The Allman Brothers Band, The 1971 Fillmore East Recordings (Mercury/UMe)
The four shows in March 1971 that made up the band’s legendary breakthrough album are presented in full for the first time, along with the group’s closing set at the Fillmore East that following June. The Blu-ray version features the material in both stereo and 5.1 surround sound.
Peggy Lipton, The Complete Ode Recordings / Gene Rains, Far Away Lands — The Exotic Music of Gene Rains /How to Stuff a Wild Bikini: Original Stereo Soundtrack / Cass Elliot, Don’t Call Me Mama Anymore Plus Rarities – Her Final Recordings / Dee Dee Warwick, The Complete Atco Recordings / The Shirelles, Happy and in Love/Shirelles / The Dream Academy, The Morning Lasted All Day — A Retrospective (Real Gone Music)
This diverse Real Gone set includes a compilation from underrated ’80s synthpop group The Dream Academy and recordings from Peggy Lipton, star of The Mod Squad; she covers the songs of Carole King, Laura Nyro, Brian Wilson and Tony Asher, Burt Bacharach and Hal David, and Jimmy Webb on this release, which has liner notes from our own Joe Marchese!
Peggy Lipton: Amazon U.S. / Amazon U.K.
Gene Rains: Amazon U.S. / Amazon U.K.
Wild Bikini: Amazon U.S. / Amazon U.K.
Cass Elliot: Amazon U.S. / Amazon U.K.
Dee Dee Warwick: Amazon U.S. / Amazon U.K.
The Shirelles: Amazon U.S. / Amazon U.K.
The Dream Academy: Amazon U.S. / Amazon U.K.
Deep Purple, Hard Road: The Mark 1 Studio Recordings 1968-1969 (Parlophone U.K.)
The legendary bluesman and some famous friends (Tom Petty, Willie Nelson, Mark Knopfler, John Mayer) pay tribute to the late blues singer-songwriter on this new album.
This anthology collects the complete recordings of L.C. Cooke for his older brother Sam’s SAR Records label, including one complete shelved album produced and largely written by Sam, plus alternate takes, unreleased tracks, session chatter and bonus recordings from the Checker and Destination labels! Musicians include Bobby and Cecil Womack, Billy Preston and “Pink Panther” saxophonist Plas Johnson! (Amazon U.S. / Amazon U.K.)
Big Break has three more R&B classics arriving on CD this week including the first post-5th Dimension album from Marilyn McCoo and Billy Davis Jr. featuring their smash “You Don’t Have to Be a Star (To Be in My Show).”
Here’s the only collection approved for listening by The Star Lord! This indeed-awesome all-catalogue mix includes vintage cuts from The Jackson 5, The Raspberries, David Bowie, The Runaways, Blue Swede, Rupert Holmes and more – all but one of which (Norman Greenbaum’s immortal “Spirit in the Sky”) play key roles in the Marvel blockbuster-to-be! Also available as part of a 2CD or 2LP deluxe edition also including the film’s orchestral score by Tyler Bates!
This two-disc set from the late ’90s/early ’00s boy band lives up to its name for fans, featuring all the great hits (“Bye Bye Bye,” “Tearin’ Up My Heart,” “Pop”) plus a myriad of rarities from compilations, soundtracks and international pressings. (Amazon U.S. / Amazon U.K.)
A sequel of sorts to the Record Store Day single co-produced by our own Mike Duquette, this is a straight reissue of the original soundtrack, newly remastered for vinyl. (Amazon U.S. / Amazon U.K.)
Listen To What The Man Said: Paul McCartney Announces “Venus and Mars,” “Wings at the Speed of Sound” Archive Sets
Eagle-eyed readers might have noticed links that appeared on Amazon this morning for the rumored upcoming Paul McCartney Archive Collection editions of d Wings’ 1975 and 1976 albums Venus and Mars and At the Speed of Sound, respectively. Well, the rumor is now a fact, as Concord Music Group’s Hear Music label and McCartney’s MPL have confirmed the September 23 arrival in the U.S. of both titles.
True to form, both albums will be available in a plethora of formats including 2-disc standard editions, 3-disc (2-CD/1-DVD) hardbound book editions, gatefold vinyl and digital, each with a disc of rare and previously unreleased bonus material.
