean falsetto of “(Here Comes the) Munster’s Coach,” the Shadows-styled guitar of “Eerie Beach,” and the various Munster references. This was reissued on CD and limited edition purple vinyl in 2018, with the latter now getting a second life on ghastly grey mono wax. Not an essential, but interesting for fans of mid-60s pop novelties. [©2020 Hyperbolium]

Booker T. & The M.G.’s: The Complete Stax Singles Vol. 1 (1962-1967)

Friday, January 24th, 2020

Killer soul instrumentals from the Stax house band

As the Stax house band, Booker T. & The M.G.’s were often heard backing seminal recordings by Otis Redding, Wilson Pickett, Sam & Dave and other label stars, but their career as a standalone group also produced iconic singles, B-sides and albums. Real Gone pulls together the original mono mixes of the group’s first 15 singles, A’s and B’s, to highlight the hits and deep-grooved flips of the band’s first six years. The hits include their chart-topping 1962 debut, “Green Onions,” and a pair of crossover Top 40’s from 1967, “Hip Hug-Her” and a cover of the Rascals’ “Groovin’.” The latter kicked off a string of crossover hits that stretched into 1969 (and will hopefully be anthologized on Volume 2). In between, the group delivered catchy singles that touched the bottom of the Top 100 while generating bigger success on the R&B chart.

The band’s debut album was filled with instrumental covers, but their singles featured original mid-tempo groovers built on soulful organ leads, searing guitar solos, and propulsive backbeats. The group’s first B-side, “Behave Yourself” is a dark, late-night blues, but their second single, “Jelly Bread,” turns the tempo up as Jones vamps behind Cropper’s introductory guitar riffs. The rhythm section of Jackson and Steinberg get everyone moving for 1964’s “Can’t Be Still,” and Isaac Hayes reportedly keys the organ on the follow-up “Boot-Leg.” 1966’s “My Sweet Potato” trades organ for piano, as does the country-inflected “Slim Jenkins Place.” The set’s covers include Buster Brown’s “Fannie Mae,” Gershwin’s “Summertime,” a pair of holiday releases, and, under the title “Big Train,” the gospel classic “This Train.”

Real Gone has packed twenty-nine original sides onto a single 74-minute CD, with liner notes and discographical detail by Ed Osborne, and mastering by Dan Hersch. For the vintage minded, they’ve produced a limited-edition 2-LP set on blue vinyl with a gatefold cover. Shorn of album tracks and the temporal condensation of greatest hits albums, this chronological recitation of the group’s mono singles showcases what listeners heard through their radios at the time. Album sales would later become a central focus of both the recording ethos and marketing strategy of music groups, but in the early-to-mid-60s, singles were still the lingua franca of pop music, and Booker T. & The M.G.’s made some great ones! [©2020 Hyperbolium]

Booker T.’s Home Page

Dandy: Dandy Returns

Thursday, January 23rd, 2020

First-ever reissue of 1968 rocksteady rarity

Many listeners are most likely to know Dandy (a.k.a.Robert Livingstone Thompson) for his songs that gained currency in the 1980s ska revival. The Specials made an icon out of “Rudy, A Message to You,” and UB40 brought “Version Girl” back to prominence. But decades earlier, the fledgling reggae giant Trojan Records issued this sophomore effort as one of the label’s very first long-players. Incredibly, the album has remained unreissued since its 1967 drop, and is offered here on a limited edition orange vinyl LP for the first time in more than 50 years. Dandy’s depiction on the album cover, stepping off a plane, was emblematic of his position as a producer for Trojan and a key link between the London-based label and its Jamaica-based music. He’d released numerous singles under his own name, as well as the nom-de-records Sugar & Dandy and the Brother Dan All-Stars, but also produced key sides that included Tony Tribe’s cover of Neil Diamond’s “Red Red Wine,” a treatment that UB40 would also return to in the 1980s. Dandy sings in a sweet, easy-going manner that leaves the underlying rocksteady rhythm to preside. Beyond his original material he covers Chad & Jeremy’s “Only a Fool Breaks His Own Heart” and the Beatles’ “Yesterday,” accompanied by organ, horns (including some fine trumpet solos), and on “Your Daddy’s Home,” a short harmonica solo. This is an unassuming, yet fetching album from Trojan’s early days, and a treat to have back in print, if only fleetingly. [©2020 Hyperbolium]

