Category Archives: CD

Little Richard • Southern Child, Omnivore Reissues [CD]

This Fall Omnivore Recordings undertook a five-prong LITTLE RICHARD reissue campaign that culminates in Southern Child, a not-released-at-the-time album receiving standalone LP reissue for Record Store Day’s Black Friday 2020 event. (A CD will follow.) That record and the other four were all recorded for Reprise and Warner Bros. Records between 1970 and 1986, but this 1972 album went unreleased until Rhino Handmade issued it as part of a multi-album retrospective in 2005. Southern Child, a funky little country album, was handed to the label and promptly shelved for The Second Coming, recorded at about the same time but very different from the shunned LP it was birthed with. Strangely, both albums have some real good material on them so it’s not clear why one was picked over the other, although maybe it was the former’s titillating cover, which was concocted and approved at the time (the album even had a catalog number and release date on the books) but wasn’t exactly commercial. But backing up a bit… 

Little Richard was signed to Reprise at the beginning of the ’70s and enlisted Bumps Blackwell and FAME Recording studios in Muscle Shoals, Alabama to record The Rill Thing, which spawned a Top 40 single in “Freedom Blues,” but failed to do much more than that, despite critical acclaim. Album tracks included back-to-back covers of both The Beatles and Hank Williams as well as some funky R&B that showed Richard wasn’t sticking to the ’50s style rock ’n’ roll that he pioneered. Undaunted, in 1971 the true King released King of Rock and Roll, similar in vibe but with a more varied handful of covers (The Stones’ “Brown Sugar”, CCR, Hoyt Axton/Three Dog Night, Hank Williams again). Despite its absolutely awesome cover it failed to chart or sell much.

For 1972’s The Second Coming, Little Richard and Blackwell decided to record in L.A. at The Record Plant. The album has a very funky sound, sorta pre-disco in places with some great horn charts, clavinet and more. The musicians assembled represented both Richard’s past (Lee Allen, Earl Palmer) and L.A.’s present (Sneeky Pete Kleinow, Chuck Rainey). Alas, the album – bolstered here by bonus tracks including single edits – did just about nothing to boost our hero’s visibility and it wasn’t until 1986 that Little Richard came back to rock with Lifetime Friend (he had done one gospel-focused record in the meantime) for Warner Bros. (Reprise’s parent label). The album was a mix of rock ’n’ roll music and pseudo-spiritual lyrics – even some rap! – and had the original version of “Great Gosh A’Mighty,” co-written with Billy Preston and, when recut for the movie Down and Out in Beverly Hills, a near-Top 40 single. Most of the songs have a decidedly Eighties sound that is a bit off-putting today, sorta the way those ’70s records sounded dated to us in the Nineties (though they now sound pretty cool).

Omnivore’s seen to it to add plenty of bonus tracks to those four CDs, and for Southern Child’s CD issue they’ve provided some early takes of album track “In the Name” and an outtake of a little thing called “Sneak the Freak.” (The yellow vinyl Record Store Day version lacks these extras.) Whether you’re going to want these depends on a lot of things at this juncture in time, but I’d say big fans of Little Richard will find them pretty fun to put on for a change of pace from “Tutti Frutti” and the other classics we’re so used to hearing. Casual fans may not find these releases to be, ahem, the rill thing when it comes to Richard Penniman’s alter (or is that altar?) ego… – Marsh Gooch

3/5 (Omnivore Recordings, 2020)

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Flamin’ Groovies • Now, Jumpin’ in the Night [CD]

See also: Flaming Groovies, Flamin Groovies. However you wanna spell or punctuate the name, the FLAMIN’ GROOVIES were an American band that wore their Anglophile leanings on their sleeves – or was it collarless Nehru jackets? Or was it the trousers?? Two albums from their classic late ’70s period were quietly released on CD earlier this year and after finally receiving copies of them I’m writing a few words on their behalf.

