Category Archives: record store day

Record Store Day 2021, Part 2 [Vinyl]

Here are a few more RSD purchases we’ve felt the need to dissect. Please note that none of this was free – getting review copies just ain’t what it used to be! So, working from Z backwards…

THE ZOMBIES – Oddities & Extras (Varese Vintage VSD00020-05) – It’s hard to tell what songs have been on what Zombies compilations. Basically, they only released two actual albums, Begin Here and Odessey and Oracle, so everything else has likely been encountered either on the stellar 4CD Zombie Heaven box set from 1999 or on one of the countless comps that have made the rounds ever since a number of us decided that the band belonged in the same echelon as The Beatles, Stones, Kinks, Who et. al. I’m pretty familiar with just about all of the baker’s dozen songs here on Oddities & Extras, but being a near-completist I needed to add this to the collection. It’s a pleasant enough platter, especially with “She Does Everything for Me,” “Just Out of Reach” and the cover of “Goin’ Out of My Head,” but I can’t help feeling this may be surplus to my Zombies needs.

SUPER FURRY ANIMALS – Ice Hockey Hair EP (BMG CAT491EP) – A 4-song EP, pressed on unnecessarily 180-gram vinyl, this one also feels a little surplus… to my SFA needs, that is. Gotta say, though, that “Ice Hockey Hair” is a classic in the lush, semi- Britpop vein that the Furries embraced. Of the other three tracks, “Smokin’” is also good, “Let’s Quit Smoking” is a different arrangement of the former (basically), and “Mu-Tron” may just be an excuse for one of the SFA guitarists to use his so-named guitar effects pedal. Being a 12″ (as opposed to a full-on LP), this one is likely to stay shelved for awhile. Not because the song isn’t any good, but because it also appears on the “greatest hits” album, Songbook (The Singles, Vol. 1).

THE KINKS – Percy (BMG CAT488LP) – I’m kinda scratching my head on this one… I get that any album from the Lola-era Kinks is worth reissuing, but why – oh why?! – did they make it a picture disc? This isn’t a typical album from the band, being a soundtrack to a seldom seen 1971 comedy film, with some instrumentals, a “Lola” blues jam and the like, so maybe they decided to have a little fun with it. I mean, one side of the picture disc is a closeup of the image on the front cover, as in, the cartoon man’s groin covered by a big leaf. (The other side is the full cover image.) To be fair, this pic disc is pressed on extra thick vinyl so it actually sounds pretty good. And let’s not forget: This isn’t exactly a proper Kinks album, so you’re not likely to take Percy for a spin very often. It’ll probably stand up to the half dozen plays you’re likely to give it. The textured cover is a nice touch (replicating the original), too.

THE FLAMING LIPS – The Soft Bulletin Companion (Warner 093624885016) – With most of the tracks “Soft Bulletin outtakes, stereo versions of Zaireeka tracks and unreleased songs from the era,” this Companion – a 2LP vinyl representation of a 1999 promo CD – is nice in a humble kind of way. Granted, these days I find myself mimicking Wayne Coyne’s high-pitched, practically falsetto singing voice (“when you got that spider bite on your arm”), but there are some good songs here, and I am very much a fan of this era of the Lips. So, its presentation is fitting: as if it were a generic white album cover, with black and white stickers slapped on the front and back, a coffee stain here, a pen mark there; the colored vinyl itself is silver and the labels are of the “promo copy” variety. There’s scant info about the tracks themselves, but I have faith that most Flaming Lips fans will be aware of their pedigree. The cover of Skip Spence’s “Little Hands” is certainly more tolerable (even pleasant) than the songwriter’s own version. – Marsh Gooch

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Record Store Day 2021, Part 1 [Vinyl]

I picked up nearly two handfuls of vinyl for Record Store Day 2021 (first drop) and decided to “review” them, in a pair of parts, based on my initial impressions. It’s a fact that many of the items we pick up for RSD get played once and then filed away, likely to never be pulled from the shelf again. That’ll be great for resale one day – maybe – but it’s certainly not the way you wanna tie up your record money if you can help it. On the other hand, some gems only come to reveal their beauty further on down the road, so… I don’t know… Ah, let’s just get going.