Venus and Mars, released in May 1975, had the unenviable task of following the phenomenally successful Band on the Run. Though Band had been recorded by the slim, three-person line-up of Paul and Linda McCartney and Denny Laine, Macca made the decision to bolster the group with the addition of Jimmy McCulloch on guitar and Geoff Britton on drums. Before settling on Allen Toussaint’s Sea-Saint Studios as the recording venue of choice, Wings entered Abbey Road where early versions of three songs were cut for the new album. After just six months in Wings, however, Britton departed the band, and American drummer Joe English completed the sessions for Venus and Mars. Toussaint, Dave Mason and Tom Scott all guest-starred on the album which delivered on its promise of a true “Rock Show.” If McCartney, indeed, had worried about building on the success of Band on the Run, he needn’t have. Venus and Mars spawned a No. 1 single – the rollicking “Listen to What the Man Said” – and went to the top spot on both the U.S. and U.K. album charts. It also provided a platform for Wings to launch the Wings Over the World tour – which, of course, included the Wings Over America leg and album.
Between the Australian and European legs of Wings Over the World, McCartney and Wings entered Abbey Road to record the album that would become Wings at the Speed of Sound. It was Macca’s first album wholly recorded in the U.K. since 1973’s Red Rose Speedway (still awaiting a deluxe Archive Collection reissue) and featured a number of lead vocals from singers other than Paul – Denny on “The Note You Never Wrote” and “Time to Hide,” Jimmy on “Wino Junko,” Linda on “Cook of the House,” and Joe on “Must Do Something About It.” Of course, it was two songs sung by Paul that catapulted the album to another smash success: the endearing, childlike “Let ‘Em In” (No. 2 U.K./No. 3 U.S./No. 1 U.S. Easy Listening) and the unapologetically buoyant “Silly Love Songs” (No. 1 U.S./No. 1 U.S. Easy Listening). The latter was a record-breaking 27th No. 1 for Paul the songwriter. Released in March 1976, Speed of Sound went to No. 2 in the U.K. and the top spot in the U.S. for seven non-consecutive, becoming McCartney’s most successful album ever in America and setting the stage for the Wings Over America tour to take flight that May.
After the jump, we have more details courtesy the complete press release, plus pre-order links, the full track listings, and more! Read the rest of this entry »
Real Gone Is “In Tune” With September Slate Featuring Grateful Dead, Ides of March, Willie Hutch, More
September 1 marks Labor Day, but Real Gone Music isn’t taking much time off! The very next day, the label launches a new crop of eight titles emphasizing soul, funk and R&B but also encompassing country, classic rock and a touch of prog!
At Motown, Willie Hutch gifted The Jackson 5 with his song “I’ll Be There,” saw his songs recorded by the label’s elite including Smokey Robinson and Marvin Gaye, and penned funky soundtracks including The Mack. In 1977, he departed Berry Gordy’s empire for Whitfield Records, headed (of course) by Motown expatriate Norman Whitfield. Hutch’s two Whitfield albums In Tune and Midnight Dancer are arriving on U.S. CD for the first time anywhere. Hutch is joined by R&B great Esther Phillips on the Real Gone roster, as the label has a reissue of Phillips’ 1973 CTI/Kudu platter Alone Again Naturally. The former Little Esther tears into not only Gilbert O’Sullivan’s title track but gives her all to the likes of Bill Withers’ “Use Me” and Dan Penn and Spooner Oldham’s “Do Right Man, Do Right Woman,” popularized by Aretha Franklin. Real Gone’s edition is based upon the out-of-print edition by Reel Music including its two live bonus tracks and A. Scott Galloway’s essay. Alone Again has resulted from the partnership of Real Gone and SoulMusic Records; the labels’ affiliation is also yielding two rare albums by the soulful Ullanda McCullough for the Atlantic label on one CD, including a set written and produced for the singer by Ashford and Simpson!
Not in an R&B mood? Real Gone has country fans covered with the first-ever compendium of the chart hits of Ray Griff, the country singer-songwriter known to his fans as The Entertainer! Griff’s The Entertainer – Greatest U.S. and Canadian Hits collects 24 tracks from seven (yes, seven) record labels spanning the period of 1967-1986!
If classic rock is your bag, you might want to hop a ride on an expanded edition of Vehicle from the other Chicago horn band, The Ides of March! This reissue adds four bonus singles and new liner notes by Richie Unterberger (including new quotes from Ides of March/Survivor man Jim Peterik) to the original 1970 album and celebrates the band’s 50th anniversary. You might say “Yes!” to Rick Wakeman’s Criminal Record, recorded shortly after the keyboard great rejoined Yes for the Going for the One album in 1977. Last but not least, Real Gone returns to Grateful Dead’s Dick’s Picks series for a key 1969 show on the band’s home turf at San Francisco’s Fillmore Auditorium!
