Archive for the ‘News’ Category
Carol Williams signed to New York’s Salsoul Records label in 1975 for one single, but stuck around for one memorable album. That lone long-player, titled ‘lectric Lady, paired the New Jersey-born vocalist – Salsoul’s first female contract signing – with the label’s premier musical outfit, The Salsoul Orchestra, for an alluring blend of disco and sleek soul. Cherry Red’s Big Break Records imprint is now feeling electric with an expanded and remastered reissue of ‘lectric Lady.
Williams came to Salsoul as a seasoned performer both onstage and in the recording studio. When Salsoul held open auditions in Manhattan for a female singer, Williams stood out from the pack and secured the slot on the burgeoning label’s roster. The Salsoul Orchestra was already established as the label’s marquee act. Its leader, quadruple threat songwriter-producer-arranger-conductor Vincent Montana Jr., had come into his own at Salsoul. The veteran MFSB vibraphonist (and occasional arranger-conductor at Philadelphia international) became the Salsoul label’s de facto answer to Thom Bell, defining the Salsoul sound by fusing Latin salsa rhythms with the Philly soul style he helped create for Kenny Gamble and Leon Huff’s recording empire.
Recording at the usual destination of Philadelphia’s Sigma Sound Studios, Montana crafted an effervescent album debut for the diva. It took a powerhouse vocalist to stand out in front of the majestic orchestra, but Williams was clearly up to the task, and even co-wrote three tracks on the nine-song LP which blended disco with soulful ballads. Its opening track, “Love is You,” rightfully became a Salsoul anthem. It bore some stylistic resemblance to MFSB and The Three Degrees’ “Love is the Message,” with the same grand sweep and infectious groove, but that was no surprise, as The Salsoul Orchestra shared a great number of members with MFSB (Montana, Bobby Eli, Norman Harris, Roland Chambers, Ronnie Baker, Larry Washington, Earl Young, and Don Renaldo among them). It’s still somewhat shocking that these five minutes of sultry, sizzling disco failed to become a crossover pop hit. Ronnie Walker, a Philly pal of Montana’s, co-wrote “Love is You” and another album cut, “Just Feel,” both of which he also later recorded himself. Walker, with a falsetto to rival that of The Stylistics’ Russell Thompkins Jr., first worked with Montana back in 1968 at Sigma Sound, when the latter was playing vibes for a Vent Records session on which Walker was singing.
The cool “Just Feel” may, in fact, be the album’s strongest moment next to “Love is You.” The smoldering track eschews disco, instead showcasing the purity of Williams’ voice in tandem with Montana’s lush arrangement. Williams’ velvety pipes accentuated the sensuality of another smooth slow-burner, “This Time May Be the Last Time.” Its male background vocals (likely provided by Walker and Carl Helms, based on the LP’s credits) add an unusual color to the production. Jack Perricone, the track’s co-writer, also penned the sweet ode to devotion that closes out the LP, “You’re So Much a Part of Me.”
The beguiling “Danger Sign” came from the pen of Philadelphia songwriter-producer T Life, an associate of Bunny Sigler and Instant Funk who placed songs at Philly International with The Intruders and The Ebonys. Arranged in shimmering fashion by Montana, “Danger Sign” retains the Salsoul percussion sound but sonically recalls the sophistication of Thom Bell’s collaborative album with Dionne Warwick, the overlooked masterpiece Track of the Cat.
Tasty tidbits abound in Christian John Wikane’s new liner notes, which take the form of a lengthy interview with Carol Williams – who, by the way, is most certainly blessed with a keen memory of her short time at Salsoul! One such recollection is that Williams sang “Tangerine” at a performance of her club act attended by Salsoul’s Vice President Ken Cayre before her signing. Williams knew she could tip the scales in her favor by singing a song already recorded by The Salsoul Orchestra on its debut LP. “Tangerine” was just one of the standards reinvented for disco by Montana over the course of his time at Salsoul. Another was the Mondo Cane standard “More” on ‘lectric Lady. Its elegant melody was a good fit for Williams, whose live repertoire included jazz standards and showtunes. Indeed, some jazz elements were incorporated into the recording of “More” both by Williams and the Orchestra, including some delicious saxophone licks.
