Bonus Material – Zachary Mule

TALKING HEADS: TALKING HEADS 77

(RHINO RECORDS/SIRE RECORDS; 2024 box set reissue)

Not many New Wave bands of the ‘70s and ‘80s have the sterling reputation and dedicated fan base of Talking Heads. There are reasons for that. The quartet – lead singer and guitarist David Byrne, ace rhythm section Chris Frantz on drums and wife Tina Weymouth on bass, and multi-instrumentalist (often keyboard player) Jerry Harrison – had uncommonly good instincts, just the right amount of quirky unpredictability in their music, and the good fortune to do their most significant collaborations with other master artists (Brian Eno and filmmaker Jonathan Demme among them). I can’t think of another band from their era whose first five albums are all brilliant, fresh and still intoxicating to listen to, and sealed their reputation by making what is likely the greatest concert film of all time (STOP MAKING SENSE, which Demme directed), a giddily thrilling piece of work that was recently reissued to universal acclaim. Many bemoan the fact that the group called it quits in the late ‘80s due to Byrne’s restlessness and desire to go it alone, but this ensured that they would never become a watered-down or compromised musical entity, and that the reverence for their eight studio albums and two superb live albums would endure. T Heads fans are DEVOTED, and only some inter-band sniping here and there about perfectly understandable differences, caused some to scratch their heads in dismay.

TALKING HEADS (JERRY HARRISON, CHRIS FRANTZ, TINA WEYMOUTH, DAVID BYRNE) (photo copyright: MICK ROCK ESTATE)

While the Heads have been anthologized a few different times, a proper box set reissue of their first album TTALKING HEADS 77 is a welcome and wondrous release. The four-disc set comes with a handsome book that features essays by each member about the early days and the circumstances behind the recording of this album, with Tina Weymouth’s lengthy piece being particularly detailed and illuminating. The original album has been remastered beautifully… the innovative arrangements on stunning songs like “New Feeling,” “Tentative Decisions,” the utterly peerless “No Compassion” (one of my personal favorite songs of their early period) and the completely original “First Week, Last Week… Carefree” sparkle with clarity and musical pizzazz. You can marvel all over again at Weymouth’s distinctive bass, the disciplined arrangements and, of course, David Byrne’s undeniable attention-getting vocals and lyrics. The guy was and remains a stunningly original creative visionary. And yes, it’s fun to imagine those early CBGB’s attendees getting to hear “Psycho Killer” in its infancy, though it sounds fa-fa-fa-fa better here.

TALKING HEADS Live at CBGB’s, 3 March 1977 (JERRY HARRISON, CHRIS FRANTZ, DAVID BYRNE, TINA WEYMOUTH) (photo credit: EBET ROBERTS/GETTY IMAGES)

But speaking of the famed Bowery venue where the Heads and other legendary artists got their start, there’s an entire disc here that captures the group’s final appearance at the club. It sounds marvelous, actually… not tinny or inferior in any way. Byrne energetically shouts out the name of most of the songs in his inimitable manner (“The name of this song is ‘Don’t Worry About the Government!’”) and yells “Thank you!” to the excited crowd afterwards. You can definitely feel the vibe of the tiny but historic locale. And the highlights are many from this performance: I particularly dug such numbers as “Take Me to the River,” the rare “A Clean Break,” “Thank You For Sending Me an Angel,” “Pulled Up” and “Stay Hungry.” The band were totally ON IT here, probably very well-rehearsed knowing this was for a radio broadcast. A third disc in this set is a welcome collection of rarities and alternate takes, including “Sugar On My Tongue,” “Love (Goes To) Building On Fire” (their first single), “I Wish You Wouldn’t Say That” and two alternate takes of “Psycho Killer” among other cool cuts. And the obligatory but still great 5.1 surround mix for Blu-Ray rounds things out.

TALKING HEADS (DAVID BYRNE, JERRY HARRISON, CHRIS FRANTZ, TINA WEYMOUTH on THE TONIGHT SHOW STARRING JIMMY FALLON, 13 June 2024) (photo credit: ROSALIND O’CONNOR/NBC via GETTY IMAGES)

Everything from the bright red cover and strikingly minimal green typeface, to the essays and diverse photos in the book, to the still intoxicating musicality of this powerhouse band, is memorable and more than worth your attention. As much as I played this album when it first came out, I must say that diving into this reissue was revelatory all over again, thoroughly capturing the emergence of one of the greatest and most original quartets of all time. Rumor has it there may be a box like this to come for each of their classic albums. Talking Heads are one of the few entities that deserve that kind of comprehensive approach.

BIG BROTHER AND THE HOLDING COMPANY: NINE HUNDRED NIGHTS

(EAGLE VISION/EAGLE ROCK ENTERTAINMENT/MULTIPRISES/PIONEER ENTERTAINMENT (59 minutes; Unrated); 2004) A REVIEW FROM THE VAULTS

Before I get into specifics, just let me say… this is an absolutely awesome package! The main section is a very informative, nostalgic 2001 hour-long film, documenting the rise and fall of one of the seminal bands of the San Francisco psychedelic era; the extras include four complete (and obviously digitally remastered) live performances, a rare audio track (pre-Janis?) of “In the Hall of the Mountain King,” interview outtakes from the surviving members of the band and others (which add a lot of history and insight that, while not necessary to the story, are nice to hear), and a bunch of other archival oddities (photos, concert posters, etc.). Ironically, the full band name on the case is “Big Brother and the Holding Company with Janis Joplin,” an appellation that plays heavily into the history of the band. So, having (hopefully) piqued your interest, let’s get into those specifics.

BIG BROTHER AND THE HOLDING COMPANY (Sam Andrew; Peter Albin; Janis Joplin; Dave Getz; James Gurley) (uncredited photo)

The documentary includes a lot of music, a lot of archival material (including interviews), and a lot of reflections on the late ’60s emergence of Sam Andrew, Peter Albin, James Gurley, David Getz and Janis Joplin. The new interviews untangle the myth from the history, making for an intriguing look at a band and a society continually on the brink of collapse. Additional interviewees include music historian and Patti Smith Group guitarist Lenny Kaye and psychedelic gadfly and post-Joplin Big Brother singer/producer Nick Gravenites (Nick also spent time in the Paul Butterfield Blues Band and Electric Flag, among others). Much is made of the Monterey Pop Festival and its backers, and their reasons for asking Big Brother to play. Everyone knows that the festival was basically a tool to package the San Francisco scene for mass consumption, via a documentary by filmmaker DA Pennebaker. What most people didn’t know (at least I didn’t) is that the musicians in Big Brother refused to be filmed; they’d agreed to perform non-gratis at the free show (as had all of the acts), but would not give the producers and backers the chance to earn a big payday at their expense. The powers that be went to Janis after the band’s performance and got the naive vocalist to sign a release by telling her that the band went over so well (that part, at least by all indications, wasn’t a lie) that they wanted them to do another set… this one for the camera. Janis, who may not have been as naive as everyone thought, may have been thinking ahead to her future… without Big Brother and the Holding Company. Contractually obligated by Joplin’s signature, the band performed the second set for the cameras, delivering a smoldering performance that actually set the band on the road to ultimate destruction. Digitally remastered clips from the film – “Ball and Chain” and the previously unreleased “Combination of the Two” – focus on Joplin, with the other four members pictured as nothing more than background dressing. Today, the band (and historians) cite the Monterey Pop Festival as the beginning of the end. But… I’ve already said too much! I don’t want to give the whole thing away, or you won’t want to go out and pick up the excellent NINE HUNDRED NIGHTS (the name refers to the nearly two-and-a-half years that the band’s most famous configuration was together).

BIG BROTHER AND THE HOLDING COMPANY (Live at the Carousel Ballroom, San Francisco, 1968: James Gurley, Sam Andrew, Dave Getz, Janis Joplin, Peter Albin) (photo credit/copyright: Elliot Landy/landyvision.com)

I will tell you about the extras that I alluded to earlier, however. The four complete songs featured are “Down On Me,” “The Coo Coo,” “Ball and Chain,” and “Piece of My Heart.” The latter two are from the Monterey film; the first two are black and white performances from, I believe, a German television show. Each shows the incendiary qualities of the group. One of the great misconceptions about this band – often cited over the last three decades as a reason for Janis’ departure – was that they couldn’t handle things musically and their ineptitude was holding Joplin back. This film, and especially these performances, debunk that long-held theory. True, the band may never have reached the heights it attained with Janis Joplin, but Getz, Albin, Gurley and Andrew were amazing musicians and had already carved a niche for themselves as one of the premiere groups in the San Francisco area. They were signed to Mainstream Records, a small but influential label, and were getting attention beyond the Bay Area. While no one can deny the talent and charisma of the Texas whirlwind named Janis Joplin, the boys weren’t exactly hacks. They were good! Most of the other extra stuff here just kinda reiterates what we learned in the film. Some of the background info from the interview outtakes adds to the story but, accessing them is sort of a pain: You can’t just play the entire sequence, as each question to each interviewee has to be played separately. That’s annoying, but a minor problem; not one that should keep you from picking up this package. The rest of the “bonus features” include a discography, photo gallery, biographical timelines and “Psychedelic Treats.” Even without the extras, this is a great addition to anyone’s DVD and music libraries.

