Posts Tagged ‘Rock ‘n’ Roll’

Various Artists: At the Louisiana Hayride Tonight

Monday, December 18th, 2017

Massive, deluxe box set chronicles “The Cradle of the Stars”

By the numbers: 20 CDs featuring more than 167 acts performing more than 500 songs, clocking in at more than 24 hours of recordings packaged in a heavy-duty box with a deeply detailed and spectacularly illustrated 224 page book, altogether weighing in at a healthy 9 pounds. But that’s statistics; the heart and soul of this set is the revolutionary Shreveport radio show, nicknamed the “The Cradle of the Stars,” that aired weekly from 1948 to 1960. In contrast to Nashville’s Grand Ole Opry, the Hayride hitched its wagon to an ever developing set of acts that they discovered, nurtured into stardom and often lost to the Opry. Among those the Hayride helped boost to fame were Hank Williams, Webb Pierce, Faron Young, Kitty Wells, Jim Reeves, Slim Whitman, Johnny Horton and Elvis Presley.

Williams and Presley provide the bookends to the Hayride’s most influential period, with Williams having been the show’s first superstar, and Presley’s rise paralleling the Hayride’s decline. The box set shows off the transition between the two, detailing the show’s twelve year run with a constantly evolving lineup of local, regional and national acts whose growth and innovation helped shape popular music in the ‘40s and ‘50s. Beyond the music, the show’s continuous, unrehearsed flow of artists, comedians, ads and announcers created a tapestry of entertainment that really filled a Saturday night. The recordings sourced here were cut for radio distribution and proof-of-advertising to sponsors, and without aspiration for commercial release, they capture the spontaneity of a show performed for a live audience rather than a recorder.

A set this massive has to be treated more as a pantry than a meal. It’s something from which listeners can draw upon for years, and though a once-through inks a picture of the Hayride’s arc, individual discs and performances play nicely in isolation. The set opens with pre-Hayride material from the show’s radio outlet, KWKH, providing an historical record of the station’s 1930s battle for its frequency, early broadcast continuity, and studio recordings waxed for commercial release. KWKH’s founder, William Kennon Henderson, Jr., was a colorful, self-aggrandizing iconoclast whose personal broadcasts railed against the then newly-formed Federal Regulatory Commission, chain stores and other stations intruding on his channel.

Henderson had sold KWKH by the time the Hayride began broadcasting in 1948, but the earlier material highlights the wild west roots from which radio was still emerging. With recorded music growing in popularity, radio stations performed double duty as broadcast outlets and recording studios. The Hayride and its peer barn dances became tastemakers as their live shows promoted the artists, their records and their tour dates. The show’s announcers even call upon the listeners to inquire about bringing a Hayride tour stop to their hometown, and it’s easy to imagine many taking the opportunity to drop their “one cent postcard” in the mail for details.

The announcers choreograph each show, introducing and conversing with the musicians as they’re brought on to play one or two songs before giving way to the next act. The set’s producers have deftly selected long, multi-artist segments that retain the continuity of intros, music, comedy and advertisements intact. Listeners will get a feel for the Hayride’s complete evening of entertainment, and how the program evolved over the years. In particular, the collection reveals the Hayride’s uncanny ability to discover and develop new talent (in part, a defense against the continual flow of their stars from Shreveport to Nashville) as the show’s constantly evolving lineup introduced and few performers into stars.

The slow churn of the Hayride’s cast turns out to have been one of its charms, and the intertwining of stars, soon-to-be-stars and talented performers who failed to catch on gives this set a widescreen perspective that’s often elided in reissue material. There are numerous hits from famous performers, but the broader context in which this collection sets them is especially interesting. The earliest live program included here, from August 1948, features a 24-year-old Hank Williams, who’d debuted on the country chart the previous year with “Move It On Over” and wouldn’t hit #1 (with “Lovesick Blues”) until the following year. Williams’ rising profile was his ticket to Nashville, but after being fired by the Opry in 1952, he returned to the Hayride, where he performed “Jambalaya (on the Bayou)” to a surprised and enthusiastic audience.