Whereas “More” is relaxed – for disco, at least! – Montana’s chart for the poignant “My Time of Need” pulsates with urgency from its strings to the nonstop beat. Williams delivers a confident vocal on this song which she co-wrote with Montana. Background vocalists The Sweethearts of Sigma (a.k.a. Evette Benton, Barbara Ingram and Carla Benson) are prominent throughout ‘Lectric Lady, but get an enjoyably campy moment on this track, with the full story told in the liner notes. And though it’s not high in the mix, there’s a rockin’ guitar that vies with Williams’ lead for pure electricity! The other Williams/Montana composition, “Come Back,” gives winds and horns – not to mention the driving percussion – a workout.
The black sheep of ‘lectric Lady is “Rattlesnake,” Williams’ first recording for Salsoul produced in 1975 by The Exciters’ Herb Rooney. She recalls the track having been completed by the time she laid her vocals down, and it feels somewhat less personal than the balance of the album. The song is energetic disco but lacks the flair of the Montana-led music, though Williams’ throaty vocal is one of her most big-voiced on the LP. There’s much more after the jump! Read the rest of this entry »
Keyboardist Keith Emerson, vocalist/bassist/guitarist Greg Lake and drummer/percussionist Carl Palmer were innovators in the progressive rock genre, fusing classical, jazz and heavy rock on a regular basis since their 1970 self-titled debut album. ELP was an answer both to the compact, three-minute pop songs that dominated the airwaves and to the blues-rock genre epitomized by the likes of Led Zeppelin, and the group pursued a refinement of their sound via their second and third albums, Tarkus and Trilogy. Yet the best expression of what made Emerson, Lake and Palmer so distinctive and so excitingly experimental can be heard on their fourth studio long-player (and fifth album overall), 1973’s Brain Salad Surgery. The mission statement for the album was simple – to follow up the dense production of Trilogy with an album that the “power trio” could play live – but the results were anything but. Razor and Tie has recently issued a new edition of Brain Salad as a 2-CD/1-DVD-A set to belatedly celebrate the landmark release’s fortieth anniversary.
This new reissue follows the label’s 2012 sets for ELP and Tarkus and follows a similar format: the original album in remastered form on Disc One, a different album presentation with an array of outtakes, alternates and early mixes on Disc Two, and new, high-resolution mixes on Disc Three, a DVD-Audio disc. Much has changed since 2012, however, not least of all the parting of the ways between the band and producer Steven Wilson. Prog hero Wilson has recently remixed albums from King Crimson, Yes, Gentle Giant and Jethro Tull, and it was anticipated that he would continue his association with ELP for Brain Salad. He’s been replaced by producer Jakko M. Jakszyk, currently of King Crimson, who is responsible for the new stereo mix available here in lossless 24/96 Advanced Resolution and 24/96 LPCM Stereo on the DVD-Audio disc. A key component of those earlier deluxe editions is missing, however: the new 5.1 surround mix which is only available on an import Super Deluxe box set.
Brain Salad Surgery –its title derived from a Dr. John lyric referencing fellatio – remains the most ambitious entry in the ELP catalogue. Produced by Lake, it proved an amalgam of the styles that propelled the group to success – and also was their loudest and most aggressive release. In addition, it marked ELP’s heaviest and most skillfully integrated use of electronic sounds and voices to that point. Nobody could accuse the supergroup of resting on its laurels. In attempting to get back to basics, ELP continued to push the envelope with impeccable musicianship and brainy bombast.
