Category Archives: Reissue

Thee Midniters: Thee Complete Midniters- Songs of Love, Rhythm and Psychedelia

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TheeMidniters_Complete1960s East L.A. rock ‘n’ soul giants get their due

Thee Midniters were hands-down the cream of the rock ‘n’ soul scene that sprouted in mid-60s East Los Angeles. Contemporaries like the Premiers and Cannibal & The Headhunters each made indelible marks, but the Midniters’ talent filled four full albums, numerous non-LP singles and ranged across a unique mix of ‘50s doo-wop and R&B, ‘60s rock, soul and jazz. Their chart success was minor (a 1965 version of “Land of a Thousand Dances” that was covered by the Headhunters and then completely overshadowed by Wilson Pickett), but their originals and covers resound to this day with the unfettered release of a Saturday night rave-up and the slow heat of the night’s last dance.

The band’s guitar, organ and horns sat atop propulsive bass lines and potent back beats, and moved easily from the soulful croon of Jerry Butler’s “Giving Up on Love” to a wicked, organ- and guitar-led cover Barrett Strong’s “Money.” The ballads are warm and comforting, and the up-tempo tunes are scorching. The band’s debut album Whittier Blvd., originally released in 1965, is constructed from a dozen covers, the title track being a hotted-up reworking of the Stones “2120 South Michigan Avenue.” The song list is drafted from then-popular regional and national hits by Marvin Gaye, Lenny Welch, Chris Kenner, and Roddie Joy, and spiked with a pair of rock ‘n’ roll classics from Larry Williams (“Slow Down”) and Chuck Berry (“Johnny B. Goode”). Bonus tracks included with the first album are highlighted by a playful cover of Tom Jones’ “It’s Not Unusual” and a shriek-lined live version of “Land of a Thousand Dances.”

The Midniters’ second album, Bring You Love Special Delivery, was released in 1966 and though it continued the rock ‘n’ soul sounds of their debut, it added a psychedelic vibe and included four originals, including the rhythm-heavy rock ‘n’ soul title track. Jimmy Espinosa’s running bass lines and Danny LaMont’s snare grab you by the lapels as the horn section slaps you in the face; if you ever wondered what influenced Jeff Conolly’s (of The Lyres) organ style, check out Ronny Figueroa’s playing. The covers are drawn once again from popular songs of the day by Martha & The Vandellas, the Righteous Brothers, the Young Rascals, Percy Sledge and Deon Jackson. Thee Midniters really proved themselves the epitome of a great covers band, able to evoke the essence of a hit single while stamping the performance with their own unique sound.

The breadth of the band’s influences is readily heard in the contrast between their down-and-dirty cover of Them’s British Invasion classic “Gloria” and a relatively straight take on Frank Sinatra’s then-current easy listening hit “Strangers in the Night.” The band’s originals include the tough rocker “I Found a Peanut” and the soul ballad “Are You Angry.” Bonus tracks expanding the second album include a smoldering cover of Baby Washington’s “It’ll Never Be Over For Me,” a stomping take on Richard Lewis’ “Hey Little Girl” and the searing garage rock instrumental original “Thee Midnight Feeling.”

The group’s third album, Unlimited, was released in 1967 and opens with a rough, Stones-y cover of Solomon Burke’s “Everybody Needs Somebody to Love.” The horns that start “Cheatin’ Woman” suggest a moment of soothing soul, but vocalist Little Willie G is in no mood to forgive and forget as he croons his goodbye to an unfaithful mate. Originals finally dominate the song list with a variety of torchy ballads, garage rockers, easy swinging soul, and summery pop. The instrumental “Chile Con Soul” finds the band branching into jazz, and “Welcome Home Darling” is a fine upbeat blues-rocker. The set list winds down for a cover of the Beatles’ “Yesterday” and heats back up for Mitch Ryder’s medley of “Devil With a Blue Dress” and “Good Golly, Miss Molly.” Eight bonus tracks include the wild mariachi-rock “The Big Ranch,” a superb mid-tempo soul original, “You’re Gonna Make Me Cry,” plenty of heavy, psych-tinged blues, and both the English and Spanish sides of the honorific, “The Ballad of Cesar Chavez.”