DO THE ARCHITECTURAL WATUSI DVD/Blu-Ray HEY, MA! WATCH THIS Music Reviews | Darren Tracy | November 19, 2024 | Big Brother and the Holding Company Blues Rock Bonus Material Classic Rock DA Pennebaker Dave Getz DVD/Blu-Ray James Gurley Janis Joplin Lenny Kaye Monterey Pop Festival Music Documentary Nick Gravenites NINE HUNDRED NIGHTS Peter Albin Psychedelic Rock Rock and Roll Sam Andrew San Francisco

SWING SET: LIFE SPEEDS UP (REMASTER)

(BLACKBERRY WAY RECORDS; 2024)

Mad genius Michael Owens is at it again! He has remixed Swing Set’s 1986 debut, LIFE SPEEDS UP, and then traveled to Abbey Road Studios (yeah… THAT Abbey Road Studios!) to oversee Andy Walter’s remastering of the 10-track masterpiece. Now, for all to enjoy (and the faithful who owned the original, to reminisce over), the album is available from Blackberry Way Records in all of its “purdied-up” grandeur. And… it only took nearly 40 years!

SWING SET, circa 1985 (DAN PROZINSKI, MICK WIRTZ, RIC STUDER, DAVE NUSSBAUM, MIKE NILLES) (publicity photo)

The Twin Cities’ Swing Set – formed in 1983 – were singers/guitarists Mike Nilles and Dan Prozinski, singer/bassist Ric Studer, keyboardist Dave Nussbaum and drummer Mick Wirtz. By the time they recorded LIFE SPEEDS UP two years later, they were a well-oiled Rock ‘n’ Roll machine and upon the record’s 1986 release, the band found their way onto the Top 50 college charts. Clearly, Swing Set were a group on the rise. Unfortunately, the success was short-lived and, though they released two more albums, the quintet went their separate ways in 1993. In recent years, there has been a mini-resurgence with several tunes showing up on the soundtracks to such hit television fare as STRANGER THINGS and YOUNG SHELDON. So, to quote the cunning linguist Bugs Bunny, “What’s all the hubbub, Bub?” Well, I’ma tell ya, Mister Bunny.

The album kicks off with the atmospheric “Blackout,” a mid-tempo rocker with a memorable, jangly guitar riff, haunting piano and some of the smoothest vocal work (with leads by Nilles) this side of Motown. The track was used in the second episode of Season Two of STRANGER THINGS. On “Laying Low,” Wirtz punches up his delivery with a more forceful approach behind the kit and the guitars take on a Cure-like feel while maintaining a fresh charm that appears to be Swing Set’s signature sound. Studer continues to impress on bass and his lead vocals are equally as solid. The vocalist merry-go-round is completed on “Runaway” as Dan Prozinski takes over those duties here, which offers a rather tribal backbeat and minimalist – but quite effective – instrumentation. “Victim” is pure New Wave Power Pop, hitting on all cylinders with a throbbing bass line, a couple of nice guitar solos and an emotive Mike Nilles vocal. This is the first lyric on the album to actually connect with me. The first of two “bonus” tracks is Dan Prozinski’s “Knock Knock,” recorded in 1988 with bassist Kevin Foley (Kevin, who played in Tommy Stinson’s post -Replacements band, Bash and Pop, passed away in 2011). The song features one of the best lines I’ve ever heard: “Knock me down/I’ve seen that fist before/Knock knock/Comin’ back for more.” If you’re a fan of the show YOUNG SHELDON, “Knock Knock” may sound familiar, as it appeared on the soundtrack. “Walking In the Night” closed out the first side of the original vinyl. It’s another Nilles-authored tune, with his vocals riding along the chugging, percolating bottom end supplied by Mick Wirtz and Ric Studer. There’s an unspoken danger in the lyrics… more implied than any literal threat of violence. It seems that this Swing Set is intent to up the ante just a little more with each song.

SWING SET today (DAN PROZINSKI, MICK WIRTZ, RIC STUDER, DAVE NUSSBAUM, MIKE NILLES) (photo credit: HUTCH)

Lyrically, “Lost Track” has a lot happening. With allusions and imagery of trains and railroads, the number also evokes a kind of mental anguish over a lost love (or love lost) and, maybe even a sense of hopelessness… or determination. Like I said, Dan’s lyrics, while powerful, are so (purposefully?) open-ended that the meaning may very well be dependent upon the listener’s mood. Or… you know, to paraphrase Freud, “Sometimes a train is just a train.” “The Dance,” with its odd, waltzy feel and pace, finds Ric back on lead vocal duties. Every instrument is played in exactly the proper way that a New Wave-Power Pop waltz should be played, from the understated (yet somehow powerful) stick-work of Mick Wirtz to Studer’s minimal approach to the bass, from the twin lead guitars of Prozinski and Nilles to Dave Nussbaum’s keyboard work underpinning it all before rising to the fore with a short, beautiful piano solo toward the tune’s end. Mixed only slightly louder than the instrumentation is Ric Studer’s voice, a virtual haunting from spirits past. The chorus adds to the forelorn, wispy feel: “And you know what I Know/And you see what I see/And I know what you know about me.” Next up is “I’m On Fire,” the hardest rocking number here; given that, it doesn’t abandon Swing Set’s Pop leaning. Mike’s vocals are not over-the-top aggressive, but Wirtz’s more adventurous drumming alongside Ric’s pumping bass lends that impression. And… was that an accordian back there somewhere in the mix or just a bit of Nussbaum keyboard trickery? Either way, it definitely works well within the confines of this track. “Sincerity” is the second and final bonus cut, with Dan on lead vocals and, once more, the late Kevin Foley on bass. It’s another hard-hitting rocker that somehow puts me in mind of U2, but without that annoying Bono guy (I must say, though, that I did like the stuff he did with Cher). The final Ric Studer vocal lead is “Rain On Our Parade,” a slow-simmering piece of Pop confection. While the tune evokes the feeling of a rainy Saturday, watching TV or playing games or… whatever one does to pass the time while waiting for the rain to stop and the sun to emerge from the clouds, it definitely is not the downer that the title implies. Last and certainly not least is “So Long.” The slowly-paced double entendre works, as any good double entendre should, on a couple of levels: “I’ve waited so long for you” or “So long, gonna miss you.” A fitting end to another solid release from Blackberry Way Records.

SWING SET, 2024 Abbey Road Studios mastering session (Michael Owens, Terri Owens, Andy Walter) (publicity photo)

The newly-remastered LIFE SPEEDS UP is available from Blackberry Way Records on CD or as a download.

DO THE ARCHITECTURAL WATUSI Music Reviews Streaming Video | Darren Tracy | November 13, 2024 | Andy Walter Bonus Material Dan Prozinski Dave Nussbaum Kevin Foley Mick Wirtz Mike Nilles Mike Owens Minneapolis Music New Wave Music Pop Music Power Pop Reissue Ric Studer Rock and Roll Streaming Video Swing Set

LAMB OF GOD: ASHES OF THE WAKE FIFTEENTH ANNIVERSARY EDITION

(EPIC RECORDS/LEGACY RECORDS/PROSTHETIC RECORDS; 2019)

What is there to say about Lamb of God’s third release, ASHES OF THE WAKE, that hasn’t already been said? By FAR one of the greatest metal albums of all time; COMPLETELY changed metal; nominated for a Grammy! See what I mean? What else can I say? This fifteenth anniversary edition (vinyl and digital only) has some demo tracks and an unused track that absolutely belongs on the album.

