Category Archives: CD

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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Paul McCartney • Flaming Pie [3LP, 2CD]

PAUL McCARTNEY’s Archive Series is now ten years old. In 2010 he started releasing deluxe packages of his non-Beatles work with perhaps his greatest post-Fabs album, Band on the Run. Here we are in 2020 and Macca’s reissued Flaming Pie, the 1997 solo outing that was hailed as his best since 1989’s Flowers in the Dirt, which was hailed as his best since… probably Band on the Run. At the time of Flaming Pie’s release we were all glad that he’d put out something that surpassed his previous studio album, 1992’s so-so On the Ground, which wasn’t bad but not nearly as good as the aforementioned Flowers. As his Archive Series has matured, so has the way McCartney and his business associates have packaged the man’s legacy.

This time, the various formats of the campaign include the customary, flagship “deluxe” box set (usually a number of CDs, a DVD or two, and a handful of books, posters and other memorabilia recreations) – in this case, 5 CDs, 2 DVDs, some books and other stuff – followed by a 3LP box set (consisting of the original album spread across two records and a third LP with various demos), a standard 2LP release (just the album tracks), and a 2CD set featuring the original album on disc one and a generously populated (21 tracks) disc of demos, etc.* Because Flaming Pie came out in the mid ’90s and vinyl hadn’t yet begun its comeback, the 14-track, 54-minute album was primarily a CD release, though it came out in limited quantities in the UK and USA on single-record vinyl that was both rare and not of a very high-fidelity nature. (The more time per side of vinyl, the lesser the quality of the audio.) This time it was decided to spread it out over two records – a wise choice – and the half-speed mastering job is amazingly good. The 3LP box set features this 2LP album (in a gatefold cover) along with a single bonus LP (in a standard record cover, and pressed in standard fashion) both housed in a slipcase complete with Japanese-style “OBI” strip. The slipcase’s cover is very minimalist and is quite tasteful, allowing the actual album’s cover to carry the release’s identity as it originally had (albeit with the title written in bright red rather than black, as it is/was on the current 2LP/initial 1LP release). An almost-dozen tracks make up that bonus LP, being “home recordings” and demos of eleven of the album’s 14 tracks. They make up a nice “alt” version of the album.

If you go for the 2CD reissue of Flaming Pie, you’ll get a high-value set with 21 bonus tracks (comprising disc two) that’ll be great for your ears and your wallet. The tracks on the 3LP bonus record are all there, as are more slices of alternative Pie and some of the B-sides that were originally released with the album’s singles (“Young Boy,” “Beautiful Night” and “The World Tonight”). Being that this is a digitally mastered set, you might expect it to sound a little less warm compared to the vinyl and it probably does; I have always had a hard time A/B’ing formats due to having to switch back and forth between them and trying to compensate for the typical difference in volume between CD and vinyl. I think both the 3LP and 2CD sets sound surprisingly good and they both make me want to really savor Flaming Pie today the way I never really did back in ’97. Wanna get into the deluxe edition?

Well, I haven’t yet sprung for that. As it currently costs beyond $200, it’s outside of my budget for now. What I can tell you is that it is clearly a gluttonous serving of Flaming Pie, with: an oven-full (two CDs) of the aforementioned demos and home recordings; a CD with an item called “The Ballad of the Skeletons” featuring McCartney with Allen Ginsburg, Lenny Kaye and Philip Glass (what a trio!) and a more-or-less complete episode of Oobu Joobu (a syndicated radio series McCartney hosted in the ’90s); a CD with a tour of, and samples of the instruments Paul keeps at his Hog Hill Mill recording studio (including the mellotron The Beatles made massive use of back in the day); and two DVDs with a documentary of the making of the album (called In the World Tonight), videos for the album’s singles, a few EPKs (electronic press kits) and even an interview with David Frost. AND a bunch of bespoke books and other ingredients to pad out the box and the price of it. Phew! Sure, 200-ish bucks might not seem so much for all of this, but keep in mind: like most baked items, it’s highly unlikely you’ll want to enjoy all of this more than once, so you gotta really consider what kind of monetary outlay you’re willing to make for such a rare, probably-to-be-enjoyed-once treat.