By 1969 vocalist Little Willie G had departed, and the group’s fourth and final album, Giants, falls back on some familiar cuts (“Whittier Blvd,” “Land of a Thousand Dances” and “Love Special Delivery”) and sticks almost entirely to covers, many of which are themselves repeats. The album sounds more like the group’s debut than the progression of Unlimited. Highlights include a jazzy, five-minute instrumental arrangement of “Walk on By,” a moving take on Oscar Brown’s “Brother Where Are You,” and a stereo mix of “That’s All.” Three bonus tracks include the celebratory chant “Chicano Power,” a thick concoction of Gamble & Huff’s “Never Gonna Give You Up,” and a Latinized arrangement of Hubert Laws’ “Cinderella.” By this point you could hear the Midniters laying into the same roots that Carlos Santana was exploring, and which would be more fully fleshed out by War, EW&F, AWB and others in the early 1970s. The band played with more restraint in 1969 than 1966, but also with more polish and sophistication.

These CDs were mastered from vinyl records, and there are a few sound problems, including small skips, transitory distortion, and varying fidelity. The audio artifacts aren’t persistent and do not greatly diminish the pleasure of having these tracks available on CD; still, it’s a shame Micro Werks didn’t search more deeply for better vinyl sources. Each CD is screened with the green, white and pink label of Whittier Records and packaged in a three-panel cardboard slip-case that reproduces the front and back album cover. The four discs are housed in a box that includes a fold-out poster with liner notes by Richie Unterberger. Discs 1-3 are mono, disc 4 mixes mono and stereo. [©2009 hyperbolium dot com]

Thee Midniters Home Page
Thee Midniters MySpace Page

Big Star: Keep an Eye on the Sky

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BigStar_KeepAnEyeOnTheSkyThe essential second (or third) Big Star purchase

It’s hard to imagine anyone issuing a Big Star release that’s a more perfect introduction to the band than the two-fer of #1 Record and Radio City. You could include their third album, dig in the archives for alternate versions and live tracks, stretch through their reunion music, add pre- and post-Big Star releases, and solo work for context, and you could write lavish liner notes to explain and contextualize their ill-fated story. But as an introduction, every bit of it would simply distract from the perfection that is that first perfect couplet of albums. If you want to turn someone on to Big Star, the stepping stones are #1 Record and Radio City.

But once they’re hooked they’ll want to know more; they’ll want to know everything. Where did the players come from and what did they do before and after Big Star? What else did the band record? What’s Ardent Records and what else was the label doing at the time? How did Memphis influence the band’s sound? Are there alternate versions or unreleased tracks? What were they like as a live unit? And of course: why haven’t I heard of this band before? The latter question is less likely to be asked these days, since obsessive fans have dug up many of the other answers, and many well-known bands have cited Big Star as a seminal influence. But until this box set was released, the full picture of Big Star’s career had to be pieced together from a shelf-full of CDs [1 2 3 4 5 6 7 8 9], a pair of books [1 2] and assorted fan web sites.

With this 4-CD set, Rhino has reduced all of the purchases that normally follow the two-fer into a rich and convenient box. This is not a substitute for the original albums, nor does it replace the full-length live albums, lead-ins and follow-ups, or the detailed written histories of the band; but for many, this consolidated view of Big Star will be the perfect follow-up to the initial infatuation. For those who’ve already collected everything that’s been legitimately released, the box still provides something extra in previously unreleased live and studio items from the archives. Some of the alternate material is subtle, but some, like “Country Morn” fronts the well-known backing track of “Sunrise” with entirely different lyrics. The B-side mix of “In the Street” has a noticeably different feel to the album track, and the alternate version of “The Ballad of El Goodo” sports a different lead vocal take.

There are early versions of “I Got Kinda Lost,” “There Was a Light” and Loudon Wainwright III’s “Motel Blues” that never made it to final form, and revealing demos for songs that made each of the group’s first three albums. Perhaps the biggest treat of all, however, is the live show featured on disc four. This disc is a distillation of three sets performed by the three-piece (Chris Bell-less) Big Star in Memphis in January 1973. Recorded from microphones set in front of the stage, it’s not the crisp line recording of the band’s previously released shows, but it’s a superb performance whose room sound offers a bit of you-are-there ambiance. It’s a shame the audience mostly ignore the greatness in front of them as they await the headliner, Archie Bell & the Drells.