LAMB OF GOD (Randy Blythe, Mark Morton, John Campbell, Willie Adler, Chris Adler) (photo credit: MICK HUTSON/REDFERNS)

Lamb of God does what only they can do on that tune, “Another Nail For Your Coffin.” Absolute brutality with Randy (that’s Mister Blythe for the uninitiated) hitting pure aggression with his screams. Mark Morton shines with a blistering solo about three quarters of the way through. This track has everything you could ever want, melody, guitar solos, brutal screams, awesome lyrics. Why it was left off of the original release is a mystery.

The rest of the bonus material (side four of the double vinyl record) are demos of cuts from the original release. The first is “Laid To Rest.” It sounds almost the same; the lyrics are the same, just a little less production value, so you can REALLY hear Randy’s raw vocals. Sounds great… just shows you how talented this band really is! Next up is “Ashes of the Wake” that again, just shows how badass Lamb of God are: Tight, solid and brutal. Blyhte sounds absolutely awesome on the final cut, “Remorse Is For the Dead.” His presence here is palpable; you can feel it all the way through! The highs he hits about a minute in are just amazing, while the lows at two minutes in are just… evil. Randy is on fire.!

LAMB OF GOD (Chris Adler, Mark Morton, Willie Adler, Randy Blythe, John Campbell) (publicity photo)

ASHES OF THE WAKE is one of my favorite albums of all time and the addition of the extras is really cool. This is one album that should be in everyone’s library and playlists. It’s one of the best ever. Check it out!!

DO THE ARCHITECTURAL WATUSI Music Reviews Streaming Video | Ryan Cowden | June 7, 2019 | Anniversary Edition Bonus Material Chris Adler Extreme Metal Hard Rock Heavy Metal John Campbell Lamb of God Mark Morton Music Randy Blythe Streaming Video Vinyl Willie Adler

LOVE: REEL-TO-REAL

(HIGH MOON RECORDS/RSO RECORDS; reissue 2015, original release 1974)

Love’s seventh official album, REEL-TO-REAL, was seven years removed from the classic psychedelia of the brilliant FOREVER CHANGES and, seemingly, light years away musically. Arthur Lee had steered the Love boat (sorry… couldn’t resist the bad pun) solo since the original group disintegrated due to in-fighting and drug abuse after FOREVER CHANGES and, while each subsequent album featured a song or two that evoked the first three records, Lee had a tendency to ramble without Love’s other songwriter and vocalist, Bryan MacLean, taking at least some of the creative load off. After four years (and four albums) with Elektra and two records for Blue Thumb in 1969 and 1970, Arthur put the Love name to bed and recorded the hard-rocking solo record, VINDICATOR. In 1973, Lee put together a new Love and recorded an album called BLACK BEAUTY; unfortunately, the label, Buffalo Records, went belly-up before the record could be released (a remastered version of BLACK BEAUTY finally saw release through Half Moon Records in 2013). Invigorated by the sound of the new Love, Arthur Lee began work on what would become REEL-TO-REAL, released on RSO Records in 1974. Now, following the success of BLACK BEAUTY, High Moon has released a deluxe reissue of that 1974 record, complete with 12 bonus tracks of outtakes, demos and alternate versions. “But,” you ask, “was it worth it?” The short answer is, “Yes. Yes, it was.”

Love (Melvan Whittington, Robert Rozelle, Arthur Lee, Joe Blocker) (photo credit: HERBERT W WORTHINGTON)

The album kicks off with “Time Is Like a River,” a signal call that this Love is gonna be a funkier proposition than the band’s late ’60s heyday. The song is highlighted by a soulful Arthur Lee vocal with Motown-style female backing vocals. The number also features a galloping drum track from Joey Blocker and great, funky horns; for those jonesing for a touch of the old guard, the psychedelic dual leads and solos – provided by the tandem of Melvan Whittington and John Sterling – more than fit the bill. “Stop the Music” is kind of an old Rhythm and Blues stroll, with some cool slide work from Sterling, a nice, hard rocking solo and a honkin’ bit of harp from Lee. The surprising use of tuba adds a slight New Orleans Jazz flavor, while Arthur does his best Otis Redding. Love channels Stevie and Earth Wind and Fire on “Who Are You?,” with Philip Bailey-like falsetto vocals and a lot of Wonder-ous clavinet effects from Bobby Lyle. “Good Old Fashion Dream” is a great Southern Soul rocker. Almost as a contrast, Lee’s vocals are raspy and urgent, with Sherwood Akuna’s spongy bass line holding the groove together throughout. The acoustic Blues of “Which Witch Is Which” features a few elements of electric rock and roll, most noticeably an awesome backward guitar by guest Harvey Mandel. “With a Little Energy” is a total James Brown funk workout, with the rhythm section of Blocker and Robert Rozelle propelling the tune forward. Arthur’s vocals have a distinct Sly Stone vibe here.

Love (Arthur Lee) (photo credit: MICHAEL PUTLAND)

What was originally the first cut on Side Two of the 1974 record, “Singing Cowboy” is probably the closest in feel to the original Love’s sound. Sterling’s slide and Blocker’s heavy drums once again shine. The next track had more of an organic beginning, with Akuna, Blocker and Whittington messing with the rhythm in the studio and Lee joining in with some lyrics; “Man, let’s record that,” said Lee. Producer Skip Taylor rolled tape and “Be Thankful For What You Got” was born. Though it isn’t my favorite song on the record, it does feature a funky, rather Caribbean groove; unfortunately, the bass and some faux orchestra parts push it into a proto-Disco sound. “You Said You Would” was one of the more controversial songs as it was being recorded. The chorus of “You said you would/You said you would/Now you’re gone” features gunshot before the last line; everybody but Arthur thought that using the sound effect throughout the tune was… well, overkill, but he wouldn’t budge and that’s how the number was released. The song itself is a return to the poppy psychedelic sound of early Love, with snarky lyrics from Lee, giving it a John Lennon or Harry Nilsson vibe. Hendrixian in scope, if not in execution, “Busted Feet” is a throbbing, pulsating hard rocker. Arthur’s vocals sound urgent and strained to his limits. It’s a cool, welcome departure from the general feel of the album. A ragged acoustic Blues, “Everybody’s Gotta Live,” closes the album proper, reminding me somehow of early, folky Dylan. A nice song and a great way to end a record.

Love (Robert Rozelle, Melvan Whittington, Arthur Lee, Joe Blocker) (photo credit: HERBERT W WORTHINGTON)

This nicely packaged reissue clocks in at a hefty 72 minutes plus. The original album was an economical 33 minutes, which means there are nearly forty minutes of extras here… it ain’t all essential but… well, there ya go. The outtakes are pretty cool to hear and the rehearsal stuff is fun… I just kinda think that including a live show from that era woulda been a better choice. Having said that, the first outtake, “Do It Yourself,” is interesting on a couple of different fronts: The shuffling rhythm, funky horns and country-fried psychedelic guitar gives the song the feel of a hard rock version of Earth Wind and Fire; the aforementioned guitar parts are quite reminiscent of the band’s then-label mate, Eric Clapton, a sound and tone and style that, apparently, Arthur Lee loathed. “I Gotta Remember” is a straight on rocker, with Lee’s lyrics and vocals putting one in mind of Jimi. It has a sort of circular arrangement and could have been the hit that RSO label president Bill Oakes was looking for from Love; instead, the song remained unreleased at the time. More Hendrix-like lyrics inform “Someday,” a nifty little Sly and the Family Stone work out with minimal, rather simple instrumentation that focuses more on the basic groove than anything else. “You Gotta Feel It” is a Fats Domino New Orleans stroll with nice guitar and a solid Lee vocal over a rolling, popping bass line. I like the basic premise of the number but, at 3:38, it goes on about two minutes too long.

Love (John Sterling, Sherwood Akuna, Joe Blocker, Arthur Lee, Herman McCormick, Melvan Whittington) (photo credit: BARRY FEINSTEIN)

The alternate versions of “With a Little Energy” and an electric “Everybody’s Gotta Live,” as well as the single mix of “You Said You Would,” are just okay. The alternate “Busted Feet” is nearly two minutes longer than the version released in 1974, with extended breaks, more vocal histrionics and a wicked, heavy guitar solo. “Stop the Music” uses Arthur’s slightly off-key guitar line as the lead and removes the horns, tuba and harmonica. Lee does a bit of vocal scatting in place of the harmonica. The extended length comes from some pretty funny studio banter. Perhaps the alternate take that differs most from the original album version is “Singing Cowboy.” This version features a faster tempo, as well as a more urgent and upfront slide guitar; there’s also an unhinged wah-infused solo toward the end. The studio rehearsals (more of a warm-up or, in some cases, just goofing around while Lee decided what he wanted to do during a particular session) are nice additions. “Graveyard Hop” is a weird snippet of “Jailhouse Rock,” with reworked lyrics. The piece sounds really ragged and cool. Maybe the most intriguing bonus cut is the band rehearsing the FOREVER CHANGES outtake, “Wonder People (I Do Wonder).” Even though it kind of sounds like an unfinished San Francisco hippie ballad, it does show that Arthur was a bit more receptive to returning to those songs… at least, in the confines of a recording studio. The song actually features a solid guitar solo, even if Lee’s vocals weren’t much more than incoherent scatting. Overall, the re-release of this woefully ignored album is well worth the price of admission and, spotty though it is, holds up really well.