TOM PETTY & THE HEARTBREAKERS – Angel Dream (Warner Records 093624882312) – Sort of a companion to last year’s Wildflowers extravaganza, Angel Dream is a “reimagining” of the songs Petty and crew did for the movie, She’s the One. I don’t know if anyone remembers the movie (I don’t) but the songs are memorable. In some ways they share a lot of the vibe of Wildflowers, kind of laid back, but there’s a lightheartedness with these tunes that doesn’t surface in the others, quite likely due to the fact that they were written to accompany a film. I wouldn’t hold this one up to Petty’s greatest albums (Wildflowers is one), but it’s got a charm to it that’s hard to deny. Together with Wildflowers and Finding Wallflowers (a 2LP set of Disc 4 of last year’s heaping helping of Tom’s hospitality), Angel Dream is one purchase you would listen to again.

ELTON JOHN – Regimental Sgt. Zippo (Rocket/UMe RSDRSZ2021) – This one’s really out of left field! Yeah, if you’re trying to guess by the album cover, you’re right: it’s a psychedelic EJ album that was never released. Recorded in early 1968 at DJM Studio in London (home of Elton’s record label in the UK), it’s Elton and Bernie Taupin in their salad days, taking a break from trying to find their own voice and instead working up some groovy, of-the-moment (but now fairly aged) psych-pop. Surprisingly, the arrangements are much more fleshed out than I was expecting, sounding very much like a serious attempt to write an album’s worth of tunes good enough to release. And they are/were! Why this wasn’t put out until now is a good question, and probably even Sir Elton doesn’t quite remember. But at this point in his career – and after most of these songs made their debut on last year’s Jewel Box set – it makes sense to put out a vinyl relic of what Elton & Bernie were spending their time on while still wearing creative short pants. The songs are certainly on the derivative side but they’re fun to listen to, making Sgt. Zippo a nice one to reach for when you’re in the mood for something different. And I like the play on Elton’s given name, too.

TOOTS & THE MAYTALS – Funky Kingston (Get On Down/Island GET54103-LP) – This is one of the greatest reggae albums of the ’70s, even if this particular configuration isn’t the same as its original Jamaican counterpart. Funky Kingston, as it has been since its first international release, is mostly that original issue, with a few tracks brought over from another album and “Pressure Drop” ported over from a ’69 single. Whether or not you consider this a proper album or a compilation, you can’t dispute that this may have been Toots’ peak as an artist. I would’ve liked them to do a 2LP set containing the original Funky, with the extra tracks they swapped in from In the Dark, and whatever else would’ve made sense. But, I guess for that there’s always my Very Best Of… CD, not to mention a host of other compilations still available.

FLAMIN’ GROOVIES – I’ll Have A… Bucket of Brains (Parlophone 0190295104139) – It may have gotten its name from an obscure Welsh beer, but this record’s got the Groovies’ best known song on it, “Shake Some Action,” a stone cold klassic that you should crank anytime you get a chance. This little 10″ mini LP, “The Original 1972 Rockfield Recordings for U.A.,” contains seven songs the San Francisco band did with nascent producer Dave Edmunds for the UK wing of United Artists. UA released a couple of the band’s rock ’n’ roll singles at the time but they were (at least in hindsight) doomed to fail, being released during Britain’s glam rock craze. Yet “Shake Some Action” eventually became a touchstone of power pop and more bands have been influenced by it than probably even know it. Here, Bucket of Brains provides the single version and the original recording at its slightly slower speed (in a 1995 mix) that reveals more of what makes it so damn good. Plus, there’s a killer version of “Tallahassee Lassie” (crushes Freddy Cannon’s original like a grape!) and their other klassic cruncher, “Slow Death.” This was only available as a UK CD (and under a couple of other names in other countries) mostly in the mid ’90s. As a 10″ it is the perfect vinyl artefact. If this doesn’t help you bust out at full speed, then I don’t know what you need… to make it alright! – Marsh Gooch

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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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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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Paul McCartney • McCartney (50th Anniversary Half-Speed Master) [LP]

It’s just about Record Store Day 2020 “Drop 2” (Sat. 9/26/2020) and here we have my main purchase, PAUL McCARTNEY’s McCartney, released for the album’s 50th anniversary. This reissue – coming just three years on from the red vinyl edition – begs the question: How many copies of this (or any) album do we really need? (Which is followed by the companion question: How many times do we have to reconsider the first question?)

Well? Do you already have a copy? On vinyl? How much do you like the album? Do you play it on a regular or even once-in-awhile basis? Let me see: I already have – we’ll call it – a few copies of McCartney on vinyl. (Don’t ask how many copies including CDs…) And yes, I do like the album and play it at least a few times a year. Oh yeah, don’t forget this question that’s crucial to us older (read: 50 and above) dudes: How many more times will I be able to play this before I die, and if it’s not very many, will this new version noticeably enhance my listening experience or would the other copy(ies) I have suffice? Okay, now that we have these rhetorical considerations out of the way (or eating away!), here’s what you need to know about the new half-speed mastered McCartney.

