Category Archives: Five Stars

Neil Diamond: The Bang Years 1966-1968

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The young Neil Diamond graduates from songwriter to performer

Before Neil Diamond became a singing superstar he was a songwriter, but even as a songwriter he wasn’t an instant success. He spent his teen years tramping from one publishing house to another, occasionally selling a song against royalties for hits that never came. It wasn’t until an unsuccessful year on the staff of Leiber & Stoller’s Trio Music and, ironically, a transition to recording, that Diamond found his voice as a songwriter. He first charted with Jay and the Americans’ “Sunday and Me,” and hit his commercial stride with the Monkees chart-toppers “I’m a Believer” and “A Little Bit Me, A Little Bit You.” Other songs in his catalog found favor among British Invasion acts that included Cliff Richard and Lulu.

Diamond’s earlier attempts at a performing career (with Dual in 1959 and Columbia in 1963) had gone nowhere, but his signing to Bang in 1966 unlocked his songwriting talent and paired him with producers Jeff Barry and Ellie Greenwich. It was during this initial run at Bang that Diamond proved himself a talented songwriter, unique vocalist and commanding hit maker. His first seven singles reached the chart, six making the top 20; for good measure he extended the chart run with “Red, Red Wine” and a soul-power cover of Gary U.S. Bonds’ “New Orleans.” Several of his B-sides, including “The Boat That I Row” and “Do It” were as good as the A’s, and cover versions of “Red Rubber Ball,” “Monday, Monday” and “La Bamba” were blessed by the Diamond touch.

Barry and Greenwich (who can be heard singing backing vocals) hired the cream of New York’s session players, and together with arranger Artie Butler and engineers Brooks Arthur, Tom Dowd and Phil Ramone, cranked out these brilliant capsules of AM radio pop. Diamond would go on to even greater chart and performance glory, but the seeds of his success can be heard in the craft of these twenty-three sides, particularly his eighteen original compositions. The mono masters are housed in a tri-fold digipack with a 20-page booklet that features pictures and revealing liner notes by Diamond himself. For the next phase in Diamond’s career, check his mid-period work on Play Me: The Complete Uni Studio Recordings… Plus! [©2011 hyperbolium dot com]

Neil Diamond’s Home Page

The Staple Singers: Be Altitude – Respect Yourself

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The Staple Singers make their biggest hits and best album

The Staple Singers had been a together for nearly two decades when they landed at Stax in 1968. They’d recorded old-school spirituals for Vee Jay and folk-influenced sides for Riverside before finding a new direction with the Memphis soul powerhouse; not only did the Staples adapt to the soul and funk energy of Stax, but they evolved their material from the pointed social topics of the folk era to less specific, but highly empowering “message music.” Their first two Stax albums, 1968’s Soul Folk in Action and 1970’s We’ll Get Over, featured backing from the label’s house band, Booker T. & the M.G.’s, and mixed terrific material from Stax songwriters with Staples’ originals. Despite the quality of each release, nothing clicked on the charts, and the group’s third long-player, 1971’s Staple Swingers, found Stax executive Al Bell taking over production chores from M.G.’s guitarist Steve Cropper.

Even more importantly, Bell began recording the Staples’ backing sessions in Alabama with the Muscle Shoals Rhythm Section: Eddie Hinton (lead guitar), Jimmy Johnson (rhythm guitar), David Hood (bass), Barry Beckett (keyboards) and Roger Hawkins (drums). Hood’s deep bass lines and Hawkins’ rhythm touch anchor this album, solidified by Johnson’s chords, Beckett’s vamping and Hinton’s inventive fills; the Memphis horns add texture and accents without ever needing to step out front to announce themselves. Produced at a time that Stax was evolving from its soul glories of the ‘60s to its funkier output of the early ‘70s, the Staples hit a third gear as they built the album’s tracks, particularly the hit singles “I’ll Take You There” and “Respect Yourself,” from perfectly intertwined strands of soul, funk, and gospel. Also blended in to “I’ll Take You There,” as Rob Bowman astutely observes in the liner notes, is the reggae of the Harry J All-Stars’ instrumental “The Liquidator.”