The physical presentation, a folder containing the four discs and a hundred-page book housed in a slipcase, is superb. An introductory note from Ardent Records founder John Fry shows the emotional connection the insiders still carry with them. Robert Gordon’s historical notes are informative, but Bob Mehr’s essay brilliantly captures the slowly-built cult of Big Star, replaying the clandestine mystery and wonderful discovery the band’s fans felt in the years before the Internet and this  box set put the story at everyone’s fingertips. The book closes with song notes from Alec Palao that gather the scattered details that could be reassembled from tape box labels and participants memories. The 7.5-inch square book includes superb full-panel pictures, most of which have never been seen by even Big Star’s biggest fans.

Could the set include more? Yes. Would that make it better as a box set? Not really. The purpose of these four discs is to tell a story, to provide substance and dimension to a band whose story was revealed ever so slowly over the course of three decades. By intermixing standard and alternate versions of key recordings this set offers new angles on the well-known corpus. By including a full disc of live music the collection fleshes out Big Star from a studio incarnation into a band populated by flesh-and-blood musicians. Start with the band’s first two albums, but once you’ve been bitten, continue here. [©2009 hyperbolium dot com]

Big Star’s Home Page
Big Star’s MySpace Page

The Blind Boys of Alabama: Duets

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BlindBoysOfAlabama_DuetsGospel soul harmonies matched to pop, rock, blues and more

The Blind Boys of Alabama formed as a quartet in 1939 at what was then called the Alabama School for the Negro Deaf & Blind. All four members – three primary vocalists and a drummer – were blind. Of the four founders, two have passed, one has retired, and Clarence Fountain continues to tour with the group as his health allows. Like the Staple Singers, the Blind Boys of Alabama sing traditional material and bring their gospel harmonies to pop music. This collection pulls together fourteen collaborations in which the group backs up or sings alongside folk, rock, pop, country, blues, soul and reggae artists.

All but four of these tracks were previously released, but anthologizing them in a single place provides an amplified view of how the group’s gospel meshes into a variety of musical contexts, and how effortlessly the group pulls other artists into their embrace. Ben Harper’s soulful singing is a natural fit, as are Toots Hibbert’s and Solomon Burke’s. Randy Travis’ old-timey religion gives the group a jaunty rhythm, and the twangy guitar, solid backbeat and spoken blues of Charlie Musselwhite’s “I Had Trouble” is backed with Jordanaires-styled harmonies.

The acoustic “Welcome Table” provides Dan Zanes and the group a terrific arena for vocal interplay, even dropping in an a cappella verse. The spare blues of John Hammond’s “One Kind of Favor” finds the group harmonizing in a low hum, and the swing stylings of Asleep at the Wheel’s “The Devil Ain’t Lazy” offer a playful way to put across the song’s message. Perhaps most surprising is the pairing with Lou Reed on the Velvet Underground’s “Jesus.” Here the group’s harmonies shed the light of salvation upon Reed’s spent and broken monotone.

Timothy B. Schmit’s “Secular Praise” is the album’s newest track, and the cuts by Toots Hibbert, Lou Reed and John Hammond are each previously unreleased. All four are fine additions to the material that was drawn from ten different original artist’s albums. The group’s live and recorded work has received numerous accolades over the years, including film and TV placements and five Grammy awards, but their greatest compliments may just be these invitations to make music with their peers. [©2009 hyperbolium dot com]

Various Artists: Phil’s Spectre III

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Various_PhilsSpectorIIIMore gold bricks in the wall of soundalikes

Phil Spector’s revolutionary production techniques and monumental chart success in the early ‘60s spawned a lot of imitations, some of which hit, but many more of which passed by virtually unnoticed. Ace Records continues their collection of Wall of Sound tributes and knock-offs with a third volume that’s more varied in quality than the first two. To be sure, there are some tremendous gems here, well worth the price of this disc, but there are also wanna-be productions that have all the earmarks, but not the magic dust that could have made them hits. It’s one thing to have a baion beat, soaring string arrangement, massed instruments, deep echo, and castanets, but it’s quite another to have the Brill Building’s songs, Gold Star’s rooms, and Ronnie Spector’s pipes. Not to mention Jack Nitzche’s arrangements, Larry Levine’s engineering and Phil Spector’s ears; winningly, several of these tracks have the first two of those three.

