Reissue – 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.

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

BILL EVANS: YOU MUST BELIEVE IN SPRING

(CRAFT RECORDINGS/CONCORD MUSIC GROUP; 2021)

As you may be aware (as am I… painfully!), I don’t write a lot about Jazz. As such, this may very well be the first ever heavy metal Jazz review. So, let’s drop the needle on this thing and see what happens.

BILL EVANS (photo credit: ARNOLD NEWMAN)

YOU MUST BELIEVE IN SPRING is widely considered to be pianist Bill Evans’ magnum opus. Evans most often worked in a trio situation and this album is no different: Bill is joined by bassist Eddie Gomez and drummer Eliot Zigmund, each adding – sometimes by subtraction – just the precise amount of notes that the individual pieces of music required to work. Evans, Zigmund and Gomez entered Hollywood’s Capitol Studios at the end of August, 1977 to begin work on the seven tracks with producers Helen Keane and Tommy LiPuma. With the album ready to go, LiPuma left Warner Brothers and, rather than offer up YOU MUST BELIEVE… to the masses and wait for it to run its productive course, Keane (who also managed Evans) opted to hold it for the end of the very lucrative new contract that had just been signed. The album was shelved in favor of NEW CONVERSATIONS, AFFINITY and WE WILL MEET AGAIN before finally seeing the light of day in February, 1981… five months after Bill Evans’ death.

BILL EVANS (EDDIE GOMEZ, ELIOT ZIGMUND, BILL EVANS) (photo credit: PHIL BRAY)

Evans wrote “B Minor Waltz (For Ellaine)” for his common law wife, Ellaine Schultz, who committed suicide in 1973. The piece is mostly Bill’s piano with backing from Gomez and minimal use of cymbals from Zigmund. Intricate and inspiring, it sets the mood perfectly for the rest of the album. Michael Legrand’s “You Must Believe In Spring” sees Bill stepping back in the midsection, allowing Eddie to solo as Eliot offers a few brash strokes before falling into a nice groove with Gomez. Evans comes charging back to finish the number, evoking the sound and feel of spring showers; the light touch at the end comes like the sun peeking out of the clouds as the rain subsides.

BILL EVANS (photo credit: BRIAN MCMILLEN)

“Gary’s Theme,” was written and recorded by Gary McFarland, a recurring signature on his 1969 album, AMERICA THE BEAUTIFUL (AN ACCOUNT OF ITS DISAPPEARANCE). Its another pastoral piece, with Evans’ deft, airy playing giving as much weight to the notes not played as to the ones played. Written years earlier for his brother, “We Will Meet Again (For Harry),” Bill would re-record it in 1979, following his brother’s suicide (it seems odd, in retrospect, that the second version saw release before the original). Here, Evans offers a more forceful approach to his playing and, again, Gomez and Zigmund command the middle section.

BILL EVANS (BILL EVANS, EDDIE GOMEZ, ELIOT ZIGMUND) (photo credit: A FORSTER)

With “Peacocks,” you can almost hear the birds strutting in their finery with every note of Evans’ playing. Eddie offers beauiful – though minimal – support while Eliot colors the sound with light brushes and splashes, making the Jimmy Rowles tune a definite highlight. Even though Zigmund is virtually nonexistent on Sergio Mihanovich’>s “Sometime Ago,” it might just be the most Rock ‘n’ Roll song that ANY Bill Evans Trio ever recorded. The tune is bright and happy, just like a spring day; it’s exuberant, just like a child enjoying the sun and the warmth after a long, dreary winter.

The album ends with “Suicide Is Painless,” better known as “The Theme From MASH.” At the beginning, it seems as though Evans is turning the bouncy Johnny Mandel piece into a dirge, but after a few seconds, the spry, jaunty tune we’re all familiar with comes to the fore. This is perhaps the only time that the trio played as such; obviously, the piano still leads the charge, but Eddie Gomez absolutely lets loose on bass and Eliot Zigmund’s playing is some of the most straight-forward on the whole record. The track is the second longest on the album… just under six minutes, but it seems to end about 20 minutes too soon. I wonder what sorts of improvisations these three talented musicians would have offered up over an extended piece. Though Bill Evans wasn’t around to see the release of his masterpiece, we can be thankful that it wasn’t lost in the shuffle that was (and is) a part of the record industry. As for me, I’m thankful that labels like Craft Recordings exist to breathe new life into classic releases like YOU MUST BELIEVE IN SPRING.