1978’s Now was their second with Sire Records and with Dave Edmunds producing. While it was still one helluva semi-power-pop album, it lacked a “Shake Some Action” or “Teenage Head” to buoy its greatness. In fact, except for “Yeah My Baby,” it is Now’s cover versions that make it a worthwhile Groovies disc. “Feel a Whole Lot Better” feels a lot like the Byrds’ version, as does “There’s a Place” to the Beatles’ original, while “Paint It Black” feels Groovier than the Stones’ hit. The album didn’t do much to propel the band’s career, though, so in ’79 they were back with Jumpin’ in the Night, which is practically a cookie-cutter copy of Now. Sadly, though the band’s Cyril Jordan produced (with Roger Bechirian), neither the band’s originals nor their choice in covers were as good as those on their previous outing. “Werewolves of London” is a great song but this version’s not very flamin’ or groovy. “Down Down Down” is a lot like the version Dave Edmunds recorded so it’s pretty good, as is their cover of “Please Please Me” (you know who did it), and “Absolutely Sweet Marie” is a shade peppier than Dylan’s but nowhere near as awesome as Jason and the Scorchers’ later take. I don’t find any of the band’s originals all that interesting this time around.

In all, both Now and Jumpin’ in the Night are fairly entertaining – neither, though, is as good as Shake Some Action. That 1976 album was not reissued with these two, for some reason, even though they all were originally issued by Sire. Peculiarly, Liberation Hall has issued these two without bonus tracks (not that there are that many, as far as this Flamin’ Groovies fan knows), but they did seem to do a nice job of mastering. (Attributed to Gary Hobish on the latter but not credited at all on the former.) The packaging is pretty bare bones, with very light liner notes and plenty of typos. I’d say Alec Palao’s text in the former is more informative than Steve Wynn’s in the latter, though those are more entertaining and curiously dated to January 2005! I get the feeling that – at least with the packaging – these two CDs were thrown together quickly. Here’s to hoping that the label creatives pay a little more attention to whatever they currently have in the hopper. – Marsh Gooch

2.5/5 (Liberation Hall LIB-5036, LIB-5037, 2020)

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Young Fresh Fellows • Toxic Youth (Back to the Egg) [LP, CD]

Record Store Day “Drop 3” is the last of the RSD 2020 triad that make up what would have been last April’s normal single-day event. One of the two records I am/was hoping to get is YOUNG FRESH FELLOWS’ Toxic Youth (or as it is also known, Back to the Egg). Recorded three years ago but only now seeing the light of day, it’s a great addition to the Fellows’ discography.

To start with, Toxic/Back is both a first and a last. It is, indeed, the first YFF record in eight years. Just as important, Youth/Egg is the last album recorded at Seattle’s legendary Egg Studio, the nest in which many Fellows releases were laid (or is that hatched?). The story is that in 2017 Conrad Uno, Egg’s patriarch (or is that rooster?), had decided to retire and close the studio, word got back to the Freshies, and they  booked one last weekend there before Egg went the way of the dodo bird. Since they’d gone in with just three songs and came out with seventeen, you’d be tempted to call it a success. Yet it took another three years for those results to show up on wax… was it delayed because of subpar quality? Band member Scott McCaughey’s stroke in late 2017??  Who knows??? One thing we do know: Once it finally got a release date – the original Record Store Day, April 2020 – Toxic Youth got delayed again thanks to that pesky coronavirus pandemic. Well, it’s finally out this Saturday (knock on wood) and it’s an honor to get to share my own opinions about it just slightly ahead of time.

As Mott The Hoople once said, rock ’n’ roll is a loser’s game, and it’s a game the Young Fresh Fellows have been winning (or is that losing?) for (gag! I feel old!) nearly 40 years. GULP. Regardless of, or despite their relative obscurity, from their very first outing back in the early ’80s, Seattle’s Fab Four have been creating kooky, clever cult rock for the masses – it’s just that the masses never got the memo. Too bad! Those of us who did get it, we got it. Whether it was with “Rock ’N’ Roll Pest Control,” “My Friend Ringo,” “Taco Wagon” or any number of other hooky, cheeky tunes, the Fellows could always be counted on for a great time.

Young Fresh Fellows say “Vote!”