And THAT’s where that * asterisk way up above in paragraph two comes in! Because: There is an even grander version of Flaming Pie available, the Collector’s Edition. Limited to 3,000 units worldwide, it contains everything in the Deluxe Edition plus the 3LP vinyl set, half a dozen art prints featuring the album cover and other Linda McCartney photos, a Flaming Pie plectrum (what we guitarists in the USA call a pick), even more printed ephemera, and the ability to download the album at 24-bit/96kHz HD resolution. (And probably some other stuff that I was unable to make out from the various editions’ ingredients lists!) This all comes in a box that is “.6 of a metre long by about half of a meter wide” (according to Paul Sinclair in his unboxing video over at my favorite music site, SuperDeluxeEdition) – don’t ask me what it weighs ’cause, not only can I definitely not afford this version, but there’s no weight info anywhere on the web that I can find! Apparently, though, this one’s gonna set you back a good $400+ (not including a highly likely hefty shipping price). If you’re salivating heavily right now, here’s some comfort for ya: it’s probably already sold out by now so if you didn’t already know about it and order it you’re not gonna get a taste of this one any time soon.

Did you wanna hear about the music? Well, as mentioned way back at the start of this review, Flaming Pie was a critically acclaimed release that many considered to be a collection of classic McCartney styles. From the rocking songs like the title track, “The World Tonight” and “Young Boy,” to the bluesy “Used to Be Bad” that he wrote and played with Steve Miller, to the poppy, slightly melancholy sounding “The Song We Were Singing,” and a number of other flavors that you expect from Paul, this one’s got songs to recommend to just about every kind of Macca fan. But, unlike on many of his other releases, nearly all of these songs sound like McCartney in top form. None of it sounds phoned in. So, musically, it’s definitely worth looking into, either for the first time or once again. Now, naturally, I have some minor issues with the release, but this time – you lucky devils! – there’s nothing worth bothering to bitch about. And that means you can go enjoy yourself some Flaming Pie without having to think about me while doing so. That’s my gift to you. Go ahead – have a slice. – Marsh Gooch

4.75/5 (Capitol/MPL/UMe [various catalog numbers], 2020)

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Joe Jackson • Body and Soul [SACD/CD]

Another hybrid SACD/CD release from Intervention Records is JOE JACKSON’s Body and Soul. The 1984 album was the followup to his acclaimed Night and Day album (which featured the hit “Steppin’ Out”) and had his next – and bigger – hit, “You Can’t Get What You Want (Till You Know What You Want)”. This was another digital recording, too, this time recorded at a Masonic Lodge in NYC. Sometimes these early digital recordings can sound great, and other times time isn’t too kind to them. This one is a happy occasion for lovers of Body and Soul, as Intervention’s SACD/CD hybrid presentation treats the outing with respect and glorious results.

Jackson had shunned his angry New Waver persona by the time he got together again with old friends David Kershenbaum (co-producer) and bassist Graham Maby, as well as new colleagues Vinnie Zummo (guitar), Ed Roynesdal (keys/violin) Gary Burke (drums), singers Ellen Foley and Elaine Caswell, and horn players Tony Aiello and Michael Morreale. The material was of a more jazz bent, with more swing than Joe’s typical thing (not counting the full-on jump jazz homage, Jumpin’ Jive) and yet still coming from a pop place. There were no growly “I’m the Man” type rockers this time out, Joe moving into the more mature and thoughtful territory of songs like “Not Here, Not Now” and the aforementioned “You Can’t Get What You Want.” I can’t say it’s all good, though, as I find “Go For It” to be quite tedious (unless he’s being super sarcastic?!) and a few others to be mediocre for the man. Still, there’s also “Be My Number Two” (second best song on the album?) to round out the good ones.

Body and Soul is a full sounding recording, and the new SACD brings out all of the body and soul in Joe Jackson’s musical arrangements. Certainly the production can be credited for that, but also the new mastering by Kevin Gray, whom I have celebrated here before (see my review of the Flying Burrito Bros.), really shines. Intervention has a number of Joe Jackson’s releases in their catalog, either as SACD/CD discs or as beautifully rendered vinyl reissues (including Look Sharp!, I’m the Man and Night and Day) and they’re all worth the money. So if it’s high fidelity sound you want, and you know that’s what you want, you can now get it. Get it? – Marsh Gooch

4/5 (Intervention IR-SCD4, 2020)

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The Flying Burrito Bros. • The Gilded Palace of Sin, Burrito Deluxe [CD/SACD]

