A sampling of the trumpeter/vocalist’s classic ‘50s sides
As a leading exponent of the West Coast sound, trumpeter Chet Baker was as well known for his introspective vocals as his cool horn style. Prestige’s fourteen-track collection pulls together selections from nine albums drawn from the years 1952 through 1965. The bulk of the set is taken from albums made forRiversideand Jazzland in ’58 and ’59, along with an earlier side on Fantasy and two later sides on Prestige. Baker’s intimate vocals are featured on four tracks (“Do it the Hard Way,†“My Heart Stood Still,†“Old Devil Moon,†and “The Song is Youâ€), with the rest finding his trumpet accompanied by the likes of Chico Hamilton, Philly Joe Jones and Paul Chambers, and sharing the spotlight with Gerry Mulligan, Johnny Griffin, Herbie Mann, Zoot Sims and others.
Timi Yuro was an anomaly in the world of 1960s soul – a small girl of Italian descent with a gigantic, hugely emotional voice. The opening notes of her million-selling 1961 debut single, “Hurt,†suggest no less than Jackie Wilson with their power and vibrato, leaving listeners to momentarily wonder if they were hearing a man or a woman. She could sing more tenderly, but the biggest thrills in her catalog came from the sort of wrecking ball outbursts that Phil Spector helped capture on her subsequent “What’s A Matter Baby.†Barely missing the Top 10, this latter single is perhaps the single greatest kiss-off in the history of pop music; from it’s opening drum roll to Yuro’s derisive laugh after singing “I know that you’ve been asking ‘bout me,†to the soul-crushing finale “and my hurtin’ is just about over, but baby, it’s just starting for you,†this is a five-star kick in the teeth delivered point-blank to a deserving cad. Even the distortion on Yuro’s voice connotes indignation so strong that the microphone should’ve stepped back.
Yuro’s commercial fortunes never topped these two singles, but she continued to release fine albums and singles forLibertythroughout the rest of the 1960s. The bluesy choke in her voice suggested DinahWashington, as did the string arrangements with which she was often supported. The material for her early singles was drawn in large part from pop standards, ranging from early century classics to Tin Pan Alley to the hit parade. As with her two biggest hits, songs of romantic discord and joy, such as the non-charting “I Know (I Love You)†and its Drifters-styled flipside, “Count Everything,†provide the sort of material Yuro could really sink her teeth into. Perhaps not coincidentally, both of those sides were co-written by Yuro’s producer Clyde Otis, who also co-wrote “What’s a Matter Baby.†The flip, “Thirteenth Hour†was co-written by Neil Sedaka’s writing partner, Howard Greenfield, and provides another great stage for Yuro’s passionate delivery.
Otis left Libertyin the middle of producing “What’s a Matter Baby,†and she subsequently charted with a Burt Bacharach arrangement of “The Love of a Boy.†Joy Byers’ bluesy “I Ain’t Gonna Cry No More†was actually a better fit, but as a B-side, it didn’t get much exposure. Yuro’s material shifted from pop standards to more recent soul and pop compositions, and with the release of her 1963 album Make the World Go Away, to a deep well of country songwriters. Yuro had become friends with Willie Nelson, and recorded several of his tunes (including “Are You Sure†and the choked-up “Permanently Lonelyâ€), along with titles from Hank Cochran, Don Gibson and Hank Snow. Ray Charles had developed a country-as-soul template on Modern Sounds in Country and Western Music, and Yuro took the concept to the next level with her highly charged vocals.
The New Christy Minstrels were a relentlessly upbeat folk revival group. The Minstrels generally hewed to the lighter side of the folk revival, often appearing in coordinated ensembles, and more likely to be seen on a mainstream television variety program, such as the Andy Williams show, than at a social demonstration or political rally. Aside from their musical roots in traditional material, their entertainment style had more in common with 1950s vocal choruses than with 1960s protest singers. Their hits were celebratory rather than confrontational, starting with a cover of Woody Guthrie’s “This Land is Your Land†that (to be fair, like several other covers of the time) didn’t touch any of the socially-charged verses.