DO THE ARCHITECTURAL WATUSI Music Reviews | Darren Tracy | January 29, 2016 | Acoustic Music Arthur Lee Bill Oakes Blues Rock Bobby Lyle Bonus Material Classic Rock Funk Music Hard Rock Harvey Mandel Herman McCormick Joe Blocker John Sterling Love Melvan Whittington Music Pop Music Psychedelic Rock Reissue Rhythm and Blues Robert Rozelle Rock and Roll Sherwood Akuna Skip Taylor Soul Music

KANSAS: MIRACLES OUT OF NOWHERE

(LEGACY RECORDINGS/KIRSHNER RECORDS/EPIC RECORDS/SONY MUSIC; 2015)

It was forty years ago last year when a group of struggling musicians with an ambitious sound and an unassuming name released their first album, sending them on a ten year journey of self-discovery and musical dominance in a field generally considered the exclusive realm of rather high-minded and esoteric English bands. To celebrate, all six original members reconvened to reminisce about everything from those humble beginnings to their breakthrough albums, LEFTOVERTURE and POINT OF KNOW RETURN, and the singles those albums spawned – “Carry On Wayward Son” and “Dust In the Wind.” Those reminiscences are featured in a new documentary called MIRACLES OUT OF NOWHERE, which also includes input from Garth Brooks, Brian May and ROLLING STONE scribe David Wild, among others. This special package features that documentary on DVD (or Blu-Ray), as well as a specially curated CD that covers those first five groundbreaking albums, compiled by drummer Phil Ehart and long-time producer Jeff Glixman.

Though the documentary does feature snippets of songs and rare concert footage, it’s really more about the story, which is fine with me. And, even though the guys rarely appear together on camera, there are plenty of great stories to be heard. One of the best involves Aerosmith’s Steven Tyler and how opening act Kansas thwarted his attempts to pull the plug on a particularly well-received set in their home state. When the guys do appear together, it’s on a bus, recreating their drives across the state from early in their career. There’s a certain sense of camaraderie, the type that everybody feels when you’re reunited with old friends after an extended period of time; the old problems and feuds are forgotten and things just naturally pick up where they left off before those things intruded. If you want to see a bit more of the guys discussing the old days together, there is a special edition release with an extra DVD of material of just that, available only from the band’s dedicated website if pre-ordered before the release date (March 16, 2015).

Kansas, circa 1973 (Phil Ehart, Kerry Livgren, Steve Walsh, Rich Williams, Robby Steinhardt, Dave Hope) (photo credit: DON HUNSTEIN)

The CD intersperses dialogue from the documentary with the hits and some deeper cuts from the band’s first five records. There are, of course, the group’s two biggest successes, as well as several tracks that have become staples at Classic Rock radio. You’ll recognize the ones I mean as we discuss each track individually. Now, you may be asking yourself, why do we need to discuss individual tracks that are 35 to 40 years old? Well… a couple of reasons: I really didn’t get into Kansas until their sixth release, the live album TWO FOR THE SHOW and, while I was an avid consumer of music back then, I didn’t write reviews like this one. That second reason actually leads to a third reason for an in-depth review: Cuz I wanna and cuz I can (does that make it four reasons? But, then, nobody expects the Spanish Inquisition!).

Kansas, circa 1974 (Dave Hope, Rich Williams, Robby Steinhardt, Phil Ehart, Steve Walsh, Kerry Livgren) (publicity photo)

The disc is fairly chronological, as it begins with material from KANSAS and ends with songs from POINT OF KNOW RETURN (stopping at each subsequent album in between), although each record’s offerings are re-sequenced from the order in which they originally appeared. That means that this collection starts with the sixth track on 1974’s debut release, “The Pilgrimage,” which is actually pretty standard Midwest rock ‘n’ roll from the period. Except, of course, for Robby Steinhardt’s violin. There is absolutely nothing about this tune that would lead you to believe that these guys would become the standard-bearer for American progressive music by the release of album number two. While “Can I Tell You” was Side one, Track one of the KANSAS record, this version was recorded live for DON KIRSHNER’S ROCK CONCERT. The weird thing about it was that there was no audience; the band was as shocked to discover that when they took the stage as I was when they told the story in the documentary… I mean, who knew? Anyway, “Can I Tell You” is Kansas with their prog roots starting to show and, it’s one of those tracks that you’re likely to hear on the radio when the DJ is sick of playing the hits. “Journey From Mariabronn” is eight minutes of progressive pomp, beautifully constructed and symphonic in its scope. This is the song that really had the other guys in the band standing up and taking notice of Steve Walsh’s vocal abilities.

Kansas, circa 1977 (Kerry Livgren, Phil Ehart, Rich Williams, Robby Steinhardt, Steve Walsh, dave Hope) (publicity photo)

“Song For America,” the title track to the second record, sees chief songwriter Kerry Livgren upping his game. The ten minute piece strays a bit into Yes territory with its elegance and power, its intricate time signatures and arrangement. A straight forward rocker, “Down the Road” features a heavy Dave Hope bass line and some wicked duels between Steinhardt and guitarist Rich Williams (or, is it Livgren… or, maybe, both?). There is a section where guitar, bass and violin are playing in harmony that is absolutely magical! The prog-rockery was ratcheted up another notch with MASQUE and its centerpiece, the doublet of “Icarus” and “Borne On Wings of Steel.” The track features a pumping organ from Walsh and some heavy guitar riffs and solos, with the main solo sounding kinda like something that Steve Howe woulda played. With all of that happening, the highlight of the song is found with the amazingly tight harmony vocals. “The Pinnacle” is a majestic, symphonic number, with several musical and emotional levels… and, that’s just in the nearly three minute intro. Phil Ehart’s drums thunder and swell just below the vocals as the song continually threatens to explode in a rock ‘n’ roll fury but, sorta like something by ELP, it’s reined in right before everything blows. The tension, searching desperately for a release, is the driving force until the second, muscular guitar solo (at about the 7:45 mark), but that’s only a tease. The song is a great exercise in dynamics.

Kansas (Rich Williams) (photo credit: VICTOR PETERS); (Phil Ehart, Kerry Livgren, 2009) (photo credit: LAURIE LARSON)

LEFTOVERTURE is where record sales finally caught up with the inherent talent of Kansas. This time out, Kerry Livgren’s songs, while not being overtly religious, are much more… spiritual, looking inward and reaching upward. Three of the first four songs on LEFTOVERTURE are presented here, beginning with “The Wall,” another slow, symphonic piece with great harmony guitars and a hymn-like keyboard coda. “Carry On Wayward Son” is THE song that Kansas will forever be remembered for. The release that never came during “The Pinnacle” finally arrives… in spades! With one of the most recognizable choruses and riffs in the history of music, not just rock, “Carry On…” still receives as much airplay as “Stairway To Heaven” or “Free Bird.” That middle section is stunningly powerful, with evocative organ and guitar solos. The song that gave this collection its name, “Miracles Out of Nowhere,” reaches Dennis DeYoung heights of pomposity, with welcome flourishes of late-period King Crimson (before they broke up the first time) mixed in during the instrumental break.

Kansas (Robby Steinhardt, Steve Walsh) (video still); (Dave Hope) (photo credit: DAVID CARSTENS)

“Point of Know Return,” from the album of the same name, is probably the most well-known number from Kansas’ early oeuvre that isn’t “Carry On…” or “Dust In the Wind.” A nifty bass line from Dave Hope underscores some fairly progressive keyboard, violin and guitar parts on what is pretty much another rather Styxian sounding rocker. “Dust In the Wind” is another brilliant, subliminally spiritual song from Kerry Livgren. The beauty of the piece – aside from the lyrics – lies in its simplicity. Stripped down to the vocals of Steve Walsh and Robby Steinhardt, the guitars of Rich Williams and Livgren and Steinhardt’s violin, it’s a beautiful, sentimental tune that all of the girls wanted to slow dance to at the end of the high school dance for years to come. The final track here is “Nobody’s Home,” another elegant ballad, highlighted by a delicate piano and a rousing finale. It’s an absolutely fitting end to a great look back at a band that, at the time, stood tall among the rock elite. Unfortunately, though the guys remain friends, there are no plans for a reunion album or tour. Too bad. I, for one, would love to see that old fire and passion rekindled… if only for little while.