The album’s original ten tracks include longer versions of the singles, stretching each to nearly five minutes. You can understand why the extra vocalizing of “Respect Yourself” was trimmed for radio play, but Staples fans will treasure the full-length production. Concord’s 2011 reissue adds two previously unreleased bonus tracks: the cautionary “Walking in Water Over Our Head” and an alternate take of Jeff Barry and Bobby Bloom’s “Heavy Makes You Happy.” The latter forgoes the horn arrangement of the original single, emphasizes the rhythm section (as did all of engineer Terry Manning’s album mixes), and adds forty-three seconds to the running time. These are great additions to an album that’s already the best full-length of the Staples’ career, and one of the best Stax ever produced. [©2011 hyperbolium dot com]

Mavis Staples’ Home Page

Irma Thomas: Wish Someone Would Care

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Deep soul debut LP from the Soul Queen of New Orleans

Twice divorced and the mother of four by the age of twenty, Irma Thomas brought a lot of living to her career as a preeminent soul vocalist. Initially waxing singles for Ronn, Bandy and Minit, Thomas landed on the Imperial label in 1963. The following year she debuted the deeply emotional original “Wish Someone Would Care,” crossing over to the pop Top 20 and gaining further attention with an irresistible performance of the Jackie DeShannon-penned B-side “Break-a-Way.” The latter would earn cover versions, including a UK hit by Tracey Ullman, but it wasn’t the only B-side to gain notice across the pond; the Rolling Stones turned Thomas’ brilliant gospel take on “Time is on My Side” into their first stateside Top 10. One listen to Thomas’ original reveals how much Mick Jagger was influenced by her vocal interpretation.

Thomas is superb throughout the album, ably supported by inventive arrangements and superbly earthy session players. She pleads “I Need Your Love So Bad,” builds stirring crescendos on a cover of Clyde McPhatter’s “Without Love (There is Nothing),” and reads Percy Mayfield’s “Please Send Me Someone to Love” with a delivery that suggests Dinah Washington. She turns Randy Newman’s obscure “While the City Sleeps” into Brill Building pop, and draws on her tumultuous romantic history for the original “Straight from the Heart.” Thomas’ recording career didn’t hit a regular stride until she signed with Rounder in the mid-80s, but it was a mistake of the record industry, as she measured up to Aretha, Carla, Koko, Mavis or Etta. The album’s dozen tracks are presented in true stereo, as they were previously on a two-fer with Thomas’ second album, Take a Look. [©2011 hyperbolium dot com]

Material Issue: International Pop Overthrow [20th Anniverary Edition]

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Expanded reissue of a power-pop classic

In celebration of International Pop Overthrow’s twentieth anniversary, and in memory of the group’s late leader Jim Ellison, Hip-O select has issued this greatly expanded version of Material Issue’s first full length release. By the time the record dropped in 1991, Material Issue had been together nearly six years, had issued an EP and a few singles, and had toured extensively throughout their native Midwest. The album itself was recorded in Zion, Illinois, the home of another great power-pop band, Shoes, and produced by Shoes’ Jeff Murphy. IPO fit well in a year that was dotted with key power-pop albums from Matthew Sweet (Girlfriend), Teenage Fanclub (Bandwagonesque), Velvet Crush (In the Presence of Greatness), Adam Schmitt (World So Bright) and Richard X. Heyman (Hey Man!).

The album sold nationwide, launching a video for “Diane” on MTV’s 120 Minutes and pushing “Valerie Loves Me” into the top ten of Billboard’s modern rock chart. The group completed two more albums and toured heavily, but never recaptured either the bittersweet poignancy of IPO, or its commercial success. Ellison committed suicide in 1996 amid rumors of romantic and artistic disillusion, but he left behind an album that captures the very core of power pop: melodies whose hooks resound with the craft of the Brill Building and lyrics whose heart-on-sleeve emotion drew a map of joy, heartbreak, anticipation, angst, satisfaction and disappointment.

