Tag Archives: Rock

Paul Thorn: Too Blessed to Be Stressed

Optimistic album of soul and funk

Mississippi singer-songwriter Paul Thorn returns with his first album of originals in four years. His previous album, What the Hell is Goin’ On?, was stocked with cover songs that essayed Thorn’s finely selected influences and showed off his talent for interpretation. Returning to his own pen, Thorn’s taken a broader tack in his songwriting. Where his earlier albums tended to autobiography, his latest collection makes a purposeful reach for more universal and upbeat themes. There’s personal inspiration in each of these songs, but rather than telling the story of a specific situation, Thorn’s dug to each story’s roots to express thoughts and feelings that resound easily with each listener’s own life.

These songs show Thorn to be an optimist, rather than a Pollyanna. His protagonists look to the sunny side, but they see storms and expect a cloud break rather than an endless stretch of clear weather. He anticipates the healing cures for loneliness rather than cataloging its pains, and he’s a clear-eyed romantic who sheds no tears with his goodbyes. As the album’s title states, Thorn is “Too Blessed to Be Stressed,” and he advises that you “Don’t Let Nobody Rob You of Your Joy.” That latter message neatly extends into a self-directed resolution as the moral lapse of “I Backslide on Friday” is redeemed by Saturday’s reprieve and Sunday’s repentance.

The optimism fades into the exasperation of “Mediocrity’s King,” as Thorn laments the commonness of superstores and oppositional politics, and in its unstated subtext, an apathetic electorate whose dreams of progress have turned into a voracious appetite for cheap prices and mindless entertainment. Thorn’s gruff, blue-soul vocals are weary but hopeful, and the album’s potpourri of soul, funk, gospel, country and rock recalls the hey-day of Memphis and Muscle Shoals, without ever imitating either one. The road-hewn band finds many deep grooves, and Thorn sings with a smile that shines on you with an optimistic glow. [Â©2014 Hyperbolium]

Paul Thorn’s Home Page

OST: How to Stuff a Wild Bikini

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Charming soundtrack to AIP’s sixth beach party film

Although pop music was a key element of American International’s beach party films, it was surprisingly elusive on record. Perhaps the value of cross-marketing hadn’t yet fully developed by the mid-60s, as the music from these films was only spottily released as singles and album tracks, often in studio versions that differed from those featured in the film. In fact, this cast album for How to Stuff a Wild Bikini is the only original soundtrack recording released in conjunction with any of the seven AIP beach party films, but it’s an excellent example of the musical variety offered by the films.

By the time this sixth entry in the series was cast, singer-actor Frankie Avalon’s busy schedule had moved him into a supporting role, where he was not featured as a vocalist. Annette Funicello was still starring, and got two superb songs from the pens of Guy Hemric and Jerry Styner. Sung in her trademarked double-vocals, “Better Be Ready” has a sweet bubblegum melody and superb guitar hook, and “The Perfect Boy” includes clever rhymes that are memorably fractured by the background singers. The album’s ballad, “If It’s Gonna Happen,” is sung by one-time Arthur Godfrey show regular Lu Ann Simms, but this solo version differs from the four-part vocal heard in the film. The version heard here was also released as a single, backed with a solo recording of this film’s group-sung “After the Party.”

The bulk of the soundtrack is taken up by group and novelty numbers that gave the film a lot of its flavor. Harvey Lembeck lays on a broad Brooklyn accent for his turn as Eric von Zipper singing “Follow Your Leader” and the ironic “The Boy Next Door,” and guest stars Mickey Rooney and Brian Donlevy each get campy Broadway-styled songs. Co-star John Ashley, who’d recorded rockabilly in the ’50s, leads the cast on the title theme, the country-rocker “That’s What I Call a Healthy Girl” and the closing “After the Party.” The latter is particularly effective in communicating the film’s idealized summer beach mood. The Kingsmen close out the album with an original garage-rock tune, “Give Her Lovin’,” and a drums-and-organ take on the title theme.

The album runs a scant 24 minutes, but it’s 24 minutes of musical bliss for fans of the beach party films. The vinyl has long since become a collectors’ item, and the rare stereo release – as reproduced here from the master tapes – was hard to find even at the time of its original release. Real Gone’s reissue includes the original cover art and a 12-page booklet that features detailed liner notes by Tom Pickles and several full-panel photos. It’s a shame that the film version of “If It’s Gonna Happen” wasn’t available as a bonus track, but for those who maintain a soft spot for beach party films and their kitschy soundtracks, this is a truly welcome reissue. [Â©2014 Hyperbolium]

Billy Thermal: Billy Thermal

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A hit songwriter’s long-lost New Wave beginnings

If you read album credits, you might recognize this little-known band’s main man, Billy Steinberg, from the hit singles he’s written for everyone from Linda Ronstadt to Demi Lovato. But before penning “How Do I Make You,” “Eternal Flame,” “True Colors,” “I’ll Stand By You,” “I Touch Myself,” and “Like a Virgin,” Steinberg started a band, and named it after himself and the town in which his father owned a vineyard. Signed by producer Richard Perry to his new Planet Records label, Steinberg and his guitarist, Craig Hull, produced an album of original material that, save for “I’m Gonna Follow You” (which turned up on the Sharp Cuts compilation) failed to gain Perry’s attention. Released from their contract, an EP‘s worth of tracks (1, 2, 6, 8 and 10) gained indie release in 1982, but the rest was left in the vault.