DO THE ARCHITECTURAL WATUSI DVD/Blu-Ray Music Reviews Streaming Video | Darren Tracy | February 28, 2015 | Bonus Material Brian May Classic Rock Compilation Dave Hope David Wild Documentary DVD/Blu-Ray Garth Brooks Hard Rock Jeff Glixman Kansas Kerry Livgren Limited Edition Music Phil Ehart Progressive Rock Rich Williams Robby Steinhardt Rock and Roll Steve Walsh Streaming Video

DORIS NORTON: PARAPSYCHO

(BLACK WIDOW RECORDS/DISCO PIU; Italian import; reissue 2013, original release 1981)

Unless you are a truly smug, know-it-all kinda music reviewer, you don’t proceed totally independently in this game. You wanna find other opinions of weird or obscure offerings; you wanna find out WHERE something belongs in the scheme of things, you wanna discern anything you can about the “artistic intent” of an eccentric artist. Doris Norton is not your garden variety composer, though Discogs puts her in the “Electronica” category. At times like this, I like to go to Amazon to see if any fans chimed in, And God bless “Mr. Benac” for writing the single review that appears of this PARAPSYCHO project, a reissue of a recording that first appeared in Italy back in 1981. Benac writes: “Norton is a strange, strange person and there’s a possibility she’s trying to say something here. However, I cannot grasp it.” That kind of sentiment is catnip for me, so I dove right in. After an unrepresentative, caterwauling sort of opening rocker (the title track), what follows is more or less early prog-influenced instrumental music that leans at times in the direction of the kind of film music you hear in low budget ’70s horror films. This is certainly true of “Telepathia” and to a lesser extent, “Psychic Research.”

Doris Norton (photo courtesy: musikresearch.com)

It helps to know that Norton was sponsored by Apple Computer in the ’80s, and evidently created a music program for IBM USA. Almost all the music here was made on early synthesizers or keyboard programs, and it has that analogue sound that can sometimes sound quaint or simplistic. However, this is mostly listenable stuff. “Ludus” is a perfectly fine cinematic instrumental just a stone’s throw from MORE-era Pink Floyd, at least until a bit of wah-wah at the end. “Tears” is a straight-up European film music cue (presumably for a non-existent film) that features beguiling wordless female vocals. “Obsession” contains everything both annoying and promising about keyboard-heavy prog in one zippy three-minute burst. And “Precognition,” the last and possibly best track (and a bonus to this 32rd Anniversary Edition), enters Kraftwerk territory, with its forward-thrusting sequencers, occasional robotic vocals, and underlying sense of “something going wrong with machines,” with the ascending alarm-like sound at beginning and end somehow punctuating this. Honestly, this stuff is NOT that strange; Mr. Benac needs to come check out MY record collection sometime. Most of Norton’s stuff sits comfortably at the intersection of European film music and somewhat generic sequencer-based prog. Sure, the curiously titled “Hypnotized By Norton,” at just under 10 minutes, does a mash-up of new age, indie rock and prog that is all-over-the-map kooky, and the previously mentioned title track clubs you over the head in a manner not typical of the rest of what’s here. But I gotta admit, I kinda like most of these tracks. There is purposefulness and, more importantly, a playful, open attitude that comes through in Norton’s performances. I detect, also, a little bit of humor in her attitude towards the vast possibilities of the new technology emerging in music at the time. Come to think of it, most of the titles reflect something having to do with how music and immersion in technology may not always be a good match (“Tears,” “Obsession,” “Parapsycho” “Hypnotized… “

Maybe I’m reaching here, but I’m betting that Norton is not so much “strange” as perhaps a woman who just travels to a different mental and emotional space when she makes music, and determinedly shuts out her husband, kids and everything else that gets in the way until she’s damn well satisfied, sonically. I don’t know her story overall, but she came up with some good stuff, only crossing the line into cloying self-indulgence a few times. Hell, if I were a film director, I’d give her a shot. “Controlled unpredictability” is a good trait in my book.

DO THE ARCHITECTURAL WATUSI Music Reviews | Kevin Renick | January 26, 2015 | Alternative Rock Apple Computer Bonus Material Doris Norton Electronic Music Instrumental Music Italy Krautrock Music Progressive Rock Reissue Rock and Roll

GENE CLARK: TWO SIDES TO EVERY STORY

(HIGH MOON RECORDS/RSO RECORDS; reissue 2014, original release 1977)

Reading Gene Clark’s Wikipedia entry is an exercise in frustration, another classic case of a prominent musician suffering the pitfalls of inadequate promotion, dashed expectations, poor timing, et cetera. A founding member of the Byrds, one of the most influential bands of the ’60s, Clark surely deserved better than the checkered solo career he endured after essentially leaving that band in 1966. Clark wrote or co-wrote some of the best-known Byrds tunes, such as “Eight Miles High,” “She Don’t Care About Time” and “Set You Free This Time,” helping to pioneer some of the early country rock stylings with a twist that the Byrds became known for. But his solo work, although gaining critical favor in some circles with quality offerings like 1971’s WHITE LIGHT and 1974’s NO OTHER, seemed to always fall short commercially or have some record label “issue” that confounded Clark’s hopes. The 1977 release TWO SIDES TO EVERY STORY was an introspective album that partially documented the fallout of Clark’s divorce at the time, and though very listenable, it was ill served by the first CD version in the early 90s, which many fans complained about (record labels tended to rush out CDs in the early days of that format with little concern about the sound or pressing issues; pun intended). But now TWO SIDES… has been given a deluxe remastering by High Moon, and Clark’s stellar songwriting shines through at last.

Gene Clark (photo credit: TORBJORN CALVERO)

Things kick off with the rousing banjo picking of “Home Run King,” and Clark’s engaging vocals. I was struck by how much Clark’s voice reminded me of Mike Nesmith’s from the Monkees. It’s well-known that Nesmith was a fan of country rock, and you gotta think he was a fan of stuff like Gene Clark and Gram Parsons in particular. “In the Pines” features classic fiddle, keyboards and female backing vocals, and is bursting with energy. Evidently, this is a traditional folk/blues song, although an online note says the song may have initially been composed by blues great Leadbelly. “Kansas City Southern” is a terrific train song that Clark had previously recorded with Dillard and Clark, and it rocks pretty madly here, with fiery guitar work. It’s also more than a little evocative of John Fogerty’s CCR stuff. A cover of the James Talley mining ballad “Give My Love to Marie” makes for one of the most achingly sad numbers here. Clark’s voice is way upfront, and the string section combines with it (and some very spartan drumming) to induce shivers. Truly beautiful, actually. The following “Sister Moon” suffers by comparison; it aims for subtlety, but the big backing vocals and strings again don’t serve it particularly well. “Mary Lou” is an overdone cover that, while energetic, is emotionally empty in context. The straight, traditional country numbers here such as “Lonely Saturday” and “Hear the Wind” are much better, the kind of tunes Clark was known for, with strong melodies and pleasing arrangements. “We talk and hear about loneliness/The cold blue hunger of the soul,” Clark sings on that latter track, which delivers its pathos with pedal steel and piano in timeless fashion. Sometimes a line like that can really overpower you, in a way you weren’t prepared for.

“Past Addresses” and “Silent Crusade” are the sound of heartbreak; with slivers of haunted sentiments that Clark sometimes seems reluctant to fully release. “I am told that my life is a clipper/The sea of time has tossed about/And I know that there’s only one skipper/Who can guide that ship about, he wearily intones on “Silent Crusade,” as a lonesome keyboard punctuates his simple guitar picking. Nothing like a tough breakup to make you feel you’re adrift at sea, I guess. There is something timeless about this brand of Clark-ian songcraft, and when you realize the guy died at the tender age of 46, probably falling well short of his dreams, you’re in true melancholy territory. That distinctive voice and his often pioneering sound surely would’ve matured and given us so much more if he had lived a few more decades. At any rate, this is a fine reissue of a neglected album, and purchasers also get to download a generous selection of bonus live material. It’s not ALL wonderful, but there is definitely stuff here that is essential in grasping Gene Clark’s rightful place in the Americana/singer-songwriter scheme of things. He was there when both those categories were first being conceived, and that ain’t no small thing.

