Posts Tagged ‘Rock’

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.

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]

Jefferson Airplane: Woodstock – Sunday August 17, 1969

Saturday, September 28th, 2019

Limited edition 50th anniversary 3-LP colored vinyl reissue of Jefferson Airplane’s complete Woodstock performance

Although the Jefferson Airplane was one of the most famous groups in the world in 1969, their presence at Woodstock has long been rendered something of a festival and career footnote. The problem wasn’t with their performance, but the short-shrift they gave themselves in the film (in which they didn’t appear) and soundtrack albums (on which they appeared for only one track on the initial triple-LP, and two tracks on the follow-up Woodstock II). Originally scheduled to headline the festival’s Saturday night lineup, weather and logistics pushed the performance to early Sunday morning, by which point the band and the crowd should by all rights have been totally exhausted. But the Airplane took off to provide a long, powerful set of what Grace Slick called “morning maniac music,” and in retrospect (that is, once the acid wore off) it was a much stronger performance than they imagined they’d given.

The set list includes material from the band’s three studio albums then-to-date, as well as three songs from the then-soon-to-be-released Volunteers, the latter including the rarely performed “Eskimo Blue Day” and a lengthy version of the Crosby, Stills and Kantner co-write “Wooden Ships.” Jorma Kaukonen sings “Uncle Sam Blues” and “Come Back Baby,” the band jams at length on “The Ballad Of You & Me & Pooneil,” and closes out with a strong encore of “White Rabbit” and Crown of Creation’s “The House At Pooneil Corners.” Although a few more of the Woodstock tracks appeared on 1992’s Jefferson Airplane Loves You and 1994s Woodstock – Three Days of Peace and Music, it wasn’t until 2009’s Woodstock Experience that the full set was delivered. That full set is now delivered in grand fashion as a double-gatefold, 3-LP set on “blue dawn” colored wax, with photos by Henry Diltz and new liners by Richie Unterberger. This is a sweet collectible for the band’s fans. [©2019 Hyperbolium]

Los Straitjackets: Complete Christmas Songbook

Saturday, September 28th, 2019

A brightly wrapped gift of guitar-driven Christmas classics

Yep Roc’s twenty-seven track anthology compiles all of the Christmas-related titles that Los Straitjackets have released across 2002’s Tis the Season for Los Straitjackets, 2009’s Yuletide Beat, 2011’s “Hark the Herald Angels Sing” single, and Yep Roc’s 2007 collection Oh Santa!, and adds a bonus live version of Vince Guaraldi’s “Linus & Lucy” recorded on the band’s 2015 tour with Nick Lowe. The playlist is dominated by ‘60s-styled guitar-driven instrumental versions of Christmas classics, often cleverly augmented by motifs borrowed from “La Bamba,” “Pipeline,” “Walk Don’t Run,” “Misirlou,” “I Fought the Law,” “Buckaroo,” “Sing, Sing, Sing” and other iconic tunes. There are playful Latin beats on  “Rudolph the Red-Nosed Reindeer” and “O Tannenbaum,” Memphis soul on “Joy to the World” and power-pop on “Groovy Old Saint Nick.” The band’s three originals include two instrumentals, “Christmas in Las Vegas” and “Christmas Weekend,” and the album’s only vocal, “Holiday Twist.” This is a creative collection of Christmas tunes that will spruce up your holidays. [©2019 Hyperbolium]

Los Straitjackets’ Home Page

The Archies: The Definitive Greatest Hits & More!

Wednesday, September 25th, 2019

Limited edition, blue vinyl reissue of iconic bubblegum music

The origin story for this cartoon band suggests that having lost artistic control of the Monkees, music impresario Don Kirshner happened upon the idea of a purely fictional group – one that could have no artistic aspirations of its own and, to quote Kirshner, “won’t talk back.” And thus was born the musical career of the long-time Archie comic book characters on a series of singles and albums that peaked with the chart-topping “Sugar, Sugar.” Kirshner’s reputation as a publisher with golden ears served the studio musicians who played and voiced the Archies, drawing upon material from Jeff Barry, Andy Kim, Bobby Bloom, Mark Barkan and Ritchie Adams. Real Gone’s 14-track vinyl LP features five of the group’s U.S. charting singles (omitting only 1970’s “Together We Two”), and includes material from the group’s first four albums (omitting tracks from 1971’s This is Love).