Certainly it was a brave move to open a hotly-anticipated album with an adaptation of a Hubert Parry (1848-1918) hymn with lyrics adapted from a William Blake poem (1757-1827) but that’s precisely what ELP did with “Jerusalem.” It was banned upon its release by the BBC on the grounds of its desecration of the classic hymn. It’s all rather stately, though, and a bold affirmation of the group’s English heritage – not to mention a grandiose and unexpected way to open a so-called rock album. “Toccata” also found ELP serving as adapters. Keith Emerson arranged the Fourth Movement of Alberto Ginastera’s First Piano Concerto for the group, with the piece a showcase for not only his dexterous, cosmic synth explorations but for Palmer’s furious drumming. Ginastera, an acclaimed figure in 20th century classical music and in the music of his home country of Argentina, approved of Emerson’s radical transformation complete with its groundbreaking electronic drum solo.
The eclectic variety of sounds continued with the haunting baroque ballad “Still…You Turn Me On,” a pretty Lake ballad in the vein of “Lucky Man.” Its psychedelic flourishes and touches of funk retained the element of the unexpected, but the track was an oasis of accessibility on the album’s first side. In the liner notes for this reissue, Lake still laments his bandmates’ reluctance to issue the song as a single when it could have followed in the footsteps of “Lucky Man” to expose the group to a broader audience. “Benny the Bouncer,” an electronic-infused music hall pastiche with a cheerfully violent storyline, was written by Emerson, Lake and King Crimson’s Peter Sinfield, and features Emerson’s best barroom boogie-woogie piano licks. Lake’s exaggerated vocals are aptly described by Emerson as in the style of Stanley Holloway, the great British actor who originated the role of Alfred P. Doolittle in My Fair Lady.
The first four tracks on Brain Salad Surgery, however, served as prelude to the lengthy suite “Karn Evil 9” (a play on the word “carnival”). The nearly 30-minute track, beginning on Side One of the original vinyl and occupying the complete second side, as well was split into three movements (or Impressions) with two parts to the first movement. Like the epic title track that opened Tarkus, “Karn Evil” excitingly shifted moods, tempi and style, with standout moments for all three members. (Emerson and Lake shared writing credit along with lyricist Sinfield.)
Lake comfortably adopted the role of the carnival barker in the sci-fi fantasia which told of a futuristic world where “all manner of evil and decadence had been banished.” The “Welcome back, my friends, to the show that never ends…” – the second part of the 1st Impression – likely remains ELP’s single most famous piece of music, but it’s surrounded by one of their most creative and sprawling sonic explorations. The 2nd Impression is the most jazz-oriented, a piano/bass/drums workout (with offbeat synthesized steel drums) that’s refreshingly straightforward in its instrumentation but varied in its execution. The 3rd Impression ratchets up the rock quotient, setting to alternately defiant and triumphant music a dialogue between man and computer, pitted against one another for supremacy.
After the jump: what sets this edition apart from the rest? Read the rest of this entry »
Earlier this year, Barry Gibb took to the road with his Mythology Tour, in which he looked back on the music of The Bee Gees and his decades-long collaboration with his late brothers Maurice and Robin. Barry’s warm onstage tributes to Robin, who died of cancer in May 2012, were among the emotional high points of each concert, with Barry candidly and affectingly acknowledging the friction that sometimes characterized their relationship. Barry’s son Stephen paid homage to his uncle with his lead vocal on “I’ve Gotta Get a Message to You,” and Maurice’s daughter Samantha performed the tender “Run to Me.” Barry, finally, ceded “I Started a Joke” to Robin himself, appearing via video. It was clear that Robin Gibb’s passing is still keenly felt by those in his family as well as by all of the fans whom his voice touched over the years. On September 30, Rhino/Reprise will afford those fans one more chance to hear Robin Gibb with the release of 50 St. Catherine’s Drive, a collection of 17 songs recorded by the late vocalist between 2006 and 2011.
50 St. Catherine’s Drive is so named for Gibb’s birthplace on the Isle of Man. It’s likely an apt title as the recording sessions found Gibb in a reflective mood; he even revisited one key track from the Bee Gees’ past. Rolling Stone, the first to break the news on the album, is offering an exclusive preview of the album’s re-recording of “I Am the World,” a B-side to the group’s Australian hit “Spicks and Specks.” The other sixteen songs are said to be original compositions by Robin, some co-written with his son RJ; most were intended by Robin for the St. Catherine’s LP but some are demos dating as late as 2011.