Over the group’s core folk years of 1961-65, a number of folk, pop and rock luminaries passed through its ranks, including Barry McGuire (whose co-write withSparks, “Green, Green,†was a hit for the group), the Modern Folk Quartet’s Jerry Yester, and future Byrd Gene Clark. Randy Sparks had formed the group inLos Angelesin 1961, and led them artistically and commercially into 1964. Upon his departure, the group’s stage direction was turned over to Barry McGuire, and with McGuire’s subsequent departure, they expanded into pop and comedy, truing the variety of their show to the 19th century group after which they were named. The comedy team of Skiles and Henderson added skits to the show, and Kenny Rogers and Kim Carnes cycled through the group on their way to greater fame.
The Minstrels’ folk-era albums included many traditional songs, but Real Gone’s collection focuses more heavily onSparks’ original material. On the one hand, this leaves the group seeming unconnected to folk tradition, on the other,Sparks’ material is musically apiece with the traditional tunes they revived on their albums and in concert. The darker themes heard in other groups’ recordings are omitted here, as the track list sticks primarily to upbeat celebrations, historical tales and comedic romps. The Christys were built for entertainment, rather than social commentary, and though their contrast with the folk movement grew in the era of Dylan and Ochs, their entertainment value never diminished.
These twenty-five tracks trace the group’s transformation from an earnest folk chorus to a crossover pop act in search of direction. Their three biggest chart hits, “Green, Green,†“Saturday Night†and “Today,†are here, along with a previously unreleased studio outtake of their concert opener, “Walk the Road.†A wonderful Art Podell live performance of “(The Story of) Waltzing Matilda.†shows off the group’s impressive charisma, deftly mixing folk history, story-telling, harmonies, comedy and audience sing-along. The group’s post-RandySparksdrift into pop, gospel and film themes produced covers of “Chim Chim Cher-ee†and “Chitty Chitty Bang Bang,†backings from HugoMontenegro’s orchestra, and eventually the soft rock “You Need Someone to Love.†By the time the latter was recorded in 1970, the original membership and their folk roots had both been obliterated.
Mono mixes of the Electric Prunes’ singles 1966-69
For those who weren’t there in ’66 and ’67, the oldies radio shorthand for the Electric Prunes has been their one big hit, “I Had to Much to Dream (Last Night),†as anthologized (as the lead off track, no less) on Lenny Kaye’s legendary Nuggets compilation. The few strokes of shading inclues their chart follow-up, “Get Me to the World on Time,†and an oft-anthologized ad for Vox Wah-Wah pedals. It’s an abbreviation that shortchanges the band’s recorded legacy. Reissues of their albums along with single- and double-disc compilations (including Birdman’s Lost Dreams and Rhino’s Too Much to Dream) expanded the group’s posthumous reputation, and are now joined by this collection of twenty-four mono single mixes. As a group whose tenure spanned across AM Top 40 and the birth of underground FM radio, their singles are just as interesting as the stereo album tracks.
Like several other groups of their era, including the Chocolate Watchband and Grass Roots, the Electric Prunes name was applied to several wholly different aggregations of musicians. The original lineup shifted subtly through the group’s first two albums (I Had Too Much to Dream (Last Night) and Underground), but with their third, the David Axelrod-produced orchestral Mass in F Major, the original band essentially broke up. The album was completed with studio musicians, and its follow-up, Release of an Oath, was produced similarly by Axelrod. The final album released under the Electric Prunes name, Just Good Old Rock and Roll, was recorded by a newly recruited group of musicians, wholly unrelated to the original lineup.
The singles gathered here span all three eras of the Electric Prunes – variations of the original lineup on the first two albums (1-12, 15 and 24), the Axelrod years (13-17), and the “new and improved†lineup (18-23). Original members James Lowe and Mark Tulin appeared on two of Axelrod’s productions (“Sanctus†and “Credoâ€), but the compositions and productions are so far divorced from the group’s earlier garage psych as to be nearly unidentifiable as the same band. The new lineup held on to only hints of the original group’s roots, bringing hard rock, boogie, funk and soul sounds to the Electric Prunes name.