The Archies’ music may have been designed primarily for pre-teens, but the records were backed by talented songwriters, producers and studio musicians, and fronted by the infectious vocals of Ron Dante. Dante was a jingle singer whose voice perfectly fueled the sunshine vibe and puppy love singalongs that made up much of the Archies’ catalog. The group’s third single, “Sugar Sugar,” is rightly considered the national anthem of bubblegum music, but there are many more gems in the catalog. “Jingle Jangle” and “Get on the Line” show off touches of soul, “Inside Out – Upside Down” plays like a nursery rhyme and “Archies Party” rocks out in an ecstatic, pre-teen way. Though often denigrated for their market calculation, there is real craft in these records, with hooks that remain sharp. Real Gone’s vinyl-only release is a nice throwback to the Calendar and Kirshner originals, and a nice collectible for fans. [©2019 Hyperbolium]

NRBQ: Turn On, Tune In

Wednesday, September 25th, 2019

The latest NRBQ lineup tears it up live in the studio

More than fifty years from its founding, NRBQ is as much an ethos as it is a band. Rebuilt by founding member Terry Adams after a seven-year hiatus, the current lineup carries on the earlier group’s unique blend of rock, pop, rockabilly, boogie-woogie, jazz, blues and other American music forms, both in the studio and, as was the original band’s hallmark, on stage. Performing for SiriusXM in 2015 and New Jersey’s WFMU in 2017, the band’s latest lineup (which added drummer John Perrin in 2015) works through a typically diverse and impromptu set that leans heavily on material penned by Adams. The set list sidesteps classic ‘Q material written by former bassist Joey Spampinato and guitarist Al Anderson, but does reach back to the group’s early days, and stretches out with the sort of brilliantly selected covers the band is known for.

Making up the setlist in the moment has long been Adams’ job, and the nightly change in the band’s live performances has kept NRBQ from devolving into a nostalgic set of charts. The opening cover of Goffin & King’s “Don’t Ever Change” is emblematic of NRBQ’s quirky reach, as they tackle (apparently for the first time in this very performance) an obscure UK hit for the post-Buddy Holly Crickets. Perhaps they keyed off of the Beatles 1963 cover or Brinsley Schwarz’s version a decade later, but its lead harmony and polite drum rolls remain as charming today as they were in 1962. The set’s other covers aren’t as obscure, though they’re just as interesting. The Beach Boys’ “Don’t Worry Baby” features bassist Casey McDonough reprising the falsetto vocal he sang on Brian Wilson’s fiftieth anniversary tour of Pet Sounds, Johnny & The Hurricanes’ 1959 instrumental hit “Red River Rock” features drummer John Perrin on lead organ, and Jimmie Driftwood’s “The Wilderness Road” includes a harmonica solo that’s as high and lonesome as the song’s lyrics.

Closer to home, the band resurrects favorites and obscurities from friends, family and former members. Guitarist Scott Ligon’s first recorded his older brother Chris’ twee “Florida” in 2005, and Chris recorded the song again in 2011 with his group the Flat Five. The harmony lead vocal is filled with yearning for America’s vacation land and a wordless hook of vocal jazz syllables. Terry Adams’ brother Donn is represented by the bombastic, incredibly rare Dickens’ B-side “Don’t Talk About My Music,” a song whose NRBQ story has to be read to be believed. Reaching back to the band’s early days, Steve Ferguson’s “Step Aside” recalls the group’s 1970 outing with rockabilly legend Carl Perkins, Terry Adams’ “Dr. Howard, Dr. Fine, Dr. Howard” provides a prog-rock tribute to the Three Stooges, a trio of tunes from 1977’s All Hopped Up includes the sweet “It Feels Good,” and the WFMU show closes with Adams’ ode to Southern comfort food, “RC Cola and a Moon Pie.”

