RIP DONALD "DUCK" DUNN

Very sad to hear of the passing of Duck Dunn, four string soul brother who anchored the rhythm section of Booker T and the MGs since the early 1960s. His style was very straightforward, always in the pocket. Part of the Stax house wrecking crew, he played on countless records by Otis Redding, Sam and Dave...well, just too many to name-check here.

"Today I lost my best friend," Steve Cropper wrote on his Facebook page. "The World has lost the best guy and bass player to ever live".

CRAZY MARY

DREAMING IN BRILLIANT COLOR

One of the great surprises in listening to contemporary music is finding bands/artists that don't fall prey to the sonic tools that have homogenized the sounds currently dominating radio play lists.

Crazy Mary offer the alternative.

Reaching back to an era where real people played music, that spirit of communal joy is infused in the grooves of their latest offering. Formed in New York back in 1998, Dreaming in Brilliant Color is the band's 10th release. Right out of the gate, "Come On Let's Go" is an exhortation to shake you out of complacency, bring you to your feet and join the party. Infectious and smart, the only choice for the listener is to comply. Highlights here include the dreamy "Song For A New Year", "Fallen Angel" and the experimental, yet very cool closer "Nick's New Groove".

Violinist Walter Steding brings another dimension to the band's sound, while vocalist Em Z graces the songs that guitarist/writer Charles Kibel brought to the sessions with her own unique style. Their blend of psychedelia, post rock sensibilities and soulful playing make for a rewarding listen, though you have to spin it a few times to truly take it all in.

Do yourself a favor and check out this record. Learn more about Crazy Mary here

KING CRIMSON

RED

Straddling a line between beguiling creations ("Fallen Angel", "One More Red Nightmare") and noodling that strays into the ether ("Providence", "Starless"), Red still comes across as an astonishing slab of progressive rock. Inscrutable, impeccable figures are drawn from guitarist Robert Fripp's capable hands, with John Wetton and Bill Bruford contributing very busy and inspired foundation work.

Opening with the powerful instrumental title track, the trio clearly relish the opportunity to play games with time signatures in support of Fripp's ambitious lines. Dark synth sweeps creep in toward the three minute mark, interpolating with the ever inventive guitar work as the rhythm section disappears. Much like an ominous, passing cloud burst, this gives way for the full band to take up the theme all the way to its glorious finish.

Timeless

Wetton's vocals hit the spot on all three tracks that showcase them, while Bruford brings his usual percussive brilliance to the proceedings. His anticipation for playing the spaces in between the notes and tasteful approach remind the listener that he's top class when opportunities to dazzle present themselves.

"One More Red Nightmare" flies in guitar parts from another dimension.

Ghostly mellotron (courtesy of Fripp) announces the multi-layered "Starless", which is quite engaging for its length. Free form, jazzy sections mingle with dreamier interludes in an extremely successful marriage. Nary a note is left unexplored as all players go for improvisational gold.

Violinist David Cross excels.

Armchair rock critic Kurt Cobain thought this disc to be one of the finest of all time. Tough to argue as your brain takes in clever arrangements, packed with an array of sonic surprises around every corner. Strings and wind instruments are deployed in a manner that bring an air of majesty to the table, yet they do not overwhelm what the core instrumentalists are laying down. Check your pulse if you are not properly inspired out of your skull after spinning this esoteric masterpiece.

Red is the soundtrack of the future...even today.

Fripp walked away from King Crimson before the release of Red in the fall of 1974 and no supporting tour was undertaken. Outside of a live disc (USA) that was issued in 1975, there was no further band activity until 1981.

EH! LIST IMAGES SHOOTS VAN HALEN

As a postscript to my review of last week's Van Halen show here in Ottawa, I wanted to share the work of a very talented photographer, Mark H, who has graciously sent along a link to a gallery of fantastic shots that he captured during the concert.

Eh! List Images provides Canadian media outlets and artist publicists, management and PR firms with immediate on-line access to photo coverage of music, concert and entertainment events. You can find out more and check out the Van Halen pics here

VAN HALEN LIVE WITHOUT A NET-MARCH 21st @ SCOTIABANK PLACE

Van Halen

Scotiabank Place March 21, 2012

Prologue

Last time that Van Halen and I were in the same building was the Toronto stop on their 2004 tour. The night before, Chris, Tweed, Red, Jim and Sean sat in a circle around a table with guitars, emptied way too many beer bottles and played tunes far into the wee hours. The next day my head was like a football, I thought that I was going to die. Tell me, me-o-me-o-my, wasn't that a party?

The pre-concert debauchery was far more memorable than the event itself. The sound was dodgy, Eddie was off of his game and Sammy Hagar, while a pro, couldn't save the gig from being merely average.

Flash forward to March 21, 2012. No booze (for myself, Red, Doug or Eddie), Uncle "Diamond" Dave was at the mic and the mighty Van Halen stormed through one of the best live shows that I have seen in quite some time.

Kool and the Gang opened up and they put the assembled crowd in a good mood with a mix of their 70s and 80s hits. Musically, they were tight, acquitting themselves very well in every respect. Showmanship, spot on vocal harmonies, razor sharp horn section...it was clear that this was a group that (for the original members at least) paid their dues with 40 plus years of gigging. No fake vocals/pre-recorded tracks.

Closing with "Celebration", they had a predominantly "rock" crowd on their feet and cheering.

Following the stage turnover, which took some time, Van Halen stepped out in a hail of drum-fire, guitar and bass pyrotechnics, stopped dead and EVH tore into the unmistakable riff that kicks off "Unchained".

David Lee Roth then strutted to his position in the spotlight, wearing a broad smile that only widened as the crowd welcomed him with a roar that could have drowned out a passing 747.

With that began a two hour extravaganza that was louder than God.

My buddies were in the 6th row on the floor and I was seated just a few rows back from them. It was the perfect vantage point to take in all of the action. That being said, footage/pictures were captured. Header photo provided by Red Curtis. Here's "Panama" courtesy of Doug Cameron.



Dave's comment about his "union contract" was priceless. Seeing him take command of the stage was a bit of all right. He has made adjustments to how he delivers his vocals, due to age and the disappearance of his higher register, but if I could do a goddamn scissor kick at 60 then I would surely tell my critics exactly where they could shove their comments about my voice. Speaking of singing, that's where father and son spent the majority of their time during the show. Wolfie and Ed had a great vocal blend and there were some nice three-part harmonies happening. Michael Anthony's voice was missed, though Wolfgang was pretty damn stellar on the four string. He played some great lines throughout the show and has certainly earned his place alongside Uncle Alex and Papa Ed.

Alex Van Halen is a force of nature. Grinning behind ever-present shades and semi-stripped down Ludwig kit, the man was a virtual atomic clock. His solo was brief (but good) and he solidly flew through the evening, playing with the energy of someone half his age.

Brother Edward was no less impressive. Given the string of adversity that has befallen him since the late 90s, it was great to see him melodically shred through both the classics and the new songs, which held their own in the set. Smiling as he peeled off astounding solos and stunningly precise salvos that bit down hard into the collective ears of the crowd, EVH had new tricks up his sleeve that only served to solidify his genius as a musician.