Times changed throughout the Eighties and Nineties and though they didn’t exactly stay young they pretty much stayed fresh on their handful of sporadic releases. And that was okay with the fans. But when the YFF guys took on other projects (playing with their original groups [Fastbacks, for instance], playing with big name rock bands [R.E.M., for instance]), we lamented what we thought might be the end. So today we have Toxic Youth – I don’t really know what the title means – and I can tell you it’s a killer record! Opening with “November” and heading into quintessential Fellows stuff like “Never Had It Bad,” “Gear Summer 2013” with its ’60s organ, “Alien Overlords” and drummer Tad’s “Black Boots,” this release was worth the waits. THEN there’s Side 2 and that’s where Back to the Egg really fries! “She’s By Request” has this wobbly, eerie lead vocal from Scott, telling the story of of a late night TV encounter with some actress that I can’t figure out. I really like this one and figured it was gonna be my favorite on this toxic green vinyl record until I got to the grand finale, “Bleed Out.” OMG. This is like the YFFs detailing their own career and demise, explaining “I’m married to this life / Gave my body and soul / When I take the final knife I will bleed out rock and roll.” Yes, I honestly believe that Scott, Tad, Jim and Kurt will and DO bleed rock ’n’ roll.

If Toxic Youth/Back to the Egg were the final Young Fresh Fellows album you could truthfully say – based on this album alone, let alone Topsy Turvy or Totally Lost or Gleich Jetzt – they played a loser’s game and won. Cleaned up. Mopped the floor with almost every other band there ever was. – Marsh Gooch

5/5 (YepRoc YEP-2722X, 2020)

P.S. – It may be a bit late in coming, but having known Conrad Uno of Egg Studio and Popllama Products fame for 30-something years – and having worked for and recorded with him at Egg myself – I’d like to thank you, Uno, for your contribution to the Seattle music scene and the rock ’n’ roll world at large. “What a humble guy.” Cheers! And say hi to Emily.

 

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The Replacements • Pleased to Meet Me (Deluxe Edition) [3CD/1LP]

THE REPLACEMENTS’ Pleased to Meet Me isn’t celebrating an obvious anniversary. The 1987 release isn’t 30 or 40 – it’s 33 (and not even 33-1/3!) – so the release of this Deluxe Edition is a bit surprising. Housed in the now standard Warner Music/Rhino LP-sized “book” format (a la Ramones, The Doors, Love), the Minneapolis band’s (arguably) greatest album is now surrounded by a coupla CDs of demos, rough mixes, outtakes and alternate takes that tell a much more complete story about this record, (arguably) the first or second album that should’ve turned them into a major band. Whether that would’ve been a boon or a bitch for these rock ’n’ roll loudmouths isn’t that hard to figure out if you know The Replacements’ story and trajectory.

Without diving deep into all of that last bit – after all, if you’re reading this you probably know the basics of their back story – Pleased to Meet Me was a turning point for the band. The Replacements had already been touted as the college rock band of the moment and after 1983’s Let It Be they seemed destined to hit the big time. Their first major label release, Tim (1985) had some great material but somehow missed the mark and so a lot was riding on this one. What a great time for the band to have to fire their lead guitarist (bassist Tommy Stinson’s brother Bob), just as they were on the precipice of Rock Mountain, about to go into the studio with a solid satchel of songs that was sure to do the trick. Paul Westerberg, Tommy and Chris Mars got together with producer Jim Dickinson at Memphis’ famous Ardent Studios and – long story short (it’s all in the included book) – put together this amazing record.

At the time I remember seeing “digitally recorded” on the album cover and wondering if Pleased to Meet Me was the inevitable sell-out every band eventually makes when they sign a deal with the (major label) devil. And then I heard it! What a powerful record! It didn’t sound “clean” like digital was supposed to – it just sounded like a ballsy, blistering batch of Westerberg’s best stuff. Opening with “I.O.U.,” cruising into the brilliant “Alex Chilton,” careening into “I Don’t Know” and “Shooting Dirty Pool,” with breathers like “Nightclub Jitters” and “Skyway” along the way, Pleased to Meet Me was everything Tim should’ve been and even better than Let It Be. How could it be?! Well, it was, it is, and it forever shall be. Somehow Jim Dickinson and his assistants at Ardent got what they wanted out of the band, either by coaxing, cajoling or outright strong-arming – whatever. They got it.