For its 50th anniversary, Macca has decided to issue his first solo album again on vinyl, and this time the mastering really is top notch. Completed at Abbey Road by Miles Showell, who has worked on many Beatles-related projects, the record was cut from a presumably (very) high resolution file that came from the analog master tape.* Many of us would prefer it to be all analog but that kinda thing rarely happens these days, since everyone who still has original masters of their work (or entrusts them to a large conglomerate who hasn’t allowed them to fester or burn while in storage) wants to keep them safe and intact. The thing is, the method for completing a remaster isn’t as important as the care and ears that go into the process. Stay all-analog, go digital, one or the other or both, I don’t really care as long as the people involved have a good idea of what sounds good and achieve that goal. In this case, I think this McCartney sounds better than any other version I know of. (Many people would point to the UK first pressing as the holy grail, but of course, good luck finding one at a reasonable price. I don’t have one.) It was pressed on 180-gram vinyl for a deep groove, which means more info gets transferred to your speakers and therefore your ears, but the half-speed mastering process can tend to weaken the bass frequencies and I do feel like McCartney may be missing the oomph it needs to really knock it out of the park. BUT… what you do hear sounds incredible and the bass – though it may be a bit low in the mix – at least sounds distinctive.

I haven’t even got into the music itself, but I imagine anyone with even a modest interest in McCartney’s solo stuff knows what McCartney is about. It’s about 35 minutes of really good songs, with only a minor clunker factor, all played by Paul himself and joined by Linda Mac on the harmonies. My picks on this LP are “Every Night,” which really should have been a single, the rockin’ “Oo You,” and the gentle ditty “Junk.” Don’t forget “Maybe I’m Amazed,” which wasn’t released as a single in 1970 but instead became a hit when Wings did it on their 1976 live album, Wings Over America. Still – most everyone’s familiar with the song and this version isn’t much different than the band’s. The rest of the songs are primarily snippets, such as opener “The Lovely Linda” and “Valentine Day,” or interesting instrumentals that allowed Macca to flex his muscles and do something beyond what was typically allowed on a Beatles album (not counting The White Album).

This RSD version of McCartney is a limited edition (supposedly 7,000 copies worldwide) so you’d better high-tail it to your indie dealer and grab one before they’re gone or garnering higher prices once they’re made available on the internet. You can go to the Record Store Day website to find your closest dealer. – Marsh Gooch

4/5 (Capitol/MPL/UMe 602508 464720 0, 2020)

* Here’s what it says on the insert inside: “This half-speed master closely references the 2011 remaster by Steve Rooke and Guy Massey. It was made as a vinyl specific transfer in high resolution and without digital peak limiting for the best possible reproduction.” That tells us this pressing comes from a new lacquer, which was cut from a hi-res digital copy that was struck from (presumably) the original analog master tape.

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John Prine • The Atlantic Albums [4LP Box Set]

Coronavirus deaths are definitely a drag, for sure. The April 2020 passing of folk singer/legend JOHN PRINE was a big bummer, whether – like me – you’re relatively new to his stuff or a longtime fan. The Atlantic Albums, a 4 LP box set of his first recordings, came at a great time (though clearly already in the works before he became sick from the virus) for me, as I had only a copy of his debut album (John Prine) on vinyl and was really starting to crave more.

I’m not particularly well-versed on Prine’s history, having first given him a try only a year or so ago when my partner gifted me a copy of a best-of CD, Prime Prine. I had heard of him, of course. But I hadn’t paid him no never mind until – I’ll admit it – I felt obligated to give him a go. So I’ll let you research things on your own, if you’re of a mind to, with a hint to start with maybe his Wikipedia page, his official website, or just go YouTube some videos (a couple are included below). Rolling Stone aptly called him “the Mark Twain of songwriting,” and singers like Johnny Cash, Bob Dylan and even Pink Floyd’s Roger Waters have trumpeted the man’s way with words. Dylan said in 2009, “Prine’s stuff is pure Proustian existentialism. Midwestern mindtrips to the nth degree. And he writes beautiful songs.” I was first tickled by some of his song titles, such as “Your Flag Decal Won’t Get You Into Heaven Anymore,” “Sour Grapes,” “Yes I Guess They Oughta Name a Drink After You,” and so on. I’m naturally drawn to humor and that’s what I heard first in Prine’s songs. Then comes the poignancy and his ability to illuminate issues with a keen eye and a wisdom that was beyond his years: “Hello In There” is one of his best loved tunes, about old folks and how we kinda look right past ’em without considering that “old people just grow lonesome, waiting for someone to say ‘Hello in there… hello.’” Whether you’re a fan of folk music or not – and Prine’s is adorned with instruments beyond guitar and mandolin or dulcimer – his lyrics’ll get ya. And this is coming from a guy who doesn’t usually home in on the words right outta the gate.