That said, there are many high points to this collection. “Who Am I” opens with a lonely bass riff and Jerry Ganey’s soulful vocal, rises momentarily to an echoed backing chorus and threatens a full wall of sound, only to fall back to Ganey and the bass. It’s not until 1’22 of teasing has passed that writer-producer (and Righeous Brother) Bill Medley unleashes the full force of the song’s arrangement. Sonny Bono’s rendition of Spector’s sound traces back to his years working directly for the master. 1967’s “It’s the Little Things,” recorded for the soundtrack of Good Times, has the requisite musical elements but truly excels in Bono’s charmingly self-deprecating lyrics. Cher gives it everything as she sings of loving a man who’s not smart or handsome but is her everything. Remembering her speech at Bono’s memorial it’s hard not to get a bit teary when this one plays.

The disc’s biggest surprise is the 1910 Fruitgum Company’s last chart single, “When We Get Married.” Written by Ritchie Cordell (of “Indian Giver,” “Mony Mony” and “I Think We’re Alone Now” fame) under his real name (Richard Rosenblatt), the production of bubblegum legends Jerry Kaszenetz and Jeffry Katz pulls out all the stops, and lead singer Mark Gutkowski leans into every line, so exhausting himself with his outpouring of emotion that he has to stop and take a very audible and dramatic breath at 3’25. Imagine a teenage Ronnie Spector given the chance to sing about her upcoming nuptuals, supported by the harmonies of the Cowsills and backed by a wide stereo version of Phil Spector’s wall of sound. Truly extraordinary.

There are many other treats here, even if they don’t reach the stratospheric heights of the collection’s key cuts. Lesley Gore’s “Look of Love” (written by Brill Building legends Greenwich & Barry) began life as an album track, but in 1964 producer Quincy Jones thickened the production with handclaps, sleigh bells and echo. The folk-rock of the Kit Kats “That’s the Way” is given a deep stereo backing and features a falsetto chorus vocal reminiscent of the Newbeats. There’s more folk-rock in the Ashes’ “Is There Anything I Can Do,” which benefits from the Gold Star sound, courtesy in large part to the engineering of Larry Levine. Yet another Spector alum, arranger Jack Nitzsche, gives Judy Henske the wall of sound treatment for a cover of Shirley and Lee’s “Let the Good Times Roll” that rings down the curtain with its forceful climax.

Several producers took Spector’s work too literally for their own good. The Castanets’ “I Love Him” is a by-the-numbers imitation of the Crystals that’s adequate but isn’t the Crystals. Girl group collectors will enjoy this previously unreleased single-tracked vocal version. The Satisfactions’ “Yes Sir, That’s My Baby” slows the 1925 tune to a soulful crawl but doesn’t find the groove Spector perfected on “Zip-A-Dee-Doo-Dah.” Better is Alder Ray’s “’Cause I Love Him,” which could pass for a Darlene Love track. Ace has done another fine job of lining up the disciples of Phil Spector and augmenting the music with a 16-page booklet stuffed with photos, sleeve and label reproductions, and detailed liner notes. Everything here is in AM-ready mono except tracks 2, 4, 10, and 23 which are true stereo. [©2009 hyperbolium dot com]

Ace Records’ Home Page

The Breakaways: Walking Out on Love (The Lost Sessions)

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Breakaways_WalkingOutOnLovePower pop missing link between the Nerves, Beat and Plimsouls

Hot on the heels of Alive’s first-ever formal reissue of the Nerves EP and a rare live set, comes this volume of demos cut by Peter Case and Paul Collins in between the demise of the Nerves and the formation of their respective bands, the Plimsouls and the Beat. As with the Nerves, Collins started out on drums and Case on bass, with various guitarists pressed into action for cassette- and home-made reel-to-reel recording sessions. Case and Collins handled the vocals and eventually took on guitar duties as well. The recordings vary in quality, but the enthusiasm of power-pop pals playing and singing their hearts out easily transcends moments of mono muddiness and under-mixed vocals.

