Are you ready to take a magic carpet ride with Real Gone Music this August?
The label's slate for the month offers an array of rock, soul and pop heavy hitters including a number of CD debuts. Two complete singles collections arrive, both on two CDs: one from John Kay and Steppenwolf (The Complete ABC/Dunhill Singles Collection), and another from the late, great Ben E. King (The Complete Atco/Atlantic Singles Volume 1). Then, the label is offering up two rare soundtracks from bona fide rock legends. Mike Bloomfield and Nick Gravenites of The Electric Flag reunited for the score to 1972's film Steelyard Blues, which makes its domestic CD debut. Then, Robbie Robertson of The Band is represented with the worldwide CD debut of his score to 1980's Carny, co-written with the legendary composer Alex North. Real Gone's partnership with Dusty Groove yields a limited edition mini-LP sleeve edition of the 1972 album Ben - complete with Japanese-style OBI - from Brazilian singer-songwriter Jorge Ben.
But I'm most excited about two new releases from two of the greatest pop voices of our time! I've penned the liner notes for both of these titles. Earlier this year, Real Gone released Faithful - a collection of Dusty Springfield's complete sessions with producer-songwriter Jeff Barry, compiled for the first time as originally envisioned on one disc. Now, the label has turned its attention to Dusty's 1970-1971 London sessions intended for the album See All Her Faces but eventually released on numerous collections and box sets over the years. For the very first time, every one of the tracks Dusty recorded in London during that two-year period has been collected on one disc in newly remastered sound. Come for a Dream: The U.K. Sessions 1970-1971 presents some of Dusty's rarest music in context, as you've never heard it before. One track, Spike Milligan's "Goodbye," makes its U.S. CD debut and second appearance anywhere following its premiere on the 2011 U.K.-only Goin' Back box set.
Last but not least, I couldn't be more proud to tell the story of Lesley Gore's one and only album for Motown's short-lived MoWest label. Someplace Else Now marked Lesley's first full immersion into the world of the singer-songwriter. She penned every one of the twelve tracks on this 1972 album, writing solo and with lyricists Ellen Weston and her brother Michael Gore. Joe Porter (Gladys Knight and the Pips, Thelma Houston) supplied the passionate production. Lesley's lost Motown gem, a stylistic mélange of pop, soul, folk, rock, and gospel, makes its long-awaited first ever CD appearance. Though Lesley passed away at far too young an age earlier this year, Someplace Else Now is a tribute to this pioneering artist's timeless and enduring artistry.
You can find out all the details in Real Gone's press release, and pre-order all of these titles, below!
What was the hardest-rocking band ever to notch three Top Ten hits? By most any yardstick, it's Steppenwolf. Formed from the Canadian band The Sparrow (including Dennis Edmonton a.k.a. Mars Bonfire), and led by vocalist John Kay, Steppenwolf scored with "Born to Be Wild," "Magic Carpet Ride" and "Rock Me" in the space of nine months back in 1968-1969, and hit the charts eleven more times up though the mid-'70s. Often tagged as a biker band--mostly due to their prominent presence on the soundtrack to Easy Rider--Steppenwolf was actually a socially-conscious, highly political outfit, never more so than on their controversial LP Monster, one of 14 charting albums released by the band over a 20-year period. This ability to enjoy commercial success on both the single and album fronts puts them in a very rare category in the annals of rock and roll; and, unsurprisingly, their albums have been well represented in the CD reissue era. Their singles, however, have largely been unavailable on CD in their original 45 mixes, as the tapes for the singles have long been missing (legend has it Dunhill label chief Jay Lasker discarded all the label's multi-track tapes and mono masters after having deemed them too expensive to store). But, just like on our critically-acclaimed Grass Roots singles set, engineer Aaron Kannowski has, after a worldwide search, rounded up the best sources available and put together The ABC/Dunhill Singles Collection, a two-CD set that doesn't just include the A and B-side of every Steppenwolf single on the ABC/Dunhill label (featuring, for the first time ever, a decent-sounding "Magic Carpet Ride"), but of every John Kay solo single as well! And, speaking of John Kay, he sat down with co-producer Ed Osborne for a thorough, track-by-track review for the liner notes (John also requested that we use the album version of "Monster" rather than the single version, because the single is such a pieced-together "Frankenstein" job...pun intended). At 38 tracks, and featuring photos by long-time band photographers Henry Diltz and Tom O'Neal nee Gundelfinger, this is the ultimate Steppenwolf collection--one long dreamed of by the band's fans--and it's finally here after years of preparation from Real Gone Music.