Hit the jump for Real Gone’s press release with more details on all eight titles, plus pre-order links! All releases are due from the label on September 2. Read the rest of this entry »
Ace’s “Girls with Guitars 3″ Features Guitar Rock From Jackie DeShannon, Brenda Lee, Goldie and the Gingerbreads, More
Ace Records began its Girls with Guitars CD series in 2004. That first volume took its inspiration from a 1989 LP issued by the label and featured 24 tracks from lesser-known American girl groups worthy of attention from garage-rock fans. The music of Girls with Guitars was diverse, encompassing a variety of sixties sounds from garage to pop and soul. A second volume, Destroy That Boy: More Girls with Guitars, followed in 2009 ramping up the star wattage with a couple of mind-blowing cuts by Ann-Margret. Now, Volume 3 – entitled The Rebel Kind after Lee Hazlewood’s song famously recorded by Dino, Desi and Billy and surveyed here by New Zealand’s The Chicks – collects 24 more rockin’ girl rarities from the U.S., the U.K., Italy, Japan and beyond.
The most famous names on The Rebel Kind belong to Jackie DeShannon and Brenda Lee. Jackie has been a fixture on the Ace scene, with the label offering volumes of her complete Liberty and Imperial singles as well as a collection of her work as a songwriter. (A second such volume is on the way.) Girls with Guitars naturally indulges the more rocking side of the “Put a Little Love in Your Heart” and “What the World Needs Now is Love” chanteuse, featuring her 1964 recording of “Dream Boy,” recording during the same London trip that yielded her folk-rock gem “Don’t Turn Your Back on Me.” Jimmy Page, then a hot session guitar slinger, joins Jackie on the track. Nashville queen and “Rockin’ Around the Christmas Tree” gal Brenda Lee also found herself in London in 1964 with Jimmy Page at her side and on fire. With producer Mickie Most (The Animals, Donovan), Lee recorded the version of Ray Charles’ “What’d I Say” heard here.
Donovan himself is represented with “You Just Gotta Know My Mind” from actress, singer and future David Bowie pal and collaborator Dana Gillespie. The Donovan tune was Gillespie’s first single for Decca Records, and yup, featured the ubiquitous Page! Donovan isn’t the only famous name here in the songwriting department. Bob Dylan’s “If You Gotta Go, Go Now” is heard via a 1966 single by The Honeybeats – in Italian! Brill Building stalwarts Barry Mann and Cynthia Weil’s “Chico’s Girl” was cut in Los Angeles by producer and Wrecking Crew sax man Steve Douglas for a 1966 single reprised here. L.A. band The Turtles served as the backing group for The Chymes on another sound of ’66 –the Chattahoochee Records single “He’s Not There Anymore,” written and produced by Nita Garfield and her boyfriend, The Turtles’ Howard Kaylan.
Rock on after the jump! Read the rest of this entry »
Look Up To The Sun: Ruthann Friedman Goes Beyond “Windy” On Now Sounds’ “Complete Constant Companion”
Roughly one year ago, Now Sounds released Windy: A Ruthann Friedman Songbook. Its colorful cover was adorned with a striking photograph of the artist, intense and beautiful, in a verdant setting. The label has now continued the Ruthann Friedman story with The Complete Constant Companion Sessions, and its cover is as to Windy’s as night is to day. Its stark black-and-white line art by Peter Kaukonen appears to depict an angel on a landscape of rolling hills, conjuring cryptic text and an arrangement of branches. The drawing is both spare and intricate, mysterious and inviting. It’s an apropos introduction to the intimate world of Constant Companion. The lush Wrecking Crew-aided pop arrangements as heard on Windy have ceded to delicate voice-and-guitar, folk-style performances, though the individuality of Friedman’s exquisite original compositions is – put simply – the one constant.
Ruthann Friedman is best known, of course, for penning The Association’s 1967 chart-topper “Windy” which was ranked among BMI’s Top 100 songs of the twentieth century. Now Sounds’ 2013 anthology premiered tracks salvaged from an aborted LP intended for A&M Records produced by Tommy LiPuma (George Benson, Diana Krall), as well as sessions with Curt Boettcher (The Association, Sagittarius) and others. It featured guests including Randy Newman, Van Dyke Parks and The Beau Brummels’ Ron Elliot on tracks recorded between 1966 and 1973. The centerpiece of this new collection is the 1969 Reprise LP Constant Companion; with the A&M project shelved, it was Friedman’s debut and her only studio release until 2013. To the album’s original twelve tracks, Now Sounds has added twelve more, most from its sessions and all previously unissued.
