Eilen Jewell’s voice has always been from another era. From her earliest country folk to the country shuffles, western swing and hot club jazz that have filled out her catalog, Jewell’s often had at least one peep-toed shoe in the 1930s. Even as she added electric guitars and growling saxophones to the mix with 2009’s Sea of Tears and 2014’s Queen of the Minor Key, she retained the out-of-time otherworldliness of her vocals. Her last album, 2015’s Sundown Over Ghost Town, dialed back the jazz, rock and R&B to electric country folk that married the directness of Woody Guthrie to the choked emotion of Billie Holiday. Two years later, the blues are back, as Jewell rips through a brilliantly selected and deftly executed collection of covers.
The dozen selections here weigh towards the 1950s and 1960s, with sides drawn from the Chess, Checker, Excello, Ace, Finch and Bluesville labels. The disc opens with a killer take on Charles Sheffield’s “It’s Your Voodoo Working,†driven by the spellbinding guitar of Jerry (“Not Moby Grape’sâ€) Miller. The covers include singles and deep album tracks made popular by Howlin’ Wolf, Big Maybelle, Little Walter and Otis Rush, and reach back to earlier sides from Bessie Smith (“Down Hearted Bluesâ€) and Moonshine Kate (“The Poor Girl’s Storyâ€). This is a connoisseur’s’ selection, highlighted by a rockabilly-inflected take on Betty James “I’m a Little Mixed Up†and a smokey, Peggy Lee-styled read of Little Walter’s “Crazy Mixed Up World.â€
San Francisco’s Flamin’ Groovies broke into the underground with a string of critically revered records – Sneakers, Supersnazz, Flamingo and Teenage Head – whose lack of commercial success drove the band to musical itinerancy. By 1971, founder Roy Loney had left the band, and his co-founder, Cyril Jordan joined with Chris Wilson to shift the band from retro- and blues-influenced rock ‘n’ roll towards British-invasion styled pop. They resurfaced in the UK five years later, releasing the iconic “Shake Some Action†and three albums full of solid originals and covers of the Beatles, Byrds and others.
But much like the band’s original lineup, the revised and revitalized Groovies garnered critical accolades, but didn’t break through commercially. Chris Wilson left the band in 1980, and though various configurations and editions of the group have reunited and toured off and on, it’s been nearly forty years since Cyril Jordan and Chris Wilson have collaborated on new material. For this reunion, they recorded with original Groovies bassist George Alexander and latter-day drummer Victor Penalosa over the course of three years, laying down ten originals and covers of the Beau Brummels and NRBQ.
The band charges out of the gate with the Stones-ish “What the Hell’s Goin’ On,†reaching back to the band’s bluesier roots (though oddly crossed with the central riff of John Mellancamp’s “Hurts So Goodâ€) and playing to Jordan and Wilson’s guitar chemistry. There are numerous moments that rekindle memories of the band’s jangly 1970s Sire albums, including the harmonies of “She Loves Me,†the hopeful “Lonely Hearts,†the Shadows-styled instrumental “I’d Rather Spend My Time with You†and a cover of NRBQ’s “I Want You Bad.†The chime reaches its apex with the Byrdsian closer “Cryin’ Shame.â€
The Stones’ red-headed stepchild gets a lavish 50th birthday party
Released between Between the Buttons and Beggars Banquet, the Rolling Stones’ 1967 foray into psychedelia has often been heard as a divisive outlier. Recorded in sessions spread throughout a tumultuous year, and often relegated to also-ran status as a me-too derivation of the Beatles’ Sgt. Pepper’s Lonely Hearts Club Band, the album hadn’t the conceptual grandiosity to create such a stir. Worse, the band’s own indifference, exemplified by quotes printed inside this lavish four-panel album-sized package, hasn’t redeemed the album’s image. But on this fiftieth anniversary, one can ask whether the album has been fairly assessed, and see if hindsight illuminates the work more clearly than the flashing, multicolored light shows of 1967.