DO THE ARCHITECTURAL WATUSI Music Reviews | Darren Tracy | September 28, 2022 | Acoustic Music Bill Evans Bill Evans Trio Eddie Gomez Eliot Zigmund Helen Keane Instrumental Music Jazz Music Reissue Tommy LiPuma Vinyl

JON ANDERSON: SONG OF SEVEN; CHRIS SQUIRE: FISH OUT OF WATER

(ESOTERIC RECORDINGS/CHERRY RED RECORDS; 2020; 2018)

When Jon Anderson and Chris Squire first formed Yes in 1968 in London, they talked about their vision for a new style of music: melodic, layered and poppy like some of the major groups they loved – The Beatles, Byrds and Simon and Garfunkel among them – but perhaps more expansive somehow, more dynamically rich. I seriously doubt they had anything like CLOSE TO THE EDGE in mind back then, as that sort of leap only became possible with the incredible level of musicianship brought to the group by Steve Howe, Rick Wakeman, et al. But yeah, they were thinking big. And their flair for melodic, commercially appealing classic rock was always present in their sound, no matter how Topographically expansive it got. These two solo reissues (we’re rather tardy getting a review up for Squire, but hey, it allows us to do this informative combo piece right now!) are terrific illustrations of the kind of diverse sonic stylin’ each musician felt free to do outside their mother group. They’re filled with craftsmanship, imaginative arrangements and an obvious love for romantic yet far-reaching pop rock ‘n roll.

JON ANDERSON, circa 1980 (uncredited photo)

SONG OF SEVEN was NOT Anderson’s solo debut; he’d already released the ethereal and somewhat esoteric OLIAS OF SUNHILLOW during a Yes break when all five members made solo albums. That album was sort of what you might have expected from ol’ Jon at the time… cosmic, spacey, drifty. Not so with SoS, though. What are fans of epic Yes to make of Jon singing lines like “Don’t forget I always want you by my side/Baby, by my side/Oh yeah, yeah, yeah… ”? Is this really the same guy that wrote “Dawn of the light lying between a silence and sold sources/Chased amid fusions of wonder…” etcetera? One and the same, yeah, yeah, yeah. Jon seemed to at least partially rebel against his “out there” image on some of the tracks here. He wanted to get straight to the “Heart of the Matter,” the title of the most conventional rocking song here. If not for that instantly recognizable high voice, this could be the kind of mainstream rocker, complete with breezy backing vocals, that any number of today’s more formulaic male artists might serve up. It’s upbeat to the max, and our hero even talks about getting his baby in the “back seat of my car,” which is sort of beyond belief if you stop to think about it. This ain’t Yes by a long shot! “Everybody Loves You” sounds a bit like Trevor Rabin-era Yes, with a normal chorus (“Everybody loves you/But I just love you a little bit more”) and an airy, sweet arrangement. The real gems, though, are “Take Your Time” and “Days.” The former is contemplative and relaxed as Anderson warns against rushing around too much and losing sight of the simple pleasures of love and enjoying each day. It’s short and agreeably low-key, making for one of his most enjoyable solo songs ever as a result. And there’s a nice keyboard bit and some fetching bass also, courtesy of John Giblin. Then comes the gorgeous “Days,” a Yes song in all but execution. It’s up there with “Wonderous Stories,” a recitation of nature imagery and the art of soaking up the beauty to be seen all around you, perhaps on a perfect spring day. There is no one better than Jon Anderson at this type of thing; you can just see him standing outside watching swallows circling, young deer sauntering through ferns in the mist, the aroma from the garden filling your nostrils… “The days are blessings,” he sings, and who would challenge the sentiment? Beautiful, and it’s followed by a harp solo, perfectly executed. This leads into some lush strings and the title epic, which is in a whole nother league from the earlier trifles I mentioned. In a piece that crosses the 11-minute mark (arguably a few minutes too long), with lyrics about how “everywhere you look you release parts of your senses/And everywhere there’s purpose and answers to all your dreams” as well as the line “starlight… telling me there’s something else to cling onto,” you get the trippy Jon most of us have come to cherish (or not)… he builds and cycles ever upward towards some lofty realization of the meaning of it all. There’s also a dazzling Clem Clemson guitar solo or two that sound like Steve Howe a bit, and some childlike voices joining in. This stuff isn’t for everyone, mind. Anderson’s core music requires you to lose your cynicism to fully enjoy it. But at least two thirds of this record is truly winning, and shows our prog hero loosening up quite a bit and demonstrating he can let his hair down when he wants. Sure, Anderson can be cloying here and there but damn, this guy loves music and life, and with his staggering body of work he’s earned the right to do whatever the hell he wants. And on this record he wants to just sing odes to the beauty and ultimate goodness of it all, including gettin’ down with your baby (and perhaps BABIES). You got a problem with that, head elsewhere, pal… This reissue does NOT offer much in the way of extras, though, just a couple of US single edits of “Some Are Born” and “Heart of the Matter.”