Williams would die only three months after his return to the Hayride, and it would be more than a year until Elvis debuted in 1954. Presley converses shyly with the announcer in his first appearance, but rockets off the stage to the screams of the audience (and the immortal announcement “Elvis has left the building) in his 1956 finale. Elvis’ growing fame and ensuing tour commitments often kept him from the Hayride’s stage, so the show sought to satisfy its growing contingent of teenage fans by booking Carl Perkins, Johnny Cash, Roy Orbison in his place. But even the Hayride’s legendary nose for talent couldn’t help the show stay afloat amid the confluence of television, rock ‘n’ roll and the growing importance of record sales (and the radio DJ’s who spun them) to a teenage audience. By 1960, the Hayride could no longer hold stars in its regular cast, draw media attention or fill an auditorium.

The set’s massive book (so large and heavy, that it’s actually difficult to handle) includes a history of the Hayride by Colin Escott, a detailed timeline of show casts, an essay by Margaret and Arthur Warwick, detailed show and artist notes by Martin Hawkins, photos, and record label and promotional ephemera reproductions. Escott’s liner notes are knowledgeable and entertaining, though a bit prickly in unraveling the grandiosity of Horace Logan’s recollections. He’s no doubt correct in calling out many of Logan’s stories as self-aggrandizing fabrications, but the repetition of his derision gets tiresome. Hawkins’ notes offer museum-quality details about the individual show segments that help the listener place the artists, songs and performances in both historical and Hayride context.

The sound quality varies throughout, as one would expect from sixty-year-old recordings not waxed for posterity, but all of the tracks are listenable, and many are of surprisingly good fidelity – better than most listeners probably heard over the AM radio at the time. The mix of longer and shorter segments gives the listener a feel for the show without distracting from its core musical focus. The massive volume of material testifies to the Hayride’s monumental achievement of mounting a weekly live show for a dozen years with fresh, new artists amid changing musical tastes. Bear Family’s well-deserved reputation for lavish reissues is on full display here, and just like those who paid sixty-cents to attend the Hayride in person, you’ll get more than your money’s worth from this set. [©2017 Hyperbolium]

Chuck Berry: Rockit

Thursday, December 7th, 2017

Berry’s 1979 rocker for Atco was the final release of his lifetime

The last album released during Chuck Berry’s lifetime, Rockit also marked a rare deviation from his tenure at Chess. Released in 1979, it would be Berry’s last release until the posthumous Chuck earlier this year. Berry’s voice, guitar and lyrical ability were intact, as was Johnnie Johnson’s inimitable piano playing, and the rhythm section – Berry’s longtime bassist, Jim Marsala, Nashville studio drummer Kenny Buttrey, and Muscle Shoals bassist Bob Wray – is tight. The production hasn’t the grit of Berry’s Chess years, but his roots shine through the too-tidy studio sound. “Move It” and “If I Were” show off Berry’s guitar licks and his lyrical dexterity. He borrows from his own “Back in the USA” for the joyous “Oh What a Thrill,” but unsuccessfully rearranges “Havana Moon” with an odd meter and distracting backing vocal. Much better is the biting rewrite of “It Wasn’t Me” as “Wuden’t Me,” the love letter “California” and the atmospheric blues “Pass Away.” The latter is particularly interesting for its spoken storytelling and a looser vibe that evades the rest of the album. This may not measure up to Berry’s landmark Chess records, but it’s vital, clever and satisfying. [©2017 Hyperbolium]

Chuck Berry’s Home Page

The Platters: Rock

Saturday, July 8th, 2017

The mid- and uptempo sides of ‘50s ballad legends

Like many of rock ‘n’ roll’s founding acts, the decades have largely reduced the Platters’ memory to their hits – “Only You,” “The Great Pretender,” “My Prayer,” “Twilight Time” and “Smoke Gets in Your Eyes.” But, also like many of their colleagues, there was a great deal more to the Platters catalog than these iconic singles. Bear Family’s generous thirty track collection explores beyond the group’s familiar ballads, and focuses on mid- and uptempo tracks from the Mercury years of 1955-1962. The set’s most rocking tunes, including “Bark, Battle and Ball,” “Don’t Let Go,” “Hula Hop,” “I Wanna,” “Out of My Mind” and “You Don’t Say,” reach back past the pop balladry to the group’s R&B roots; but even the slower songs, including bass vocalist Herb Reed’s interpretation of “Sixteen Tons,” are more juke joint than supper club.