First and foremost, Satanic Majesties was a clear break from the tough, R&B-driven music on which the Stones had minted their reputation. The overt use of mellotron, oscillators and studio manipulations gives this album textures unlike any of the band’s other releases. And while drugs certainly influence other Stones recordings, none are so entrenched in psychedelia as this album. 1967 was a year of band turmoil, with Mick and Keith having been arrested on drug charges in February, Brian Jones’ girlfriend leaving him for Richards in March, Jones being arrested on drug charges in May, and the band’s manager, Andrew Loog Oldham, leaving the fold. And it was at an intersection of personal tribulation and acid-drenched communal ethos that the Stones recorded this album.
The sessions were chaotic and weighed-down by hangers-on, and with Oldham abandoning ship, the band was left to produce themselves. The results were uneven – with jeweled classics rubbing elbows with uneventful jams. The album’s release on December 8 was foreshadowed by the single “In Another Land,†written and sung by bassist Bill Wyman. The tremelo-processed vocal, harpsichord, mellotron and dream-within-a-dream lyrics fit the album’s mood. With the A-side credited to Wyman (and with the B-side, “The Lantern,†credited to the Stones), the single scraped into the Top 100, leaving the album to generate its own publicity.
The LP performed well commercially, reaching #2 on the U.S. chart with the help of a late December single of “She’s a Rainbow†backed by “2000 Light Years From Home.†Critics were mixed, and though the album earned a gold record in America, it seems to have been largely forgotten by the Stones the moment it was released. The studio recording of “2000 Light Years From Home†was used to introduce the group’s 1972 stage show, but it wasn’t until 1989 that they performed it live, and it was another eight years before they performed “She’s a Rainbow.†The rest of the material remained at rest on record, and the group’s return to rock ‘n’ roll with 1968’s “Jumpin’ Jack Flash†and the rock, blues and country of Beggars Banquet, rendered Satanic Majesties an anomaly.
Beyond the hit single, the album has many charms. “Sing This All Together,†while not of the caliber as the hit single, opens the album with group vocals that echo the feeling of communal opportunity that was in the 1967 air. The track’s middle jam is edged along by percussion and horns until the vocals return and lead into the memorable guitar-riff that opens “Citadel,†“In Another Land†and the terrific “2000 Man.†Side one closes with the return of “Sing This All Together (See What Happens),†which, unlike the taut reprise of “Sgt. Pepper’s Lonely Hearts Club Band,†is an unstructured eight-minute improvisational jam that returns to the album-opening mood before segueing into a theremin rendition of “We Wish You a Merry Christmas.â€
The indulgence that closes side one is redeemed by the perfection that opens side two. Introduced by a carnival barker, Nicky Hopkins’ music-box piano and John Paul Jones’ string arrangement key the brilliant and beautiful “She’s a Rainbow,†with bass and acoustic rhythm guitar reigniting the song each time it slows. The group’s blues roots shine through “The Lantern,†particularly in the blistering electric guitar riffs, but the tablas and flute jam of “Gomper†hasn’t aged well. The latter pales in particular comparison to the inspiration of “2000 Light Years From Home.†It’s this latter track, with discordant piano, mellotron, theremin, dulcimer, oscillator flourishes and a lyric of growing physical and emotional distance that will haunt your memory long after the record’s finished playing.
The music hall closer, “On With the Show,†seems to both mimic the frame of Sgt. Pepper’s and anticipate that of Magical Mystery Tour, and provides an entertaining coda to the album. The album’s psychedelic underpinnings glow on many tracks, including the band’s preceding hit, “Ruby Tuesday,†and singles recorded during the Satanic Majesties sessions, “We Love You†and “Dandelion.†Unfortunately, these period tracks aren’t included as bonuses – nor are the outtakes and demos that have been bootlegged elsewhere. But what’s here was freshly remastered by Bob Ludwig at Gateway Mastering (2016-mono, 2017-stereo), and pressed onto both vinyl (from a lacquer cut by Sean Magee at Abbey Road) and hybrid SACDs.