Country Joe & The Fish: Live! Fillmore West 1969

Monday, January 6th, 2020

1969 farewell to Country Joe & The Fish’s classic lineup

Previously released on CD by Vanguard in 1994 (and in Italy on vinyl), this two-LP yellow-vinyl reissue commemorates the fiftieth anniversary of Country Joe & The Fish’s farewell performances at Bill Graham’s Fillmore West. By the time the band got to this three-day run they’d already seen the 1968 departure of bassist Bill Barthol (replaced here admirably by Jefferson Airplane’s Jack Cassidy), and they welcomed local guests David Getz on “It’s So Nice To Have Your Love,” and Jerry Garcia, Jorma Kaukonen, Steve Miller and Mickey Hart for a 38-minute jam on “Donovan’s Reef.”

When the band later reconvened for their 1969 album Here We Are Again, Gary Hirsh and David Cohen had also departed, and the group reassembled for Woodstock included a new rhythm section and organist. By the time of this farewell, the band had grown from the folk and blues-based Rag Baby EPs into an electric psychedelic powerhouse and a potent jam band. The group extends their studio material with instrumental interplay, unwinding “Flying High” into a 12-minute piece replete with bass solo, and, with Garcia and Hart helping out, stretching “Donovan’s Reef” into a 38-minute, extemporaneous essay.

Though only two years removed from the conventional length studio arrangements of I Feel Like I’m Fixin’ to Die and Electric Music for the Mind and Body, the band had developed a free-form style for the stage that indulged the improvisational dynamics they’d developed together. Real Gone’s 1000-piece limited-edition reissue is delivered in a six-panel double-gatefold sleeve with liner notes from both the set’s original producer Sam Charters, and the reissue’s producer, Bill Belmont. A reformulated band would achieve widespread notice at Woodstock, but this farewell performance provides an important capstone to the original group’s run. [©2020 Hyperbolium]  

Country Joe McDonald’s Home Page

Tony Joe White: That on the Road Look “Live”

Monday, January 6th, 2020

Outstanding, yet long neglected, 1971 live set

Though originally planned for commercial release, this 1971 multitrack recording sat in Warner Brothers’ vaults for nearly forty years. Rhino Handmade released a limited edition CD in 2010, but it’s taken nearly another decade for these tapes to find a full retail release. Opening for Creedence Clearwater Revival, White is in great voice, his “whomper stomper” wah-wah pedal sets his electric guitar deep in the swamp, and he’s backed by a tight band that includes White’s longtime drummer Sammy Creason and organist Mike Utley, alongside MG’s bassist Donald “Duck” Dunn. Together they work through more than an hour of material that mixes selections from White’s earlier tenure on Monument and his then-current run for Warners, including “Rainy Night in Georgia,” “Willie and Laura Mae,” and a ten-minute version of “Polk Salad Annie.” White connects deeply with the folk side of his material in this small group setting, often setting down his electric guitar for an acoustic that leaves more room for the gritty, intimate soulfulness of his voice. This is an outstanding set that catches a unique artist on the rise, and a must-have for all of White’s fans. [©2019 Hyperbolium]

Tony Joe White’s Home Page

Essential Reissues of 2019

Thursday, January 2nd, 2020

Some of the best reissues of 2019. Click the titles to find full reviews and music samples.

Various Artists: The Bakersfield Sound

A towering achievement in musical archaeology, even when measured against Bear Family’s stratospherically high standard. Reissue producer Scott B. Bomar digs deeply into Bakersfield’s musical soil to explore the migrant roots that coalesced into the history, connections, influences and circumstances that forged the Bakersfield Sound. Ten discs, nearly three-hundred tracks, and a 224-page hardcover book essay the scenes development, how lesser-known players contributed to those who would become stars, and how the stars blossomed from their roots. Reissue of the year.

Various Artists: Cadillac Baby’s Bea & Baby Records – The Definitive Collection

Triple-disc set cataloging the riches of Narvel “Cadillac Baby” Eatmon’s Chicago-based labels, including Bea & Baby, Key, Keyhole, Ronald and Miss. Competing with Chess, Vee-Jay, Brunswick and Delmark in the early ‘60s, the entrepreneurial Eatmon sourced acts through his Show Lounge nightclub, and built a small, but artistically important catalog that includes blues, soul, R&B doo-wop and Latin-tinged numbers. The accompanying 128-page hardbound book includes a lengthy interview with Eatmon, alongside producer’s notes, liners, and artist profiles.