We’re so ahead of our time here at NuDisc that we’re finally reviewing our first SACDs in the year 2020. The pair in question are by that legendary country rock group, THE FLYING BURRITO BROS. The Gilded Palace of Sin and Burrito Deluxe are the sole two albums the original group released (in 1969 and 1970), so it being the 50th year since the latter’s initial release, Intervention Records has put them out on SACD. These Super Audio Compact Discs are actually hybrid CD/SACDs and are mastered “direct to DSD from analog tapes,” and in the case of Burrito Deluxe at least, from the 1/2″ safety copy of the stereo master tape. (SACD discs have a higher resolution than regular CDs so they theoretically will have more information and therefore better sound; these releases are hybrid discs and will play in regular CD players, but you’ll need an SACD player to access that layer and the superior audio it contains.) That alone isn’t a guarantee that the audio will be top notch, but there are a few other factors working in these reissues’ favor.

First off, Intervention Records, in its short time in the marketplace, has made a name for itself as a label that strives for (and typically succeeds at) producing damn good reissues. I’ve already got a few of their vinyl releases (The Gilded Palace of Sin and three releases by Joe Jackson) and they’re quite good. Second, both of these were mastered by Kevin Gray at CoHEARent Audio – this guy is really good at what he does! In fact, when I see his name in the credits it’s practically an instant purchase. Whether he’s at the helm of a punk rock remaster (The Damned’s Damned Damned Damned, for instance [not an Intervention release]) or country rock classics like these, this man’s golden ears can be counted on for flawless framing of the music in question. These two SACDs are the first I’ve heard with Gray’s remastering credit, though he also did Intervention’s all analog reissues of the Flying Burrito Bros., and I can vouch for the sound quality of the one Burritos/Intervention record I do have.

In the case of these two delicious Burritos, both the debut and Deluxe sound superior to any other versions I’ve heard. (And that includes original US vinyl of both, a European CD featuring both albums on one disc and two different compilations with most of the material from both.) I am officially going on record with this: the SACD of Gilded Palace sounds better than Intervention’s own vinyl pressing (which sounds fantastic). Yes, folks, Analog Vinyl Guy is voting for the digital disc. I know the album well enough to say I can hear more distinction between, say, Sneeky Pete’s pedal steel guitar and Gram Parsons’ keyboards with the SACD – it’s not that they sound separated, but that they don’t sound like one big “thing”. Does that make sense? Perhaps an analogy would help: imagine a burrito where you can make out the difference between the tortilla and each of the separate fillings and one that tastes like a single overall taste. Not only that, but Chris Ethridge’s bass and the (various players’) drums have more punch without sounding like someone re-EQ’d the record. In all manners, Intervention’s remastered SACD/CDs of The Gilded Palace of Sin and Burrito Deluxe really sound like the best possible version of themselves that you could wish for outside of owning the actual master tapes yourself. – Marsh Gooch

5/5, 4/5 (Intervention IR-SCD3 & IR-SCD8, 2017 & 2020)

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Brian Wilson and Van Dyke Parks • Orange Crate Art [CD, LP]

Twenty five years ago BRIAN WILSON and VAN DYKE PARKS created Orange Crate Art, what we in the rock critic world would call a “sweeping” “song cycle” about the beauty and majesty of the state of California. This month the album is reissued as a very lush sounding 2CD set and for the first time on vinyl (on 2 LPs), and it sounds real pretty.

Those of you who’ve read even a few of my reviews know my typical MO and tone is often a little “humorous,” “sarcastic” and/or “what-have-you,” so you’d be excused for thinking that my use of the phrase “real pretty” might be meant to induce snickers or other similar results in the reader. In fact I’m being straight up with you. Not only is Orange Crate Art real pretty, the CD sounds amazing. (I can’t speak for the vinyl but I can guess it’s at least as good in analog as it is digitally.) I have it on good authority* that this version of the album was mastered for better dynamic range and with more respect to the music than the original, which, let’s face it, was put out in 1994 when neither Brian Wilson or Van Dyke Parks were probably a high priority with their record label. Omnivore is much more concerned about sound quality than Warner Bros. was at that time.