The two vinyl LPs and two SACDs are housed in a heavyweight, four-panel fold-out cover, with the album’s original lenticular art restored to the front cover and the gatefold art to the inside. A 20-page booklet includes an essay by Rob Bowman, and candid photos from Michael Cooper’s original cover shoot photo session. The package is hand numbered, and the pressing is advertised as a limited edition. So what’s actually new here? The mono master is the same as was used for the 2016 box set (vinyl and CD), but it’s reproduced here with a new vinyl lacquer, and as a first-ever high resolution mono release on the hybrid SACD. The stereo remaster is new, as is its vinyl lacquer. The lenticular cover art isn’t new, but has been out of circulation for many years.
Philosophical rock ‘n’ roll looks at the world’s ills and cures
It’s been three years since Peter Himmelman rebuffed his own doubts with the introspective The Boat That Carries Us. The disillusion displayed in the 2007 documentary Rock God gave way to a more emotionally agile life that turned obstacles into opportunities for recalibration, and found happiness in the realities that his youthful dreams of fame had spawned. On this follow-up he focuses on dialectical questions of the mind and heart, looks outward at society’s barriers and wonders how one’s thoughts and emotions create and might ultimately contribute to the resolution of the world’s problems.
The opening “245th Peace Song†condemns the toxic political and social atmosphere that currently dominates America, but Himmelman seeks healing in place of scapegoating; pleading for solutions rather than protesting problems. He laments fear’s corrosive impact on societal bonds and advocates collective action as an antidote. At turns Himmelman can be defeated, deterministic, nihilistic and existential, noting that rich men run the world, wondering if we can even know whether meaningful decisions exist, and pitying those who coast through life without the friction that creates opportunities for redemption.
Canadian transplant makes socially aware country-rock in Nashville
The hoarse edge on Mike Younger’s voice might remind you of a young Don Henley, and there’s an earthiness to his delivery that’s more middle-America than Los Angeles. Originally from Nova Scotia, he wandered the world before setting down in Nashville where his rootsy honky-tonk and folk fit easily into the scene that lays beneath the city’s commercial sheen. His years as a busker taught him that gimmicks might stop a passerby, but it’s having something personal to say that will make them stay. That same lesson works well on record as he sings of both his own plights, and those of the audience to whom he’s played face to face.
He identifies with a working class that seeks a moment to dream of something better for themselves, as well as those they will leave behind to inherit the planet. His protagonists nobly hold to their convictions, even as their principles become their last possession, and they remain optimistic that the good in people will win over society’s most selfish instincts. He rejects the short-sighted profits of “Poisoned Rivers†and reflects on the gained experience of shared hardship as he laments a mortal ending on “How To Tell a Friend Goodbye.†The latter song’s lack of emotional resolution will be familiar to anyone who’s felt they came up short in a final farewell.
Jan & Dean fulfill their contract with a satire of Jan & Dean
By 1965, Jan & Dean were riding high. They’d minted a dozen top-40 singles, including the chart-topping “Surf City,†collaborated extensively with Brian Wilson, hosted the T.A.M.I. Show, filmed a television pilot, begun work on a feature film, and as highlighted here, added comedy to their stage act. As the last album owed to Liberty, Filet of Soul, was apparently too outre for a label looking to milk the last ounce of profits from a departing act, so a more conventionally edited version was released in 1966 as Filet of Soul – A Live One. The full length original record, with sound effects and comedy bits intact remained in the vault, unreleased for more than fifty years, until now.
Although technically a contractual obligation album, Jan & Dean used the opportunity to experiment, rather than simply complete their obligation. The duo brought members of the Wrecking Crew to the Hullabaloo Club for two nights of live recording, and then tinkered with the tapes in the studio. As they sweetened and edited the live recordings, they sought to offer something interesting, while not giving their soon-to-be-ex-label chartworthy new material. The answer was to present a live set of cover songs augmented by sound effects and satirical comedy bits. Except it wasn’t an answer to their contractual obligation, as the label rejected the master and demanded more songs.
To appease the label, several songs from the duo’s television pilot were added, but so too a spoken word piece that was sure to raise the label’s ire. But before the lawyers could engage, Jan Berry was involved in the auto accident that ended the duo’s recording career. The label, seizing the opportunity to release amid the ensuing publicity, edited the album down to its songs, releasing a cover of “Norwegian Wood†and “Popsicle†as singles, the latter rising to #21. So how does the original fare? On the one hand, the label was likely right about its commercial potential among Jan & Dean’s teenage audience in early 1966; on the other, Jan & Dean clearly knew what they were doing, and were ahead of their time.