Have to admit that there was nearly a tear during his solo, especially as he wound through "Cathedral". Jaw-dropping excellence...



Pound for pound, there was not one bit of wasted space in the entire show. While I missed "Mean Street" and "Outta Love Again", it was amazing to experience "Girl Gone Bad" up close and personal. Even the little mistakes were fun as hell to watch (Wolf and Dave harmonizing but singing two completely different lines of "Pretty Woman" at the same time, Alex falling out of time with the synths in "Jump" and steering the band right back in time like a pro).

Here's a tip for all of you fakers out there who mime to backing tapes: QUIT and stop cheating people out of hard-earned ticket money. Conversely, here's a word for those who pay to see such fake shows: Don't support that shit.

By the time of the encores, the entire building was euphoric and confetti rained over the stage as "Jump" brought things to a close. Rip Taylor would have been proud.

Highlights? The whole thing! Their backline wall of amps blew my head off, though I would gladly see them again on this tour if I had the chance. Rockers with walkers? No way. Brilliant band who remain impressive in 2012.

Unchained
Running With the Devil
She’s the Woman
Romeo’s Delight
Tattoo
Everybody Wants Some
Somebody Get Me a Doctor
Chinatown
Hear About it Later
Oh, Pretty Woman
You Really Got Me
The Trouble With Never
Dance the Night Away
I’ll Wait
Hot for Teacher
Women in Love
Girl Gone Bad
Beautiful Girls
Ice Cream Man
Panama
Ain’t Talkin’ About Love
Jump

THE POLICE

Way back in the mists of childhood, I received an LED (light emitting diode) watch as a Christmas gift. Futuristic mid-70's technology, only minutes ahead of its time.



When the watch battery was dying and the magic button on the side was pressed to display the time, this LP cover appeared instead. A full five years before it was utilized by a distinguished, English power trio.

Meanwhile, in 1981...

The fourth release by the law enforcers began the process of unraveling their established sound. Copeland's foundation work is solid, though Andy changed his guitar tone to embark on some interesting tangents. Keyboards now figured more prominently in a denser mix.

Sting picks up the sax.

Critical raves have accompanied the very mention of this record, yet only five truly worthy songs stand out.

"Spirits in the Material World" has a bassline that defies gravity. Randy Jackson, a fine bassist in his own right, raved about Sting's idiosyncratic figures to author Daniel Levitin in "This is Your Brain on Music". Rightly so! Mr. Sumner outdoes himself with both the tune and his top class instrumental performance. Similarly, "Every Little Thing She Does is Magic" is so good that it could not be improved upon. The tension that builds in the verse is swept away by joyous abandon in the infectious chorus. High energy playing from all involved makes this work that any pop writer would happily add to the "wish I had penned that one" file.



Things quickly change from upbeat to turgid as the opening strains of "Invisible Sun" come into focus. The count in carries the suggestion of a slowly swinging watch on a chain, lulling the listener into deep sleep. This somnambulistic state can be maintained until Andy's excellent "Omegaman" jolts you awake with a killer riff and explosive dynamics. It would have been a single too, but Sting vetoed it. "Secret Journey" and Stewart's brooding "Darkness" (with madly panned high hat work) bring things to a close.

These gems rank with the best of anything they recorded during their short tenure as a trio.

At risk of being beaten about the head with one of Sting's yoga mats, naive political statements ("Rehumanize Yourself", "One World") mixed with flat out repetitive tunes drag down the rest of the album. Could you honestly spend an hour in a locked room listening only to "Demolition Man"? Six minutes is pushing it. While the grooves are in place, the lack of hooks, coupled with smothering horns add unnecessary weight to the other compositions.

About that album title...

British philosopher Gilbert Ryle used ghost in the machine as a derogatory description for René Descartes' mind-body dualism. Descartes himself had been a ghost for about 300 years at this point (1949), so I really don't think that he cared. Arthur Koestler's 1967 book, which uses Ryle's phrase as its title is cited as Sting's inspiration for the project. The main focus is mankind's movement towards self-destruction.

Speaking of which, you can splice the first two selections with the last three on this disc, remove the filler tracks and take them on a long drive out to the middle of nowhere for disposal. They simply lack the spark that the others have in abundance. The next project would be their last, though it is far more rewarding in all aspects.

RONNIE MONTROSE RIP

Another rock soldier, guitarist Ronnie Montrose, passed away yesterday after a lengthy battle with prostate cancer. He was underrated, though really quite a brilliant, dexterous player. Adept at various styles, Montrose played with many A-list artists and always raised the game of those around him with his chops.

Remember when people could actually play live without all of the fakery?

Here is a great reminder: "Bad Motor Scooter" from 1974.

DAVY JONES

Another reminder of the transitory nature of life comes with the passing of actor/singer Davy Jones. At the height of his fame in the mid-sixties, he sang lead vocals on a number of huge hits while playing his role on TV as part of the pre-fab group, The Monkees. The quartet soon grew tired of having session musicians and outside writers steer their musical ship. It is to the credit of Jones and his band mates that they raised two middle fingers to the machine that created them. The first was to get involved in the writing/playing/production of their records.

Headquarters was an LP that reflected this new approach."Early Morning Blues and Greens" was a track on which Jones took lead vocal.



Their second greatest act of defiance was the psychedelic film "Head". Has to be viewed in a certain state to really be appreciated, though.

Davy Jones was a multi-faceted, talented individual, though my generation was quite far removed from Monkee-mania. I do remember seeing that infamous Brady Bunch episode as a child and wondering why Marcia was so excited about having the diminutive Englishman as a dinner guest.

Lastly, here's a tune which Jones had a hand in writing (from the excellent Pisces, Aquarius, Capricorn & Jones Ltd.), whose title sums up sentiments shared by many upon learning today's sad news.

RANKER.COM

GONE THOUGH NOT FORGOTTEN

Ranker.com ranks influential musicians by the order of how great their music was at the time of their death.

Los Angeles, February 21, 2012: While the pop music world is still reeling from the loss of Whitney Houston, Ranker.com has released a list of artists who have been deemed “gone too soon” by Ranker’s users. These artists are ranked not only by how great their music was at the time of their death, but what their future might have meant to the world of music. Having garnered thousands of votes and views by the site’s devotees, this list is considered to be the definitive word on the greatest rock stars who died prematurely.

According to Ranker.com, the most significant loss to the music industry was Jimi Hendrix, followed by John Lennon and Jim Morrison, rounding out the top five is Janis Joplin and Kurt Cobain. The 46 artists on this list also included such legends as Freddy Mercury, Buddy Holly and Jerry Garcia, and ended with perhaps the less likely inclusion of Harry Nilsson. In addition, 15 other lists have been created by voters to represent a wide variety of opinions. The full list of Rock Stars Whose Deaths Were the Most Untimely may be viewed on Ranker.com here.

Ranker.com publishes lists created and ranked by its visitors that are data driven by popular opinion. Available on Ranker.com are lists on any topic imaginable, including everything from the best films of all time or the best vehicles for teenage drivers, to less serious fare like Simpsons jokes that actually came true. Truly something for everyone.