Pleased to Meet Me was the last, great Replacements album so it’s natural that there’d be a version of it like this one. And yet, nowhere on this 12″ x 12″ package do they note “deluxe edition,” “33rd anniversary” or anything that announces why this, now. Regardless, what you get on this 3CD + LP set is a new master of the original album (on CD only), a slightly different tracklisting for the “rough mix” version – which appears on both one of the CDs and on the vinyl – and another disc of further versions. (The singles B-sides appear on the CD with the 2020 master of the original album.) Of the many, many mixes and demos, there are a few that are remarkable: “Awake Tonight” sounds like a Faces/Rod Stewart outtake, except with more of a Replacements swagger; “All He Wants to Do Is Fish” is drummer Mars’ lone songwriter/ lead singer credit and is quite good; and the bulk of the Blackberry Way (recording studio) demos. Though it’s clear that Westerberg had many of the songs basically ready to go once the band got all the way to Memphis, the lyrics changed considerably and multiple times between those first demos through to alternate takes and on to the rough mixes and final versions. There are plenty of demos here, too, that aren’t all that exciting, I have to admit. But in its entirety this Pleased to Meet Me, from the music to the illuminating (in words and pictures) book, is definitely a pleasure. – Marsh Gooch

4/5 (Rhino/Sire R2 643412, 2020)

And fer God’s sake don’t miss this video:

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NRBQ • In-Frequencies [CD, LP]

Just the fact that NRBQ has been around for over fifty years is pretty amazing. Can you believe they’ve never put out a collection of rarities and unreleased tracks? It’s true. In- Frequencies remedies that dour predicament with sixteen recordings that fell through the cracks (or were lucky enough to roll off the chopping block the first time around).

You’ve got to hand it to the ArQive 50 crew because they somehow put together a cohesive collection of tunes from a band that has never been able to settle on a style long enough for any rock critic – let alone fan – to pigeonhole them. As I have said in previous NRBQ reviews (and as any fan will attest), that’s a big part of what makes the Q so great. Why settle for one flavor of ice cream when you can have 31? In-Frequencies covers not only the various Q styles, but the different lineups of the band. There’s plenty of cuts representing the Big Al Anderson era, like “Let Me Tell You ’Bout My Girl” and a soundcheck recording of “It’s a Wild Weekend” that’s better than the album version, as well as a good helping of tracks from both the original and latest lineups. There’s also a cut by the legendary Dickens, “Sho’ Need Love,” which is not only super rare but has an awe-inspiring backstory (click here!) that you’ve got to check out. From the humorous (“Sourpuss”) to the super sweet (“April Showers”) to the just plain weird (an alternate version of “Everybody’s Smokin’”), it’s all here.

It’s highly likely that In-Frequencies is the first in a series, since it’s a sure thing that NRBQ has a lot more in the can than just a single CD’s worth. It might be wise to focus further volumes on, say, live cuts or the real out there material that was too Q for a standard album, if only to make those collections more pigeonhole-able than this one. Regardless, this single CD (also available on vinyl and limited edition colored vinyl) is a pretty good selection of rare NRBQ stuff for that rare fan who doesn’t have everything. – Marsh Gooch

3/5 (Omnivore OVCD-393, 2020)

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Tanya Donelly and the Parkington Sisters • Tanya Donelly and the Parkington Sisters [LP, CD]

Well, it sure is a mighty long title for an eponymous release. TONYA DONELLY AND THE PARKINGTON SISTERS’ new album of cover versions doesn’t have a clever title but it does have an interesting vibe/concept. I must confess a few things at the outset: I was a big fan of Belly, Donelly’s ’90s alternative rock band, back in the day; I was drawn to Tanya Donelly and the Parkington Sisters due to that first confession and the track listing of this release; and, I had no idea who these Parkington Sisters were until I looked ’em up on the internet.