“Come all you likely people and hear these sounds I wail,” implores the singer as “Piper’s Call” begins. The de facto first track of Constant Companion, following the short, jazzy a cappella “Topsy Turvy Moon,” the beguiling, acoustic psych-folk ballad (co-written with Steve Mann) sets the fragile tone of the album. Friedman’s lyrics are more than occasionally impressionistic, employing timeless, often pastoral images in their storytelling. With Friedman accompanying herself on guitar, there’s nothing to detract from her piercing, expressive vocals on these moody, low-key reflections as produced in understated fashion by Joe Wissert (The Turtles, Boz Scaggs).
Many tracks here feel deeply personal or drawn directly from the artist’s experience, such as the contemplative “Looking Back Over Your Shoulder.” Friedman shares in her candid track-by-track liner notes that “Ringing Bells” (“…and blinking lights/In and after dawns of hard-lived nights”) was inspired by an acid trip, and indeed, it’s an eloquent evocation of the experience: “Here, I’ve found a never place/With shining souls on every face/Around the corner of a sigh/Between the twinkle of an eye.” A vivid snapshot of a particular era, she concludes, “High in constant never time, I dig the workings of my mind.” Similarly, the lovely and hopeful “Peaceable Kingdom” is very much of its time, dreaming of a better place within flight’s reach. “Danny,” written for Friedman’s nephew, is tender and one of the loveliest moments on Constant Companion. Other songs are far darker and more somber, like the hauntingly offbeat “Fairy Prince Rainbow Man,” and the sparse, poetic chronicle of the end of relationship, “Too Late to Be Mourning.”
Friedman, perhaps her own harshest critic, dismisses “People” as “moaning, whining, wimpy bullshit.” But there’s something touching and indeed, universal, hearing her reach a painful moment of self-discovery: “I have spent so many years trying to find myself/Now that I know where I am, I find that I am by myself.” The surrounding lyrics are a bit florid, but her awareness and ability to relate emotional truths can’t be denied. The up-tempo “No Time” is pointedly criticized by its songwriter as “another bullshit song,” and it is of a piece with “People.” Though Friedman is being hard on herself, both songs are directed at those who didn’t understand her. In “People,” she chastises, “People, you know you are just the same as me/The only difference is the lie we see…” and in the latter, it’s “Damn the chaos and down with the fools/And don’t bug me with all your rules.” The artist has certainly matured, but her sentiments still likely ring true for those of a certain age today, in the process of their own soul-searching.
A bluesy melody enhances “Morning Becomes You,” which would have made a great candidate for a harmony-pop rendition by the likes of The Association. (So many of the songs here are so intimate and so personal that it’s hard to imagine other artists tackling them.) The original album’s closing track, “Look Up to the Sun,” is also one of its most sensual. As on “Windy,” Friedman skillfully blends both the celestial and the earthbound into the fabric of her music.
Constant Companion has been expanded with numerous bonus tracks! Read about them and more after the jump! Read the rest of this entry »
Almost two years ago, we reported on Light in the Attic’s Country Funk, an anthology celebrating the hybrid genre of the title. Back then, LITA described country funk as an “inherently defiant genre” encompassing “the elation of gospel with the sexual thrust of the blues, country hoedown harmony with inner city grit. It is alternately playful and melancholic, slow jammin’ and booty shakin’. It is both studio slick and barroom raw.” Well, if the 16 nuggets on that 2012 release weren’t enough for you, the label has returned to the well with another 17 slabs of soulful country-and-western tunes with Country Funk II. Whereas the first volume spanned the period 1969-1975, this second installment takes in tracks from 1967 to 1974.
One familiar name has returned for Volume II. It’s Bob, formerly known as Bobby, Darin, with another track from his Bob Dylan-inspired Commitment album of 1969. “Me and Mr. Hohner” is about as far-removed from “Mack the Knife” as one can get, but Darin filled the role of hippie-folkie troubadour with the same conviction he had brought to the role of tuxedo-clad showman. The luminous Jackie DeShannon also crossed over from the world of pop. The “Put a Little Love in Your Heart” and “What the World Needs Now” artist was an early lady of the canyon with her 1969 LP Laurel Canyon, from which Country Funk II has derived her gritty cover of The Band’s immortal “The Weight.”