VAN HALEN

A DIFFERENT KIND OF TRUTH

Doorbells...three of them...oddly harmonizing...have been uploaded to my cerebellum...flown in telepathically...as the swarm of notes reaches a crescendo, a snippet of the ringing sound that my parents' old dial-phone made is looped backward, dancing at 150 miles per hour...floating over the din is a familiar voice...the one with a wink between every word...though it's been a long time, I welcome this sound back into my life with a warm embrace...

Van Halen returns, emerging from an extended hiatus reunited with David Lee Roth, yet estranged from bassist Michael Anthony. Eddie Van Halen's son, Wolfgang, now holds down the low end, keeping time with his Uncle Alex. The quartet have gone back to the blueprint that made the six Roth-era discs so engaging then...and now. Wolfie wasn't even a gleam in his old man's eye when the last record with Roth (1984) was issued some 28 years ago.

Back then, this rectangular work of the devil was cutting a destructive swath through the music industry, snatching food from the tables of both the artists and record company CEOs.

Perhaps YOU were one of the dirty thieves who taped 1984 from your buddy's vinyl copy while you were over at his place to score some weed. You may have even mistakenly erased Pyromania while high, thinking that you were recording on the blank side.

I digress

Waking up in 2012 after a long slumber, the lads in VH look upon a musical landscape that has been peppered with a ton of awful, targeted missiles launched from the greasy silos of greedy, inept marketing weasels. Adding to that misery is the new arch-nemesis of the biz in the 21st century: file sharing and illegal downloading. The cassette tape? Long buried in the eternal landfill of obsolescence.

Lord, strike this poor boy down...

Taking up pretty much where they left off, the band welds together a number of old demos (ranging from the mid-70s through to cast offs from the 1984 sessions), polishing/re-recording them, re-writing lyrics and casting them alongside newly penned material.

Gone is the awful guitar tone that EVH adopted in 1986, keyboard noodling, over-serious pop-rock-radio confections and all traces of the Van Hagar period.

Good fucking riddance!

The untouchable Van Halen sound of old is restored to it's former glory (albeit missing the golden harmonies of Michael Anthony) along with the much missed humor that Roth brought to the table so effortlessly.

Result? A Different Kind of Awesome!

Welcome to "China Town". Eddie's scorching intro alone is worth the price of admission, but it gets even better with an opening line stolen from a classic New York Post front page banner

Headless body in a topless bar

Need some double-time, eight-armed Alex Van Halen action? It's all happening downtown. Frets burn, fingers move in a blur as Ed's solo is flight of the bumblebee stuck to the front windscreen of the Concorde.

All of this within three minutes. Quintessential Van Halen.

Highlights? "Blood and Fire" is beautifully catchy, without losing its edge. Eddie straddles the line between virtuosity and melody perfectly. This is one from the archives, given new life and lyrics courtesy of Roth. Same goes for the taster single/lead off track ("Tattoo") and the dirt-under-the fingernails, rotating-riff driven "She's the Woman", both of which pre-date the first album.

"Honeybabysweetiedoll" combines a number of motifs as the trio steers expertly through a minefield of time signatures, jaw-dropping guitar figures and Roth-rap. "You and your Blues" is another standout.

One thing that this set does not do is let up; not for a second. Relentless, the back nine of the proceedings demands your attention, as you have seasoned musicians inviting you to take part in a very thrilling ride. Picking up speed, the handful of songs that close out "A Different Kind of Truth" all contain much to be desired. "Stay Frosty" has an intro which is a huge nod to their past (think Ice Cream Man) and explodes into a buffet of electricity, shaking hands with the 2012 version of the group quite comfortably. It even has a big stinky ending that's evil enough to turn your lawn brown.

Icing on the cake? "Big River" bringing it all home, with a definite swing infused in the playing. As it fades, you will be exhausted and happy to start the wagon wheel rolling all over again.

All of the stylistic tricks in the VH book of magic are employed, though these devices still work better than a Swiss watch. It is refreshing to report that this is a truly energetic record, devoid of any embarrassing attempts to embrace the pathetic, soulless garbage sounds that are currently clogging radio play-lists. Definite cigar for all involved on that front.

This means that for you, the fans, you will mercifully NOT hear any of the following:

1) David Lee Roth rapping

2) A-list, hip-hop artists talking over tracks

3) Ugly sounding, auto-tuned vocals

4) Crappy, synthetic noises standing in for the musicians

5) Pretentious, angst ridden lyrics

6) Four guys phoning it in

Eddie Van Halen? Innovative genius, still eons ahead of his imitators. Everyone acquits themselves in admirable fashion here. This is simply great rock and roll and will be a breath of fresh air for those who have waited far too long to hear some.

Told ya I was comin' back...say that ya missed me

EXTREME

III SIDES TO EVERY STORY

Nearly 20 years have passed since the release of the third Extreme disc. Muscular playing, tight arrangements and exceptional harmonies all coalesce beautifully, allowing the material to transcend the funk-metal genre that they were tagged in.

For all that, Extreme III was a spectacular commercial failure.

Critics at the time were effusive in their praise of the record, with some docking a few points here and there for the bombastic nature of certain selections. Generally, you can see great strides being taken toward the style of mid-70s Queen with melody taking precedence over sheer volume. They had proven themselves capable of writing a mother-of-an-ear-worm-for-the-masses when they unleashed "that fucking song" (More Than Words) on an unsuspecting populace in the early nineties. Unless you were dwelling in a cave in the mountains of Tibet, pondering your place in the eternal now, there was no way of escaping it.

Adept at both grinding riffage and softer fare, they were in danger of becoming overshadowed by this enchanting little ballad.

Hard to follow your own act

To their credit, they did so, without succumbing to the temptation of churning out another clone of their biggest hit.

What of these three sides?

YOURS

Forcefully grabbing the listener by the lapels with "Warheads", the "other side of the story" is painted in lurid, aggressive shades of angry red. Nuno Bettencourt showcases his ability to literally melt the fretboard at every turn. Standout track in this section is "Rest In Peace" which shifts smoothly through a series of jaw-dropping, dynamic changes with hooks galore (and a little Jimi). Confidence brimming, they even fire off a clever tribute to their own recent past in the outro. You'll be in on the joke, though.

"Politicalamity" smokes and burns with another tip of the hat to Hendrix thrown into the riff for good measure. This section of the album is devastating, with plenty of vocal and instrumental gymnastics. Simply saying that these guys could really play vastly understates the true depth of their gifts as a group.

MINE

Perhaps sensing that a softer landing pad was required after the blitzkrieg attack that comprised the first set of tunes, we are treated to some well constructed pop to outline how most folks tell their own side of the story. Hands down favorite here is "Tragic Comic", which features Beatlesque harmonies, funny lyrics and a very catchy chorus. "Stop the World" runs a close second. Versatility? They make the transition between/amongst styles look deceptively easy.