Graceland wasn’t Paul Simon’s first brush with pan-cultural music, nor was it even his first commercial success with such. But unlike the Jamaican, Peruvian and Latin influences of earlier hits, the South African bedrock of Graceland was as much a political statement as it was a musical adventure. At the time of the album’s mid-80s recording, a cultural boycott of South Africa was winding down but still very much in effect, and Simon’s recording in South Africa split those in the anti-apartheid movement, garnering support, controversy and protests. The album’s commercial success (it peaked at #3 in the U.S., topped the chart in seven countries, charted three singles, sold five million copies and won two Grammys), heavy touring and a filmed release of a concert in Zimbabwe, provided worldwide exposure and long-lasting career impact for Simon’s collaborators, but didn’t immediately sway opinion of those who felt the boycott should take precedence.
The album’s been reissued before, including a 2004 CD that added three bonus tracks, but this twenty-fifth anniversary box set is a deservedly plush reissue of a landmark. In addition to the original eleven track album, the set includes a second CD of six bonus tracks, a DVD of the 1987 concert film The African Concert, a DVD of the documentary Under African Skies, a 76-page oversized (8-1/2 x 11-1/2) book of essays, interviews, photographs and notes, a poster reproduction of the album cover and a thick yellow notepad that reproduces Simon’s handwritten lyrics and notes. All of this is housed in a box made from heavy stock with a canvas-like finish. The bonus tracks collect the three from the earlier CD reissue and add three more, including a pair of instrumental demos (“You Can Call Me Al†and “Crazy Loveâ€) and Simon’s newly recorded nine-minute musical narrative “The Story of ‘Graceland’.â€
The documentary Under African Skies provides terrific context, reminding listeners that the album was a product of Simon’s political and artistic daring (or, some might argue, his naivete), and a gambit that salvaged his commercial career from the disappointment of Hearts and Bones. By following Simon on a return visit to South Africa, one sees how the album represented a great deal more than a simple musical collaboration. The passions stirred by the album’s recording circumstances dealt out more than a few scars, and though they’ve healed, they haven’t disappeared. The film is augmented with extended interviews, and the DVD is filled out with period music videos for “You Can Call Me Al,†“The Boy in the Bubble,†and “Diamonds on the Soles of Her Shoes.†There’s also a live video of the latter song performed on Saturday Night Live in 1986.
Career-spanning 3-CD/1-DVD box set with many previously unreleased treats
There has been no shortage of hits packages for Heart, starting with 1980’s Heart’s Greatest Hits: Live, which at the time seemed to sum up a fading band’s run of commercial success. But with the release of 1985’s Heart, the Wilson sisters sparked a major comeback with their band, and by 1995, set off nearly annual production of anthologies and album reissues. In addition to single- and double-disc sets (including 1998’s Greatest Hits and 2002’s Essential), the band released a live run-through of their debut album on both CD and DVD. But as the band’s career stretched into the twenty-first century with Jupiters Darling and Red Velvet Car, and the Wilson sisters recorded solo and with their side-project, The Lovemongers, existing anthologies have fallen out of date.
Epic/Legacy cures this problem with a 3-CD, 1-DVD set that expands across Heart’s entire recorded legacy, including hits, album sides, live performances, demos and rarities. And rounding out the Wilsons’ legacy are solo selections and a pair by the Lovemongers. All together, twenty of the CDs’ fifty-one tracks are previously unreleased, and the DVD serves up a fifty-five minute live performance recorded in 1976 at Washington State University’s television station, KWSU. The opening instrumental of this vintage performance, as well as a scorching version of “Sing Child Sing,†shows the group’s progressive colors, but as they kick into “Heartless,†it’s clear that Heart was ready to rock. Hard. With the band’s debut album just released, they had the goods, but not yet the fame the album’s hits would bring. The video’s lighting, camera work and mono sound are good, and the picture (including some primitive special effects) holds up well for something no one probably thought would become historically important.
The CD set begins the Wilsons’ very first single, “Through Eyes and Glass†recorded as Ann Wilson & The Daybreaks in 1968, and released locally on the Topaz label. Key elements of Heart can be heard in the elder Wilson’s voice and flute, though the brooding mood is more connected to 1960s ballrooms than 1970s arenas. Skipping ahead to mid-70s demos, it feels as if the gauze of ‘60s acid culture has been lifted. Even in this early form, “Magic Man,†crackles with passion in both the rhythm and vocals. There’s a healthy dose of neo-psych in the guitar solo, but the song is undeniably powerful and anthemic. Other demos, such as “How Deep it Goes†and “Crazy on You,†are closer to final form, with Heart’s signature blend of electric and hard-strummed acoustic in place on the latter. Ann Wilson had yet to unleash her full vocal power in these demos, but you can hear how the songs will push her to great heights.