The group revs up the standards “On a Slowboat to China,” “I’m Gonna Sit Right Down and Write Myself a Letter” and “Let’s Fall in Love” to show tempo, giving a sense of what they might have sounded like at a hop. All five Platters get lead vocal spots, and the group is supported on several tracks by the orchestral direction of Mercury’s David Carroll. Also heard here are Wrecking Crew regulars Plas Johnson, Barney Kessell, Earl Palmer and Howard Roberts, and on the scorching opening pair, saxophonist Freddie Simon and guitarist Chuck Norris. Bear Family’s crisp reproductions of mono and stereo masters are housed in a tri-fold digipak with a 36-page booklet of photos, liner notes and a detailed discography. This is a novel view of the Platters’ catalog, but one that sheds new light on their range. [©2017 Hyperbolium]

Herb Reed’s Platters’ Home Page

Blackfoot Gypsies: To the Top

Monday, May 22nd, 2017

East Nashville blues-soaked rock ‘n’ roll

Oh rock ‘n’ roll, where have you been? Where have your pounding bass lines, screaming saxophones, scorching guitars and wild-eyed vocals been hiding? The Blackfoot Gypsies make the case for East Nashville, as their third album marries together the roots-rock swagger of the Black Crowes, the grit of the early-70s Stones, the West Coast country of the Byrds and Burritos, and the wildness of 1960s garage rock. In addition to reminding you of the Crowes’ Chris Robinson, Matthew Paige might remind you of Steve Marriott, Ian Hunter or Willie Nile, and the band draws on each of these singers’ groups without landing squarely on any one.

The guitars that open the album echo the Kinks “I Need You,” accompanied in the front seat by the rhythm section, Paige’s howling vocal and Ollie Dogg’s wailing harmonica. There’s barely a breath before Dylan Whitlow’s driving bass and Paul Thacker’s urgent sax push “Everybody’s Watching” into the red. Paige and drummer Zack Murphy lock into their shared roots as the founding two piece Murphy describes as “everything in the extreme.” Even when dialed down, the folk-country “Potatoes and Whiskey” and country-blues “Velvet Low Down Blues” are still edgy.

There’s a twist of soul on “Everybody’s Watching,” second-line roll on “Back to New Orleans,” Jan & Dean-styled backing vocals on “Promise to Keep” and a Bo Diddley beat on “Gypsy Queen.” The rootsy “Woman Woman” suggests the Band, and the hard blues of “I’ve Got the Blues” echoes Led Zeppelin in acoustic mode. There’s longing, loneliness, drinking and mean, mistreating women, but more in a blues vein than country, and “I Wanna Be Famous” thrashes out a swipe at those famous for being famous. At 62 minutes, the album’s intensity can get a bit exhausting, but there’s no doubting the band’s talent and groove. [©2017 Hyperbolium]

Blackfoot Gypsies’ Home Page

Shinyribs: I Got Your Medicine

Friday, February 24th, 2017

Stupendous gulf coast soul sounds

When we first heard Kevin “Shinyribs” Russell as a solo artist on 2010’s Well After Awhile, he was taking a short break from his Austin band, The Gourds. Since that time the group regrouped for Old Mad Joy, starred in the documentary All the Labor, and then declared themselves on hiatus. Russell’s used the free time to expand his solo catalog with albums in 2013 and 2015, and now offers a deep soak in Southern soul, co-produced by Jimbo Mathus. The band simmers New Orleans rhythm ‘n’ roll, Memphis soul and Louisiana swamp pop into a unique gulf coast stew whose flavor is enhanced by the Tijuana Train Wreck Horns (Tiger Anaya and Mark Wilson) and the backing vocals of the Shiny Soul Sisters (Alice Spencer and Sally Allen).