Donelly was the lead singer, songwriter and guitarist with Belly, who put out one excellent album, Star, and a very good album, King, plus a host of compelling singles for 4AD Records (or Sire here in the States). The Parkington Sisters are Rose, Sara and Ariel (plus sometimes Lydia; I mean, she’s always a sister of theirs but not always in the group), and have been putting out light pop/indie music together since 2010. Donelly was approached by American Laundromat Records to make a covers album and decided that these Parkington Sisters would bring the right vocal and instrumental vibe to whatever songs got chosen, and so, here we are.

This 9-song excursion into other people’s music opens with a moody, violin-heavy version of The Go•Go’s album cut, “Automatic.” Already knowing that song gave me the idea that this might be an interesting album, with the songs included being mostly cunning and not cloying choices. (I’m very glad they didn’t go for “We Got the Beat”!) That’s followed by a Leonard Cohen tune I’m not very familiar with (actually, most of them fall in that category), “Dance Me to the End of Love.” Others are covers of songs by Echo & The Bunnymen (“Ocean Rain”), Crowded House (“Devil You Know”) and Mary Margaret O’Hara (“You Will Be Loved Again”). The ones I was more interested in were “Let Me Roll It,” first done by Paul McCartney & Wings on Band On The Run (1973), a more uptempo and electric tune than most of this album – and though it’s not one of Wings’ most obvious songs, it’s ultimately a safe – but enjoyable – choice. Two other covers I felt were definitely obvious choices. One is “Kid” by the Pretenders, though Donelly’s reasoning for choosing it makes sense: “[It] was [considered] actually on the heels of a conversation that we’d been having about children.” I initially would’ve gone for a Chrissie Hynde tune with a little more balls but then that wouldn’t have fit this lighter-vibed album (imagine “Tattooed Love Boys” with violins!). The other is The Kinks’ “Days,” a Ray Davies tune that is probably his most-covered song and definitely a no-brainer. I think Donelly could have given “I’m Not Like Everybody Else” or “See My Friends” a real go, though she’s the kind of singer who’s not going to cover a song if it doesn’t have a personal meaning to her, so maybe my choice doesn’t speak to her the way her choice does. What do I know? I’m just a rock critic. Finally, I do like the version of the Mike Nesmith song, “Different Drum,” first done and made into a hit by Linda Ronstadt when she was still with The Stone Poneys. It is kinda soft, true, but it’s a sweet song and it’s nice that Tanya and the Parkingtons wanted to pay tribute to Ronstadt.

American Laundromat is covering all the bases by offering this album in a variety of colored vinyl versions, as well as on CD and even cassette. You’ll have to go to the website to figure out what is still available and where.

Overall, Tanya Donelly and the Parkington Sisters is a nice album, with light fare that’ll be great to put on at dinner and serve as enjoyable background music. That’s not meant to be a “dis,” just that, once you’ve given it a first listen it’s not gonna be a go-to album when you wanna rock out. Put it on when you want to relax, however, and it’ll be just fine. – Marsh Gooch

2.5/5 (American Laundromat ALR-0051, 2020)

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L7 • Smell the Magic [LP, CD]

These days I feel like I could start every review here on NuDisc.net with something like “Jeez! It was 30 years ago… boy, do I feel old!” And it was, indeed, three decades ago that L7’s Smell the Magic was unleashed upon the rock world. But unlike much of what we cover here, this one isn’t a record that I ever owned (neither on vinyl nor CD) or got into heavily so I can’t talk about it like it’s figured that greatly in my life. This is one I thought might be worth checking out again to see if my tastes had changed. Have they? Have I? Let’s see.

