Posts Tagged ‘Rhino’

Arthur Conley: Soul Directions

Sunday, January 23rd, 2011

Conley’s tragedy turned into great soul music

Southern soul singer Arthur Conley is known to most for his perfect celebration, “Sweet Soul Music.” Based on a “Yeah Man” by his vocal inspiration, Sam Cooke, and co-written with his mentor, Otis Redding, the song topped out in 1967 at #2 on both the Hot 100 and R&B charts and became the lasting emblem of the ‘60s soul movement. But like so many true artists that have one defining single, Conley recorded terrific material both before and after the lightning strike. This 1968 album was a bittersweet affair that collected singles and album sides recorded just months after the airplane crash that killed Redding and the Mar-Keys.

Unlike Conley’s earlier hits, which had been waxed at Muscle Shoals, the album was mostly recorded at the same American Studios in Memphis where Elvis would cap his late-60s comeback. Conley wrote half the songs, including the somber memorial “Otis Sleep On,” and collected a pair from Spooner Oldham and Dan Penn. Memphis horns resound in “Funky Street,” “Hear Say” and “People Sure Act Funny,” and Conley draws from both Redding and Cooke in the pleading “This Love of Mine.” Conley saves his most scorching vocal for the Redding written and produced “Love Comes and Goes.” This is a terrific, deeply felt album that should be in the collection of all soul music fans. [©2011 hyperbolium dot com]

Various Artists: Hot Rod City

Wednesday, January 19th, 2011

Gary Usher and the Challengers tune up some car songs

Though the tracks are credited to the Customs, Quads and Grand Prix, this is apparently the work of the Challengers and legendary writer/producer Gary Usher. The twenty-one tracks (fourteen original and seven bonuses) include workmanlike cover versions of the Four Speeds’ “RPM,” Chuck Berry’s “Maybelline” and “Little Queenie,” and the Beach Boys’ “Little Deuce Coupe,” “Shutdown,” and “409.” The originals are laced with the car jargon the genre brought to mass culture, though little of this is as clever as the best that Wilson, Christian and Usher brought to the Top 40. The Everly’s-styled duet on the opening “Candy Apple Buggy” is about the most exciting vocal on an album that’s sung with surprising listlessness; there’s little evidence of the adolescent joy one expects from surf ‘n’ drag music. Collectors might like the cover of Brian Wilson’s “She Rides with Me,” though the Wilson-produced version by Paul Peterson is better and easily found here and here. [©2011 hyperbolium dot com]

The Avalanches: Ski Surfin’

Monday, January 17th, 2011

1960s L.A. studio players cut some rockin’ instrumentals

The Avalanches were a one-off studio group formed around Los Angeles studio players Billy Strange and Tommy Tedesco on guitar, future Bread main-man David Gates on bass, and legendary Wrecking Crew drummer Hal Blaine. The original instrumentals offered here (in addition to the themed covers, “Baby It’s Cold Outside” and “Winter Wonderland”) are the sort of studio rockers that populated dozens of mid-60s albums and exploitation film soundtracks. Strange and Tedesco blaze away in their respective twangy and fuzz-soaked styles, and the rhythm section burns down the slopes. There’s little here that’s really surf music, aside from a few moments of half-hearted staccato picking; the occasional jabs of pedal steel suggest Alvino Rey and the electric piano leans to the soul rave-ups of Ray Charles. But mostly this sounds like incidental music from a low-budget AIP teen-film. And that’s a complement. [©2011 hyperbolium dot com]

Big Star: Keep an Eye on the Sky

Tuesday, November 10th, 2009

BigStar_KeepAnEyeOnTheSkyThe essential second (or third) Big Star purchase

It’s hard to imagine anyone issuing a Big Star release that’s a more perfect introduction to the band than the two-fer of #1 Record and Radio City. You could include their third album, dig in the archives for alternate versions and live tracks, stretch through their reunion music, add pre- and post-Big Star releases, and solo work for context, and you could write lavish liner notes to explain and contextualize their ill-fated story. But as an introduction, every bit of it would simply distract from the perfection that is that first perfect couplet of albums. If you want to turn someone on to Big Star, the stepping stones are #1 Record and Radio City.