JON ANDERSON and CHRIS SQUIRE with Yes, 1977 (photo credit: RICHARD DREW/ASSOCIATED PRESS)

Chris Squire’s 1975 opus, FISH OUT OF WATER was his only major solo release, and as such earned plenty of attention. It’s a solid, compelling five-song disc showcasing both his legendary bass playing skills and his thin but pleasingly sincere vocals (Squire’s ability to serve up harmonies that perfectly complimented Jon Anderson made for part of that trademark Yes vocal sound). “Hold Out Your Hand” was a fairly popular single, balancing Squire’s fluid bass runs, some Wakeman-style organ (from Barry Ross and Wakeman’s replacement/predecessor, Patrick Moraz) and a bracing melody and arrangement. “You By My Side” is more pedestrian; a Yes veteran shouldn’t be writing stuff like “You know I love ya/I can’t be without ya/When I’m alone, I still feel this way about ya.” T’aint “Roundabout,” that’s for sure. To be fair, some lush orchestration later in the song improves things, and there is no doubting Squire’s melodic flair. As on Anderson’s disc, Squire also has an 11-minute opus for us after that, and it’s a doozy. “Silently Falling” opens with a gorgeous bit of old-fashioned classicism, with keyboards, flute and the like. Squire sings with a kind of achingly romantic tenderness, and his bass surges underneath the whole thing in that familiar Yes manner. Indeed, this whole thing sounds like Yes although without Anderson’s mystical tendencies. There’s a long keyboard-driven section that rocks but gets a tad repetitious, although you won’t mind if this aspect of the Yes sound is your thing. But Squire’s band cooks up a storm, that’s for sure. About halfway through, there’s a nice quiet passage, then a different section where Squire mostly sings “silently falling” over and over. You can picture him being lost in the majesty of the proceedings here, and it’s indeed substantial in that prog rocky way. “Lucky Seven” adds a bit of funk, introducing horns (not all that transcendent in my view), a nice Bill Bruford performance on percussion, and a decent string arrangement. Squire again sings mostly in a low key manner, which helps, since the music here isn’t always subtle. “Safe (Canon Song)” is the 15-minute magnum opus that rounds out the record, and it’s the most meaty and adventurous Squire solo track to date. Let me just say that the first minute and a half of this song struck me, when I first heard it long ago, as among the most beautiful passages on any rock record ever. The strings and piano are simply gorgeous and Squire’s plaintive vocal, opening with the phrase “When your savior lets you down… ” achieves an understated perfection. The music swells and flows, revealing the kind of powerful sense of purpose that Squire brought to many a Yes album. I simply love the verse where he sings “When you’re faced with all those doubts/Have no fear/When the changes come about/I’ll be here/I’ll be waiting beside you/To shelter your heart/Like a ship in a harbor… You will be, safe with me.” There is something so transcendent about this part of the song; it may well be the most soaringly romantic moment on any Yes solo album so far. It’s followed, then, by a particular series of notes that is repeated over and over on different instruments, including the string section. Squire plays one of his patented bass riffs to contrast with this semi-classical arrangement, squeezing out multiple variations of the same two or three ideas. Kudos to fine keyboard work by Moraz, Rose and Andrew Pryce Jackman as well. The piece lumbers along, taking no prisoners, and your own patience level will determine if you’re still digging it by the 10-minute mark or so. Myself, I am in awe of the sheer moxie it took to arrange this densely orchestrated beast, especially since Squire began it with such delicate beauty, and then gleefully allowed it to become this gargantuan epic of sonic razzle dazzle. It’s musically rich, and it helped FISH OUT OF WATER become one of the most popular Yes solo albums, one that still holds up nicely.

CHRIS SQUIRE, 1975 (photo credit: LAURENCE BERNES)

Disc 2 of this reissue includes the one-off Squire and Alan White collaboration “Run With the Fox,” which turned up on one of those Yes box sets sometime back. It’s a charming but unlikely Christmas song, full of seasonal exuberance and whimsy. Appearing with it is the seldom previously heard instrumental version called “Return of the Fox,” the B side of the original 1981 single. Although interesting if you like this sort of thing, it doesn’t really add much in terms of enjoyment. But the track with Squire’s vocal is undeniably a charming little ditty. You also get edited single versions of “Lucky Seven” and “Silently Falling,” although that latter piece is substantial enough that cutting it down to single size is a bit of an aesthetic insult. Still, Squire at least gave us one classic solo album before he died, to go with all the masterful, groundbreaking Yes compositions he had such a huge role in helping to create. Any true Yes fan probably should have this in their collection if they don’t already.