L7’s second big release – though it was initially a 6-song EP on vinyl – the record was also their second for Sub Pop, who had already put out a singles club 7″ of “Shove” b/w “Packin’ a Rod” (both on this release). At the time I didn’t pay much attention to their records because L7 was more rawk than I typically went. Sure, I was into punk of the British variety (and some US stuff like X and Ramones), but this branch of it was more sludgy, dare-I-say grungy (before the term was coined and overused) than I got into. Basically, slower rhythms and screamy vocals kinda turned me off. Over the years my intake of music has broadened on all fronts, though, and so, just like I have developed quite a taste for jazz and dub, I have also taken to some harder indie rock. What’s great about doing this is that Smell the Magic is practically like a new release to me. I’m not listening to it and remembering who I was seeing at the time, where I worked, or what drama I may have been going through. So I’m hearing the band’s smart ass, humorous stuff like “Fast and Frightening” and “(Right On) Thru” and digging the words, maybe because I’m not getting stuck on the basic, simple arrangements. OR: Maybe it’s just because, after years of therapy (!), I don’t automatically freak out when it sounds like someone’s yelling at me!

For the 30th Anniversary version, initial 12″ copies – or as Sub Pop calls them, Loser Editions – of Smell the Magic are on clear-with-orange/blue/grey-swirl vinyl (and Amoeba Music and Easy Street Records have a clear blue version) and CD, “remastered [doesn’t say by whom] for maximum impact.” As stated earlier, I don’t have an original copy so I can’t vouch for that claim!

L7’s energy is great, the recordings are what you’d expect for a raw indie release, and Smell the Magic is a nine song, thirty minute blast of good hard rock. Or sludge punk. I don’t know, what would you call it? Regardless, it’s a great way to bust thru the bull shit and enjoy something simpler and primal-er. How does that sound? – Marsh Gooch

3/5 (Sub Pop SP 1379, 2020)

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Robyn Hitchcock • The Man Downstairs: Demos & Rarities [CD, DD]

ROBYN HITCHCOCK ought to pay me for reviewing as much of his music as I do. (Seriously: look at all this!) I guess you could say I’m a fan. And that’s why The Man Downstairs: Demos & Rarities warrants both my possession and dissection. Limited to 1000 copies on CD only, this ten song release is sort of a companion to 2014’s The Man Upstairs. The idea then was to record half Hitchcock originals and half cover songs, “a kind of Judy Collins 1965-era album.” Well, I’m not a fan of that folksinger’s, but since it’s always interesting to hear how Robyn hears some of his favorite songs, the concept is a good one. And in this current age of DIY, a good idea. (You can get it on CD or as a digital download on Robyn’s Bandcamp page.)

These, being demos, aren’t as ornate as the ones Upstairs, but that doesn’t matter much. Hitchcock plays mostly guitar, with few overdubs (most being backing or doubling vocals) in a cozy atmosphere. Naturally I’m really into his version of “Arnold Layne,” one of the great early Pink Floyd tunes penned by the “mad genius” Syd Barrett and practically purpose-built for Robyn Hitchcock. I’m not as fond of the Nick Drake tune “River Man” (though I now know where ’90s UK band The Lilac Time got their name) or Dylan’s “Born in Time,” but I like the Townes Van Zandt tune, “The Tower Song.” Of Robyn’s own tunes, a few of them really strike a chord at this moment in time: “All Love and No Peace,” “Recalling the Truth” and especially “The Threat of Freedom.” I’m glad they saved this stuff!

The Man Upstairs was a good record, with stellar versions of The Psychedelic Furs’ “The Ghost in You” and The Doors’ “The Crystal Ship,” and so this serving of the demos that led to that Joe Boyd-produced outing makes a great companion piece. The Man Downstairs may not make it into your collection, physically (if it’s sold out by the time you read this), but you’ll still be able to conjure his presence via download. Downstairs download. I like it. – Marsh Gooch

3.5/5 (Tiny Ghost [no cat. #], 2020)

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David Bowie • I’m Only Dancing (The Soul Tour 74) [2LP, CD]

DAVID BOWIE’s camp has been regularly issuing and reissuing some of the man’s concerts for Record Store Day and other events so you gotta wonder how close to the bottom of the barrel they’re getting. Will one bad apple spoil the rest of ’em? I’m Only Dancing (The Soul Tour 74) might just be one of those (possibly) offending apples.