From his early days as a last-second replacement in The Drifters to his sterling solo career during which he scored a total of 31 pop and 24 R&B chart hits, the late, great Ben E. King was responsible for some of the most indelible recordings in pop music history. His big, beautiful baritone powered such Hall of Fame songs as "There Goes My Baby," "Save the Last Dance for Me," "Spanish Harlem" and, of course, "Stand by Me," and--almost alone among R&B singers of his era--he successfully transitioned into the disco era of the '70s with hits like "Supernatural Thing" and his acclaimed collaboration with the Average White Band. Now, Real Gone Music, in tandem with SoulMusic Records, is planning to release two of the most ambitious collections ever devoted to Ben E. King's work, a pair of 2-CD sets containing the A and B-side of every single the man released during his storied career recording for the Atco and Atlantic labels. The first, The Complete Atco/Atlantic Singles Vol. 1--1960-1966, features 50 tracks that cover the years 1960 to 1966; many of these songs (especially the B-sides) never came out domestically on CD, and most never came out at all on CD in the original mono single versions found here, all from original tape sources. These are the recordings--and the correct versions of the recordings--that went out over the radio airwaves and made Ben E. King a legend, including "Spanish Harlem," "Stand by Me," "Don't Play That Song (You Lied)" and "Amor," remastered by Mike Milchner at SonicVision and annotated by British soul music expert/DJ Clive Richardson. With Ben's recent passing, a timely release and a major addition to his catalog.
It's hard to overestimate the role Lesley Gore played in charting the course of popular music. Not only was she probably the biggest female teen idol of her era--with four Top Five hits before she was of legal age--but she broke out of the "girl singer" mold with "You Don't Own Me," the proto-feminist #2 hit that inspired generations of female singers to come, and served notice that she was much more than just a pretty face with a pretty voice (indeed; Gore ultimately became a pioneering LGBT performer). However, despite Lesley's lofty place in the pop music pantheon, there remain some pretty major gaps in the reissue of her repertoire on CD, notably the lone album she cut for Berry Gordy's Motown subsidiary MoWest, Someplace Else Now. Produced by Joe Porter, this 1972 release marked Lesley's move into a singer-songwriter mode; Gore wrote or co-wrote (with Ellen Weston or her brother Michael, with whom Lesley would later gain renewed acclaim for collaborating on the score to the hit film Fame) every song on the album. Though it failed to make a significant commercial impact at the time, Someplace Else Now has come to be regarded as a lost, blue-eyed soul gem, and it makes its worldwide CD debut on this Real Gone reissue, complete with liner notes by Joe Marchese and remastering by Mike Milchner at SonicVision. With Lesley's recent passing, a most timely release and one long requested by her legion of fans.
During her 1968-1971 period with Atlantic Records in the United States, Dusty Springfield also continued to record material in England, where her Atlantic repertoire was released on Philips Records. In turn, Atlantic received rights to issue Dusty's British recordings from the era, but chose to focus entirely on her American sessions. In fact, it wasn't until the '90s that some of these masters (many of which originally came out on the Philips See All Her Faces album overseas) were available Stateside, but they were scattered across several compilations and were never comprehensively assembled. Now, with the release of Come For A Dream--The U.K. Sessions 1970-1971, all of Dusty's "orphaned" British recordings from her 1970-1971 Atlantic period have been gathered together for the first time. These 17 sides document what was intended to be a complete album plus some extra single sides and outtakes. Dusty was singing at her absolute best during this time, covering pop, rock and soul with equal power and sensitivity; thus, Come For A Dream represents a major addition and clarification to the legendary singer's discography. Notes by Joe Marchese shed further light on this tumultuous period in Dusty Springfield's career, with rare photos to boot. A perfect companion piece to Real Gone Music's recent Faithful release, which presented Dusty's missing third album for Atlantic from the same era in proper fashion for the first time.