Kenny Rogers and Dolly Parton famously teamed up in 1983 for the chart-topping single “Islands in the Stream,” but both artists were by then well-versed in blurring genre lines – so it’s no surprise to see them here. Rogers is heard with his band The First Edition, best-known for their psychedelic “Just Dropped In,” on the 1971 single “Tulsa Turnaround.” Parton’s contribution is “Getting Happy” from her still-not-on-CD 1974 album Love is Like a Butterfly. Willie Nelson had the same deft ability to traverse the worlds of pop and country as Parton and Rogers, and he shows up here with “Shotgun Willie,” the title track of his 1973 Atlantic Records outlaw-country breakthrough album.
The Byrds’ Gene Clark helped that seminal folk-rock band incorporate elements of country, bluegrass and psychedelia into their own music, and in 1968, he teamed up with banjo great Doug Dillard to form Dillard and Clark. The duo produced two albums for A&M including 1969’s Through the Morning, Through the Night, from which their reinvention of Lennon and McCartney’s “Don’t Let Me Down” is reprised here. Another duo, Larry Williams and Johnny “Guitar” Watson, created an unusual fusion in 1967 when they teamed with psych-rockers The Kaleidoscope for the Okeh single “Nobody.” The song was covered by Three Dog Night for that band’s debut album; the original recording is presented on Country Funk II. Three Dog Night scored a No. 1 hit with “Joy to the World” from the pen of Hoyt Axton; the Oklahoma-born songwriter’s “California Women” from his Joy to the World album appears here.
We have more details – plus the full track listing with discography and order links – after the jump! Read the rest of this entry »
Diana Ross is well-known as the Queen of Motown, but for real record geeks and catalogue enthusiasts, it’s her post-Motown works – released in the U.S. on RCA Records and on Capitol/EMI worldwide – that deserves a revisitation, thanks to its high energy dance grooves supplied by several very famous collaborators. This fall, Funkytowngrooves is doing what Diana’s fans have wanted for years: remastering and expanding her six albums from 1981 to 1987 for the first time ever.
After two decades with the famed Detroit label, as a member of The Supremes and an increasingly popular solo starlet and actress, Ross left Motown on a high note with 1980’s diana, featuring backing and production from CHIC founders Nile Rodgers and Bernard Edwards. (The duo were initially slated to produce her first RCA effort, but bowed out due to other commitments.) With a $20 million dollar deal in hand, Ross’ first effort was a modest dance record, Why Do Fools Fall in Love, anchored by the title track (a cover of Frankie Lymon & The Teenagers’ immortal doo-wop classic), a new solo version of “Endless Love” (her No. 1 duet with Lionel Richie) and “Work That Body,” co-written with Donna Summer collaborator Paul Jabara and noted session man Ray Chew. (The latter was a Top 10 U.K. hit.) “Muscles,” off of follow-up Silk Electric (1982), was another Top 10 hit, one written and produced by Michael Jackson right before Thriller took off. (Muscles was the name of his pet boa constrictor.)
1983’s Ross saw production duties divided between Ross, Steely Dan producer Gary Katz and Ray Parker Jr., a year before “Ghostbusters.” Swept Away, issued a year later, was an all-star affair, boasting production, vocals and songwriting from Lionel Richie (“Missing You”), Bernard Edwards (“Telephone”) Daryl Hall and Arthur Baker (“Swept Away”) and Julio Iglesias (“All of You”). Eaten Alive, from 1985, boasted near full writing and production from the Bee Gees (Michael Jackson returned to write the killer chorus to the title track alongside the Gibbs’ verses). Her final effort for RCA, Red Hot Rhythm and Blues (1987), was a considerably greater success in Europe than the U.S., as evidenced by the heavy presence of single mixes on the EMI label as well as several tracks that didn’t make the album Stateside. In 1989, she rejoined Motown with the Nile Rodgers-produced Workin’ Overtime.
Funkytowngrooves has remastered all six of these underrated albums with the help of Sean Brennan at Battery Studios. All will feature single mixes and/or B-sides as bonus tracks (including all U.S. and U.K. mixes for Red Hot and one unreleased outtake); the first three albums are single-disc presentations while the latter three are double-disc sets. The label has opened up discounted pre-orders on their site, anticipating to receive their stock for September 29; after that date, the price will go back to normal and will be open to buy through Amazon.
Now looks the time to get in on this exciting set of releases by one of soul music’s most beloved divas. Hit the jump for specs and links!