The Atlantic Albums is a pretty basic box set, with four albums in a sturdy slipcase with a pair of funky black ’n’ white photos of John back in the day. You get 1971’s self-titled debut, ’72’s Diamonds in the Rough, ’73’s Sweet Revenge, and his last album for the label, Common Sense (1975). They’re reissued in old-style covers with the original artwork, complete with lyrics inserts. The 180-gram pressings sound incredible with no notable surface noise, and benefit from mastering and lacquers cut by Kevin Gray (whom I’ve praised before; see this review and this one). This Record Store Day release is limited to 2,000 copies and prices right now (a week after RSD) are pretty high, but that price might go down some. (There’s also a 7CD box on the horizon that includes these four albums and the next three he did for Asylum Records.) This set is a great way to get those original albums on vinyl, as the first issues can fetch pretty good money online (especially if you’re after those lyric sheets), but if this box is priced too high you can probably expect that very soon these albums will be made available separately. Of course, if you haven’t yet jumped into John’s pond, where better to start? This is pure Prine right here. – Marsh Gooch

5/5 (Rhino/Atlantic 603497848294, 2020)

 

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Pretenders • Live! At The Paradise Theater, Boston, 1980 [LP]

Once released as an LP sent to radio stations only as a promotional item to help sell the band’s debut album, Live! At The Paradise Theater, Boston, 1980 is PRETENDERS at their livest best. The show was recorded on March 23 of that year just a few months after Pretenders was released to critical acclaim. Already the band was touring the USA, and within a year or so they’d released a stop-gap EP and then their second full length, the imaginitively-titled Pretenders II. To say things seemed to be happening for them is an understatement – and yet that momentum came to a pretty swift halt soon after. The stories have been told elsewhere of how guitarist James Honeyman-Scott and bassist Pete Farndon went down the well-traveled drug death road that so many rockers have, so let’s just say there’s no telling what the band would have done had the original lineup stayed intact. Not that the Pretenders didn’t end up achieving a pretty solid career…

Anyway, for Record Store Day 2020 (Drop 1), Sire/Warner Bros. has issued that for-broadcast-only concert on a real cool clear/red vinyl LP that comes in a clear PVC cover*. The 11-song set list is made up primarily of tracks from the band’s first album, so you’ll hear “Precious,” “Kid,” “Mystery Achievement” and “Tattooed Love Boys,” for instance, and early versions of “Talk of the Town” and “Cuban Slide.” Recording-wise, Live! At The Paradise Theater is of a quality I’d call “better than soundboard,” as in it’s lacking some shimmer in the high end and could stand a little more bottom, but otherwise much better than if you’d taped it from the radio back in the day. Of course, big time (real?) Pretenders fans would have looked for a copy of the original promo release, but those are fairly rare and not exactly on the cheap side. So now RSD comes to the rescue – or to the delight of those who had no idea this item ever existed at all. I don’t tend to listen to live albums all that regularly, but this one I’ll put on more frequently than, say, this RSD’s live Bowie release (the 1974 tour recording, reviewed here). If you’ve been trying to hunt down that original release, it is time for you to stop all of your sobbing and grab one of these.

3.5/5 (Sire RCV1 114, 2020)   * Do yourself a favor and keep the record itself in a regular paper or audiophile sleeve; over time records get baked into PVC sleeves and become unplayable.

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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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The Kinks • The Kink Kronikles [2LP]

The Kink Kronikles is one of my favorite kompilations of any of those in my kollection. In 1972 THE KINKS had recently moved on from their original US record label, Reprise, to the hopefully greener pastures of RCA Records, so the wise guys in their former A&R department decided to put together a kollect… okay, I’m gonna stop with the “’k’ in place of ‘c’ thing” now… collection of a bunch of great singles and pair them with tracks – primarily B-sides – that they hadn’t yet released on album on this bounteous 2LP set, which has just been re-released for Record Store Day 2020.