THE TRUTH

Bringing this immaculate set to a close is a majestic, three part suite which gives the impression that the quartet were three summers ahead of their nearest competition in terms of vision and sonic ambition. The orchestral overdubs were completed within the hallowed studio walls of Abbey Road. Gary Cherone pushes his voice to its limit, displaying operatic echoes of Queen and this likely served to alienate those fans who wanted straight up metal. Soaring passages abound, this exploration of something more substantial can only be applauded as a very bold move. The use of strings only adds to the powerful climax that is carefully constructed to quicken the pulse as the race to the finish line doubles in its intensity.

It rarely gets better than this, yet those who were expecting a brainless, poodle-balanced-on-the-head, guitar-pyrotechnics-on-steroids romp through hair-metal heaven were turned off by the slightly proggy experimentation taken up here in earnest.

Here's the deal

This is one of the best kept secrets of its time. Out of phase with grunge, too adventurous for casual fans and considered as candy-assed by funk-metal maniacs, III Sides to Every Story failed to find the success of their previous release.

All that can be said is to give this one a second chance. It is truly a rare gem in their discography and deserves to be heard.

JOSEPH BRIDGE

Great cover of the Syd Barrett song "Opel" by Joseph Bridge. He is ably assisted by Keith Scott (Bryan Adams' guitarist) whose tasteful fretwork will also grace Bridge's upcoming full length release, "Marvin's Sanitarium", which is due out later this year.

Enjoy this and please take a moment to find out more about the multi-talented Joseph Bridge right here

NEW VAN HALEN TUNE

TATTOO was officially released today and as a big fan of David Lee Roth era VH, I say crack a can of Bud and enjoy the shit out of this. Their first full length disc with Roth since 1984 ("A Different Kind of Truth") will be released on Feb 7th.

LENNY BREAU

THE VELVET TOUCH OF LENNY BREAU LIVE!

Simply one of the most accomplished guitarists of all time, Lenny Breau developed a technique that few have been able to fathom. In his hands, the instrument sounded like four people playing simultaneously with bass, rhythm and lead work executed by each finger on his picking hand.

Musicians speak of Breau in tones reserved for deities, with some of the acknowledged masters stepping back in awe of his abilities.

Yet, he remains criminally underappreciated.

This record is one of the very few that were released during his lifetime. Caught in the act at Shelley's Manne-Hole, 1969, Breau's set is a stunning exercise in live jazz guitar backed by Ron Halldorson on bass and Reg Kellin on drums. Find this album or CD and you'll be giving yourself a gift that will leave your jaw on the floor in amazement with every spin.

Breau was killed in the summer of 1984, the victim of a murder that remains unsolved. Sad end for someone so prodigiously talented.

Don't know Lenny? Here are some helpful maps.

FORGOTTEN MUSIC THURSDAY-THE FLYING BURRITO BROTHERS

THE GUILDED PALACE OF SIN

This record could very well be the undisputed, heavyweight champion of brilliant, yet forgotten music. Though their debut put them in the vanguard of the country rock style, The Flying Burrito Brothers struggled to find an audience. Groups that followed (The Eagles) would steal and smooth the Burritos’ sound into what Gram Parsons described as, “a dry, plastic fuck.”

Parsons and Chris Hillman put the band together, drafting Chris Ethridge, "Sneaky" Pete Kleinow, plus drummer Jon Corneal to fill out the lineup. The Guilded Palace of Sin was recorded and released in 1969 to critical acclaim, though record buyers barely acknowledged it.

Being a step ahead of the music currents of their time, coupled with internal problems and lack of promotion ended the band before they could get started. Parsons jumped ship after the second album. Critics now trip over themselves, writing about Gram Parsons and his vision of "Cosmic American Music", though not many gave him the credit he was due in his lifetime.

Classic records usually deliver an immaculate "Side One", packing the megaton force of an A-bomb, leaving the listener barely able to comprehend what will be served up next.

This is no exception

"Christine's Tune" is the Everly Brothers on acid. Sneaky Pete's unconventional pedal steel work is incredibly inventive, while the Parsons/Hillman axis do their best "Phil and Don" harmonies. "Sin City" is a fantastic soundtrack to a hangover, filled with imagery that is less than impressed with the LA scene in the late 1960's. It's a glorious creation that reinvents the wheel in four minutes. Both tunes were co-written by Hillman and Parsons.



Soulful covers showcase the versatility of everyone involved. "Do Right Woman" fuses country with an R & B feel (Aretha Franklin had a version of this) and "The Dark End of the Street" is more of the same. Parsons' vocals display a degree of vulnerability that makes each stand out. The arrangements are tasteful with extended jamming muted in favor of playing in service of the songs.

"My Uncle" rounds out this killer side. An uptempo look at draft dodging, it has a great hook and provides subtle comment on what was then a hotly debated subject.

A letter came today from the draft board
With trembling hands I read the questionnaire
It asked me lots of things about my mama and papa
Now that ain't what I call exactly fair
So I'm heading for the nearest foreign border
Vancouver may be just my kind of town
Because they don't need the kind of law and order
That tends to keep a good man underground

Parsons and Hillman were motorcycle enthusiasts, writing "Wheels" in tribute to the freedom of gliding along on just two of them. Hot Burritos 1 and 2 really deserved better titles. They are the most passionate vocals that Gram Parsons ever committed to tape, impeccably supported by the assembled musicians.

"Do You Know How it Feels" is a real shit kicker, prefiguring Dwight Yokam by about 20 years. Short and sweet. The LP closes with the sombre, churchy organ and piano based Hippie Boy, a spoken word commentary on the 1968 Democratic Convention riots. It is well done, though redolent of its time.

Topical reference is generally avoided ("My Uncle" excepted) so this set has aged quite well. The absence of late sixties, day-glo paint poured over the proceedings also extends the shelf-life of these songs.



Vinyl copies are tough to find and are expensive when you do.

Recent repackaging on CD has given this music that fused country, rock, soul, R & B and gospel a profile in the digital age. Despite the magic that happened to create this disc, it remains woefully under appreciated due mostly to lack of distribution.

Now that you're aware of it, look for a copy. Well worth the price of admission.

THE ROLLING STONES

BETWEEN THE BUTTONS

Wreathed in smoke, ingenuity and a touch of insanity, the sessions for this album produced hard rocking pop. Rootsy blues was shelved, with piano driven, Ray Davies-inspired English music hall styles taking hold.

Be careful, lads. It is here that the drugs will start doing YOU!

One of two sets unleashed by the band in 1967, this was unlike anything they did before or since. The US version of this LP cut "Backstreet Girl" and "Please Go Home", replacing them with "Let's Spend the Night Together" and "Ruby Tuesday". Whether this tampering with the running order improved the package or not is subjective. The latter two selections were big hits, duly promoted on radio as well as the small screen. Check out this "live vocals with a backing track" performance, taped for the Ed Sullivan show.



Dividing their time between LA and London while recording, the results run from the barrelhouse fun of "Cool, Calm & Collected" (kazoos? why not?) to the excellent "Connection", which shares honors with "Miss Amanda Jones" as the most driving piece etched into this disc.

"Guess which drug I just discovered?" colors "Something Happened to me Yesterday". Keith sings lead (his debut on record) along with Mick backed up by a prominent tuba. The cover photo reinforces the "trippy" nature of the work, with three of the five Stones immersed in the burgeoning drug culture that enveloped their peers during that era.