The anniversary edition of IPO adds eight bonus tracks, six drawn from the pre-LP promo-only Eleven Supersonic Hit Explosions, one (the thundering “Sixteen Tambourines”) taken from a College Music Journal sampler album, and the previously unreleased “The Girl with the Saddest Eyes” to close out the set. Among the bonuses are three covers: an emotional rendering of Thin Lizzy’s “Cowboy,” a glitzy version of Sweet’s “Blockbuster,” and a brash live take on Simon & Garfunkel’s “The Boxer.” IPO is an essential element of a complete power-pop collection, and this expanded reissue is a great upgrade for fans that haven’t previously picked up the bonus tracks. [©2011 hyperbolium dot com]

Thin Lizzy: Jailbreak (Deluxe Edition)

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An expanded look at a ‘70s rock classic

The Irish hard rock quartet Thin Lizzy hit their commercial peak with this 1976 release, capitalizing on the twin guitars of Scott Gorham and Brian Robertson, kicking off a string of four gold albums, and launching themselves onto the U.S. singles chart with Phil Lynott’s “The Boys Are Back in Town.” The album’s impact was far greater than its single’s success, with numerous tracks turned into turntable hits by FM radio, reiterated to this day on classic rock stations. Lynott was a triple threat as a soulful vocalist, powerful bass player and poetic song writer. His lyrics were both intricate in their imagery and memorable in their verbal hooks, and his melodies were rooted in ‘60s pop but hearty enough to stand up to the power of ‘70s guitar rock.

By 1976 it had been three years since Thin Lizzy had struck with “Whiskey in the Jar,” and in the album rock era, their previous five albums, though showing artistic growth, had made little impact on the market. 1975’s Fighting launched the power chords and heavy riffing that powered Jailbreak, but critical praise hadn’t turned into radio play or unit sales. Given one more chance by their label, they were assigned John Alcock as their nominal producer; Alcock showed the band how to record in a more disciplined and focused manner, and provided them the connection to the Who’s Ramport Studio in which Jailbreak was recorded. The result was the most popular album of the band’s career, but as detailed in the 20-page booklet, this wasn’t achieved without a certain amount of disagreement. Neither of the band’s guitarists liked the sound of the album, and Robertson felt “Running Back” was too pop and boycotted its sessions.

Gorham’s distaste for Alcock’s sound led him, along with Def Leppard’s Joe Elliot, to remix, remaster and in spots re-record album tracks for the bonus disc. Some will blanch at the liberties taken, including new rhythm guitar parts, rearranged backing vocals and redubbed sirens on the title track, but the new mixes do seem more powerful than the originals, and according to Elliot, better reflect what the band did with these songs on tour. The deluxe 20-page booklet includes new interviews with Gorham, detailing his deep disdain for the album’s original sound, and providing motivation for the remixes. The new mixes themselves generally thicken, refine and clarify what was on the tapes, but those weaned on the originals may find the larger alterations disconcerting.

In addition to the remixes, disc two will thrill Thin Lizzy fans with an alternate lead vocal for “The Boys Are Back in Town,” four exceptionally tight and powerful BBC session recordings laid down the month before the album’s release, an extended rough mix of “Fight or Fall,” a previously unissued session track (the slow guitar jam “Blues Boy”), and a terrific early live version of “Cowboy Song” titled “Derby Blues.” Derek Oliver’s exceptional liner notes provide a solid recounting of the band’s history, detailed context for the album’s creation (including well selected quotes from period interviews with Lynott and Robertson), and deeply informed commentary on the individual songs. Whether or not you care for the remixes, you’ll come to appreciate that Gorham still cares, thirty-five years later, and you can always spin the original master on disc one. This is a terrific upgrade from the original album. [©2011 hyperbolium dot com]

Lonnie Mack: For Collector’s Only

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A ferocious rock ‘n’ soul ‘n’ blues guitar classic from 1963

This reissue of The Wham of That Memphis Man is the way that many listeners first met the savagely powerful guitar playing of Lonnie Mack. Originally released in 1963 on the Fraternity label, the album was re-sequenced and reissued with two extra tracks by Elektra in 1970. It’s since been reissue on CD, both in this stereo lineup, and in the original mono. The latter is more brutally powerful for its center-channel punch, but either configuration will astound you with Mack’s breathtaking, reverb-powered, tremelo-bar bent guitar playing. The album opens with Mack’s original “Wham!,” quickly gaining momentum until the song becomes an unstoppable locomotive. Mack picks wildly as the bass and drums stoke the beat and the rest of the band hangs on for dear life. Mack’s take on Dale Hawkins’ “Susie-Q” is just as deft, as he alternates between rhythm and lead, masterfully picking long twangy phrases that circle back to the root riff.