But even stuck in a vault, the material yielded results, as three of the album’s songs and one unreleased demo were picked up by other artists. Ronstadt took “How Do I Make You” to #10 in 1980, Pat Benetar recorded “I’m Gonna Follow You” and “Precious Time,” and Rick Nelson waxed a version of “Don’t Look at Me” for his last album. The seeds of Steinberg’s songwriting success were sewn, but like a lot of songwriters, his dream of making it as a performer was not realized. The album was sharply written, played and produced and today offers itself as a bridge between the power-pop of the Raspberries and Rubinoos and the punchy new wave of the Cars. It’s an album you might have found in a cut-out bin and proselytized relentlessly to your friends – Robin Lane & The Chartbusters, anyone? – and it’s an album you’d have wished was on CD. And now, finally, it is, and spiced with bonus demos.

This is also an album that should have launched “How Do I Make You” and “I’ll Tell You My Dreams” on MTV. Perhaps Planet was too busy with Sue Saad and the Next to push another rock band, or maybe the combination of angular new wave, pop harmonies, punk rock attitude and a few progressive changes wasn’t simple enough to market. It’s hard to imagine this barrel full of hooks, terrific guitar sounds, punchy drumming and adenoidal vocals wouldn’t have found a place alongside the Vapors, Oingo Boingo and XTC. Omnivore’s reissue includes a 16-page booklet that features liner notes by Billy Steinberg, lyrics and a few period photos. After a few spins you’ll swear Billy Thermal was one of the bands that hooked you into saying “let’s just wait for one more video.” [Â©2014 Hyperbolium]

Billy Steinberg’s Home Page

Psycho Sisters: Up on the Chair, Beatrice

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An unexpected communiquÃ©Â letter from the mid-90s

Susan Cowsill (of the Cowsills) and Vicki Peterson (of the Bangles) wrote and toured together in the mid-90s as the Psycho Sisters, but when Peterson returned to performing with the Bangles, and Cowsill launched a solo career, they left behind only a rare single of “Timberline” (b/w “This Painting”), concert memories, and performances backing Steve Wynn and Giant Sand. Two decades later the pair found coincidental breaks in their schedules and wound the clock back to 1992 with this debut album composed of seven originals written during the years of their initial collaboration, a trio of cover, and a CD booklet illustrated with period photos.

Not surprisingly, the album plays like a long-delayed communiquÃ© from the ’90s. Peterson’s superb co-write with her future brother-in-law, Bob Cowsill, “Never, Never Boys,” could have been one of the better pages of the Bangles’ songbook. Peterson’s electric guitar and the vocal arrangement reach back to the Bangles’ folkier, pre-stardom sound, and the lost-boys theme snapshots a time before Peterson and Cowsill’s marriages. The opening cover “Heather Says” reaches back even further to the Cowsills’ last album, 1971’s On My Side. Written by Waddy Wachtel, the song’s story of a grade-school bully lends the adult voices a tone of youthful confusion, and the Cowsills’ original harmonies provide baroque inspiration for this duet.

Cowsill and Peterson were in their mid-30s at the start of the Psycho Sisters, and their songwriting highlights a period of transition from carefree youth to more responsible adulthood. Their thirst for boys turned into a yearning for men, and unsettled relationships turned from fun to unfulfilling. The songs are stocked with problematic couplings, but their breakups are less about wounds than growth. A take on Peter Holsapple’s “What Do You Want From Me” kisses off and moves on, and Harry Nilsson’s “Cuddly Toy,” whose cheery tone (and oh-so-dreamy singer) probably trumped its snarky lyrics in the ears of a teenage Susan Cowsill, gains new meaning when sung by women.

One’s twenties often reveal the certainty of your teenage years to have been laughable. You realize that you only thought you knew everything in your teens, but now, in your twenties, you really do. Your thirties repeat the cycle, but with a hint of doubt that hasn’t yet blossomed into full introspection; if your twenties reveal the truth of your teens, what do your thirties reveal of your twenties? These songs reflect the growing shades of grey brought about by age, and sung by their authors in their fifties, these songs gain both a nostalgic tint and extra decades of emotional patina. It’s a rarity to hear artists reflect upon their earlier reflections, and a treat to find Cowsill and Peterson still singing in artistic harmony. [Â©2014 Hyperbolium]

The Psycho Sisters’ Facebook Page

Various Artists: Audio with a G – Sounds of a Jersey Boy

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The man who wrote the Four Seasons to the top of the charts

Although Frankie Valli stood out front of the Four Seasons, and his name was prefixed to the group’s starting in 1970, the act’s commercial success was equally dependent on their long-time songwriter and keyboardist, Bob Gaudio. Gaudio not only played and sang with the group, but he penned the bulk of their biggest hits, including chart-toppers, “Sherry,” “Big Girls Don’t Cry,” “Walk Like a Man,” “Rag Doll,” the group’s mid-70s comebacks, “Who Loves You” and “December 1963 (Oh What a Night),” and Frankie Valli’s solo hit “Can’t Take My Eyes Off You.” Incredibly, that’s just a few of his accomplishments, as he wrote many more singles, B-sides and album tracks for the Four Seasons, and scored hits with several other acts.