Brian Jones turns in his last focused efforts before he was completely dragged down by substance intake and gradually elbowed from the group. In addition to guitar and some vocals, he also handled accordion, vibraphone, harmonica, recorder, percussion, kazoo, saxophone, dulcimer and organ. Four different piano players (Jones included) bang on the 88s throughout.

"She Smiled Sweetly" is the only track that should be buried in a landfill.

Overall, the impression left here is mighty fine, with the Jagger/Richards song writing engine in top form. Underrated and overlooked, this slice of Swinging London is worth checking out.

Now for some trivia from cosmopolitan raver/drummer Charlie Watts:

"Andrew (Oldham) told me to do the drawings for the LP and said the title would be between the buttons. I thought he meant the title was "Between The Buttons", so it stayed."



WARNING: Look for a vinyl copy of this, if you truly want a fair evaluation of how it was originally presented.

The original issue of this collection on CD was handled poorly which is really a shame. Extreme liberties were taken with the stereo mix. Some tracks sound as if they have been presented in duophonic format (transferring the mono master to two separate channels, boosting the low end frequencies in one channel and emphasizing the high treble frequencies in the other) which further kills the listening experience.

The 2002 ABKCO reissues are an improvement, though audiophiles are advised to hunt down the London Records CD version (available in Europe and Japan prior to 1997) as it has the best sound of all digital releases.

Naturally, Mick has long since disavowed this material, calling it "rubbish".

Not so!

Definitely in the top five of all Stones LPs.

JL

I hope that it isn't too cold in Central Park tonight, so that those gathered have a chance to play, sing, scream and enjoy the timeless music of a guy who crossed into the next dimension 31 years ago today.

It would be interesting to hear what 71 year old John Lennon would have to say about contemporary events. He likely wouldn't mince words. War and poverty still wreak havoc in many areas of the world. Greed drags down our attempts to put a better face on society.

He didn't have all of the answers, though he did question the madness in the methods of authority figures in his time. Remember the jokester, wordsmith and genius by listening to some of his music tonight. Messages of peace, love and hope speak volumes.

TEN YEARS GONE

Today marks the tenth anniversary of George Harrison’s passing. His musical accomplishments were considerable, though he had a tough time reconciling his role in the biggest group of the sixties. He was wont to speak about that period of his career through clenched teeth, preferring to focus on the present. Typically dry, upon accepting the Billboard Century Award in 1992 his first remark was telling.

"I'm sure that being in the Beatles has not been a hindrance to my solo career."

Forging his own path in the early seventies, Harrison was the first of his ex-colleagues to hit number one right out of the gate. Taking steps into territory that alienated longtime fans, singing about his personal beliefs and sharing the shimmering beauty of East Indian music with anyone who would listen, he remained unconcerned about replicating the past.

For the record, Dark Horse is an excellent album. Listen to it again!



Refusing to succumb to trivial audience pandering, he created on his own terms. When he was fed up with the bullshit that came with his trade, he retreated to his family and garden. The pleasure of music-making never disappeared from his radar, but he felt no compunction to reinvent himself every few years for the fickle masses.

Just dig what he was presenting live in '74.



Possessed of a dark sense of humor, when he heard that Neil Innes was reviving "The Rutles" in the mid 90s to parody The Beatles' Anthology with "Archaeology" he asked which one of them would get shot.

Slide guitar wizard, skirt-chaser, film mogul, lover of old scratchy records, ukelele virtuoso, racing enthusiast, spiritual seeker, philanthropist...lifelong smoker

He did kick the habit toward the end of his journey here in the material world. Sadly, it would not be in time.

My recollection of Nov 29, 2001 involves playing a lot of George’s music and drinking far too many beers. The following night I headed out to see Blue Oyster Cult at the Warehouse in Toronto with one of my best friends. BOC played “I Need You” as part of their set that evening, in fulsome tribute to a guy who likely inspired them to take up their instruments. It remains a very fond memory.

Late November 2002 brought two very pleasant surprises. Brainwashed, the record he had been working on in the last years of his life was posthumously completed (by his son Dhani and Jeff Lynne) and released. That and Tom Petty's Last DJ disc played constantly in my atmosphere for about a month afterward.

If you don't know where you're going, any road will take you there...

Shortly after this, on Nov 29th, The Concert for George was held at the Albert Hall, featuring a band comprised of rock legends, all playing their friend on his way by performing his songs. When the DVD of this event was released the following year, it was yet another gift to those who continue to celebrate his legacy, winning new converts along the way.

Ten years on, the world still misses Nelson Wilbury. I’ll be playing his tunes tonight, drink in hand, wondering how a goddamn decade managed to slip by so quickly.

For your reading pleasure, check out this 1977
interview

BADFINGER: STRAIGHT UP

Badfinger's history is best described by that famous quote about there being no happy ending when you tell the rest of the story.

Prior to contractual problems, crooked management and the loss of two gifted songwriters to suicide, there was a band that created timeless music. Released at the tail end of 1971, Straight Up is their high water mark, though it had a difficult gestation period. Legendary Beatles engineer Geoff Emerick was in the producer's chair first and they completed a full album, which Apple Records rejected. Joey Molland picks up the story from here.

TAKE ONE!

We had already recorded a version of the album which Apple had turned down because they thought it was a bit crude sounding, and it kind of sounded like the No Dice record. They [Apple] were looking at doing something a bit more sophisticated for our second album. We had gone into the Manor which was Richard Branson’s studio in Oxford, by ourselves and had recorded a bunch of songs such as Blind Owl, Get Away, Timeless, and some of it was later used on the Ass [1973] album. We gave that entire album we had recorded to Apple as the next Badfinger album but they knocked it back.


TAKE TWO!

Enter George Harrison, who offered to run the sessions if they started the process from scratch. He produced four tracks; two were re-recordings of "Name of the Game" and "Suitcase" plus two new songs, "I'd Die Babe" and "Day After Day".

Working with George was a great experience, he was a master in the studio and he brought all his Beatles experience into the mix. George was very encouraging and co-operative. He would bring in his guitar and plug in and work on songs with you. He was only too willing to play a bit of rhythm guitar or some lead guitar and advise us on singing vocal parts. He did make us work around the microphone and made us sing all the backing vocals all at once. He wouldn’t let us overdub them one track at a time. So it was all the three part harmony done live. He also played the slide part with Pete on Day After Day. It took them about six hours to do that. He and Pete did that part together, overdubbed live, which is difficult, getting it right and getting the pitch right. George also played the acoustic rhythm on I’d Die Babe and that off-beat lead line in it too. That’s the only bits he actually played on the album.

Harrison had to then turn his attention to organizing the Bangladesh concerts and did not return to the project.

TAKE THREE!

Todd Rundgren came in to finish the record. Todd was really hard to work with. Baby Blue was recorded live except we overdubbed an acoustic, then Todd took the tapes off and did what he did to it. It was not an enjoyable experience working with him, but Straight Up was our best selling album.