Mack’s first solo recording for Fraternity, an improvised cover of “Memphis,” is perhaps his most impressive, as he double-picks and ranges up and down the length of the fret board. No doubt Chuck Berry must have been impressed; Duane Allman, Stevie Ray Vaughan and others certainly were, as they taught themselves from these performances. Beyond Mack’s virtuosity as a guitarist, he was also a soulful vocalist who drew on the blues for Jimmy Reed’s “Baby What’s Wrong,” on gospel for the testimony of “Where There’s a Will There’s a Way,” and on both for the pained “Why.” For Collector’s Only adds two mono bonuses to the original Wham’s eleven tracks, the blues classic “Farther On Up the Road” and the flaming, original instrumental “Chicken Pickin’.”  Mono or stereo, original line-up or expanded, this is a true classic from 1963. [©2011 hyperbolium dot com]

The Cuff Links: Tracy

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The Archies’ Ron Dante sings sweet bubblegum pop as the Cuff Links

Vocalist Ron Dante is the American version of British studio singer Tony Burrows. Though he didn’t duplicate Burrows’ feat of charting hit singles as the lead singer of four different groups in a single year (Edison Lighthouse, White Plains, Pipkins, Brotherhood of Man, all in 1970), Dante’s singing was nearly as ubiquitous. His first brush with fame came with the novelty single “Leader of the Laundromat,” by the Detergents, and he was widely heard singing the famous “you deserve a break today” jingle for McDonald’s. But his biggest score was as the lead singer of the Archies, minting the single-of-the-year (and the national anthem of the bubblegum world), “Sugar, Sugar.” In parallel with the Archies’ ride on the charts, Dante re-teamed with Detergents’ songwriter-producers Paul Vance and Lee Pockriss and cooked up this album under the Cuff Links banner.

The Cuff Links were, like Tony Burrows’ “bands,” a studio concoction rather than a working group. Dante provided both lead and brilliantly arranged backing voices, and as on the Archies’ records, went uncredited. Though he recorded a solo album in 1970, his first real claim to named fame came a few years later as the producer of many Barry Manilow hit records, and later as an award-winning Broadway producer. His anonymous work with the Detergents, Archies and Cuff Links has been sporadically anthologized and reissued over the years, focusing mostly on the hit singles; this CD release reintroduces the Cuff Links first album back to the market, adding a handful of singles drawn from the group’s still-unissued second album, and several more bonuses.

The album is a by-product of the effervescent single “Tracy,” which became a hit just as the Archies’ “Sugar, Sugar” started to fade on the charts. The album was recorded quickly to capitalize on the single’s success, but with songs drawn from Vance and Pockriss’ catalog of co-writes, plus a pair of well selected covers, it’s a great deal more solid than the short time in the studio would suggest. Rupert Holmes (who would later hit with “Escape (The Pina Colada Song)”) was brought in to arrange the strings, and his simple lines perfectly complement Dante’s overlaid vocals. The bubbly tone of the title track is balanced by wistful tunes, including the moving antiwar sentiments of “All the Young Women,” the Left Banke-styled nostalgia of “I Remember,” and the autumnal lost-love B-side “Where Do You Go?”

The two cover songs are given nice twists, with a catchy organ riff and memorable call-and-response vocals on “Put a Little Love in Your Heart,” and an effective Burt Bacharach-styled treatment of Neil Diamond’s “Sweet Caroline.” The songs run deeper than comparable bubblegum tunes written expressly for the pre-teen crowd, but their melodies remain hummable, and the lyrics catchy. Like the music that came out of Don Kirshner’s world, the craft here is superb – just listen how the album’s second single, “When Julie Comes Around,” builds masterfully from a tense organ and drum opening into a perfect mix of electric and acoustic guitars and then builds into a joyous melody in parallel with the lyrics turn from loneliness to happiness; the transitions back and forth between desperation and elation are handled just as perfectly as the song finally plays itself out with a smile.