The thirteen songs include a few that had been recorded by the Nerves such as “One Way Ticket” and “Working Too Hard,” as well as originals that would become staples for the Plimsouls (“Everyday Things”) and Beat (“I Don’t Fit In,” “Let Me Into Your Life,” “USA” and “Walking Out on Love”). Even more interesting to fans are the originals that didn’t make it past these rough demos. “Radio Station” features the deep reverb guitar and impassioned vocal Case would perfect with the Plimsouls, “Will You Come Through?” has the ringing guitar of a P.F. Sloan folk rocker, and “House on the Hill” shows off Case’s rock ‘n’ soul sound.

In addition to the songs Collins would re-record with the Beat, he offers the driving drums and Everly-styled harmonies of “Little Suzy” and the rhythm-guitar propelled “Do You Want to Love Me?” As Collins notes in the liners, “this is the sound of pop on the streets of Los Angeles circa 1978, no money, no deals, just the burning desire to make something happen in a town without pity.” Case and Collins approached these sessions with the unbridled passion and total dedication of musicians without masters – no label, no audience, no radio stations, no managers or agents, just the muse of pop music. The recordings may be fuzzy in spots, but the invention is clear as a chiming bell. [©2009 hyperbolium dot com]

MP3 | Little Suzy
The Nerves’ MySpace Page
Peter Case’s Home Page
Paul Collins’ Home Page

Isaac Hayes: Shaft (Deluxe Edition)

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IsaacHayes_ShaftRemastered classic soul soundtrack with a bonus

Isaac Hayes’ classic soundtrack to Shaft hasn’t exactly been hard to find. The original double-album topped the Billboard chart, spun off a #1 Grammy- and Oscar-winning single, and ended up the biggest seller in Stax history. It’s been reissued more than a half-dozen times on CD, and more recently it’s been available for electronic download. So why another reissue, why now? Primarily because the Stax catalog has come under the control of Concord Records, and the label is, understandably, producing a new round of reissues. Reissues create buzz, press coverage and garner retail space, all of which helps keep catalog evergreens in the green, and keep royalties flowing to artists and their estates.

Reissues also provide a chance to run a classic through updated technology, as is the case with this Bob Fisher full re-master from original analog sources. In addition, Fisher has produced a bonus mix of the title song. The new mix opens with a drumstick click track that was edited from the original, moves Charles Pitts’ wah-wah guitar from right to center and deepens the tone (or simply increases the relative volume) of Willie Hall’s high-hat riff. Is it a must-have? Not really, given the iconic nature of the original. The new mix is just different enough to make you wonder if something’s off, but not different enough to give it a life of its own. A more compelling bonus for collectors would have been the edited, single version of the title song. Audiophiles with an earlier CD of the soundtrack may find Fisher’s re-master an improvement, but casual listeners likely don’t need to update.

Those who’ve never heard the full album should give it a spin. Though the score doesn’t measure up to the hook-filled catchiness of the single, it wasn’t meant to. The soundtrack was written as incidental music in support of the film’s action, while the theme was an expositional introduction to the film’s main character. The bulk of the score is, as with most film soundtracks, instrumental texture and emotional underlining. Aside from the title theme, the only vocal tracks are “Soulville” and “Do Your Thing,” and the latter quickly evolves into a terrific 19-1/2 minute soul jam. The instrumentals create mood that often transcends the moving images for which they were written. “Ellie’s Love Theme” is a tender mix of vibes and horns, “Café Regio’s” sports a breezy West Coast Jazz feel, and “Be Yourself” has a strong, funky party beat. The score is music worth hearing apart from its role within the film.