Rundgren salvaged a bit from the Emerick recordings, kept Harrison's work and proceeded to tape some new tunes. He also did the final overall mix, for which he was not credited. Despite the number of cooks, the finished album is sequenced beautifully and has a uniform sound. Pete Ham and Tom Evans wrote great material, as did Joey Molland. Melodic with fantastic harmony structure, their tunes rarely strayed beyond the five minute mark. "Day After Day" is a perfect example, with verses every bit as memorable as the chorus. They were so much more than a sugary pop act though, capable of delivering harder edged performances and were a tight unit on stage.



Strength in arrangement, especially in the vocal department, puts their work in the category of another legendary British group to which they were closely tied. This connection would serve to both help and hinder the band throughout their short existence.

Ghostly backing vocals and fuzzed guitar arpeggios over piano are key drivers of their sound, coloring much of the material. "Take It All" even drops in a Garth Hudson-esque organ toward the fade. Power pop just was another dumb tag assigned to these guys. Ignore the labels and you'll find a wealth of clever transitions ("Money" gracefully coasting into "Flying"), hooks galore and epic sounding pieces (the stabbing horns and strings in "Name of the Game).

"Day After Day", "Baby Blue" and "It's Over" stand out, though there is not one bad song or wasted note to be found here. One of the best rock recordings of the early 70s, bar none.

When Apple Records fell into financial chaos, legal machinations prevented the further pressing and distribution of this classic work. Badfinger's Apple albums became instant collectors items. Truly heartbreaking, considering the combined talents of this star-crossed group. Without proper distribution, their shot at getting a commercial foothold was finished before they even properly started. How rare was it to find this recording? I found Straight Up on vinyl in the mid- 80's. The asking price exceeded 100 dollars! Rolling Stone's review at the time was negative, as well, which didn't help from a PR perspective.

When years of legal wrangling were finally resolved, "Straight Up" was remastered and released on CD in 1993 with bonus tracks. Interesting it is for the audiophiles out there, as the bonus stuff is primarily the Geoff Emerick productions (His versions of "Name of the Game" and "Suitcase" are awesome). Well worth looking for. Sadly, Badfinger is known primarily for the series of tragic events that ripped them apart, rather than the transcendent music that they created. This is a "must have" LP.

JAMES TAYLOR-ONE MAN DOG

Occupying a curious position in the JT discography, One Man Dog ended up a top five disc following its release in late 1972, though critics and fans were divided in their estimations.

Intended to be a loose song suite, in the fashion of the long medley that graces the back nine of Abbey Road, there is no heavy underlying concept at work. What I hear is the artist, entrenched in his home studio, bringing in some very talented friends and saying, “Here’s the tune, the meter isn’t running, so we’ll play and see where this goes.” The ultra-slick, high production values that would soon become an integral part of the sunny, California sound in the mid 70s are, mercifully, not in place here. This is not to say that it is sloppily executed, as the record sounds great (especially in vinyl format) and the playing/singing is first rate.

The general mood, set by the opener ("One Man Parade") is one of ebullience. One can almost picture Taylor hunched over his acoustic, finger-picking the intro and then leaping to his feet to march around singing, swept up in his own joyous noise. It is this sense of fun which has a positive impact on the material, which is melodic and inventive. For a writer whose subject matter had generally tended toward the darker side of life, a tune like “Chili Dog” is definitely a 180 degree turn away from “Fire and Rain”.

Don't read me no Ann Landers/Don't feed me no Colonel Sanders



That sense of humor extends to the sonic dimension of the project as he pulls off the most clever deployment of saws (both chain and hand) on record in the link between "Fanfare" and "Little David".

There are passages that have a slightly jazzy feel and others have a gospel inflection, though “relaxed” is the best overall descriptor. No one expects speed metal tempos from a JT album nor do they happen here. Reminiscent of McCartney's first solo effort in terms of the brevity of certain songs and the fact that he tosses in a couple of instrumentals, Taylor earns points for trying his hand at something different with the attempt to weld these fragments together. Perhaps listeners at that time saw this as "unfinished" when compared to his last two releases.

“Don’t Let me Be Lonely Tonight” was the obvious choice for a single, though that shouldn't stop you from enjoying the rest.

Produced by Peter Asher, featuring scads of guests, this is one forgotten gem that begs to be heard on vinyl, if at all possible.

11 11 11 = SABBATH!

Today's announcement that the original members of Black Sabbath plan to release a brand new album and tour the world in 2012 was the best piece of music news
that I have heard in quite some time. Perhaps all of that noise about 11 11 11 being an auspicious date wasn't too far off the mark.

There have been several reformations since the late 90s and the band have acquitted themselves quite well in each instance. Their first crack at recording a full length disc with the original four in 2001 was aborted, with only a couple of tracks seeing the light of day.

Here's hoping that the new material is strong and that Ozzy, Geezer, Tony and Bill show a new generation of rock fans why their music has remained vital after 41 years.

THE JAYHAWKS

MOCKINGBIRD TIME

Emerging quietly from hiatus, the Jayhawks came back with their mid-90s lineup in place to play some shows in 2009. Mark Olson, who had left the group in 1995, has returned to the fold. Mockingbird Time marks the first, full length Jayhawks recording since Tomorrow the Green Grass with Olson and Gary Louris collaborating. Despite the tepid reviews that I have read, to these ears at least, this is a solid set of songs.

RANT!

What in the name of fuck do people want? We are subjected to a ton of the most objectionable garbage that has ever poisoned the airwaves on a daily basis and a few hipsters complain that the Jayhawks "didn't make their best album ever, per their claims prior to its issue". On the contrary, they have written songs with great changes, played with feeling and topped by two-part harmonies that soar. In a time where one note shit, with gimmicky noises and phony, processed vocals rule the musical landscape, people should be falling over themselves to welcome something real.

I digress.

While not as uniformly excellent as Tomorrow the Green Grass, there is still quite a bit to celebrate. Most all of the selections deliver in terms of melody, arrangement and the vocals of Louris and Olson blend effortlessly. Sonically, their harmonies have a slightly melancholic quality, though this never overwhelms the program. Their voices still sound magical when paired.

Tying things together beautifully are the deft keyboard touches of Karen Grotberg. Her contributions to the music supply a ton of personality and would be greatly missed if taken out of the mix. There are a few attempts to bring electric guitars to the fore, though a gentler, more introspective mood prevails. My only request would be to trim the running time on a couple of songs and remove the title cut. It is the only one in the pack that seems to strain to find something to say, fails and would have best been left for a future box set.

Standout tracks include "Hide Your Colors", "Tiny Arrows" (shades of CSNY), "She Walks In So Many Ways" and the excellent closer "Hey Mr. Man". Repeated listening will be required, but there's enough diversity with forays into folk, esoteric 60s rock and country to maintain interest. The playing is impeccable, atmospheric strings provide depth and color to several tunes, and the hooks are subtle though once they set up camp in your brain they do not let go. Why this band has never really broken big is a mystery to me.

Strong, engaging and undeserving of some of the critical stick it has received, Mockingbird Time will hold up well down the road. Long after the contrived, overly sugared pop confections of 2011 leave people with an upset stomach and nothing more, thoughtful music with soul will be waiting to sweep you up in its charms when you're ready.