DO THE ARCHITECTURAL WATUSI Music Reviews | Kevin Renick | December 30, 2020 | Acoustic Music Alan White Andrew Pryce Jackman Barry Ross Bill Bruford Chris Squire Classic Rock Clem Clemson English Folk Music Expanded Edition John Giblin Jon Anderson Music Patrick Moraz Pop Music Progressive Folk Rock Progressive Rock Reissue Rock and Roll Yes

JON HASSELL: VERNAL EQUINOX

(NDEYA RECORDS; 2020 reissue)

Some artists stubbornly resist pigeonholing. I could put any number of Jon Hassell records on (and I have a fair number) at a social gathering, and I’d bet that at least one listener would come up and say, “What the heck is THIS?” It’s strange music, that’s all. And being helpful by saying “it occupies a space between ambient, Miles Davis-type jazz and world music” may or may not prepare the uninitiated. Hassell himself would eventually start branding his recordings as “Fourth World,” to signify a kind of foreign, multi-ethnic sound that, while centered around his very distinct trumpet style, would also take you somewhere new. A sort of “traditional” sound from a country that doesn’t truly exist.

JON HASSELL (David Rosenboom, Jon Hassell in 1977) (uncredited photo)

His first official album was VERNAL EQUINOX, which initially came out in 1977. It has now been remastered and reissued on Hassell’s own label. It’s kind of a disorienting little beast of a record, but it was original enough to catch the ears of Brian Eno, who wrote liner notes for this edition. Eno, of course, would go on to collaborate with Hassell on POSSIBLE MUSICS in 1980, and to produce a few records for the artist after that. For whatever it might illustrate, the noted music website Pitchfork included VERNAL EQUINOX as one of their “50 Best Ambient Albums of All Time” (it was listed at #47). And the evocative, often spacious quality of Hassell’s compositions does indeed fit comfortably into an ambient (albeit the edgy reaches of the genre) mode.

Most of the six pieces here are exotic, a bit misty-sounding and in thrall to the otherworldly timbre of Hassell’s trumpet. The instrument is sometimes processed to sound either partially muted, or vaporous, wafting through the air of whatever planet it’s coming from. “Viva Shona” features birdsong and sparse background instrumentation, the trumpet placed front and center. “Hex” lets Hassell carry on a very distinctive conversation, his tones developing in such a lively manner that you listen close to catch the amazing process as it evolves. What sounds like rainstick and bass adorns the background. Most listeners will be especially riveted by the two centerpiece tracks “Blues Nile” and the title track. The former piece gives us a slightly distorted, granular-sounding drone over which Hassell delivers sonic bursts that sound for all the world like a warning or “call to attention” for the citizens of an alien culture. Could be a pending invasion from that tribe over the hill! The clear separation between the trumpet and the sharp-edged drone is dramatic and compelling. Around the climax of the piece, Hassell lets loose a series of notes going up and down the scale of his chosen key, and you’ll likely stop whatever you’re doing to listen closely. As for the nearly 22-minute “Vernal Equinox,” it’s thoroughly engrossing, setting up a sparse but hypnotic landscape of background drone, hand drumming and a casually meandering trumpet, as though Hassell were patiently walking a lush rainforest trail, stopping to observe here and there but recording his observations in music with great passion at appropriate intervals. It’s a marvel, this track. I can only imagine the reactions of listeners encountering it for the first time. Things finish off with the short closer “Caracas Night,” with nocturnal nature sounds and some Miles-style blowing to bid you adieu in a slightly more traditional manner. It’s not a long album, this outing, but it will definitely make you feel like you’ve been somewhere.

Hassell’s later outings with Eno would bring him more acclaim (POWER SPOT is one of those distinct offerings), and there is more textural richness on the dramatically titled THE SURGEON OF THE NIGHT SKY RESTORES DEAD THINGS BY THE POWER OF SOUND and DREAM THEORY IN MALAYA, to name just a couple of gems. But it started here, with …EQUINOX. He’s a genuinely visionary player who took a much featured instrument and did things with it no one had ever done before. That takes a special kind of musicality and love of exploration that should certainly be celebrated.