Though he was one of the three acting leads (along with Jodie Foster and Gary Busey) in the 1980 film Carny, it's debatable how many fans of Robbie Robertson and his work with and without The Band are aware of this key release in his discography. That's because, despite the pedigree of its cast and the colorful setting of a traveling carnival, the film bombed at the box office, weighed down by a weak script and questionable directorial choices. But the score--half composed by Robertson and half by the great Alex North (Cleopatra, Who's Afraid of Virginia Woolf, et al.) remains a wonderful oddity. Robertson had himself spent two years working at a carnival in his teens, so it was a subject near and dear to his heart (witness The Band's "Life Is a Carnival"); he also reached out to friends like Dr. John and Randall Bramlett to create sonic settings alternately sleazy, strutting and funky (and don't miss his guitar solo on "Garden of Earthly Delights"). North, for his part, seemed affected by what Robertson in Rob Bowman's liner notes to this Real Gone reissue terms the "insane" nature of the film shoot, particularly on the closing "Carny Theme," which Robertson calls "like Nina Rota on acid." Right after the film wrapped, Robertson went to New York to serve as musical supervisor for Martin Scorsese's Raging Bull, which began a long string of collaborations with Scorsese and other film directors; thus, as his first involvement with dramatic film, Carny really heralded a new artistic avenue in Robertson's career. Worldwide debut on CD, with liner notes featuring copious quotes from the actor/composer himself!
With a killer leading couple of Jane Fonda and Donald Sutherland--fresh from their box office triumph co-starring in Klute--and a soundtrack by the Electric Flag's Mike Bloomfield and Nick Gravenites--with performances by Paul Butterfield and Maria Muldaur--you would think that the 1972 film Steelyard Blues would be better known than it is. Alas, the film was one of those only-in-the-early-'70s countercultural romps that died at the box office; Fonda plays a call girl (again) who hooks up with Sutherland's bumbling ex-con to restore a seaplane and attempt an escape from The Man breathing down their collective necks. Poorly reviewed and largely forgotten by film audiences, it has remained a cult classic because of its soundtrack, which marked Mike Bloomfield's first release of any kind in three years, and reunited him with Gravenites, with whom he'd composed music in the Electric Flag for the soundtrack to Roger Corman's B-movie classic The Trip. Here, the emphasis was less on psychedelia than on a jaunty mix of blues, rock and country to match the shambolic goings-on on screen; there's no mistaking Bloomfield's stinging blues-rock licks for those of any other guitarist, and a pre-"Midnight at the Oasis" Muldaur serves notice of her impending superstardom. Completing the musical cast was Paul Butterfield, in whose band Bloomfield first broke into prominence, keyboardist Merl Saunders, later of course to collaborate with the Grateful Dead's Jerry Garcia, and Annie Sampson of the Bay Area group Stoneground. This Real Gone release of the Steelyard Blues soundtrack marks its first domestic reissue--new copies of the now out-of-print Japanese release go for hundreds of bucks--and it sports new liner notes by Richie Unterberger. A long-lost underground soundtrack gem.
If there was one thing that all the movements that swept Brazilian popular music during the '60s and '70s--bossa nova, Jovem Guarda, Tropicalia, Música Popular Brasileira, samba soul, Black Rio--had in common, it was that they all revered Jorge Ben. That's because Ben incorporated aspects of all their styles without compromising his own; as Caetano Veloso put it, "Jorge Ben, without attempting an artificial or homogenizing 'fusion,' came through with a strong, original sound, confronting a body of issues from the opposite end, that of the finished treatment, while we were groping and coming up with varied and incomplete solutions." Now, Real Gone Music and Dusty Groove are embarking on a long-awaited tour through Ben's catalog, starting with his 1972 masterpiece, Ben. This is the album that made Jorge Ben a superstar in Brazil, a lean marvel of rhythmic and melodic concision that contains some of his most indelible, durable songs, like the first version of "Taj Mahal" and his ode to his favorite soccer player, "Fio Maravilha." Peerless Brazilian pop, out on CD for the first time outside of Brazil, and packaged inside a mini LP sleeve that exactly replicates the original vinyl release. Limited edition of 2000. [JM: This release will arrive in place of Real Gone's previously announced reissue of this title.]
You can pre-order all of Real Gone's August releases below at Amazon U.S.! Amazon U.K. links are forthcoming!