The Jayhawks are touring the US currently. Get out and see them if you have a chance.

FORGOTTEN MUSIC THURSDAY-THE BYRDS

BYRDS

Nothing stokes the fires of sentimentality quite as powerfully as the prospect of reuniting a rock group who had once hit dizzying creative heights. More often than not, the actual event is anticlimactic with fantasy crumbling in the face of unrealized expectation. Such was the case with a very high profile quintet of folk-rock pioneers.

The Byrds coupled great vocal harmonies with the jangling 12 string and note perfect arrangements of Roger McGuinn. They provided an exciting response to the sounds of the British Invasion in 1965. Following a short string of brilliant LPs, the original line up began to fracture. One by one, four out of the five charter members quit (or were fired) and by late 1968, McGuinn was left to carry on with the name. From this point through 1971 the band all but dropped off the commercial radar.

Flash forward to late 1972

By dint of the ever-shifting career sands that the four ex-Byrds found themselves treading at this point, the planets oddly aligned. David Geffen, who was then chief evil officer of Asylum Records, helped broker a deal to bring the old gang back together once more. Out of everyone, David Crosby had found the greatest post-Byrds success with CSN (and sometimes Y) and would wear the producer's hat for these sessions. The group blueprint used for Crosby, Stills Nash & Young was also, albeit awkwardly, applied in titling the reunion effort. Everyone was given equal billing, their names emblazoned on the front cover, with the proviso that they were free to indulge in their own musical endeavors and regroup whenever they wished for future projects.

As it stands, this would be the last time that all five entered the studio together to make an album.

Was it worth their time?

While this is not necessarily a poor collection of songs, Byrds definitely lacks the spark of their earlier work. If you come in expecting to hear McGuinn's Rickenbacker 360 12 in full cry, revisiting the sounds of '65, you will quickly be disappointed. On the other hand, if you dig acoustic guitars and laid back arrangements then this will hit the spot.

Disclaimer

The old adage about how “you can’t go home again” is more than appropriate in this instance as it is damn near impossible to recover the past. Especially when you are up against a ticking clock. The individual “Byrds” in 1972 had been brought back together with business interests taking precedence over the joy of actually making music with each other again. Time may have softened their attitudes to a degree but it didn’t erase the intense bullshit that had drove them apart. It is to their credit that they managed to get through a month of tracking without imploding all over again. Perhaps because no one wanted to spoil the moment with critical arguments over quality control, the material that each songwriter brought to the table was taken at face value. Topping the "if only" list would be the fact that they really didn't get a chance to get together and simply play. Given the opportunity to jam and trade ideas, they may have at least rediscovered a professional rapport and written some new songs together. Very little time was allotted to this endeavor (roughly one month), so the end result feels slightly underdeveloped.

THE HIGHLIGHTS

“See the Sky About to Rain” is the only truly majestic moment, due mostly to Gene Clark's immaculate delivery, which managed to outdo Neil Young's version when he finally etched it in stone for On the Beach. The Byrds had always been far more successful at interpreting the work of others and this is a shining example. McGuinn's guiding hand had to have played a large part in shaping the arrangement, as this has always been his forte.



Clark's contributions are far superior to those of his colleagues. "Full Circle" and "Changing Heart" are melodic, well constructed gems. No surprise, as he had been the driving force behind their writing in the early days. Crosby turns in great vocal performances on his tunes, particularly his reworking of "Laughing" which had already appeared on his first solo set.

THE REST

While professional, the remaining selections do not really punch through the homogeneous production nor is anything terribly memorable. Tightly edited, polite country-rock it is, with decent harmonies and no real clunkers. Let's face it, with their combined vocal talent, these guys could have sung the alphabet and made it sound righteous. McGuinn gets a bit too close to the melody of "I Shall Be Released" in the verses of "Born to Rock and Roll" but then again he is one of the masters when it comes to interpreting Dylan, so this is forgivable.

Sort of.

Which is why this platter ends up with the “forgotten music” tag.

Compared to the revolutionary sounds that the Byrds had produced in the mid-sixties, the reunion disc was quite tame. For an aggregation that had once been christened as one of the most stirring bands in the universe, this collection of mostly bland fare bordered on anonymous. All four composers were holding back their best songs, offering little that inspired much excitement. What may have been the event of the season, sadly, turned out to be a missed opportunity. If you find a vinyl copy, it's definitely worth a spin. Listening again after a long time helped to soften my opinion a bit, as well.

Here's how some of the players summed it up.

David Crosby:

When we got together for the Byrds reunion, I was definitely throwing my weight around too much, and I'm sure that it pissed everybody off. We made a much better record than we were credited with, but I didn't help. You know, I was sort of, [Goes into blowhard voice] "Well, I'm the guy in the big group and I'll just... we'll do it my way." It was stupid.

Gene Clark:

(The reunion attempt was like) having a fresh wound. You're still too sensitive. It's like having a divorce and then trying to get back together in six months. The underlying hurt and emotional things are still there and still very fresh...We never really got together, the five of us, and seriously did a Byrds reunion. Never happened. Everyone telephoning in their parts. So it didn't have the essence it really needed. It may never happen again.

Chris Hillman:

'See The Sky About To Rain' and 'Full Circle' were probably the best tracks on the record. Gene's stuff was the best. The rest of us? I'll be honest, I contributed my worst material because I was getting ready to do a solo record, 'Slipping Away', and I was saving all my good stuff and contributed this throwaway stuff that was awful... But we didn't have any direction, nobody at the helm.

Roger McGuinn:

David had this incredibly strong pot. Half a joint and you couldn't do anything. We were stoned out of our minds the whole time. I don't remember much about recording.
The outtakes from the reunion album ended up on my first solo album. I don't think there are any other tracks.

Turns out that there are a few alternate takes in existence and one tune that didn't make the final cut.

EPILOGUE

In November 2009, collector Whin Oppice acquired two 10" Asylum Byrds master multi-track tape reels, from Wally Heider Recording, Hollywood CA, featuring various takes that date from November 1972. Three versions of "Fair and Tender Ladies", which does not appear on the Byrds Asylum album release, are included in the 16 track master tape. To Whin's ears, the earlier version (#4) has David Crosby on vocal. The vocal on the other two versions is Gene Clark. Gene wails on harmonica as well. Studio tracking sheets are included which provide valuable details. As with the film "Byrds, W.P. Outs," all has been carefully preserved and digitally transferred.

Writes Whin: "Listening to isolated tracks left me spellbound, as if the instrument or vocal was being performed live right in front of me. You can hear every breath on the vocal tracks".

Reel ORIG WP 1 (16 track)
1. Fair & Tender Ladies (later version)
2. The King Is Dead (earlier version)
3. The King Is Dead (later version)
4. Fair & Tender Ladies (earlier version)
5. About To Rain
6. Laughing
7. The King Is Dead (3rd version)
8. The King Is Dead (3rd version instrumental)
9. Fair & Tender Ladies ( 11-25-72 3rd version)
Reel Safety MR 3 (24 Track)
10. Laughing
11. The King Is Dead
12. The Circle Song
13. Laughing (undocumented - 1st part)
14. Laughing (undocumented - 2nd part)

PINK FLOYD

A NICE PAIR

Following the overwhelming success of "The Dark Side of the Moon", EMI decided to re-release the first two Pink Floyd LPs as a cleverly titled double set in December 1973.