DO THE ARCHITECTURAL WATUSI Music Reviews Streaming Video | Kevin Renick | April 7, 2020 | Ambient Music Avant-Garde Music Brian Eno Experimental Music Fourth World Music Instrumental Music Jazz Jon Hassell Music Reissue Streaming Video Vinyl

COLISEUM/DOOMRIDERS: NOT OF THIS WORLD

(MAGIC BULLET RECORDS/AUXILIARY RECORDS/LEVEL PLANE RECORDS; reissue 2016, original release 2005)

Eleven years ago, Ryan Patterson of Louisville three-piece Coliseum released a split EP on his Auxiliary label, sharing the slab with a Boston band called Doomriders, one of Nate Newton’s many side projects when he isn’t playing bass for Converge. The intent of NOT OF THIS WORLD was to pay tribute to Glenn Danzig’s eponymous metal monster, Danzig. Each choosing one song from Danzig’s 1988 debut, the bands added some originals – very much in a similar vein to Danzig’s dark metal – to the mix (Coliseum, two tracks; Doomriders, one). Now, as part of their twentieth anniversary celebration, Magic Bullet Records has taken the two tribute tracks and stuck ‘em on a special 7” reissue. I wouldn’t have minded hearing the whole thing, but… I will definitely take what I can get.

Coliseum (Matt Jaha, Mike Pascal, Ryan Patterson, circa 2005) (uncredited photo)

Coliseum’s contribution, “Am I Demon,” comes across as standard-issue lo-fi heavy rock… you know, the good stuff. It’s kinda like Mountain and Blue Cheer tag-teaming with Lemmy, taking the low road while the ref’s not looking to retain their championship belts. Patterson offers suitably dark and gravelly vocals, as well as some brilliant guitar work; bassist Mike Pascal and bassist Matt Jaha lay down an underpinning that is so brutish, so heavy that you could caulk a window with it. If you like what you hear – and who wouldn’t? – check out the band’s latest release, 2015’s ANXIETY’S KISS, available here.

Doomriders (Chris Bevilacqua, Nate Newton, Jebb Riley, Chris Pupecki, circa 2008) (uncredited photo)

“Possession” comes from Doomriders… DUH! The track starts with a wicked backward guitar that leads into a riff that reminds me of “Battle Axe” by Billion Dollar Babies, with sort of a minimalist (for a metal band, anyway) percussion thing from Chris Bevilacqua and Jebb Riley’s sonorous bass groove; the guitars, supplied by Newton and Chris Pupecki, are more akin to Tony Iommi’s dense slabs of tonality than anything else. Danzig’s punk pedigree is definitely on display on this one, particularly with the Misfits style gang vocals on the chorus. You gotta go back to 2013 to find new music from the quartet with the album GRAND BLOOD. You can find that and everything else Doomriders at this location.

So, short and sweet… just like this awesome blast from the past. Any fan of pure metal, hardcore or any type of aggressive music, really, will want this limited edition release in their collection; likewise, if you’re a fan of any of Glenn Danzig’s previous work, whether it be the Misfits, Samhain or Danzig, this record will fit in nicely with those, as well. It’s available on black, white or clear vinyl from Magic Bullet or any of the usual suspects.

DO THE ARCHITECTURAL WATUSI Music Reviews | Darren Tracy | January 1, 2017 | 7" Single Chris Bevilacqua Chris Pupecki Coliseum Danzig Doomriders Glenn Danzig Gothic Music Hard Rock Hardcore Heavy Metal Horror Rock Jebb Riley Matt Jaha Mike Pascal Music Nate Newton Punk Rock Reissue Rock and Roll Ryan Patterson

THE YARDBIRDS: ROGER THE ENGINEER

(REPERTOIRE RECORDS/COLUMBIA RECORDS; reissue 2016, original release 1966)

Throughout the early 1960s, popular music was a “singles” medium. Sure, full-length albums were part of the mix but, by and large, these collections consisted of up to one half recent single releases and massive doses of filler and cover tunes. However, by the spring and summer of 1966, album rock music was going full force, with classic records being released by the Rolling Stones, the Beach Boys, Bob Dylan, Frank Zappa’s Mothers of Invention, the Beatles, the Kinks and the Jefferson Airplane, among others. One of the “others” was the first official studio album by a band called the Yardbirds, who had generated a string of hit singles on both sides of the Atlantic beginning in 1964. The album, released as YARDBIRDS in the United Kingdom and most of the world, was renamed OVER UNDER SIDEWAYS DOWN for North American release (as well as in France, Germany and Italy); the Australian mono release was dubbed ROGER THE ENGINEER.