Hit the jump for more details! Read the rest of this entry »
The question has been asked again and again in this age of music reality shows in which a fickle public can make a recording star – at least for fifteen minutes – by dialing an 800 number or sending a text message. Truth to tell, Laura Branigan could have been any kind of artist she desired. Armed with a powerful, resonant and highly individual voice, Branigan worked her way up the ranks of stardom. She ultimately chose to embrace the sounds of contemporary pop, forever to be associated with the big, sleek sound of the 1980s. But if the late artist will inevitably be remembered for “Gloria” or “How Am I Supposed to Live Without You,” her body of work reveals a multi-faceted vocalist whose alto was excitingly adaptable. The first phase of Branigan’s all-too-short career gets its most comprehensive exploration yet thanks to Other Half Entertainment and Gold Legion’s expanded CD reissue of her debut album for Atlantic Records, 1982’s Branigan. This loving reminder of Branigan’s dynamic talent adds seven delicious bonuses – six of which predate the album itself.
German producer Jack White and his co-producer/arranger Greg Mathieson were enlisted by Atlantic to shape Branigan’s debut platter after a number of singles failed to establish the singular vocalist in the pop mainstream. (More on those later!) With an A-list band including Toto’s Steve Lukather on guitar, Leland Sklar and Bob Glaub on bass, Carlos Vega on drums and Michael Boddicker on synthesizers, plus Maxine and Julia Waters on background vocals, Atlantic wasn’t taking any chances. White was determined to showcase many facets of Branigan’s burnished voice, alternating ballads with rockers and perhaps most key, dance-oriented floor-fillers.
Branigan begins modestly enough. Opening cut (and the album’s leadoff single) “All Night with Me,” written by future Walt Disney Music President Chris Montan, is an adult contemporary mid-tempo ballad placing Branigan’s warm voice out front. She embellishes the soft verses with vulnerability and the hook-laden chorus with sweetly seductive confidence, but the smooth composition serves as mere prelude. Though it came second on the album, Umberto Tozzi, Giancarlo Bigazzi and Trevor Veitch’s “Gloria” is second to none in the Branigan songbook. The track exploded onto the turntable with a torrent of urgency; its fiery, anthemic arrangement by Greg Mathieson (who arranged the original Italian version of the song) with its commanding power chords was matched by Branigan’s furious vocal. If the singer kept her cards close to the vest on “All Night with Me,” she unleashed her inner tigress four minutes into Branigan on “Gloria.” Branigan’s plea to the titular lady to “slow down before you start to blow it” was delivered as if the lives of both the singer and the subject of her admonishment were on the line. The Americanized “Gloria,” with Veitch’s new lyrics, couldn’t miss. It proved to be a supremely fierce performance wrapped in an irresistibly catchy package for the post-disco generation of dancefloor dwellers. It took Branigan to the top of the Cash Box chart and No. 2 on Billboard.
Following “Gloria” would be no easy feat on any album, so White and Mathieson provided Branigan with a move away from dance and towards rock. Adrian John Loveridge and John Wonderling’s melodramatic “Lovin’ You Baby” burns with requisite passion and desperation (“How could I live? Where would I go and what would I give? What can I say? How do I stand…if there’s no more lovin’ you, baby?”). It wasn’t the only rock-oriented track on the nine-song album. Dive in – after the jump! Read the rest of this entry »
Under the auspices of its new president, Clive Davis, Columbia Records aggressively courted the rock revolution in the late 1960s. The classy home to Barbra Streisand, Johnny Mathis and Andy Williams built upon its successes with Paul Revere and the Raiders, Simon and Garfunkel and Bob Dylan to tap into the youth market with a wide variety of rock artists. Two outré albums from the venerable Columbia catalogue have recently been reissued by Cherry Red’s Esoteric Recordings imprint, and they both live up to the label’s name.