Blinky: Heart Full of Soul – The Motown Anthology

Sondra “Blinky” Williams may be Motown’s most widely heard unsung singer. She recorded dozens of sides for the Detroit powerhouse, but only a few ever made it to market. At the same time, she was heard weekly by millions of television viewers as Jim Gilstrap’s duet partner on the theme song to Good Times. Her many fans have lobbied for years to “free Blinky from the vaults,” and with Real Gone’s two-CD set, their wish has finally been granted.

Buck Owens and the Buckaroos: The Complete Capitol Singles 1971-1975

The third of three double-disc sets cataloging Buck Owens’ singles on Capitol. Though he didn’t have the same level of commercial success in the early 1970s that he’d had throughout the 1960s, his artistry was undimmed, and his omnivorous musical appetite was still unsated. Recording primarily in his own Bakersfield studio, he covered material from outside the country realm, and stretched out from his classic Telecaster-and-steel sound to incorporate pop, bluegrass and gospel. A strong and fulfilling chapter of the Buck Owens legacy.

Hank Williams: The Complete Health & Happiness Recordings

Third try is the charm. Williams’ 1949 radio transcriptions for patent medicine sponsor Hadacol have slowly been resuscitated and restored over a series of releases, culminating in this best-yet edition. In a year that saw Williams transition from the Hayride to the Opry, and evolve his material from a cover of “Love Sick Blues” to the iconic original “I’m So Lonesome I Could Cry,” these eight shows capture Williams on a fast-moving train to stardom. This new restoration attends to both the physical issues of the source transcriptions and the aural issues of earlier remasters.

Van Duren: Waiting – The Van Duren Story

Following Big Star by a few years, Van Duren suffered the same lack of renown as his fellow Memphians. Though Big Star’s public renown grew over the decades, Duren has remained obscure. A limited edition Japanese reissue of his 1977 debut failed to spread the word, and his follow-up album remained vaulted for decades. But with this documentary soundtrack sampling the rich Badfinger/Rundgren sounds of his late-70s power-pop, Duren’s music may finally reach the sympathetic ears it deserves.

Uncle Walt’s Band: Uncle Walt’s Band

This springboard for Walter Hyatt, Champ Hood and David Ball was well-known in their adopted Austin, and among in-the-know music fans; but their instrumental finesse and joyous mix of country, jazz, folk, blues, bluegrass and swing was too sophisticated for reduction to a commercial concern. Omnivore’s reissue of the group’s 1974 debut polishes the brilliant gem by doubling the original track count with eleven bonus demos and live recordings.

Yum Yum: Dan Loves Patti

The conflagration of criticism and meta-criticism that burned this release to a crisp two years after its release is one of the stranger chapters in pop critic history. Yum Yum’s Chris Holmes was, according to his former roommate Thomas Frank, a prankster faking out his record company in a quixotic bid to supplant corporate Alternative Rock with finely crafted orchestral pop. Absurd on its face, Frank’s critique caught fire in an escalating war of meta-criticism. More than twenty years later, Holmes’ creation remains sweetly satisfying to those with a taste for candy.

Robin Lane & The Chartbusters: Many Years Ago

Triple-disc set pulling together the great Boston band’s entire first-run catalog, including pre-signing demos and an indie single, two albums and a live EP for Warner Brothers, a post-Warner EP, demos, session tracks, and live material. The music rings with the passion of its author and the intensity of the band’s playing.

The Strangeloves: I Want Candy

Three Australian sheep-farming brothers turned out to be a trio of New York songwriter-producers coping with the British Invasion. The authors of the Angels’ “My Boyfriend’s Back” turned themselves into a beat group with the earworms “I Want Candy,” “Cara-Lin” and “Night Time,” and waxed a full album of catchy Bo Diddley beats. Reissued on red vinyl, the original mono mix delivers an AM radio gut punch and an object lesson in the power of mid-60s mono vs. stereo.

Various Artists: That’ll Flat Git It! Vol. 32
Twenty-eight years and thirty-two volumes in, there is still life in Bear Family’s rockabilly anthology series. This latest edition takes a fourth trip into the vaults of Decca, Brunswick and Coral, and turns up a surprising number of worthy sides. The label’s typical attention to detail fills out a 39-page booklet with period photos, label reproductions, and knowledgeable liner notes by Bill Dahl.