More recent releases are represented by material from Adams’ solo albums, and the resurrected group’s albums Keep This Love Goin’ and Brass Tacks. Long-time WFMU DJ Bob Brainen provide liner and song notes, and the CD and LP include a professionally shot DVD of the WFMU performance. Those still lamenting the disbanding of the classic lineup of Adams, Anderson, Ardolino and Spampinato, may find it sacreligious for this new quartet to have adopted the NRBQ name, but they hold the torch high, and carry on the marriage of studied musicianship and musical whimsicality that’s long defined the band. Their new music plays well with the deep catalog entries, and the covers are lovingly selected and deftly executed. There are few bands that have been this fun for this long, and the latest lineup definitely keeps the love goin’. [©2019 Hyperbolium]

NRBQ’s Home Page

OST: Alice’s Restaurant

Friday, August 23rd, 2019

Expanded reissue of the “Alice’s Restaurant” soundtrack

Two years after Arlo Guthrie debuted with Alice’s Restaurant, and the surprisingly wide popularity of its eighteen-minute title track, his comedic anti-authoritarian talking blues became a movie and a soundtrack album. In its original incarnation, the soundtrack was anchored by a two-part re-recording of the title track, but its studio setting seemed to sap the satirical audacity of the debut album’s live take. More interesting were the tracks recorded especially for the soundtrack, including Guthrie’s folk-styled instrumentals “Traveling Music” and “Trip to the City,” the meditative “Crash Pad Improvs,” and music supervisor Garry Sherman’s bluesy “Harps & Marriage.” Two vocal tracks include Al Schackman’s performance of Guthrie and Sherman’s “You’re a Fink,” and Tigger Outlaw’s poignant acoustic cover of Joni Mitchell’s “Songs to Aging Children.”

The original release was augmented with eleven bonus tracks for Rykodisc’s out-of-print 1998 reissue, expanding upon the soundtrack elements created by Guthrie and Sherman. Featured among the bonuses is instrumental continuity written and arranged by Guthrie, including the Hawaiiana “Big City Garbage” and the rock ‘n’ roll “Wedding Festivities,” and a pair of Woody Guthrie tunes sung by Pete Seeger (“Pastures of Plenty”), and Seeger with the younger Guthrie (“Car Song”). All eleven of these soundtrack bonuses are included on Omnivore’s 2019 reissue, and are augmented with a previously unreleased 24-minute rendition of “Alice’s Restaurant” that Guthrie performed in on Philadelphia folk radio legend Gene Shay’s program in 1968.

Although it didn’t appear in the film, the newly released performance reveals the folk tradition to which “Alice’s Restaurant” belongs, as Guthrie reinvents the song with lyrics that tell a shaggy, surrealistic tale of multicolor rainbow roaches and international nuclear war. In addition to the underlying guitar score, Guthrie leveraged many of the comedic vocal intonations that made the original “Massacree” so memorable. The new story hasn’t the deep cultural resonance of the original, but it does shed an interesting side light, and the short talk segment that follows provides a time capsule of late-60s FM radio. Omnivore’s reissue includes liner notes by Lee Zimmerman, quotes from Guthrie, front and back LP cover art, and stills, promotional photos and lobby cards from the film. This is an offbeat part of Guthrie’s catalog, but the film music and bonus radio track tell interesting stories about his development as an artist. [©2019 Hyperbolium]

Arlo Guthrie’s Home Page

The Strangeloves: I Want Candy

Saturday, August 17th, 2019

Red vinyl mono reissue of terrific mid-60s curio

The Strangeloves – Australian sheep-farming brothers Giles, Miles and Niles Strange – were in fact a trio of New York songwriter-producers, searching for hits amid the onslaught of the British Invasion. The thressome – Bob Feldman, Jerry Goldstein, and Richard Gottehrer – had written and produced the Angels’ chart topping hit “My Boyfriend’s Back” in 1963, but with the change in musical tide, they began looking for beat groups. Rather than finding a group for which to write and produce, they made one up in the studio and created a fictional backstory. Their first single, “Love, Love (That’s All I Want from You)” bubbled under the Top 100, but their second single, “I Want Candy,” rode its Bo Diddley beat to #11. They’d score two more Top 40 singles with “Cara-Lin” and “Night Time,” and perhaps even more impressively, their original backing track for “Hang on Sloopy” was reused for the McCoy’s chart-topping hit.