The album’s opening trumpet flourish suggests something grand, only to have its pomposity punctured by the sound effect of a rooster crowing. A live take of “Honolulu Lulu†is awash with the excited screams of female fans, but the subsequent monolog, “Boys Down at the Plant,†lampoons the show business facade. The live tracks are tightly performed, if not always with huge enthusiasm, but the duo’s chemistry, command of the stage and improvisational skills are on full display. The studio manipulations and dadaistic sound effects point forward to the surrealistic rock and comedy records of the late-60s and 1970s, but haven’t the conceptual coherency that the Firesign Theater and others would bring to records a few years later.
Reunions are often laden with compromise in service of nostalgia. But three decades after their last performance, this 2004 reunion of the original quartet makes no concession to the passage of time, changing tastes in popular music, nor the yearning for one’s glorious youth. This was a rock ‘n’ roll show as vital and stirring as it would have been in 1974. The band played hard and tight, the vocal harmonies were spot-on and the songs shined with the vibrant colors of photos that had sat undisturbed in a drawer for 30 years. Eric Carmen gave it his all out front, Wally Bryson’s guitars had the perfect tone and touch, and the rhythm section – particularly Jim Bonfanti’s drumming – was as muscular as ever. Nostalgia might have been a spice, but it wasn’t the main course.
The group’s hits – “I Wanna Be With You,†“Let’s Pretend,†“Tonight,†“Overnight Sensation (Hit Record)†and especially the set closing “Go All the Way†– are as thrilling today as they were blasting out of the radio in the 1970s. And hearing them performed live adds a dimension that many latter-day Raspberries fans missed from the band’s hey day. These are killer songs for live performance, and the band’s even more powerful on stage than they were in the studio. And beyond the hits, the band reminds listeners that they made four incredibly strong albums.
Highlights include the ambitiously epic “I Can Remember†from the group’s debut, the country-styled “Should I Wait,†the harmony-rich “Hard to Get Over a Heartbreak†and Carmen’s declaratory “I’m a Rocker.†The band’s influences are heard in the Who’s “Can’t Explain†and a trio of finely selected Beatles’ covers. The latter includes an extraordinary version of 1964’s “Baby’s in Black†that affirmatively answers James Rosen’s rhetorical liner notes question “is this really as good as I think it is?†It is. Together with four extra singer/musicians (“The Overdubsâ€), the group is able to reproduce the lushness of their studio recordings without sacrificing the energy of live performance.
As on record, Eric Carmen provides most of the lead vocals, though Dave Smalley and Wally Bryson get significant leads of their own, and their pre-Raspberries band, The Choir, is celebrated with “When You Were With Me†and “It’s Cold Outside.†This is a long, satisfying set, and though Carmen’s voice must have been weary by the time they closed with “Go All the Way,†he’s solid in reaching for the song’s highest notes. Initially planned as a one-off to open Cleveland’s House of Blues, the fan response led to nine more dates, including a tour-ending Los Angeles gig. They did a few shows in 2007, and capped their reunion activities with a 2009 show at the Rock and Roll Hall of Fame.
Dwight Yoakam at the peak of his commercial success
This October 1988 date found Yoakam headlining a bill with his hero and mentor, Buck Owens. Yoakam had rescued Owens from self-imposed retirement earlier in the year, and together they topped the chart with a remake of Owens’ “Streets of Bakersfield.†The day before the show, Yoakam’s third album, Buenas Noches from a Lonely Room, crested at #1 on the Billboard country chart, and it would go on to net Grammy, ACM and CMA awards. Owens opened the show with a tight 30 minute set (available on a companion volume), with Yoakam joining him for “Under Your Spell Again.†Owens returned the favor during Yoakam’s set to sing their recent chart topper.