Blinky: Heart Full of Soul – The Motown Anthology

Saturday, December 14th, 2019

The most widely heard unsung singer at Motown

Sondra “Blinky” Williams may be simultaneously one of the most obscure soul singers of her era, and one of the most widely heard. “Obscure,” because Motown’s hit-seeking radar somehow missed the brilliance in the dozens of tracks they recorded on Williams and then buried in their vault. “Widely heard,” because Williams was heard by millions of television viewers each week as Jim Gilstrap’s duet partner on the theme song to Good Times. The daughter of a baptist minister, Williams grew up singing, directing and playing piano in church choirs. She performed with Andraé Crouch, Billy Preston and Edna Wright in the Cogic Singers, releasing several records on the Simpson and Exodus labels, but solo contracts pulled the group apart, with Williams recording an album for Atlantic.

Williams had previously crossed into secular music with a 1963 single (and a flip) under the nom de record “Lindy Adams,” and a 1964 single for Vee Jay that backed the spiritual “He’s Got the Whole World in his Hands” with “Heartaches.” She landed at Motown in 1968 under her high school nickname, Blinky, and debuted with the Ashford & Simpson-penned “I Wouldn’t Change the Man He Is.” An album of duets with Edwin Starr followed in 1969, along with three more singles  (one on Motown, and two on the label’s west coast imprint, Mowest), but despite opening for the Temptations and a spot in the Motortown Revue, the lack of a concerted promotional push left all of the releases to founder commercially.

Had this been the extent of Williams’ engagement with Motown, she might have been collected only by crate diggers, and remembered as a talent whose intersection with the label was artistically fruitful but commercially bare. What distinguishes Williams from other Motown shoulda-beens is the large number of finished, unreleased sides that were left in the vault alongside fascinating working tracks and live material. Motown rolled a lot of tape on someone they couldn’t (or more likely just didn’t) break, and the fervor of her fans (who mounted a now-successful “Free Blinky from the Vaults” campaign) reflects the riches that she recorded, rather than the limited sides that Motown actually released.

The two-disc set opens with Williams’ unreleased album Sunny & Warm, immediately provoking the question of what else Motown had going on that led them to leave this in the vault. To be fair to Motown, Williams’ album was slotted between Diana Ross’ eponymous 1970 solo debut, and the Jackson 5’s Christmas album, so Motown’s promotions staff was certainly busy. If it’s any consolation to Williams, Jimmy and David Ruffin’s I Am My Brother’s Keeper was in the same spot, though released on the subsidiary Soul label. Sunny & Warm opens with the single “I Wouldn’t Change the Man He Is” (which Williams can be seen performing on Chuck Johnson’s Soul Time USA), and features a new interpretation of Fontella Bass’ “Rescue Me,” produced by the song’s co-writer, Raynard Miner. Clay McMurray produced the gratified “This Man of Mine” and the questioning “Is There a Place,” and Ashford and Simpson’s “How Ya Gonna Keep It” (backed with a stunning, deep soul cover of Jimmy Webb’s “This Time Last Summer”) was slated to be the next single.

And then… nothing. No album, and no explanation. Williams kept plugging away, making a connection with Sammy Davis Jr., and touring with him while continuing to record for Motown. Disc one fleshes out the unreleased album with the singles Motown and Mowest released in 1972-73, live material (including a previously unreleased performance of “God Bless the Child”) from the Motortown Revue, and several tracks from anthologies and soundtracks that include a studio take of “God Bless the Child” that was released on 1971’s Rock Gospel – The Key To The Kingdom, and a commanding performance of the early blues  “T’Ain’t Nobody’s Bizness If I Do” from Lady Sings the Blues.

The set’s second disc includes twenty-two previously unreleased tracks recorded with a variety of Motown producers, including label material and covers. Among the latter is an original soul arrangement of Graham Gouldman’s “Heart Full of Soul,” and a thoughtful, extended cover of the Stylistics “People Make the World Go Round.” A few of the tracks are mastered with control room slates or musician count-ins, giving them the aura of work-in-process, but these are finished pieces that offer performances, arrangements and sound that are all up to Motown’s standards. Why were they left in the vault? Perhaps Williams’ gospel roots were too soulful for the pop-leaning Motown, but more likely she was a victim of the sheer volume of material that the well-oiled Motown machine could produce. Motown’s investment may not have yielded commercial returns, but the artistry of these sides is undeniable, and freed from the vault, they’re finally available for Williams’ longtime devotees to enjoy. [©2019 Hyperbolium]