This, it turns out, is the band Russell has been waiting for, and he makes the most of them across nine originals and three covers, the latter including superb versions of Allen Toussaint’s oft recordedA Certain Girl,” Ted Hawkins’ “I Gave Up All I Had” and Toussaint McCall’s heartbreaking “Nothing Takes the Place of You.” With the horns goosing the up-tempo numbers, going sly at mid-tempo and lining the ballads, Russell reaches into deep wells of ecstasy and sorrow, fueling an incredible display of soul singing. Spencer steps forward for the thorny duet “I Don’t Give a Sh*t,” and the album closes with the gospel original “The Cross is Boss.” If you’re sick of today’s vacant, auto-tuned pop, Shinyribs definitely has your medicine. [©2017 Hyperbolium]

RIYL: Allen Toussaint, Ernie K-Doe, the Neville Brothers, Tony Joe White

Shinyribs’ Home Page

Roy Orbison: Black & White Night 30

Friday, February 24th, 2017

Bonus-laden reissue of stellar 1987 all-star tribute to Roy Orbison

Rarely have stars aligned so figuratively and literally as for this Roy Orbison concert. More than a gathering of famous fans, the performance was a testimonial to the Big O’s lasting impact and enduring artistry. Backing Orbison was Elvis Presley’s TCB Band of Ron Tutt (drums), Jerry Scheff (bass), Glen D. Hardin (piano) and James Burton (electric guitar), augmented by Elvis Costello, Bruce Springsteen, Alex Acuna, Tom Waits and T Bone Burnett, a backing chorus of k.d. lang, Jennifer Warnes, Bonnie Raitt, J.D. Souther, Steven Soles and Jackson Browne, and a quartet of violins and violas. Recorded at the Cocoanut Grove in Hollywood’s Ambassador Hotel, the program was cablecast on Cinemax and released as a live album. It’s subsequently been reissued on VHS, DVD, Blu-ray, CD, SACD and was turned into a PBS fundraising perennial.

The song list mixes Orbison’s biggest hits with a few lesser-known selections, including the B-sides “Leah” and “Go! Go! Go! (Move on Down the Line).” The latter finds Burton, Orbison and Springsteen trading guitar solos, and the look on Springsteen’s face as he plays for Orbison is priceless. Throughout the program there’s an overarching sense of admiration as the band and guests are spellbound by Orbison’s operatic flights and emotion-drenched songs. Springsteen is giddy as he sidles up behind Orbison to sing harmony on “Sweet Dream Baby,” and when Orbison nails the climax of “Crying,” the band stops to applaud along with the audience. Although the group rehearsed twice before the show, you get the feeling that these artists had been singing and playing these songs their entire musical lives, and that they weren’t just paying fealty to Orbison, they were paying back a debt.

So why another reissue? Aside from leveraging the thirtieth anniversary to introduce this one-of-kind performance to a new generation, the new DVD and Blu-ray include previously unseen performances, newly integrated camera angles and a mini-documentary, and the running order has also been restored to reflect the set as it was played. The new performances include “Blue Angel” and a shorter alternate take of “Oh, Pretty Woman,” and five songs (“(All I Can Do Is) Dream You,” “The Comedians,” “Candy Man,” “Claudette” and “Uptown”) performed after the audience left for the evening. The 37-minute documentary includes rehearsal footage, along with pre- and post-show interviews with Springsteen, Costello, lang, Raitt and Browne. All together, the new cut of the concert and the generous extras provide a terrific complement to (though not a replacement for) the original release.

At the time of its original release, the special helped launch Orbison’s commercial renewal, which included the Mystery Girl album, and his collaboration with George Harrison, Bob Dylan, Tom Petty and Jeff Lynne in the Traveling Wilburys. But years of neglecting his health caught up to Orbison fourteenth months after taping the concert, and he died of a heart attack in December 1988 at the age of 52. His recorded legacy is now being tended to by his sons Alex and Roy Jr., the former of whom co-edited the video, and the latter of whom wrote the liners. Roy’s Boys also supervised the recent restoration of Orbison’s MGM catalog and the release of the missing album One of the Lonely Ones. As with those earlier projects, the restoration and expansion of this performance honors their father’s legacy and shows in stark black and white, the broad, long-lasting impact of his music. [©2017 Hyperbolium]