Though the box set covers songs from all thirteen Heart studio albums, they’re presented in a mix of studio, live and demo versions. The disputed Magazine album is represented by demos of “Here Song†and “Heartless,†the first of which actually sounds more polished than its album release, and a live version of “Devil Delight†that appears on the DVD. 1990’s Brigade offers up a demo of “Under the Sky†that is truly compelling in its lack of big studio gloss. Other demos, like the acoustic-guitar accompanied “Dog & Butterfly†show off the Wilsons’ songwriting, rather than Heart’s instrumental and production talents. Although the band’s commercial fortunes began to decline after 1980’s Bebe le Strange, they returned to commercial dominance in 1985 with five singles from Heart. Chief among the successes, and indicative of the band’s changes, was “These Dreams.†Written by Bernie Taupin and Martin Page, and sung by Nancy Wilson, the sound traded in the band’s guitar rock for synth-dominated modern pop, and navigated the commercial winds for the band’s first chart topper.
Heart remained commercially vital throughout the ‘80s, with Bad Animals and Brigade selling multi-platinum and spinning off multiple charting singles, but artistically, their demos, such as the terrific “Unconditional Love†and “Under the Sky†often showed more earthiness and soul than their heavily-produced albums. The first-half of the set’s third-disc is devoted to non-Heart material from the Lovemongers, solo performances, and live and demo tracks that were never remade in the studio. With the big hair ‘90s receding in the rear view mirror, the Wilsons returned to the more organic rock and blues roots with which they started the ‘70s, and the demos show that they still had ideas other people couldn’t fathom as Heart material. The disc closes out with songs from the band’s last three albums, plus “Little Problems, Little Lies,†from Ann Wilson’s solo release.
Jerry Reed’s country and Nashville Sound beginnings
Singer, songwriter and certified guitar player Jerry Reed found his musical calling as a child, and by the time he turned 18 in 1955, he was already making records. Sides cut for Capitol (catch the rockabilly “When I Found You†here), NRC and Columbia failed to ignite a performing career, but his songwriting and session guitar work garnered traction in Nashville. By 1965 he’d come to the attention of Chet Atkins, and two years later he released his debut LP, The Unbelievable Guitar & Voice of Jerry Reed, on RCA. The album was stylistically schizophrenic, ranging from folk-country tunes similar to Waylon Jennings early RCA sides to faux British Invasion pop to rootsy blues-country. It’s the latter, including the album’s first single, “Guitar Man,†that came to define Reed’s sound.
In 1967, though, Atkins was still trying to find a place for Reed within the Nashville Sound. Atkins added badly-aging harpsichord to many of the debut’s tracks, and though Reed, Wayne Moss and Fred Carter Jr. cut loose with gut-string picking on several tracks, including the instrumental “The Claw,†there were still the doubled pop vocals of “If I Promise†sharing track space with the sly talking ablues “Woman Shy†and the Everlys-styled “Long Gone.†It’s interesting, albeit a bit disconcerting, to hear Reed singing so far outside his earthier country sound, and the folk- and pop-flavored cuts haven’t the swagger of his blues. Elvis Presley covered “Guitar Man,†with Reed reproducing the guitar break from this recording, and “U.S. Male,†with the lyrical intro shifted from Georgia to Mississippi.
Reed returned Elvis’ favor with his next single “Tupelo Mississippi Flash,†on his second album, Nashville Underground. Released in 1968, this second album’s title proves itself ironic with music that’s even heavier on the crossover balladry. Try as he might though, Atkins couldn’t shave the Southern edges off Reed’s playing and singing, highlighted by the hard-picked guitar of “Fine on My Mind.†In addition to eight originals, Reed covers a pair of traditional titles (“Wabash Cannonball†and “John Henryâ€), and takes a playful, jazzy turn on Ray Charles “Hallelujah I Love Her So.†As on the debut, Reed’s versatility is impressive, but it’s the talking blues and arrangements stripped of Atkins’ crossover production that still leap most energetically from the speakers.
A sampling of the trumpeter/vocalist’s classic ‘50s sides