Coven: Blood on the Snow

Saturday, November 23rd, 2019

Third and final album from misunderstood one-hit wonders

Though now remembered for their remake of the Original Caste’s “One Tin Soldier,” this Chicago-bred band initially gained renown for the controversy that had previously sunk their commercial opportunities. Led by vocalist Jinx Dawson, the Coven was arguably the first rock band to adopt occult symbology, inverted crosses and the hand-thrown sign of the horns, and their 1969 Mercury debut, Witchcraft Destroys Minds & Reaps Souls, included a thirteen-minute “Satanic Mass.” Ahead of their times, they were tripped up by growing public anxiety about cults, and when an Esquire magazine suggested a false connection between the band and Charles Manson, the group’s fortunes quickly collapsed; albums returned, shows cancelled, and their recording contract dropped. Had their debut (which was reissued digitally by the band in 2015, and more recently on vinyl by Real Gone) been their epitaph, they would have earned an interesting niche in rock ‘n’ roll history. But there was more.

Resettled in Los Angeles, Dawson was tapped to cover the Original Caste’s 1969 anti-war song as the theme for the film Billy Jack. Recorded with studio musicians and an orchestra, but credited to Coven, the single rose to #26 in 1971, and netted Jinx and a newly formed Coven a record deal with MGM. Their eponymous album included a band version of “One Tin Soldier,” which itself charted in 1973 and again in 1974, cementing the group’s popular identity as a one-hit wonder. At the same time, the group had moved from MGM to Buddah where they released this third and final album. By this point, the public connection to their occult beginnings were lost in the sands of time, and neither the controversy that had originally derailed them, nor their one-off movie hit could lift them back into the mainstream.

By the time this album was released in 1974, Coven was playing catch up with the more calculated occult references others had built into heavy metal. Produced by Shel Talmy, the album features a variety of hard rock, glam, and pop that was closer to the mainstream than the blues-rock theatricality of the group’s debut. “This Song’s For All You Children” suggests radio-friendly Todd Rundgren, “Lady-O” has strings and touches of country in the piano and vocal melody, and “Don’t Call Me” resounds with the punk energy of the Dolls. But there are also traces of the band’s early days in the blues rock “Hide Your Daughters,” the progressive “Lost Without a Trace,” and “Easy Evil,” and the closing title title track.

In 1974 Buddah was likely focused on the success of their marquee act, Gladys Knight & The Pips, and reintroducing Coven to AM (which was by then was only lightly speckled with BTO, Bad Company and Grand Funk) would have been difficult. FM had long since forgotten the controversial genesis that might have made the band interesting to the underground, and even an experimental music video couldn’t reignite interest. All of which is a shame, as Dawson remained a powerful vocal talent, and many of the songs are catchy and played with style. Pop music acclaim has always been  a fickle reward based on a supernatural alignment of circumstances, and the stars didn’t align for this third and final album. Reissued with the original album’s gatefold cover, this is a nice souvenir of a band whose momentary fame overshadowed the charms of their catalog. [©2019 Hyperbolium]

The Rain Parade: Emergency Third Rail Power Trip

Wednesday, October 2nd, 2019

Red-and-yellow vinyl reissue of Paisley Underground classic

1982 and 1983 were incredibly fruitful years for the Paisley Underground, seeing the release of the Three O’Clock’s Baroque Hoedown and Sixteen Tambourines, the Dream Syndicate’s EP and Days of Wine and Roses, the Bangles self-titled EP, and Green on Red’s EP and Gravity Talks. Standing tall among these neo-psych icons was the Rain Parade’s first full length, Emergency Third Rail Power Trip. The group’s dreamy, somnambulistic psychedelia was foreshadowed by their 1982 single “What She’s Done to Your Mind,” but its impact at album length was something entirely greater, as the group really hit the nerve at the root of the Paisley Underground. The scene rapidly outgrew its foundations as the bands explored individual directions; The Dream Syndicate signed with A&M and recorded a muscular sophomore album that bore little resemblance to their debut, the Bangles signed with Columbia and began the makeover that sanded off the folk roots of their rock, the Three O’Clock signed with IRS and recorded an album in Berlin that was less flower powered, and Green on Red transitioned into Americana. Only the Rain Parade, sans co-founder David Roback, continued to till soil similar to their debut, releasing the EP Explosions in the Glass Palace in 1984. Real Gone’s reissue returns the album to its original vinyl format for the first time in more than thirty years, reproducing the original cover art and U.S. track lineup (omitting the non-U.S. bonus track “Look Both Ways”), and enticing collectors with red-and-yellow starburst vinyl. [©2019 Hyperbolium]