With the single a hit and the album edging onto the charts, the producers assembled a road band, but Dante declined to tour and vocalist Joe Cord took his place. For the self-titled follow-up album, Dante and Cord split the lead vocals. The album’s first three bonus tracks are drawn from the second album’s singles, “Run Sally Run” (in mono), “Robin’s World” and “Thank You Pretty Baby” (also in mono). The first of the three has a hurried tempo, the second is a terrifically relaxed piece of mid-tempo sunshine pop, and the latter a catchy staccato vocal pop production. Of the three remaining bonus tracks (all in mono), “The Kiss,” “All Because of You,” and “Wake Up Judy,” the middle one was the group’s last single on Decca. The other two are unexplained in John Purdue’s otherwise detailed liner notes. If you love sunshine and bubblegum pop, snap this one up before it goes out of print again! [©2010 hyperbolium dot com]

Ron Dante’s Home Page
The Cuff Links’ Home Page

The Cuff Links touring band:

Albert King with Stevie Ray Vaughan: In Session

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Superb meeting of two blues guitar legends with added DVD

This 1983 live performance summit meeting between a legend and a soon-to-be legend has been reissued a few times on CD, including a hybrid SACD in 2003 and a remastered CD edition in July 2010. This latest version augments the original eleven audio tracks with video of seven performances, adding “Born Under a Bad Sign,” “Texas Flood” and “I’m Gonna Move to the Outskirts of Town” to the song list. At the time this pair met in a Canadian TV studio, Vaughan was blazing a trail into the blues world with his debut album, Texas Flood. King was long since a legend, and though he apparently didn’t recognize the name “Vaughan,” he immediately recognized the young guitarist who’d sat in with him whenever he played in Austin.

The video dimension turns this session into a master class for both Vaughan and the viewer. Vaughan is seen soaking up lessons from King’s guitar playing, stage manner and the verbal notes he provides between songs. What was previously a musical conversation now becomes a visual one as well. King is often seen marveling – almost in surprise – at Vaughan’s playing, and Vaughan’s expressions capture the joy he feels in so clearly making the grade. Without a live audience, the two bluesmen play for each other and for the blues. The ease of King’s play, the naturalness with which the guitar forms an extension to his soul is awe inspiring. The snippets of dialogue between the CD’s tracks have always shown the personal bond that complemented the guitar slingers’ artistic connection, but the visuals shed new light on the deep affection they clearly have for one another.

King and Vaughan are backed by the former’s tack sharp road band, and run through a set drawn mostly from King’s catalog. You can hear what was on the horizon, though, as Vaughan rips into his own “Pride and Joy” with monster tone and a gutsy vocal. Throughout the session the players trade licks and prod each other with solos that quote all the great players from whom they learned. King’s influence is clear in Vaughan’s playing, but hearing them side-by-side gives listeners an opportunity to hear how the same fundamentals change as they filter through different fingers and hardware. As Samuel Charters points out in one of the three sets of liner notes, Albert King fans will particularly savor the rare opportunity to hear and see him play rhythm guitar. The audio does a nice job of keeping their guitars separated slightly left and right, and the video lets you see exactly who’s playing what.