The United States of America only released one album in its short career. The self-titled 1968 LP for Columbia’s classical Masterworks division was unusual even for the heady, excitingly adventurous times and a true example of “alternative” rock! The six-person band consisting of Joseph Byrd (electronic music/electric harpsichord/organ/calliope/piano), Dorothy Moskowitz (lead vocals), Gordon Marron (electric violin/ring modulator), Rand Forbes (electric bass), Craig Woodson (electric drums/percussion) and Ed Bogas (“occasional” organ/piano/calliope) defiantly rejected the conventions of the young rock scene. With no guitar player, the band’s sound was heavily electronic and unabashedly avant-garde. Byrd was a student of avant-garde hero John Cage and a member of the Fluxus “anti-art” art movement. Despite these credentials, he became interested in the power of pop and rock with young people. Through an association with Masterworks head, producer John McClure, Byrd and co. were signed to Columbia in the hopes of earning their underground sound a wider audience.
Byrd and the band dubbed The United States of America blended San Francisco-style acid rock with dense soundscapes and experimentation achieved by electronically altering the sound of conventional instrumentation. The self-titled The United States of America was uncompromising and unlike any other release on the pop-rock scene. Produced by David Rubinson – who would go on to collaborate with Herbie Hancock, The Pointer Sisters and Phoebe Snow – it melded compositional and musical sophistication with utter primitivism. Its tracks formed a song cycle about American life, with sharply satirical, often absurdist lyrical observations and no concessions to a commercial sensibility. Columbia marketed the album with an ad reading, “There’s a United States of America that’s a far cry from Mom, Apple Pie and The Flag,” but it was never destined for mainstream success.
After the jump: more on The United States of America, plus a lost album from John Cale and Terry Riley – and order links, track listings, etc.! Read the rest of this entry »
It may be the dog days of summer, but that hasn’t stopped Led Zeppelin from adding a little more heat. Following yesterday’s news of the next two reissues in Paul McCartney’s Archive Collection series, the legendary blues-rock band has announced the two next installments in its own definitive reissue program. On October 28, Rhino/Atlantic – in conjunction with Zeppelin’s Swan Song label – will release Led Zeppelin IV and Houses of the Holy in a variety of CD, vinyl and digital formats.
The album referred to as Led Zeppelin IV arrived in late 1971, bearing no album title or even the band’s name on its cover. Not that anybody was confused; with songs like “Stairway to Heaven,” “Black Dog,” “Rock and Roll” and “Going to California,” sales soared. Though it peaked at No. 2 on the Billboard 200, it’s currently the second-best selling album ever in the U.S., nestled between Michael Jackson’s Thriller and Pink Floyd’s Dark Side of the Moon. How to top that? Houses of the Holy, consisting of all original material, arrived in spring 1973, and moved the band even further away from its blues-based brand of hard rock. Its layered production and intricate compositions of “The Rain Song,” “The Song Remains the Same” and the reggae-based “D’yer Mak’er” a chart-topping album on both sides of the Atlantic.
Both albums will be available in the style of the recent Led Zeppelin, Led Zeppelin II and Led Zeppelin III reissues, in the following formats:
- Standard CD – Remastered album packaged in a gatefold card wallet.
- 2-CD Deluxe Edition (2CD) – Remastered album plus previously unreleased companion audio disc.
- Standard LP – Remastered album on 180-gram vinyl, packaged in a replica sleeve of the album’s first pressing.
- Deluxe Edition Vinyl (2LP) – Remastered album and previously unreleased companion audio pressed on 180-gram vinyl.
- Digital Download – Remastered album and companion audio will both be available.
- Super Deluxe Box Set featuring the remastered original album and companion audio on both CD and 180-gram vinyl, plus a high-resolution digital download card for all content, housed in a hardbound 80-page book with a high-quality print of the album cover (the first 30,000 of which are individually numbered) also included.
After the jump, we have more information including the complete track listings and pre-order links for both titles! Read the rest of this entry »
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.
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