Hayes brought his musical ethos to the project, but didn’t set out to record the sort of genre-busting explorations of Hot Buttered Soul. The longer tracks find compelling funk and soul grooves, but weren’t meant to push directly into the spotlight. Those looking for an album full of “Theme from Shaft” radio hits will be disappointed, but those seeking a helping of Hayes’ genius as a composer, arranger, orchestrator, band leader and conductor will enjoy the soundtrack presented here. Even better, Hayes recorded the film soundtrack at MGM in Los Angeles and then re-recorded the soundtrack album at Stax in Memphis for better sound. Other great blaxploitation soundtracks would follow, including Superfly and Across 110th Street, but Shaft remains a primal inspiration. A 20-page booklet filled with photos, credits and new liner notes by Ashley Kahn rounds out this reissue. [©2009 hyperbolium dot com]

Creedence Clearwater Revival: The Singles Collection

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CCR_TheSinglesCollectionCCR as first heard on Top-40 radio

As a band that had tremendous top-40 success during the hey-day of freeform radio, Creedence Clearwater Revival stood with one foot planted firmly in each world. Their LPs were recorded in well-produced stereo, offered extended jams, thoughtful cover songs and deep album cuts that found room on underground FM stations such as Bay Area legends KMPX and KSAN. But above ground, the band’s music was remixed into powerful mono, edited for length and unleashed via AM powerhouses. AM’s narrow frequency range added emphasis to the music’s midrange, focusing listeners on Fogerty’s vocals and stinging guitar leads, and further revealing the band’s rhythm section to be among the most rock-solid and potent of its era. Their driving rhythms are just that much more driving in mono, and the band’s pop tunes sprang easily from a single speaker in the middle of a car’s dashboard.

Fogerty wrote with the goal of placing his songs alongside the R&B hits the group had grown up loving on Oakland’s KWBR and Sacramento’s KRAK. His originals stood toe-to-toe on album, airwave and top-40 chart with covers of “Suzie Q,” “I Put a Spell on You” and “I Heard it Through the Grapevine.” Included here are the A- and B-sides of thirteen original singles, ranging from 1968’s “Porterville” (b/w “Call it Pretending”) through 1972’s “Someday Never Comes” (b/w “Tearin’ Up the Country”). Also included is the single-edit of “I Heard It Through the Grapevine” (b/w “Good Golly Miss Molly”) that was released in 1976, four years after the group disbanded, and both sides of the stereo promotion-only experiment “45 Revolutions Per Minute.” The latter, a montage of production ideas, sound effects, musical bridges and comedy bits previously appeared as bonus tracks on the 2008 reissue of Pendulum.

Most of these songs are well-known to even casual listeners, as Creedence often broke both sides of their singles. The few less familiar cuts are the group’s first B-side “Call It Pretending,” Stu Cook’s “Door to Door” (an album cut from Mardi Gras and the B-side of “Sweet Hitch-Hiker”), and Doug Clifford’s “Tearin’ Up the Country” (also from Mardi Gras, and the B-side of “Someday Never Comes”). Strung end-to-end, these singles provide the AM listener’s view of Creedence Clearwater Revival’s success. While FM listeners grooved to 8:37 of “Suzie Q,” AM listeners enjoyed a concise 4:33 edit, and while album buyers sat back to enjoy album jams like “Graveyard Train,” “Keep on Chooglin’” and “Ramble Tamble,” singles buyers got another gumdrop every three or four months. The singles form an intertwined, yet separate, artistic arc that the band carved out in parallel to their albums.

Concord delivers thirty tracks on two CDs, each screened with a vintage Fantasy record label. The CDs are housed in a standard jewel case, together with a 20-page booklet that includes new liner notes by Ben Fong-Torres. Torres’ essay provides a genial trip through Creedence’s success on the radio, with quotes from 1960’s boss jocks, but it’s light on the particulars of these mono mixes and edits. A separate cardboard sleeve houses a DVD of four Creedence promotional videos: “I Heard It Through the Grapevine,” “Bootleg,” “I Put a Spell on You,” and “Lookin’ Out My Back Door.” Staged in studios and aboard a riverboat these are real treats, with the band looking youthful and happy. There are groovy dancers on “Bootleg” and psychedelic effects of “I Put a Spell On You,” and the black-and-white footage of “Lookin’ Out My Back Door” looks like it was filmed in the band’s rehearsal space. A folded poster insert reproduces many original 7” picture sleeves and completes a cardboard slip-cased package that is, in its own way, as important as the band’s original albums. [©2009 hyperbolium dot com]