DO THE ARCHITECTURAL WATUSI Music Reviews | Kevin Renick | January 26, 2015 | Bonus Material Classic Rock Country Rock Folk Music Gene Clark Live Recording Music Reissue Rock and Roll Singer/Songwriter The Byrds

JAMES WILLIAMSON: RE-LICKED

(LEOPARD LADY RECORDS; 2014)

By 1972, the Stooges were collapsing in upon themselves; the band were two years removed from their second album, FUNHOUSE; they were dropped by their record label, Elektra, and bassist Dave Alexander and guitarist Ron Asheton were gone. James Williamson was the new hot-shot guitar-slinger but, without a record company to back them, Iggy Stooge (now Iggy Pop), drummer Scott Asheton and Williamson were on the verge of packing it in. Then, David Bowie stepped in, convincing his management team, MainMan, to take a flyer on the down-and-nearly-out Detroit bad boys and securing a record deal with Columbia; with Bowie taking a hand in the studio and Ron back in the fold (as a rather disgruntled bass player), the group gave us the seminal 1973 album, RAW POWER. Iggy and Williamson had been writing and demoing material for their next record but, not seeing the kind of return they were expecting, Columbia dropped the band. Williamson and Pop released the KILL CITY album, a live record (METALLIC KO), as well as a couple of EPs of demos before Iggy, with Bowie’s help, went on to a long and erratic solo career. Over the years, other demos have cropped up on various bootlegs. Williamson was said to have been in retirement when the Stooges came calling again, in 2009, after the death of Ron Asheton; in 2014, with the band on hiatus following Scott Asheton’s death, Williamson decided it was time to give those now-ancient songs a proper unveiling. Though Iggy declined to participate on the project, he did give James his approval to re-record the tunes, utilizing a core group of Cat Power’s Gregg Foreman on keyboards, Primal Scream’s Simone Marie Butler on bass and uber-drummer Michael Urbano, as well as the Stooges’ touring band and a string of punk and alt-rock heavy-hitters to bring Iggy’s lyrics to life. Forty years in the making, RE-LICKED is the result.

James Williamson; Alison Mosshart; James Williamson (photo credits: HEATHER HARRIS)

If I were going to fire an opening salvo across the bow of the enemy, I think that shot would probably be loaded with the demented warble of activist and former Dead Kennedys vocalist, Jello Biafra; apparently Williamson thought the same thing with Biafra’s frantic howl leading the charge on “Head On the Curve.” The tune kinda has a “Stooges meets the MC5 at a mixer hosted by the New York Dolls” vibe, with Foreman’s barely-controlled tack piano coda, massive fuzzed-out bass from Simone (with additional low-end from Mark Culbertson’s contra bass) and – of course – Williamson’s typical slash-and-burn guitar. “Open Up and Bleed” is a sweltering, stormy Blues track. It features an inventive lead from Williamson, alongside another nice solo, as well as some minor key piano from Stooges drummer Toby Dammit; the real highlight comes from the throat of under-rated Blues wailer, Carolyn Wonderland, who also adds a dose of her unique guitar sound. Primal Scream vocalist (and former Jesus and Mary Chain drummer) Bobby Gillespie offers his usual ragged, snotty voice to “Scene of the Crime,” a loud, sloppy piece of raunch with the tack piano (provided by Butler) and lo-fi rhythm section (Butler again, with Urbano banging away on the drums) that was the hallmark of RAW POWER. Steve Mackay offers some sludgy sax work, while James adds a stinging solo. While the majority of the songs here are Pop/Williamson compositions, “She Creatures of the Hollywood Hills” was co-written by Iggy and original Stooges guitarist, Ron Asheton. The tune is a jazzy blast of swampy Doors Style rock and roll, with Manzarek-like keyboards from Foreman and Ariel Pink, ably abetted by Petra Haden, offers up a weird James Brown meets Jim Morrison vocal scat, as Dammit and bassist Mike Watt add a perverse rhythmic swing to the proceedings. There’s also a skronking kind of sax solo from Mackay that is of a variety that wouldn’t sound out of place on an early Mothers album. On what is probably the best track on the album, “’Til the End of the Night,” Alison Mosshart’s (of the Kills and the Dead Weather) atmospheric moaning is delivered over Williamson’s sparse acoustic and Urbano’s heavy, orchestral percussion. The tension builds to about the 3:15 mark when everything explodes, collapsing into a jagged electric solo before reverting back to form for the final minute or so.

James Williamson (photo credit: HEATHER HARRIS)

Iggy’s “I Got a Right” crashes Stooges punk into Mother’s Finest rockin’ soul with vocals from the wildly talented Lisa Kekaula (of the Bellrays) wailing away over the Dammit/Watt rhythm section, Petra Haden’s oddly non-verbal backing vocals and a full horn section that includes Allison Gomer, Steffan Kuehn and Aaron Lington. Of course, the master of ceremony holds court with another dose of raunchy rock guitar on a song that woulda made Wendy O and the Plasmatics smile. “Pin Point Eyes” has a dirty, 1920s bawdy house feel, with Foreman’s ragtimey piano and the same horn section as “I Got a Right” dominating the rhythm. The Icarus Line’s Joe Cardamone’s vocals fall somewhere between Berlin-era Iggy and Johnny Thunders’ drugged-addled slurs. All of this, along with a rather restrained solo from James makes the track one of my favorites… this is the type of thing that I think Stiv Bator would be doing if he’d stuck around. The magnificent Alison Mosshart returns for “Wild Love” and she brings Mark Lanegan (Screaming Trees, Mad Season, Queens of the Stone Age… you get the idea… the guy’s got quite a pedigree!) along for the ride. With a butt-load of snarling guitars and the retro sound of Urbano’s drums and Butler’s bass, it’s a love song, Stooges style, and may just be the closest approximation to the band’s first Williamson era. There’s kind of an abstract Bowie-ness to “Rubber Leg.” The stomping rocker features a nifty, gravelly vocal from Little Caesar’s Ron Young amid a miasma of sound with Rolling Stones-like backing vocals and a weird, distorted sax from Steve Mackay that’s buried deep in the mix, coming up for air on an odd Farfisa run from Foreman; the whole thing is very noisy and quite disjointed and… I like it! “I’m Sick of You” is an archaic, American Gothic tune for the first half, with moody guitars and keyboards oozing underneath atmospheric vocals from the Orwells’ Mario Cuomo. It turns into a classic Stooges blast of intensity, with Williamson’s massive power-riffing tolling the death-knell of a broken relationship.

Lisa Kekaula; James Williamson; Mark Lanegan (photo credits: HEATHER HARRIS)

Now… with apologies to the Chairman of the Board (c’mon… you all know who I‘m talking about) and lyricist Paul Anka, there’s this: “And now, the end is near. Bonus tracks? We’ve got a few, but then again too few not to mention.” Carolyn Wonderland returns on vocals and guitar a funky blast of punk (or, is that a punky blast of funk?) called “Gimme Some Skin,” the first of six CD bonus cuts. Buoying Carolyn’s soulful voice are ragged, frenzied guitar blasts from both she and Williamson, as well as a wicked harmonica run from Walter Daniels and some James Chance post-punk sax bleats from Mackay. The first of two takes of “Cock In My Pocket” features typically raunchy Iggy lyrics, delivered with throat-throttling fervor by former Hellacoptors and current Imperial State Electric singer Nicke Andersson. The track also highlights some brilliant baritone sax from Aaron Lington. Another welcome return is featured on “Heavy Liquid.” Lisa Kekaula’s Paul Stanley-like howls carry the wicked Detroit-centric melding of the Stooges with the MC5, Death, Alice Cooper and Mitch Ryder over a muddy RAW POWER sound, with trashy horns from Kuehn, Lington and Gomer. Expanding the rock and roll pool to more of a world stage, the underlying riff is quite reminiscent of Budgie’s “Nude Disintegrating Parachutist Woman” and about half-a-dozen other hard rock classics, not to mention a bit of Devo and a sniff of Talking Heads. Other than lead singer Shea Roberts and guitarist Jesse Nichols, the Richmond Sluts (Chris B, Justin Lynn, John Tyree) seem to be relegated to the role of vocal support on “Wet My Bed,” with James, Simone, Gregg and Michael doing all of the heavy lifting, instrumentally. The arrangement works really well, with a shambolic free-for-all that sounds like the Dolls channeling Chuck Berry at a ROCKY HORROR SHOW revival; Williamson does his best Johnny Thunders doing his best Chuck and Foreman offers up a great tribute to the late, great Johnnie Johnson (the TRUE King of Rock and Roll)… this one’s a lot of fun. There’s not a lot difference between the first and second versions of “Cock In My Pocket,” other than the punkier voice of Gary Floyd, giving this version a Handsome Dick Manitoba/Dictators vibe. An alternate version of “Rubber Leg” sounds closer to RAW POWER than the regular album version, especially with the Iggy-cum-Joey Ramone yelps of JG Thirlwell, the alter-ego of the extreme artist known as Foetus. RE-LICKED is essential listening for rockers the world over, reminding us all why we started listening to rock and roll in the first place. The album is available in two physical formats: The first is a vinyl version with the first ten cuts… no bonus tracks, but it does come with a CD version that does feature all sixteen tunes; the second version is a standard release of the sixteen track CD. Both versions feature a cool “Making of… ” feature on a bonus DVD, a very nice addition to the entire experience.