The group’s one and only album is reproduced here on candy apple red vinyl, and includes their three hits, alongside several excellent album tracks. The group’s rendition of “Hang On Sloopy” includes the extra verse that was cut from the McCoys’ single, and a cover of Gary “U.S.” Bonds’ “New Orleans” infuses Cannibal and the Headhunters’ “Na Na Na Na Na” chant from “Land of 1000 Dances.” The original “(Roll On) Mississippi)” temporarily drops the dominant Bo Diddley beat for a stomping New Orleans rhythm and wild Jerry Lee Lewis-styled piano. The proto-bubblegum original “Rhythm of Love” was rewritten into a fetching power-pop tune by the appropriately fictitious Pooh Sticks, and “Just the Way You Are” closes the album with the band’s favored Diddley beat.

Goldstein would go on to discover and produce War’s singles and albums, while Gottehrer would co-found Sire and produce seminal early works by Blondie, Marshall Crenshaw, the Go-Gos, and many others. But years before, they were the Strange brothers, sporting zebra-striped vests and leather pants, and pounding on aboriginal drums while performing their ode to dancer Candy Johnson on Hullabaloo. Real Gone’s 2019 vinyl reissue reproduces the original mono mix, providing a textbook example of mono’s power to deliver the gut punch that’s often dissipated by stereo. The stereo mixes included on the group’s Best Of CD are good to have available, but they don’t deliver the Boss Radio memory of mono. For fans who don’t have an original vinyl issue, this is a great get! [©2019 Hyperbolium]

Chip & Tony Kinman: Sounds Like Music

Wednesday, August 14th, 2019

The musical adventures of punk icons and cowpunk reactionaries

Chip and Tony Kinman’s first band, the Dils, offered political anthems that resonated with the late-70s punk rock scene of their adopted San Francisco. A move to Los Angeles found the brothers increasingly disaffected from the growing aggressiveness of punk, and after settling into Austin, they developed the singular mix of pop punk, new wave and country that was Rank and File. Where the Dils had adopted the requisite punk sounds and styles of their times, Rank and File sounded like nothing else then extant. There was a maverick quality that was mindful of earlier country-rock pioneers, but ever the rebels, the band evolved into power chords and a more heavily produced drum sound by their third and final album. The brothers next formed the industrial techno-based Blackbird, mixing guitars and electronica (and a reworking of the Dils “Class War”) for a run of three albums. Then, just as everyone’s memories of Rank and File began to fade, the Kinmans returned to Americana with the campfire-ready western songs of Cowboy Nation.

In the wake of Tony Kinman’s passing last year, his brother Chip assembled this collection of twenty-two previously unreleased tracks from their archives. The revelation of this collection is the fluidity of the duo’s musical identities, with the pair often changing bands before they fully consecrated a new direction. What was rendered in public releases as discrete groups is shown here to be more of a continuum, as a 1978 take of “Rank and File” shows off the song’s punk rock genesis, and the arch vocal tone of the Dils threads into the Blackbirds’ buzzy “Me Too.” There’s a brawny riff hefted from “Louie, Louie” into “Candy,” Beach Boys sunshine buried in the muddy “She’s Real Gone,” noisy wistfulness in a modern arrangement of “Old Paint,” and delicacy and tenderness in a cover of Tom Waits’ “Jersey Girl.” As a collection, the material highlights the borderless world in which the Kinman’s made music, and for fans of their many-flavored bands, this provides a bittersweet reminder of their ever-changing sounds and restless musical souls. [©2019 Hyperbolium]