But once they’re hooked they’ll want to know more; they’ll want to know everything. Where did the players come from and what did they do before and after Big Star? What else did the band record? What’s Ardent Records and what else was the label doing at the time? How did Memphis influence the band’s sound? Are there alternate versions or unreleased tracks? What were they like as a live unit? And of course: why haven’t I heard of this band before? The latter question is less likely to be asked these days, since obsessive fans have dug up many of the other answers, and many well-known bands have cited Big Star as a seminal influence. But until this box set was released, the full picture of Big Star’s career had to be pieced together from a shelf-full of CDs [1 2 3 4 5 6 7 8 9], a pair of books [1 2] and assorted fan web sites.

With this 4-CD set, Rhino has reduced all of the purchases that normally follow the two-fer into a rich and convenient box. This is not a substitute for the original albums, nor does it replace the full-length live albums, lead-ins and follow-ups, or the detailed written histories of the band; but for many, this consolidated view of Big Star will be the perfect follow-up to the initial infatuation. For those who’ve already collected everything that’s been legitimately released, the box still provides something extra in previously unreleased live and studio items from the archives. Some of the alternate material is subtle, but some, like “Country Morn” fronts the well-known backing track of “Sunrise” with entirely different lyrics. The B-side mix of “In the Street” has a noticeably different feel to the album track, and the alternate version of “The Ballad of El Goodo” sports a different lead vocal take.

There are early versions of “I Got Kinda Lost,” “There Was a Light” and Loudon Wainwright III’s “Motel Blues” that never made it to final form, and revealing demos for songs that made each of the group’s first three albums. Perhaps the biggest treat of all, however, is the live show featured on disc four. This disc is a distillation of three sets performed by the three-piece (Chris Bell-less) Big Star in Memphis in January 1973. Recorded from microphones set in front of the stage, it’s not the crisp line recording of the band’s previously released shows, but it’s a superb performance whose room sound offers a bit of you-are-there ambiance. It’s a shame the audience mostly ignore the greatness in front of them as they await the headliner, Archie Bell & the Drells.

The physical presentation, a folder containing the four discs and a hundred-page book housed in a slipcase, is superb. An introductory note from Ardent Records founder John Fry shows the emotional connection the insiders still carry with them. Robert Gordon’s historical notes are informative, but Bob Mehr’s essay brilliantly captures the slowly-built cult of Big Star, replaying the clandestine mystery and wonderful discovery the band’s fans felt in the years before the Internet and this  box set put the story at everyone’s fingertips. The book closes with song notes from Alec Palao that gather the scattered details that could be reassembled from tape box labels and participants memories. The 7.5-inch square book includes superb full-panel pictures, most of which have never been seen by even Big Star’s biggest fans.

Could the set include more? Yes. Would that make it better as a box set? Not really. The purpose of these four discs is to tell a story, to provide substance and dimension to a band whose story was revealed ever so slowly over the course of three decades. By intermixing standard and alternate versions of key recordings this set offers new angles on the well-known corpus. By including a full disc of live music the collection fleshes out Big Star from a studio incarnation into a band populated by flesh-and-blood musicians. Start with the band’s first two albums, but once you’ve been bitten, continue here. [©2009 hyperbolium dot com]

Big Star’s Home Page
Big Star’s MySpace Page

Stephen Stills: Live at Shepherd’s Bush

Tuesday, October 27th, 2009

StephenStills_LiveAtShepherdsBushCareer-spanning 2008 concert performance

With so many artists retreading their catalogs with concert performances of classic albums, Stephen Stills’ career-spanning live set provides a different proposition. Rather than take his audience back to a single point in time, he takes them on the musical journey he mapped out for himself with Buffalo Springfield, CSN(&Y), Manassas, and various solo releases. The set list focuses primarily on the years 1966 through 1973, but reaches to Stills’ last solo album, 2005’s Man Alive! for “Wounded World” (segued here with Joe Walsh’s “Rocky Mountain Way”) and draws in a cover of Tom Petty’s recent Mudcrutch song “Wrong Thing to Do.”