The Yardbirds, 1966 (Chris Dreja, Paul Samwell-Smith, Jim McCarty, Keith Relf, Jeff Beck) (publicity photo)

The record featured the vocal prowess of Keith Relf, Chris Dreja’s rhythm guitar, Paul Samwell-Smith on bass, Jim McCarty on drums and… oh, yeah… some guy by the name of Jeff Beck playing lead guitar. Jim McCarty’s original liner notes opines, “It has often been said that Jeff Beck is one of the leading guitarists in the country, and I am inclined to agree with him.” This is a terrific, classic 1960s rock album, with plenty of something for everyone: Fuzz guitar, Middle Eastern influences and straight-on boogie rock in the form of “Beck’s Boogie,” performed by a true master. It’s also one of the first albums to highlight a new sound, a sound that would become known as psychedelic rock.

The Yardbirds, 1966 (Paul Samwell-Smith, Chris Dreja, Keith Relf, Jeff Beck, Jim McCarty) (uncredited photo)

This 2016 two disc remaster features both monaural and stereo mixes of the album and is chock full of bonus tracks. The mono disc (which was still the most common configuration for mass consumption fifty years ago) contains the more interesting bonus material, including the two singles (and accompanying B-sides) from Relf’s short-lived solo career. Also on board – and of more interest – are a pair of songs recorded after the departure of bassist Samwell-Smith: “Happenings Ten Years Time Ago” and “Psycho Daisies,” released in the UK as a single. The B-side, “Psycho Daisies,” features the final line-up before the implosion that ultimately led to the formation of a legendary monster of rock; the track has a rare lead vocal from Beck, as well as a lad named Jimmy Page playing bass. “Happenings Ten Years Time Ago” is a guitar-lover’s wet dream, with Jeff and Jimmy sharing lead duties. Also playing on the session was a young bassist by the name of John Paul Jones. When Page inherited the Yardbirds name, he enlisted Jones as a member of what would become the New Yardbirds before morphing into another band you might have heard of… Led Zeppelin.

The Yardbirds, 1966 (Chris Dreja, Jeff Beck, Jim McCarty, Jimmy Page, Keith Relf) (publicity photo)

The Yardbirds may, of course, be best known for having Jeff Beck, Jimmy Page and Eric Clapton playing with them at one time or another during their brief run; they didn’t achieve the same elevated status as some of their counterparts, but they did have their share of great music and have proven to be quite influential over the last half-century. The band’s first proper album, affectionately called ROGER THE ENGINEER (after Chris Dreja’s cover art, depicting the man who engineered the sessions), is a great place to start delving into the genesis of not only psychedelic rock, but two of the most iconic guitar players ever, as well as the group the Who’s John Entwistle said would “go over like a lead balloon”; it is, truly, one of the great rock albums of any generation.

DO THE ARCHITECTURAL WATUSI Music Reviews Streaming Video | Bill Winer | December 20, 2016 | Blues Rock British Invasion Music Chris Dreja Classic Rock Jeff Beck Jim McCarty Jimmy Page John Paul Jones Keith Relf Music Paul Samwell-Smith Pop Music Psychedelic Rock Reissue Rock and Roll Streaming Video The Yardbirds

WHITFORD/SAINT HOLMES: REUNION

(MAILBOAT RECORDS/PASCO MELVIN MUSIC; reissue 2016, original release 2015)

During the recording sessions for Aerosmith’s NIGHT IN THE RUTS, the excesses fostered by the 1970s Rock and Roll lifestyle (primarily perpetuated by vocalist Steven Tyler) had taken their toll: Joe Perry exited before the album was completed, with his stage-right counterpart, Brad Whitford, following him out the door after nearly two years of inactivity and in-fighting. Derek Saint Holmes had been “let go” from Ted Nugent’s band at least twice between 1975 and 1978 because… well, because he wasn’t Ted Nugent; while the ‘Smith fell apart in 1979, Derek formed Saint Paradise, releasing an excellent record before hooking up with the newly bandless Whitford for 1981’s WHITFORD/SAINT HOLMES album. With another album recorded and ready for release, the project was (seemingly) shelved permanently when Brad returned to a presumably clean and sober Aerosmith and Saint Holmes went back for another round of abuse from Uncle Ted. Now, three-and-a-half decades late, the pair have come together again to clean up a little unfinished business. That unfinished business has manifested in the form of REUNION.