Roy Orbison’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

MFC Chicken: Goin’ Chicken Crazy

Saturday, November 26th, 2016

mfcchicken_goinchickencrazy_chrismooreGreasy old-school R&B with a bawdy sense of humor

If you like your R&B with shouted vocal, thick sax, garage guitar and a manic rhythm section, you may already be acquainted with this UK band. If not, their throwback frat-rock will have you asking the clerk to get you a copy of their record from under the counter. Whether rocking up a “Hooch Party,” lusting after “Women Who Jog” or extolling (Ben Vaughn style) the pleasures of “New Socks,” vocalist Spencer Evoy decorates every lyric with a suggestive smile. The core lineup of guitar, drums, bass and tenor sax is thickened by guest baritone sax and piano, allowing the group to cover ground from Little Richard to Bo Diddley to the Fabulous Wailers. The songs are both tribute and parody, nodding to ‘50s tropes with “I Ain’t Crying (That’s Just Pomade in My Eyes),” launching a worldwide dance craze with the honking sax and dynamic backbeat of “Roast Potato Time,” and throwing social mores to the wind with “Blackout Drunk” and “Baby Let Me Bang Your Box.” If Bob Seger is still looking for some old time rock ‘n’ roll – in the vein of Big Jay McNeely, the Sonics and Gary “U.S.” Bonds – he should look right here. [©2016 Hyperbolium]

MFC Chicken’s Facebook Page

Led Zeppelin and Little Richard

Saturday, November 12th, 2016

Led Zeppelin borrowing from Little Richard, perhaps by way of Ritchie Valens.

Velvet Crush: Pre-Teen Symphonies

Friday, July 22nd, 2016

VelvetCrush_PreTeenSymphoniesThe genesis of a rock classic

Although Paul Chastain and drummer Ric Menck recorded a number of singles as Choo Choo Train, Bag-O-Shells and The Springfields, they first came to wider notice as Velvet Crush with 1991’s In the Presence of Greatness. Critics and fans latched on, but it wasn’t until they released 1994’s Teenage Symphonies to God, with U.S. distribution by Sony, that they made their biggest splash. Three years and a change of producers (Mitch Easter replacing Matthew Sweet) between the two albums left a gap bridged by a few singles and an EP. The post-album afterward yawned even wider as the band mostly parked themselves, recording with Stephen Duffy, and didn’t re-emerge as Velvet Crush until the release of 1998’s Heavy Changes.

Omnivore’s sixteen-track collection helps fill the gaps, offering up Teenage-era demos and live performances. The first eight tracks cherry-pick demos previously released on the out-of-print Melody Freaks. Included are early versions of six album tracks, plus the otherwise lost “Not Standing Down,” and a cover of Three Hour Tour’s “Turn Down.” For listeners whose neurons have been organized by repeated spins of Teenage Symphonies to God, the demos provide an opportunity for renewal. You know these songs, but then again, you don’t. The pieces are there – lyrics, melodies and guitars – but not the final polish; but what the demos give up in nuanced construction they redeem in initial discovery. It’s the difference between a candid snapshot and a posed portrait – they each say something about the subject, but they also say something about each other.

Mitch Easter helped the band wring more out of their songs, and while the demos provided templates for the master takes, the album cuts provided the same for the live performances. The eight live tracks, recorded in a November 1994 opening slot at Chicago’s Cabaret Metro (and previously released on Rock Concert), show the band to be a ferocious live act. With Tommy Keene added as lead guitarist, the band goes all out to win over the crowd with their thirty minute set, and as Ric Menck said, “we got ’em by the end.” No small feat, considering they were opening for the Jesus and Mary Chain and Mazzy Star. The live set includes numbers from both Teenage Symphonies and Presence (“Window to the World” and “Ash and Earth”) and a closing cover of 20/20’s “Remember the Lightning.” This is a terrific companion to Teenage Symphonies, and an essential for the album’s fans. [©2016 Hyperbolium]