DO THE ARCHITECTURAL WATUSI DVD/Blu-Ray Music Reviews | Darren Tracy | January 17, 2015 | Aaron Lington Alison Mosshart Allsion Gomer Ariel Pink Blues Rock Bobby Gillespie Bonus Material Carolyn Wonderland Chris B Classic Rock Dave Alexander David Bowie Documentary DVD/Blu-Ray Garage Rock Gary Floyd Gregg Foreman Hard Rock Iggy Pop James Williamson Jello Biafra Jesse Nichols JG Thirlwell Joe Cardamone John Tyree Justin Lynn Lisa Kekaula Mario Cuomo Mark Culbertson Mark Lanegan Micahel Urbano Mike Watt Music Nicke Andersson Petra Haden Psychedelic Rock Punk Rock Rock and Roll Ron Asheton Ron Young Scott Asheton Shea Roberts Simone Marie Butler Steffan Kuehn Steve Mackay The Richmond Sluts The Stooges Toby Dammit Walter Daniels

PAUL MCCARTNEY ARCHIVE COLLECTION

(HEAR MUSIC/CONCORD MUSIC GROUP; 2014)

The PAUL MCCARTNEY ARCHIVE COLLECTION continues with the release of two mid-’70s offerings from Wings, which by this time had gelled into more than a group of sidemen for Paul and Linda: VENUS AND MARS, a record that I dismissed out of hand upon its release for whatever sophomoric reason that was rattling around in my then 16 year old cranial cavity, and WINGS AT THE SPEED OF SOUND, which is probably my favorite post-Beatles album from the McCartney camp. The WINGS OVER THE WORLD tour and the WINGS OVER AMERICA record were in support of the VENUS AND MARS release and, upon further examination of that spectacular live set, I’ve been forced to reevaluate VENUS AND MARS. Luckily, the Hear Music label (by way of the Concord Music Group) has given me that opportunity. As with every release in the series, these albums are released in a few different configurations (CD, vinyl, two CD/DVD and a special CD/DVD version housed in a book with a ton of extras). Everything being equal, we’ll examine the double CD and DVD versions of both albums here.

I listen to a lot of music. A lot of music. That includes quite a few digital CD remasters of analog vinyl originals. For the most part, I can’t really tell the difference or, if I do notice a difference, I find that I prefer the original, warmer analog sound. However, the two latest additions to the PAUL MCCARTNEY ARCHIVE COLLECTION are nothing less than an aural revelation. I understand that speaking in terms of dimensions, it’s a spatial thing but, the only thing that came to mind as I listened was, “Great googley-moogley! Sir Paul has somehow discovered a process to make his music three-dimensional!” No kidding… the vocals, the instruments, everything is so vibrant and crisp and nuanced. The horns and guitars literally jump out at you, as do the backing vocals… you can practically count the layers and name each voice in the mix. This is the sound that all other remasters should aspire to (uh… you know what I mean). Individually, this is what you can expect:

WINGS: VENUS AND MARS

(original release: CAPITOL RECORDS; 1975)

On VENUS AMD MARS, Paul McCartney was determined to show that Wings really was a band: Multi-instrumentalist Jimmy McCulloch was added to front-line performers McCartney and long-time collaborator, Denny Laine; drummer Joe English was brought in to give the rhythm section – Paul and Linda – a more cohesive sound. This is still very much Paul McCartney’s show, but the contributions from the others add dimensions to the sound that had been missing. The record kicks off with the title track, which works as a nice acoustic intro to “Rock Show,” one of McCartney’s rockingest tracks ever. The slide work of Jimmy McCulloch and piano of special guest Allen Toussaint add just the right touch. “Love In Song” has a kinda spooky vibe and some great orchestration; it’s one of three tracks with Geoff Britton on drums (nasty drunk McCulloch basically said, “It’s me or him,” and the die was cast). With Paul doing a pretty good Rudy Vallee imitation, “You Gave Me the Answer” is a fun approximation of 1920s speak-easy music. “Magneto and Titanium Man” has the band showing their geek side with a couple of lesser known Marvel Comics villains (in the form of Titanium Man and the Crimson Dynamo); the tune is a lilting kind of pop thing with a very nice guitar part from Denny Laine. “Letting Go” is an atmospheric, horn-driven rocker with a funky groove. The track features Britton on drums and a killer guitar solo through to the fade. “Venus and Mars” is back in a fuller version that has added some cool sound effects (either keyboards or guitar – or both). “Spirits of Ancient Egypt” is a pumping rocker with a great bass line (go figure, huh?), some creepy backing vocals and a sweet backward guitar. Maintaining the same groove and feel of the previous track, McCulloch’s “Medicine Jar” has Jimmy rocking out on a tune that was probably Geoff Britton’s last gasp as a member of Wings. Denny Laine’s sweet, bluesy guitar informs “Call Me Back Again,” which has a slow, funky Stax thing happening. “Listen To What the Man Said” was the big hit single from VENUS AND MARS, with guest spots from guitarist Dave Mason and Tom Scott on sax. It’s one of McCartney’s sappiest tunes, but exceptional playing all the way around (including the woefully underrated Linda McCartney) saves it from the dregs. The couplet of “Treat Her Gently” and “Lonely Old People” is a one-two punch of sap but, again, there’s just something about the playing that saves it (Paul’s piano, in particular). It’s kind of a “When I’m Sixty-Four” song about the McCartneys’ everlasting love. Even today, though Linda’s been gone for more than 16 years, it’s obvious that Paul’s love for her was – and is – everlasting. A short instrumental track, a cover of the CROSSROADS soap opera theme by Tony Hatch, fills out the groove of side two.

VENUS AND MARS (Paul McCartney) (photo credit: LINDA MCCARTNEY/photo copyrighted: PAUL MCCARTNEY)

The second disc is where things get really fun and interesting. With everything working to perfection, “Junior’s Farm” is one of McCartney’s best non-album singles. The track has great pumping bass, a cool fuzzed-out rhythm guitar and a spectacular McCulloch solo. “Sally G,” the B-side of the single, is a nifty, lilting tune with pedal steel guitar and a fiddle… kinda like a barn dance hoedown. Sounding like the instrumental sister of “Sally G,” “Walking In the Park With Eloise” adds horns, banjo and washboard to the mix (and… is that an old soft shoe in there, as well?); the tune was another non-album single. Its B-side, “Bridge On the River Suite” is another grooving instrumental that coulda been the theme song from one of those rock and roll exploitation films of the early-to-mid-sixties. The B-side to 1985’s “Spies Like Us” single, “My Carnival” is an old time rock ‘n’ roll stroll (think Fats Domino’s “Blueberry Hill”) with a buoyant acoustic bass (played by Denny Laine, at least if the accompanying video isn’t lying), some purposely sloppy backing vocals and a lot of hand claps, whoops, hollers and whistles throughout. The previously unreleased “Going To New Orleans (My Carnival)” is a continuation (or a re-imagining) of the last tune with the added highlight of a “walking piano,” heightening the similarities to Fats Domino and other New Orleans music greats. “Hey Diddle” is a fun, pumping, previously unreleased reel, complete with penny whistles, saws and fiddles. “Let’s Love” is a minor key piano piece. I totally understand why it has remained unreleased up to this point. The next two tracks come from the 1974 documentary, ONE HAND CLAPPING, which didn’t see an official release until 2010. There’s a harder edged version of “Soily,” an unreleased track that the band used as an encore during the WINGS OVER THE WORLD tour; the other tune is the old chestnut “Baby Face,” which retains the playfulness of the 1926 intent. “Lunch Box/Odd Sox” was the B-side to 1980’s “Coming Up” single. It’s an instrumental with a very urgent sound that takes on a weird vibe with the eventual domination of the synthesizer. As the name implies, “Fourth of July” evokes a warm summer night, watching fireworks on a blanket with your baby. Yeah, the previously unreleased song is sappy and a little goofy and probably goes on a bit too long but, it’s still a nice acoustic departure. Parenthetically noted as an “old version,” a different (demo?) take of “Rock Show” has a ballsier sound with the bass standing out more than the final album cut. McCartney’s solo vocal actually works better than the album version, too. The single edit of “Letting Go” closes out the bonus audio. It’s about a minute shorter than the album take and features a different mix.