Yoakam’s set combined selections from his first three albums, mixing original material with covers of songs by Doc Pomus & Mort Shuman (“Little Sisterâ€), Homer Joy (“Streets of Bakersfieldâ€), Johnny Cash (“Home of the Bluesâ€), Johnny Horton (“Honky Tonk Manâ€), Lefty Frizzell (“Always Late With Your Kissesâ€) and Stonewall Jackson (“Smoke Along the Trackâ€). His original material included nearly all of his hits to that point, as well as several album tracks. The band is superb, with Pete Anderson’s guitar and Scott Joss’ fiddle really standing out. Yoakam turns on the sex appeal as he introduces the sultry “What I Don’t Know,†the band turns up the heat for “Please, Please Baby†and “Little Sister,†and the audience joins in enthusiastically to close “Honky Tonk Man.â€
As on the duet sung together in Owens’ set, the happiness shared by Yoakam and Owens in teaming up for “Streets of Bakersfield†is palpable – Owens reveling in the new artistic partnership that rekindled his interest in music, and Yoakam in working with his idol and mentor. Each has such a distinct voice, that the delight in hearing them sing together continues to rise as they swap verses and share the chorus. Flaco Jimenez joins the band onstage and stays to accentuate the sorrow of “Buenas Noches From a Lonely Room,†with Joss’ fiddle and Anderson’s low strings adding mournful notes. Yoakam tells several stories on the DVD that are elided on the CD, including an account of his first meeting with Johnny Cash.
The king of the Bakersfield Sound on the comeback trail in 1988
There is no shortage of live Buck Owens recordings, but nearly all of them date to his record breaking run in the 1960s. Owens was not only a terrific songwriter, guitarist, singer, bandleader and businessman, but a gifted stage performer whose personal magnetism drew fans to his tours and to his dying day, to his beloved Crystal Palace in Bakersfield. By the time of this 1988 performance on Austin City Limits, it had been more than a decade since Owens had recused himself from his music career. The 1974 death of Don Rich had drained his enthusiasm, and with his energy focused on the radio stations he’d begun buying in the 1960s, it took an insistent Dwight Yoakam to pry Owens out of his self-imposed exile.
This October 1988 date found Owens and Yoakam on the same bill, each playing a full set and guesting on the other’s. Yoakam’s Buenas Noches from a Lonely Room had just crested at #1 on the album chart, the lead single, a duet with Owens covering “Streets of Bakersfield,†had topped the singles chart in June, and the title single from Owens’ own return to the studio, Hot Dog, would be released the following week. So there was a lot to celebrate on this Sunday night in Texas, as Owens showed that the layoff hadn’t impacted his musicality or showmanship, and that the latest edition of the Buckaroos, including keyboard player Jim Shaw, bassist Doyle Curtsinger, guitarist and steel player Terry Christofferson and drummer James McCarty, was sharp and powerful.
With sixty Top 40 hits (and more than twenty chart toppers!), Owens could barely graze the highlights of his catalog in this thirty minute set But in only 11 songs he manages to touch on classic hits, album cuts, covers of his hero Chuck Berry, and material from his upcoming album. And he does it without resorting to the medleys that had helped him squeeze more fan favorites into his live sets of the 1960s. The jangle of Owens’ silver sparkle Telecaster (which may very well have been Don Rich’s ‘66) kicks off “Act Naturally†and the band falls in behind him. Curtsinger provides the harmony foil once supplied by Don Rich, and Christofferson echoes Tom Brumley’s steel solo on “Together Again.â€
Owens is in terrific voice, and his enthusiasm belies the number of times he’d performed “Love’s Gonna Live Here,†“Crying Time,†“Tiger By the Tail†and “A-11,†each remaining fresh and potent decades after they’d been introduced. Even more enticing is a duet with Yoakam on “Under Your Spell Again.†The pair don’t lock their vocals together as seamlessly as had Owens & Rich, but the joy in their voices – Owens rediscovering the joy of a singing partner, and Yoakam singing with his hero – is palpable. The single “Hot Dog,†a cover of Owens’ 1956 turn as Corky Jones, gives the band a chance to rock, as does the closing cover of “Johnny B. Goode.â€
Sparkling Jewell covers the blues