As free as both guitarists play, the band, the catalog, and the deference Vaughan shows King all tipped in favor of the latter setting the tempos, leading with his guitar and providing lessons and advice between songs. In any other venue Vaughan would be the master, but here he plays the role of apprentice. How many chances do you get to play with someone who can introduce “Blues at Sunrise” with “This is that thing, uh, I recorded with Jimi Hendrix and Janis Joplin out there at the Fillmore West”? It was a good time to be the apprentice, and the addition of songs originally cut from the broadcast (to make room for commercials) notches this package up to five stars. Anyone who loves King, Vaughan or great blues guitar should catch this. [©2010hyperbolium dot com]

Wes Montgomery: Boss Guitar

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The boss of the jazz guitar in a stellar ’63 trio setting

Concord Records initiated a new pass through their Original Jazz Classics catalog in March of 2010, and they now add five more titles to the program. Each reissue features a new 24-bit remaster by Joe Tarantino, extensive liner notes, and bonus tracks. This 1963 set finds jazz guitarist Wes Montgomery at the peak of his creative powers, backed by the talented Mel Rhyne on Hammond B-3 and the sharp-as-a-tack swing of Jimmy Cobb on drums. Montgomery’s tone is both smooth and penetrating, and he’s as mesmerizing playing upbeat romps as he is laying back into ballads. The fluid paths taken by his solo improvisations feel fresh and spontaneous, and his chords are complex yet remain musical. The album is filled with the grooves of Rhyne’s organ playing, but the slow numbers, including Henry Mancini’s “Days of Wine and Roses” and a serene take on Eddie Heywood’s “Canadian Sunset” are winningly thoughtful. Montgomery thrived in the trio format, and the mix of up-tempo, ballad, original and cover material, along with straight and Latin-inflected rhythms, give this album terrific range and balance. It’s been fifteen years since the last domestic reissue of this title, so it’s great to have modern digital practices applied to this classic. The bonus tracks are alternate takes of the album tracks “Besame Mucho,” “The Trick Bag” and “Fried Pies,” and the fold-out booklet includes full-panel reproductions of the original covers (front and back), Joe Goldberg’s original album notes, and new liners by Neil Tesser that include fresh interview material with Rhyne and Cobb. [©2010 hyperbolium dot com]

Vince Guaraldi Trio: Jazz Impressions of Black Orpheus

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Legendary jazz pianist’s artistic and commercial breakthrough

Concord Records initiated a new pass through their Original Jazz Classics catalog in March of 2010, and they now add five more titles to the program. Each reissue features a new 24-bit remaster by Joe Tarantino, extensive liner notes, and bonus tracks. Five additions grace this reissue of Vince Guaraldi’s 1962 artistic and commercial breakthrough. The San Francisco pianist has been making a name for himself since the mid-50s, backing Woody Herman, Nina Simone, and Stan Getz, and sitting in with the Cal Tjader Quartet, but his solo albums hadn’t turned their critical praise into commercial notoriety until the original piece “Cast Your Fate to the Wind” led this album up the charts. Guaraldi would find yet another level of acclaim with his compositions for the Peanuts television specials, but it was this album that established him as a popular jazz luminary.

The album opens with covers of the four main themes from Antonio Carlos Jobim and Luis Bonfa’s score for the film Black Orpheus. Despite the then-contemporary resurgence of bossa nova in American jazz, Guaraldi and his accompanists only feint towards the samba rhythms of the originals. Instead, the pianist takes the lead with his highly melodic version of bebop, both energetic, yet cosmopolitan cool. Nowhere is this balance more evident in Guaraldi’s Grammy-winning original “Cast Your Fate to the Wind.” The song opens with the delicacy of a light summer fog before swinging into a bluesy middle that’s supported by Budwig’s walking bass line and Bailey’s ride cymbal and snare accents. The song communicates more about the special feeling of pre-hippie San Francisco in the early ‘60s than just about any other piece of music.

Guaraldi plays lush chords and sustained low notes to set the melancholy mood of Mancini and Mercer’s “Moon River,” and his mid-song solo again captures a unique ability to make modern jazz both melodic and compelling to pop listeners. The album finds its Latin feet with the stop-start original “Alma-Ville,” but even here Guaraldi only teases, as the combo switches to straight jazz by mid-song, and returns to the bossa nova style only to close things out. The reissues five bonus tracks include the single edit of “Samba de Orfeu,” and four previously unreleased alternate takes, including one of “Cast Your Fate to the Wind.” The fold-out booklet includes full-panel reproductions of the original covers (front and back), Ralph Gleason’s original album notes, and new liners by Derrick Bang. [©2010 hyperbolium dot com]