VENUS AND MARS (Wings: Jimmy McCulloch, Joe English, Denny Laine, Paul McCartney, Linda McCartney) (photo credit: LINDA MCCARTNEY/Photo cpoyrighted: PAUL MCCARTNEY)

There’s some fun video stuff on the bonus DVD. First, there’s a behind the scenes look at the recording of the gang vocals for “My Carnival.” The piece shows Denny Laine slapping away at an acoustic bass. “Bon Voyageur” shows the band dancing and mugging in New Orleans, being interviewed on a riverboat, partaking in the fun and games at Mardi Gras and on the riverboat, where they perform with the “house band,” the Meters. A black and white documentary of the rehearsals for the WINGS OVER THE WORLD tour, “Wings At Elstree” features rather spotty sound but, the thing is nearly 40 years old. Also on display are the improbably large bell-bottomed pants sported by Denny Laine. The final, loopy kinda nostalgia is a TV commercial for the VENUS AND MARS album, which shows the band goofing around in a backroom of a bar somewhere… at least that’s what it looks like to me. None of this stuff is really necessary; however, it is fairly entertaining as little windows of the 1975 version of Wings.

WINGS: WINGS AT THE SPEED OF SOUND

(original release: CAPITOL RECORDS; 1976)

WINGS AT THE SPEED OF SOUND Deluxe Edition

On WINGS AT THE SPEED OF SOUND, the McCartneys, Laine, McCulloch and English were more determined than ever to recast Wings as a democratic group, not just Paul McCartney’s backing band. Each non-Beatle member had one lead vocal (Denny had two), with McCulloch and Laine both contributing one song. It may not seem like all that big of a deal, but even that slight bit of variety managed to move the record to the top of my post-Beatles Paul McCartney list (it has since been supplanted, but that’s a story for another review). Oddly enough, regardless of the lyrics and vocal delivery (both kinda syrupy sweet), “Let ’em In” probably has more in common with something from THE BEATLES (the record with the white cover) than any other tune from McCartney’s solo career to that point. The arrangement is exceptionally tight, right down to the ramshackle sound of the drum fills. “The Note You Never Wrote,” which features a Laine vocal, has a very progressive, post-Denny Laine Moody Blues sound that turns into a slow, languid bluesy kind of a torch song; the tune definitely suffers from an identity crisis… it just doesn’t know what sort of a number it wants to be. “She’s My Baby” sounds like Paul’s homage to the Bee Gees; an instance where everything just comes together, producing the perfect pop tune. A lot of people thought that the passion and urgency of McCartney’s vocals left at around the same time he left his old band but, with “Beware My Love,” it appears that he has found that old fire once again. The guitars are great and Linda’s backing vocals add just the right touch. This is one of Paul’s best solo tracks. Jimmy McCulloch was always seen as the hot-shot young rocker but, guitar solo aside, “Wino Junko” is a fairly ponderous, gauzy thing that belies the song title. “Silly Love Songs” is one of McCartney’s most derided tunes, with its sappy sentimentality and disco production qualities ans prchestration; honestly, though, it’s not a horrible track. It’s one of those songs that gets stuck in your brain-pan and won’t go away for days. Simply stated, “Silly Love Songs” is a declaration of devotion to Linda, as well as a snide aside to John Lennon and the press. “Cook of the House” is a chugging boogie tune with Linda on lead vocals. Too many people spent too much time on Linda’s supposed lack of talent; this song shoulda shut ’em all up. It’s a fun little number and she sounds great on it; it’s actually one of my favorite numbers on the record. Denny is back on lead vocals with “Time To Hide,” which he also wrote. The song is more of a throbbing rocker than “The Note You Never Wrote” and Laine sounds far more comfortable with this type of tune. The number features a nice, somewhat adventurous horn chart and McCartney’s bass work shows why he is one of the top four or five players ever. “Must Do Something About It” is a gently rocking track featuring Joe English’s vocals. Joe displays that smooth delivery that served him so well when he left Wings for a solo career in Christian Rock. Paul returns with “San Ferry Anne,” which is permeated with a weird, rather hypnotic vibe. The song also features a jazzy horn section that seems almost counter-intuitive to the overall feel of the track, which makes it all the more appealing. “Warm and Beautiful” closes out the original record, a piano ballad that eventually adds some very nice accompaniment in the forms of a string quartet and McCulloch’s Hawaiian-influenced slide.

WINGS AT THE SPEED OF SOUND (Paul McCartney) (photo credit: LINDA MCCARNEY/photo copyrighted: PAUL MCCARTNEY)

The bonus audio tracks aren’t as numerous or essential as those offered on VENUS AND MARS. They’re mostly throw away demos with a couple of really awesome jewels tossed in. The first demo is Paul sitting at a piano, working on the lyrics to “Silly Love Songs.” It also features Linda on backing vocals. The demo of “She’s My Baby” is very much more of the same, with very tentative (almost mumbled) scratch vocals. “Message To Joe” is a 20 second memo to Joe English, run through a vocoder and is totally useless. “Beware My Love” is another demo, this time a little more fleshed out. The former drummer for Band of Joy stops by to rev up an already great number. By the way, in case you were wondering, Band of Joy’s drum stool was filled by a guy named John Bonham, who went on to have some success with the New Yardbirds… oh, what could have been! “Must Do Something About It” is Paul’s demo version of the song. This take features a nicer groove and a better mix than the album version. Had they used the backing tracks from this version with Joe’s vocals, the result would have been impressive. A piano demo of “Let ’em In” features Paul’s kinda scatting sratch vocals… very much a work in progress. The final demo is a short, instrumental snippet of “Warm and Beautiful.”

WINGS AT THE SPEED OF SOUND (Denny Laine, Paul McCartney, Linda McCartney, Jimmy McCulloch, Joe English) (photo credit: CLIVE ARROWSMITH/MPL COMMUNICATIONS)

The video material is a little weak, as well. Actually, it isn’t much different than the stuff from the VENUS AND MARS bonus DVD, there’s just… less. First up is the official promotional video for “Silly Love Songs.” It’s your standard issue video from those early days of the medium: The band doing goofy stuff and mugging for the camera, the band backstage and, of course, the obligatory performance shots. “Wings Over Wimbley” is raw footage, shot documentary style of the band’s final WINGS OVER THE WORLD shows, a three-night run at Wembley in London. There’s a lot of backstage stuff, parts of a press conference and a meet and greet (and, is that John Peel in line there?) interspersed with bits of film and music from the band’s soundchecks. For what amounts to a music video for “Warm and Beautiful,” “Wings In Venice” features the band, the crew and the city preparing for a huge outdoor show. One thing that I noticed in watching all of these little vignettes of Wings from both DVDs is that Linda McCartney was always shaking a mock fist at the camera and getting all motherly with stuff like, “I have a bone to pick with you, mister” or “This is the second time I’ve had to warn you, little mister.” I mention this only because from everything I’ve ever read or heard about Linda is that she was the most loving, forgiving person you’d ever want to meet; just look at the footage… she can’t keep a stern look on her face to save her life. I think I understand how Paul could have loved her so completely.

DO THE ARCHITECTURAL WATUSI DVD/Blu-Ray Music Reviews | Darren Tracy | November 2, 2014 | Allen Toussaint Bonus Material Classic Rock Dave Mason Denny Laine DVD/Blu-Ray Geoff Britton Jimmy McCulloch Joe English John Bonham Linda McCartney Music New Orleans Paul McCartney PAUL MCCARTNEY ARCHIVE COLLECTION Pop Music Reissue Rock and Roll The Meters Tom Scott Wings

WHAT’S INSIDE