The show is split into solo acoustic and electric band sets, and rather than following a strict timeline, Stills has arranged the songs into a program that makes for a good show, with crowd-pleasing favorites placed strategically among the deeper album cuts. The solo tunes show Stills to still be a powerful acoustic picker (both finger and flat-pick), and though his singing voice is rough in spots, the song introductions and storytelling are incredibly engaging. Best of all, the disc provides generous helpings of between-song continuity and gives you a good sense of how the show felt as a whole. This is a document of a live concert performance rather than a cleanly edited set of live songs.

The show kicks off with “Tree Top Flyer,” a 1968 solo tune that didn’t appear on a commercial release until CS&N tackled it fifteen years later. Fan favorites “4+20” and “Change Partners” bracket a touching version of the Manassas tune “Johnny’s Garden,” and a couple of covers, Dylan’s “Girl From the North Country” and the traditional “Blind Fiddler” show off some of Stills’ own favorites. The acoustic set closes with a 9-minute rendition of “Suite: Judy Blue Eyes” that shows off Stills’ blistering guitar skills, and provides a transition to the electric band set. The second set opens with the little heard “Isn’t It About Time,” from the second Manassas album, and unlike the chestnuts that follow, the arrangement and performance sound very fresh as Stills adds some meaty Stratocaster playing.

The Buffalo Springfield numbers are a mixed bag. They’re stretched into jams that give Stills an opportunity to show that his guitar can reach heights that his voice can’t always follow. “Rock & Roll Woman” retains its passion, “Bluebird” is reworked enthusiastically to fit Stills’ limited vocal range, but a bluesy 7-minute version of “For What It’s Worth” can’t muster the vocal pungency of 1966, despite its on-going political relevance. Overall, Stills sounds more enthusiastic about the material that’s newer to him, including his own “Wounded World” and the Petty and Walsh covers.

The widescreen DVD offers the same track line-up as the CD, though with the option of DTS Surround. The only extras are a short intro clip by Stills and credit-roll clips in which Stills discusses the set list. The lighting and videography are excellent, giving viewers a chance to see close-ups of Stills singing and picking. He sells his songs with facial expressions, postures and body movements, and his lack of vocal flexibility is more than made up for by watching him rip on guitar. This is a nicely selected mix of hits and album cuts, performed with the freedom of someone with nothing left to prove. CD and DVD discs are packaged in a three-panel cardboard slipcase. [©2009 hyperbolium dot com]

Stephen Stills’ Home Page

Various Artists: One Kiss Can Lead to Another: Girl Group Sounds, Lost & Found

Thursday, April 30th, 2009

various_onekisscanleadtoanotherBroad anthology of girl group rarities

There’s little to fault in the research and production put into this set, but the breadth of collected works and the focus on rarities makes this the province of collectors rather than casual fans. Every track included here is likely the favorite of someone, but few have the global appeal of the era’s hits. The difference between a hit and miss may be razor thin (and at times circumstantial rather than artistic), but at 120 tracks, the back-to-back obscurities will really only hold the attention of aficionados who’ve internalized the genre’s flagships. Plaudits are due the set’s producer, Sheryl Farber, for pulling this set together, getting the clearances and documenting each of the tracks with notes (by Cha Cha Charming‘s Sheila Burgel), release data, label reproductions and photos. But it’s hard to imagine regularly listening to these discs beginning-to-end, or in place of hit-, label- and scene-based anthologies, group best-ofs or original albums. The mixture of Brill Building pop, Motown soul and British productions may be a fair representation (though where’s the non-English cohort?), but the combination is likely to leave less fanatical listeners pining for more of one and less of the others. The rarity factor is a great lure to collectors, and while casual listeners will discover a few new favorites, they’re likely to find the overall mass to be ponderous. [©2009 hyperbolium dot com]