Jackie DeShannon: Me About You / To Be Free

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JackieDeShannon_MeAboutYouToBeFreeSophisticated DeShannon albums from ’68 and ’70

Jackie DeShannon is a singer-songwriter whose songs generally overshadowed her singing. Her version of Burt Bacharach and Hal David’s “What the World Needs Now is Love” etched her name on the upper reaches of the charts in 1965, and her own “Put a Little Love in Your Heart” notched a second commercial favorite in 1969. But other than these two worldwide hits, her albums and singles typically languished in the lower regions of the U.S. pop charts. Her albums for Imperial ranged from early teen-oriented pop to adult contemporary, and 1968’s Me About You marked a step toward the latter. DeShannon mixed personal originals with delicate, intimately interpreted covers of songs from John Sebastian, Tim Hardin, Jimmy Webb and Van Dyke Parks. The arrangements (by Jack Nitzsche, Nick De Caro, Kirby Johnson and Arthur Wright) are inventive and moving, but the West Coast production occasionally leaves DeShannon’s voice sticking out from the instrumentation.

Even as DeShannon found a more sophisticated sound, her lyrics often looked back, as on the original “Splendor in the Grass,” and her choice of pop covers, such as the Lovin’ Spoonful’s “Didn’t Want to Have to Do It” and the Turtles’ “Me About You,” tied in to her earlier period of songwriting and hit making. What’s really interesting, though, is how DeShannon contemporized this material, and how her growing maturity led to the bigger reach of 1969’s Laurel Canyon and Put a Little Love in Your Heart (each available separately), and this disc’s second feature, 1970’s To Be Free, her last for Imperial. To Be Free was the album that followed the massive success of “Put a Little Love in Your Heart,” and it used the same production team. The songs, however, are mostly DeShannon’s, and the arrangements largely by Rene Hall. Hall’s work with Marvin Gaye and Ray Charles, and backing vocals by Vanetta Fields (Ikettes) and Clydie King (Raelettes) are the foundation of the album’s soul-meets-adult-contemporary sound.

The album opens with the funky bass, sharp horns and sweet strings of “Livin’ on the Easy Side,” and the sly “It’s So Nice” is sung like an early Prince song. The introspective and observational lyrics anticipate the singer-songwriter breakthrough of 1971’s Tapestry, though the slick production hasn’t the earthiness delivered by Lou Adler for Carole King. DeShannon’s eight originals are complemented by a medley of the Supremes “You Keep Me Hangin’ On” and Little Anthony and the Imperials’ “Hurt So Bad,” and there’s a deeply felt, gospel-flavored cover of Leonard Cohen’s “Bird on the Wire.” The album’s single, “Brighton Hill” reached #10 on the adult contemporary chart with its warm lyric of satisfaction. This two-fer CD’s lone bonus is an over-orchestrated cover of Tim Hardin’s “Reason to Believe” that won’t make you forget Rod Stewart’s 1971 hit (nor Hardin’s 1965 original); but it’s largely superfluous amid these two fine albums. [©2009 hyperbolium dot com]

Jackie DeShannon’s Home Page

Frank Sinatra: Christmas with Frank Sinatra and Friends

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FrankSinatra_ChristmasWithFrankSinatraAndFriendsSampling of Sinatra’s post-Capitol Christmas recordings

This 2009 collection combines eight post-Capitol Sinatra tracks with selected performances by Rosemary Clooney, Mel Torme, Tony Bennett & Bill Evans, and Ray Charles & Betty Carter. This is a new compilation of existing material, rather than a collection put together by Sinatra during his lifetime. Sinatra is in good voice throughout, supported by full orchestrations and arrangements from Nelson Riddle and Don Costa. He sings Christmas classics and lesser known songs, such as “Christmas Memories” and “An Old Fashioned Christmas,” written by his friends Don Costa, Alan & Marilyn Bergman, and Sammy Cahn & Jimmy Van Heusen; his original “Mistletoe and Holly” is also included.