AUGUST 7 RELEASES FROM REAL GONE MUSIC
Ben E. King, The Complete Atco/Atlantic Singles Vol. 1-1960-1966 (2-CD Set) (Amazon U.S. / Amazon U.K.)
Lesley Gore, Someplace Else Now (Amazon U.S. / Amazon U.K.)
Dusty Springfield, Come for a Dream--The U.K. Sessions 1970-1971 (Amazon U.S. / Amazon U.K.)
Robbie Robertson/Alex North, Carny--Soundtrack from the Motion Picture (Amazon U.S. / Amazon U.K.)
Mike Bloomfield & Nick Gravenites, Steelyard Blues--Original Soundtrack from the Motion Picture (Amazon U.S. / Amazon U.K.)
Jorge Ben, Ben (Limited Mini LP Sleeve Edition) (Amazon U.S. / Amazon U.K.)
AUGUST 14 RELEASES FROM REAL GONE MUSIC
Steppenwolf, The ABC/Dunhill Singles Collection (2-CD Set) (Amazon U.S. / Amazon U.K. TBD)
Mark B. Hanson says
Mmmm, Lesley and Dusty.
Joe Marchese says
I promise you'll love these, Mark!
I wonder what the scoop is on the Jorge Ben. Dustygroove had a whole multi album reissue program announced over a year ago that disappeared; weren't there originally supposed to be bonus tracks on the reissue of this album that was originally promised earlier in the year? I hope those other albums see the light of day too.
Steve Sando says
I think it was an import from Brazil and they did have it. All the orginal LPs and then a bonus disc.
LeVan Greene says
Wow! Ben E. King singles collection this is great should have been done while he was living. Can't wait to get this!
Zeta Rules says
How does the new Dusty Springfield record compare to the RHINO Issue of Dusty In London (Lost British Recordings)?
Joe Marchese says
The 1999 "Dusty in London" compilation presented many of Dusty's 1968-1971 British recordings in context for the first time, also premiering “Sweet Inspiration." The purview of "Come for a Dream" is the 1970-1971 sessions only (based around the recording of the album that became "See All Her Faces"). All seventeen tracks recorded by Dusty in the U.K. in '70-'71 are collected together for the very first time on "Come for a Dream," including the U.S. CD debut of Spike Milligan's "Goodbye" which has only been previously released on the U.K. box set "Goin' Back." In other words, both "Dusty in London" and "Come for a Dream" are essentials! Hope this helps!
Zeta Rules says
Thank you very much for the info, Joe!
The version of "O-o-h Child" is a different mix/take from the Love Songs track! Come for a Dream is an excellent CD release.
Regarding the Steppenwolf collection, it says "best sources available". Does that mean some tracks are vinyl transfers?
Looking forward to the new Dusty CD, just played "Faithful" and really enjoyed it. Now if only I could find "A Brand new me" aka "From Dusty with love" for a reasonable price (<$20).
A Brand New Me/From Dusty with Love is deserving of a deluxe remastering treatment. Both the 1992 US and 2001 UK reissues have shortcomings. There ought to be a definitive version that includes any mono single mixes plus all the shelved Gamble/Huff tracks including the elusive "Sweet Charlie Babe". They also ought to include a version of "Something for Nothing" that mixes the original Dusty vocal with the MFSB recording of the song for an ultimate orchestral soul experience. A Dusty Devotee can dream...
John Ryan Horse says
Though the Steppenwolf catalog might be considered 'well represented' in the CD era, I would note that they have not been well served. Compared to numerous catalog reissues of The Doors, Creedence, the Allmans, and (even) Love, the Steppenwolf albums are mostly available on cheesy early-digital editions or 2-on-1 imports with mediocre sound and poor graphics. (One exception: the debut has been issued on 180 gram vinyl and superior sound by Analog Productions). Hope this lives up to expectations and that this band gets the respect it deserves with future reissues.
peter chrisp says
John agreed on the Steppenwolf front i already have a great double disc best of Steppenwolf, but i guess in this case i won't need to purchase yet another best of, but it's great to see Monster in all its glory rather than a single edited version, and with so many artists from the past are now getting their back catalog reissued
in various formats, deluxe, super deluxe editions John could they have done a similar tribute to the mighty