WHITFORD/SAINT HOLMES (Derek Saint Holmes, Brad Whitford) (photo courtesy: STRAIGHT 8 ENTERTAINMENT)

REUNION is exactly that, with the two living in the same town just outside of Nashville, Derek and Brad got together and started writing at least an album’s worth of new songs. And what a fine record it is, drawing on a combined 80-plus years of rockin’ experience. “Shapes” kicks things off nicely, offering all of the best parts of the namesake’s previous bands – Aerosmith, Ted Nugent and Saint Paradise – with none of the excesses (the drugs, the loincloths, the over-the-top frontman). The guys still sound great together and Saint Holmes hasn’t lost the vocal prowess that made so many of those early Nugent records (and, indeed, the sole Saint Paradise release) so memorable. Surrounding themselves with a group of like-minded players (bassist Chopper Anderson, drummer Troy Luccketta and keyboardist Buck Johnson) is also a plus, with Luccketta’s presence, in particular, paying immediate dividends, as the drums crack and pop, adding just the right amount of heavy bounce. A bluesy little slice of Americana, “Tender Is the Night” finds Saint Holmes doing his best Bob Seger. The guitars jangle and shine, while Johnson’s keyboards and Anderson’s bass take the tune to completely unexpected heights. This song could easily be a hit on Classic Rock or Country (yeah, I said it!) radio, making it an early favorite. On “Rock All Day,” a dirty “Hooligan’s Holiday” guitar riff leads into an ‘80s hair metal groove featuring a wicked slide part. For some reason, Derek’s vocals remind me of Steve Walsh’s Kansas heyday. With Motley Crue and Kansas musical references tossed into the mix, this one is some really good stuff!

WHITFORD/SAINT HOLMES (Brad Whitford) (photo courtesy: STRAIGHT 8 ENTERTAINMENT)

“Hot For You” is a slice of Stones-style Rhythm and Blues that hits on Brad’s Aerosmith ancestry more than anything else so far on this album. More of that magnificent slide guitar, a boogie-woogie piano from Johnson, a memorable hook and some funky horns all add up to another great tune. A power ballad, “Hell Is On Fire” brings to mind certain MTV juggernauts like Snookie and… just kidding! Those juggernauts would be late ‘80s/early ‘90s Aerosmith and Uncle Ted’s super-group, Damn Yankees, with this song’s lyrics coming closer in feel to that band’s Tommy Shaw. Derek also recalls the melody to one of Saint Paradise’s better tunes, “Jesse James.” On “Catch My Fall,” pounding drums and chiming guitars lead into a track that reminds me of Pat Benatar for some reason. It’s probably the most disposable number here and, having said that, maybe one of the tunes most likely to be a radio hit.

WHITFORD/SAINT HOLMES (Derek Saint Holmes) (photo courtesy: STRAIGHT 8 ENTERTAINMENT)

Steve, is that you? “Shake It” is the most Aerosmith-sounding track on the album, right down to Saint Holmes’ vocal histrionics and phrasing. As guitarists, neither Derek nor Whitford have lost any of the sting for which they’ve been known and, this is not a bad little tune, with some nice piano and a killer drum groove (a la Joey Kramer on “Rag Doll”). With its infectious, funky groove, “Gotta Keep On Movin’” could have been the follow-up single to Ray Parker Junior’s “The Other Woman,” or at least the B-side. Chopper Anderson and Troy Luccketta really shine, as do Derek’s vocals; the song also features one of the best solos on the entire record. “Flood of Lies” is another big Rock song. So big, in fact, that it could be mistaken for an outtake from ROCKS. The number is led by Buck Johnson’s organ and fueled by the singer’s passionate performance. Saint Holmes spent so much time as Nugent’s side man that it has caused many to miss (or dismiss) just what a powerful voice he possesses and, like a fine wine, he seems to have improved with age.

WHITFORD/SAINT HOLMES (Troy Luccketta, Chopper Anderson, Brad Whitford, Derek Saint Holmes, Buck Johnson) (uncredited photo)

It took almost 35 years for these two men to reconnect in any sort of creative way. As far as I’m concerned, it was well worth the wait. This reissue revisits that first record with a bonus disc featuring a remastered version; as a small, gentle reminder of how Derek and Brad sounded in 1981 with a quick rundown of the cuts on WHITFORD/SAINT HOLMES…

“I Need Love” kicks things off. The song is anthemic and poppy; very much a product of its time. “Whiskey Woman” has turned out to be the record’s most enduring number, an AOR staple then, a Classic Rock radio staple now. “Hold On” is your standard-issue marketable pop ballad with a bouncy New Wave groove, courtesy of drummer Steve Pace and bassist Dave Hewitt. “Sharpshooter” is a muscular, Sammy Hagar style rocker that woulda done really well on the fledgling MTV network. “Every Morning” takes the best parts of the two previous cuts and tosses in an absolutely massive drum sound. “Action” is a power-pop sorta thing that’s actually pretty good, if a bit repetitive. Columbia Records chose “Shy Away” as the record’s first (and only) single, though I’m not sure it was ever officially released (even if it was given a catalog number). It’s a great piece of (Greg) Kihnsian pop. “Does It Really Matter?,” like much of the record, is an AOR/pop anthem. In a bit of a departure for the duo’s debut, “Spanish Boy” is a nice slab of hard rock. “Mystery Girl” continues in the same vein. In fact, it’s probably the hardest rocking track on the entire set. It’s a very nice way to close out a pretty solid ‘80s rock album.