Sinatra’s singing friends were invited to the party through the magic of archival compilation, rather than a personal summons from the Chairman. Still, the disc’s producer has done a terrific job of programming, and the re-mastering smoothly weaves together material from multiple studios and thirty-plus years of recording. Tony Bennett sings to the solo piano of Bill Evans, and Ray Charles sings a famous duet with Betty Carter (a track that also appears on the recent reissue of Charles’ The Spirit of Christmas). Mel Torme sings his own “The Christmas Song,” and Rosemary Clooney provides a warm, if somewhat wavery reprise of the Irving Berlin classic “White Christmas” from her 1996 album White Christmas.

The set’s most notable tracks for collectors are a pair taken from his 1957 holiday television special Happy Holidays with Bing & Frank, the aforementioned “Mistletoe and Holly” as well as “Santa Clause is Coming to Town.” Those looking for original Sinatra holiday albums should check out 1957’s A Jolly Christmas From Frank Sinatra or 1968’s The Sinatra Family With You a Merry Christmas. You can also find a compilation of his late-40s Christmas recordings for Columbia on Christmas Songs by Sinatra (and a deeper helping of his Reprise-era work on The Christmas Collection). These are traditional and classy rather than ring-a-ding-ding, which itself can be found on Christmas With the Rat Pack. All are worth hearing, but this short collection (37 minutes) provides a nice alternative, particularly for its inclusion of related artists and two rarities. [©2009 hyperbolium dot com]

David Frizzell: The Very Best Of

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DavidFrizzell_TheVeryBestOfFrizzell’s original hit recordings from the early ‘80s

As the baby brother of honky-tonk legend Lefty Frizzell, the thirteen-year-younger David Frizzell found his stardom in a very different era of country music. Lefty broke in as a child performer in the ‘40s and became a country star as a hardcore honky-tonker in the 1950s. He continued to have hits through the ‘60s and early ‘70s, but passed away at the age of 47 in 1975. His brother David also began performing as a child, accompanying Lefty on the road in the 1950s and ‘60s, and signing his first record deal in 1970. But even with a few minor hits, major commercial success was still a decade and a couple of label changes away. In 1981 he topped the charts with “You’re the Reason God Made Oklahoma,” a duet with Shelley West recorded for Capitol. Frizzell and West would have several more hits together, as anthologized on the companion disc, The Very Best of David Frizzell & Shelly West.

David Frizzell’s solo success came the next year with “I’m Gonna Hire a Wino to Decorate Our Home.” His voice retained a bit of his older brother’s husk, but in his early forties, he was more of a pop balladeer than the rootsy country artist his brother had been. More importantly, Nashville in the early-80s was still mired in the crossover production gloss of the late-70s, and Frizzell’s records were no exception. There are a few honky-tonk piano riffs, some steel, twangy guitar and banjo, but there are also soft strings, smooth backing vocals and warm balladry. Frizzell summoned moments of his brothers earthiness, and on hits like “I’m Gonna Hire a Wino to Decorate Our Home” and the tribute “Lefty” (the latter a duet with Merle Haggard) he quickly transcended Nashville’s by-the-books studio production.

Frizzell’s fans will be thrilled that Varese’s finally dug up the original hit recordings from the Warner/Viva label for CD release. Up to now you had to either hunt down original vinyl or make do with re-recordings. This fifteen track set collects all ten of Frizzell’s hits from 1981 (“Lefty”) through 1985 (“Country Music Love Affair”), and adds five additional period tracks: “Lone Star Lonesome,” “I Wish I Could Hurt That Way Again,” “She Wanted Me,” “We Won’t Be Hearing ‘Always Late’ Anymore,” and “Forever and Always.” The set comes with a four-panel insert that includes new liner notes by Lawrence Zwisohn, and features crisply remastered sound by Steve Massie. This is a long overdue collection for Frizzell’s many fans and a welcome period piece for those who enjoy Nashville’s soft sounds of the early-80s. [©2009 hyperbolium dot com]

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