Orange Crate Art has a lush soundscape thanks to Van Dyke Parks’ beautiful melodies and arrangements, and – the reason for this pairing of pop titans – Brian Wilson’s vocals. They’re not all Brian, but much of it is, including the lead vocals and the main backing vox. Along with a stellar team of vocalists, Wilson and Parks have put together an album that is super pleasant right out of the gate and welcomes repeated listenings. Musically, it’s like a cross between The Beach Boys and the Gershwins. Lyrically, Parks’ lyrics bounce back ’n’ forth between cute, clever and corny, and that sometimes became a slight impediment to my enjoyment. But as stated above, I can be a bit curmudgeonly so it’s not surprising that something like that might bug me.

But basically, if you dug Parks’ pairing with Wilson’s Beach Boys and Smiley Smile/Smile, or the absolutely brilliant “Sail On, Sailor” (from the Boys’ 1973 Holland album), you will get a kick out of Orange Crate Art. Recorded in the mid ’90s when Brian’s voice was still what we think of as Brian’s voice, it is a thoroughly relaxing and smile-inducing album.

Format notes: Orange Crate Art is available as 2CD set that includes an entire second disc of the instrumental versions of the songs, a 2LP black vinyl set that splits the album up to four sides (preserving the ability to get as much info into the grooves as possible), and a super limited orange vinyl 2LP set that sold out almost immediately on Omnivore’s web site. – Marsh Gooch

3.5/5 (Omnivore Recordings OVCD-373, 2020)

* Mark Smotroff’s post on AudiophileReview.com is highly recommended for both a thorough review of the album and info about the mastering of this release.

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Neil Young • Homegrown [LP, CD]

“Homegrown is alright by me, homegrown is the way it should be…” If you remember this lil’ refrain then it’s safe to say you’ve been listening to NEIL YOUNG for a long time – or at least since 1977’s American Stars ’N’ Bars, the album it was first heard on. Now it’s featured on Homegrown, Neil’s “new” album that was originally recorded in the mid ’70s and was finally set for release in April 2020 before the coronavirus pandemic pushed Record Store Day back. It’s out now and like many of Young’s latest releases, there’s a bit of a back story.

Shelved in 1975 once he decided a lot of the subject matter was just a bit too personal, Homegrown is the latest in Neil’s Archive series of releases and it’s another good album from a man with way more music in him than we’ll probably ever know. If there’s any doubt about the vulnerability that may be on display, the opening track “Separate Ways” tells you that Neil had a lot on his young mind in late ’74 when these recordings commenced and from there the openness doesn’t let up much. “Try” definitely keeps it going, as does the now familiar “Love Is a Rose” (made a hit by Linda Ronstadt not long after this recording was made) and “Mexico,” which isn’t so much about that country as it is about the peace it would bring to the man’s mind. (Neil also visits “Kansas” and “Florida” – more about that state later.) In all, the album is mostly a low key affair that was absolutely worthy of release.

Primarily recorded in December 1974 (plus or minus six months), Homegrown would have followed On the Beach but was cut from the same cloth as ’72’s Harvest – and featured many of the same players. There’s just not a lot of the rock that Beach had, save for “Vacancy” on side two. A good half of the songs on the album, like the title track, “Love Is a Rose” and “Little Wing” eventually made their way to release on later albums (more about the songs’ destinations here), but these are the original recordings and they make up a pretty cohesive album. Are there tracks on here that we could have lived without? Well, yeah! It’s Neil. I’d be pretty safe in saying “Florida,” with its stoned narrative and wine glass rubbing, could’ve been relegated to a rarities record of some sort. Yet that’s about the only one out of a dozen songs here that misses the mark so it’s good that Neil decided to finally put out Homegrown intact. I mean, at this point, he’s released so much great material that in years to come it’ll be pretty hard to separate the stems ’n’ seeds from his bountiful harvest. (Sorry, couldn’t help it.) Of course, Young releases so many albums these days – of both new material and old – that it’d be easy for the good ones to get lost among them all, but it would be just as easy for the not-so-good ones to get lost, too, so you really gotta check them all out, decide for yourself, and I don’t know, maybe use a post-it note to indicate to yourself which ones you’d want to hear again. I bet this one would be in that category.

Homegrown is available on CD and vinyl, with independent record stores receiving the vinyl that comes with a print of the cover art (which is limited). – Marsh Gooch

3/5 (for Neil) (Reprise 093624898689, 2020)

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