DO THE ARCHITECTURAL WATUSI Music Reviews | Darren Tracy | May 30, 2016 | Aerosmith Blues Rock Brad Whitford Buck Johnson Chopper Anderson Classic Rock Derek Saint Holmes Hard Rock Music Pop Rock Reissue Rock and Roll Saint Paradise Ted Nugent Troy Luccketta Whitford/Saint Holmes

INTEGRITY: HUMANITY IS THE DEVIL/DEN OF INIQUITY/PALM SUNDAY

(MAGIC BULLET RECORDS/VICTORY RECORDS/DARK EMPIRE/SPOOK CITY RECORDS; reissues 2015, original releases 1995/1993/2006)

Cleveland, Ohio’s Integrity have been crushing the masses with their signature brand of occult tinged metallic hardcore for nearly 30 years. Along with Earth Crisis and fellow Clevelandites Ringworm, Dwid Hellion and Company essentially created the metalcore sub genre (though all of those acts shun the overused term today). Naturally, when I heard that Magic Bullet Records would be releasing a remastered version of the seminal HUMANITY IS THE DEVIL, along with a collection of rarities and demos called DEN OF INIQUITY and a live offering from 1992 (which wasn’t unleashed upon the world until 2006) entitled PALM SUNDAY, I was beyond stoked.

Integrity, 1995 (photo credit TINA BRUGNOLETTI)

HUMANITY IS THE DEVIL sees Integrity embracing their metal influences to the fullest. Crushing riffs are brutally weaved with dynamic drum beats, only to be crowned with Hellion’s maniacal growl and conceptually dark lyrics. The punk aspects aren’t completely absent from HUMANITY… , but they’re definitely overpowered by the metallic riffage and more complex song arrangements commonly found in the annals of mid ’90s metal. The real treat of this reissue is the clarity and cohesiveness of the remaster. The guitars are brought to the forefront, with the vocals being dialed back from their original overpowering state. Tracks such as “Hollow” and “Jagged Visions” have a much more dynamic feel, finding their true sound twenty years after their initial release. The album is brought to an end with an apocalyptic sermon narrated by Hellion, backed by an eerie soundscape that is creepy enough to make Damien Thorn piss his jam-jams.

Integrity (Dwid Hellion, circa 2011) (uncredited photo)

Second up in this trilogy of Holy Terror is DEN OF INIQUITY. A collection of EPs, splits, live cuts and rarities, DEN… , by nature, is a bit of a mixed bag. Most of the songs here are solid, hiccuped with the occasional misstep. The problem isn’t the content itself, but due to being a compilation of songs spanning over a decade, the pacing, at times, feels wonky and disjointed; live tracks mingle amongst studio recordings, with stylistic changes laced throughout leaving the listener feeling a bit confused.

Finally, PALM SUNDAY is a live set recorded in 1992 at the now defunct Peabody’s in the band’s hometown of Cleveland. Antagonistic and vehement, Hellion whips the crowd into a fervor whilst belting out an array of tunes from the bands 1991 effort THOSE WHO FEAR TOMORROW, along with the rarities “Rebirth” and “Live It Down” (both of which are included on the aforementioned DEN OF INIQUITY collection).

Integrity (Dwid Hellion, circa 2013) (uncredited photo)

Integrity are one of the most legendary acts in all of underground heavy music. They’ve influenced countless acts the world over and have remained a cornerstone in the aggressive music scene for nearly three decades. If you’re a fan of punk, metal or hardcore, you owe it to yourself to pick up a copy of this reissue of the iconic HUMANITY IS THE DEVIL, with DEN OF INIQUITY and PALM SUNDAY being reserved for die hard Integrity completists only. All three records are available at www.magicbulletrecords.com.

DO THE ARCHITECTURAL WATUSI Music Reviews Streaming Video | Dustin Endicott | February 3, 2016 | Aaron Melnick Chris Smith Cleveland Compilation Dave Araca Dwid Hellion Hardcore Integrity Leon Melnick Live Recording Metal Metalcore Music Peabody's Punk Rock Reissue Rock and Roll Streaming Video

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

WHAT’S INSIDE