What's so clever about it?

A sticker was used to hide the two elements that would have had prospective male buyers pointing at the album cover, coughing out a blast of pot smoke while simultaneously attempting a lewd act of self gratification.



Or so the censor-mad folks at the time imagined. Boobs! Can't let those loose in public...

My copy looks like this.



Quasi-pornographic images aside, surely there was nothing controversial etched into the grooves of these vinyl records? If you are familiar with "Piper at the Gates of Dawn" in it's original format and you own a copy of the US version of "A Nice Pair", then the answer is "yes". Back in 1967, Capitol Records in the US took the already-perfect debut recording from the group, removed "Astronomy Domine", "Flaming" and "Bike" and released it with "See Emily Play" pasted in as the first track.



Getting back to 1973, Capitol executives decided to atone for past tampering, restore the aforementioned missing songs to Piper and cash in on the new-found wave of "Floyd-mania" that now greeted the band. Their marketing plan was sound, as they had the masters at their fingertips. Two discs were already in the can. Add a cover and everyone gets rich.

This is where serious collectors received an unexpected bonus.

"Astronomy Domine" did appear as the first song, though it was the live version from 1969's "Ummagumma" that was used. Crowd noises were erased. "Interstellar Overdrive" was shortened and did not link to "The Gnome" as it did on the UK version. "Flaming" shows up in mono with a different mix. All of this was frustrating to the hardcore fan, though these variances would make this release extremely desirable when it went out of print.

What were the glaring differences between "Piper at the Gates of Dawn" and "A Saucerful of Secrets"?

These guys did the first one.



While these fellows completed the latter.



Confused? You won't be after this week's episode of SOAP.

WILCO

THE WHOLE LOVE

Wearing the crown of "Critics' Darlings" since their debut, Wilco have earned this title by producing some of the most thoughtful and experimental records of the past fifteen years. Eight albums in, Jeff Tweedy and the group are still capable of marrying ethereal sounds to conventional song structures. Pushing forward with a trunk-load of melodies here, only fleetingly are they stretched, re-shaped, interspersed with telepathic white noise and made to run naked through a gauntlet of guitars. It's still a damn good listen.

Found a fix for the fits/Come listen to this

For the uninitiated, Wilco is not part of some secret, hipster club that you have to dress up or shave your head to join. They do take some wild chances with their art, which is tightly helmed by one Jeff Tweedy. As chief cook and bottle washer in the band, his vision is fleshed out by an incredible group of musicians.

Special mention this time around goes to bassist John Stirratt. Charter member, multi-instrumentalist, harmony vocal champ; shit, the guy has never played anything other than inventive lines to underpin the songs. He is in particularly great form here, executing a slew of delicate, fine bass figures that are deservedly brought to the fore in the mix. "Art of Almost" gives him plenty of room to work, though it starts out with glacial noises that compete with an insistent drum pattern. Harking back to Yankee Hotel Foxtrot/A Ghost is Born era experiments, the music ebbs and flows, climaxing in a full on wig-out to the finish line.

More kudos to the bassmanship displayed in "I Might", married to some wicked wordplay. Tweedy seems to be reeling in thoughts from a special stream of consciousness. What comes on with a near Motown feel boasts the feel good line of the disc:

You won't set the kids on fire/but I might

There are even a couple of Beatle-action-replays thrown in for giggles. "Sunloathe" has Harrisonoid slide, high fret territory McCartney bass noodles, Lennon's trusty, heavy-on-the-reverb piano plonking, a Ringo fill or two and some sweeping 'ahhhhhhh's' to ice the cake. It's a fine tune as well. "Capitol City" is pure Hoagy Carmichael on LSD, dragged through the filter of a White Album session, adorned with a slew of sound effects and presented here for your listening pleasure. Even more bizarre, the title track bears a striking resemblance to "Magneto and Titanium Man".

Venus and Mars-era Wings. I'm not joking.

For all that, it still works.

What starts out with the promise of some good old fashioned freak-outs quickly detours toward laid-back fare. Again, with material is as strong as the string-framed "Black Moon", it really doesn't matter. As close to perfection as it gets.

I can only register one complaint. The closer, "One Sunday Morning" is sung in an annoying, half whispered fashion that comes across as if Tweedy had returned from a dental appointment, with the lingering effect of Novocaine hindering his ability to enunciate properly. Just fucking sing! It also hangs on a fairly pretty hook, though it is not worthy of twelve-minutes. He should have just incorporated this idea into "Rising Red Lung" as both are pretty close cousins, sonically. Either way, it is at times like this that I wish Jeff would bring in a collaborator to truly challenge his authority in the studio. Down the line, the magic eight ball foresees a few issues with Mr. T not being able to see the forest for the trees when it comes to what makes it past quality control.

Make no mistake, these guys are committed to their craft and are functioning on a level that is head and shoulders above many of their contemporaries. Ultimately, this disc blows over you as would a gentle breeze on a muggy summer afternoon. Enough to refresh, though you are left wanting a bit more.

That's why you have no choice but to listen again.

Despite my one objection, The Whole Love offers impeccably rendered tunes that lesser bands would die to have on their resume. Scaling back on surprises, the creative retrenching effort that began with Sky Blue Sky seems complete. Curious to see where they'll go next.

ROGER WILCO

Phenomenal performance of the Byrds classic, Mr. Spaceman. What an inspired pairing. Filmed in 1996, we see Roger McGuinn joyfully backed by Wilco. Note the two tasteful, face-melters that the late Jay Bennett peels off with ease.


This quick post hints at two write-ups that will be coming soon. I have been listening to Wilco's latest (The Whole Love) quite a bit and the long delayed review is on the way. McGuinn? One of the most underrated musicians on the planet.

IMAGINE AT 40

IMAGINE

Today marked the 40th anniversary of the UK release of John Lennon's second solo effort, Imagine. Raiding the Beatles closet for the best of his unused late sixties compositions, he recorded them alongside some new tunes over the course of two weeks.

It takes some contemporary artists that long get a decent drum sound, let alone finish the bulk of a hit album.

Having just installed a state of the art (for 1971) studio at Tittenhurst Park, Lennon brought in a crew of session players and friends (George Harrison dropped by) to accompany him. The result was a very tuneful collection that was critically and commercially successful. Once again, Phil Spector shared production duties with John, though he was given far more to work with than the austere soundscape of Plastic Ono Band had allowed. Strings were added to some tracks ("sugarcoating" as Lennon referred to it later on) as Capitol's PR crew, led by Pete Bennett, wanted something radio friendly that they could market widely.

Very stellar set from the opening, title track right through to the catchy, lighthearted closer, "Oh Yoko". The only tune that doesn't really take off is "I Don't Want to be a Soldier". He seemed to run out of gas with his next two records, despite initially keeping on top of things more than McCartney would with his first solo ventures.

This weekend, John would have celebrated his 71st birthday.