These “legendary,” “mythical” concerts were what basically amounts to Bowie rejigging his band mid-tour – originally dubbed the Diamond Dogs Tour – with additional performers, and changing the arrangements to reflect, I guess, what he was hearing in his head. He dialed up the soul and dialed back the rock – and that is either gonna be a real plus for you (like, if you’re a big fan of Young Americans, recorded soon after) or a let down (like if you prefer David’s rockier, Ziggy-er side). For me, firmly in the latter category, it’s not as great as I had hoped it’d be. I much prefer Cracked Actor (Live in Los Angeles ’74) (issued for RSD 2017, see my review here) for its crunchy arrangements. Here we have near-cheesy keyboards (sorry, Mike Garson, ’cause I generally like your playing) and an at-times caterwauling sax (courtesy of David Sanborn) that sounds pretty dated (think of the theme song for Saturday Night Live). Ugh. On the other hand, I do like the covers medley of “Foot Stompin’/I Wish I Could Shimmy Like My Sister Kate,” with its “Fame”-style guitar stabs. But that sax. You’re killin’ me, Sanborn!

I’m Only Dancing also suffers from a hoarse-voiced Bowie and the recording’s mediocre sound quality. It sounds better than your typical bootleg of the era, for sure, so this is probably an improvement in that regard. Design-wise, this package is miles better than its mid ’70s counterpart, with graphics adapted from the tour program that was available at the shows. The 2LP and 2CD sets are both Record Store Day exclusives so they’re going to go fast. Whether you want to make the trip to your local vinyl emporium is up to you – though you should go and support your local regardless of your interest in this year’s Bowie release. You’ll be able to either pick up a copy of this or something else that’ll float your boat. Let’s not forget, no matter what any of us critics say about any particular DB product, it’s still gonna be better than your average album. It’s Bowie! – Marsh Gooch

3/5 (Parlophone DBRSDLP 2020, 2020)

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Roy Wood & Wizzard • Main Street [CD]

As far as eccentric British musicians go, there may be none as gone as ROY WOOD. You wanna talk about a guy with a vision? How about a guy with all kindsa visions? He was a founding member of the great Birmingham ’60s beat band, The Move, co-founder of Electric Light Orchestra with Jeff Lynne, and the prime mover of WIZZARD. That “group” – which sometimes seemed like Wood playing all the instruments himself – was responsible for a number of UK hits in the ’70s, though sadly only their “I Wish It Could Be Christmas Everyday” is the only single of theirs that ever came close to charting here in the States. By the time Wood got to recording what came to be known as Main Street, the man was (in his own words) “trying to grow up… [it was] probably a last minute attempt to retain some sort of sanity.” Well, I guess you could call it that – if you’re Roy Wood!

What we have here is a reissue of an album that went unreleased upon its completion in 1976. A lone single (“Indiana Rainbow”) was issued in the UK as “from the forthcoming album, Wizzo” that was unable to gain any chart attention and so the album went unissued until 1999. This time, Esoteric Recordings has added a bonus track and tweaked the artwork (though they didn’t improve on Edsel’s design from ’99). This is a weird album. It’s full of a lot of the dense power pop arrangements that Wood is known for, but then, on top of that, there’s all of this jazzy stuff thrown in. Sometimes it’s fusion courtesy of his lead guitar, sometimes it’s pseudo swing and even some faintly calypso-sounding instrumentation. It’s got subtle nods to even the gnarliest Move stuff (“Brontosaurus” and “Curly,” particularly), as well as other supremely rockin’ bits (like the bonus track, “Human Cannonball”) that’ll draw you in, and even some progressive rock for variety. I mean, if ever there was an album that benefited and/or suffered from including everything but the kitchen sink, this is it.

I honestly don’t know what to think of Main Street… Is it an album that’ll grow on me and become a regular part of my rotation? I don’t expect it to – it’s just too out there. But – and this is a big but – if you’re a Roy Wood fan and you missed this one the first time it came out, you will obviously be drawn to this, practically the (il)logical conclusion to where Roy was heading with Wizzard all along. After it’s all said and done, you may just utter (like I did more than once), “Well, that is a weird album.” – Marsh Gooch

2.5/5 (Esoteric Recordings ECLEC2730, 2020)

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