One of the smarter things the label ever did was to draft rock critic and Kinks fan John Mendelsohn to not only compile the tracks, but annotate the package. What he put together, selection-wise, is an exemplary survey of what made the band so great. And his liner notes, which take up the entire inside of the gatefold cover, are an illustration of the fine art of putting someone on a pedestal and trying to knock them off of it at the same time. Mendelsohn’s twisted love of The Kinks is no secret (he later even penned a book about them), and neither was his sarcastic yet spot-on writing about rock music. They don’t make ’em like him anymore.

Remaining in Reprise’s catalog for many years, The Kink Kronikles was a valued 2LP set for the group’s hardcore US fans despite it being compiled and released without any input from the band. This, certainly, had been par for the course at Reprise. Just like The Beatles, The Stones and The Who – and pretty much all of the British bands – The Kinks had had their albums sliced ’n’ diced at will by the powers-that-had-been because those bozos presumably thought they knew better what would fly in the good ol’ US of A than their counterparts in the UK. And by that, I mean, you know, “We’ll cut a few songs from this 14-track album, take the tracks from some of the singles – hell! – even include a coupla tracks that were on the last album and bang! We got another way to make money off of these funny sounding English guys who probably won’t be around next year anyway.” The thing is, this compilation had so many sought after songs on it – lots of rare B-sides and songs lopped off their UK LPs – that the album became a pretty good seller, quite likely even cannibalizing sales of RCA’s current releases of new Kinks material (’71’s Muswell Hillbillies and ’72’s Everybody’s in Show-Biz).

I don’t have an original copy of The Kink Kronikles to compare this new Record Store Day version to, but it sounds pretty phenomenal, cats. Besides that, the collection itself is a great mix of familiar and obscure tracks. Sure, you get “Victoria,” “Days,” “Waterloo Sunset,” “Lola” and “Sunny Afternoon,” but you also get once-super-hard to find goodies like “She’s Got Everything,” “Big Black Smoke,” “Mr. Pleasant,” “Berkeley Mews” and the then-unreleased “Did You See His Name?” There are 28 tracks here and they’re all worthwhile. Yes, today in 2020 they’ve pretty much all been added to the appropriate reissues of the band’s original albums, so if you’ve got the multi-CD sets of Village Green Preservation Society, Arthur or whatever, you have a good number of what’s here. But that’s no reason to pass on this limited edition, red vinyl reissue that’ll probably be deleted before you can say “Kinks reunion” for the umpteenth time. – Marsh Gooch

4.5/5 (Sanctuary BMGCAT436DLP, 2020)

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John Lennon/Yoko Ono • “Instant Karma!”/“Who Has Seen the Wind?” [7″]

Another Record Store Day 7″, JOHN LENNON’s “Instant Karma!” b/w YOKO ONO’s “Who Has Seen the Wind?” is not exactly a reissue of the original 1971 single. This time it’s a pairing of 2020* remixes of the songs, in line with the 2019 remix of Lennon’s Imagine album (also recorded in ’71). Apparently held over from that release – after all, RSD was supposed to be in April – as a reminder about the availability of the aforementioned remix LP (these tracks aren’t on it or any of the box set versions), this 45 is housed in a similar “picture” sleeve and dons near-identical Apple labels and the original UK catalog number. (The lengthy, modern UPC barcode and catalog number are, of course, unique to this release and thankfully printed only on the outside hype sticker.) This “ultimate mix” of “Instant Karma!” isn’t that different from the original, though it does seem to make the individual instruments stand out on their own a little better, with Klaus Voormann’s bass and Alan White’s drums a bit tighter. Back then, Lennon, Ono and co-producer Phil Spector went for a much denser, Wall of Sound-esque mix than what we’d consider good today. Still, if you’re not intimately familiar with the original you really have to squint to hear the difference between the ’71 and ’20 mixes.

As for Ono’s “Who Has Seen the Wind?,” I am honestly not familiar enough with it to hear the differences between the original and today’s remix to weigh in. Sorry, Yoko! I’d certainly heard the song before (I have an original pressing of the single), but was never as interested in repeat listenings of it as I was of the A-side, which is not only a stone cold classic but was also a worldwide hit and has appeared on numerous Lennon compilation albums over the last fifty years. But I can tell you this: these 2020 remixes are for the hardcore fan (as you’d basically expect) and not the casual listener. This trend of remixing classics is getting a bit tedious, really. I mean, especially in the case of something like “Karma,” which suffered a bit from a crummy mix, why not really go for it and do something radically different? Or at least noticeably different?! – Marsh Gooch

2.5/5 (Apple/Calderstone APPLES 1003/602508778711, 2020)
* Chances are these remixes were actually done in 2019 during the same sessions as the
Imagine remixes.

NOTE: The above video is, of course, of the original 1971 mix.

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