Rhino’s two-disc set collects thirty-six tracks that sample Gaudio’s songwriting, including material from the Four Seasons, Jerry Butler, Chuck Jackson, Cher, Nancy Wilson, Frank Sinatra, Nina Simone, Diana Ross, Roberta Flack, Lene Lovich, Ruthie Henshall, the Royal Teens, Bay City Rollers, Tremeloes, Walker Brothers and Temptations. The Four Seasons material features hits and album tracks, including a pair from the group’s Gaudio-Jake Holmes penned 1969 concept album, The Genuine Imitation Life Gazette. Perhaps more interesting to Four Seasons fans will be songs Gaudio wrote for or turned into hits for other acts.

The Royal Teens’ “Short Shorts” opens the set, as it did Gaudio’s hit-making career. The single rose to #3 in 1958 and Gaudio dropped out of high school to tour, meeting Frankie Valli along the way. Gaudio and Valli joined forces in 1960 to form the Four Seasons with Tommy DeVito and Nick Massi, but it took another two years for them to hit with “Sherry.” Gaudio wrote many of his hits with producer Bob Crewe, and several of the Four Seasons’ songs became hits for other acts. Included in this set are the Tremeloes’ “Silence is Golden,” which had been the B-side of the Four Seasons’ “Rag Doll,” and the Walker Brothers’ “The Sun Ain’t Gonna Shine Anymore,” which had been released in a slower arrangement as a Frankie Valli solo single.

The many covers of Frankie Valli’s 1967 hit “Can’t Take My Eyes Off You” are represented here by a smokey, soul-jazz version by Nancy Wilson that cracked the charts in 1969 and a 1982 disco remake by Boys Town Gang. The Four Seasons 1975 UK hit, “The Night,” is included in both its original version and a non-charting single by Lene Lovich. Reaching farther out are songs that Gaudio wrote for Frank Sinatra, Nina Simone and Diana Ross. Sinatra’s tracks are drawn from Watertown, a concept album written by Gaudio and Jake Holmes that married the singer’s ability to sound forlorn with the songwriters’ pop craft. Ross’ tracks date from 1973’s underappreciated Last Time I Saw Him, recorded during a period in which the Four Seasons were signed to Motown.

Gaudio’s songwriting moved with the times, gaining social consciousness in the mid-60s, striking a deeper personal resonance with Jake Holmes at decade’s end, resuscitating the Four Seasons chart fortunes in 1975 with “Who Loves You” and “December, 1963 (Oh, What a Night),” and surviving then-modern productions for The Temptations and Roberta Flack. He became a successful record producer and writer for soundtracks and musical theater. His stage work is represented here by two songs from the original London cast recording of Peggy Sue Got Married, and three (including “Sherry”) from the original cast recording of Jersey Boys. The latter is a project that began with Gaudio’s idea of a showcase for the Four Seasons’ material, and blossomed into national and international productions and, in parallel with this set (and two others) a feature film.

Compilation producer Charles Alexander has drawn from both mono (tracks 1, 7, 8, 11) and stereo masters, giving listeners a chance to hear two of the Four Seasons biggest hits in the punchy single mixes that dominated AM radio. These two discs (clocking in at just under two hours) cover the commercial highlights of Gaudio’s career as a hit-making songwriter. There’s more of his craft to be found in the Four Seasons’ albums, Frankie Valli’s solo releases, and his productions for Eric Carmen, Neil Diamond, Barbra Streisand and others. The inclusion of the Four Seasons’ hits is essential to telling his story, but also likely to duplicate the holdings of this set’s primary buyers; then again, with songs this good, who’s going to complain? [Â©2014 Hyperbolium]

The Zombies: R.I.P.

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Previously unreleased final album sees the light of day

One might say that this final, previously unreleased Zombies album is something of a Frankenstein’s monster. Constructed after the band’s dissolution in 1968, the six previously unreleased Zombies tracks and six new tracks recorded by a prototype of Argent were meant to satiate an American market that had been late to discover “Time of the Season.” But the album’s pre-release singles (“Imagine the Swan” and “If it Don’t Work Out”) failed to ignite any commercial interest, and the album was shelved by the American label that had requested it in the first place. The tracks dribbled out on singles, compilations (most notably the double-LP Time of the Zombies and Ace Record’s omnibus Zombie Heaven box set) and bootlegs, but an official issue of the original running order from the original master takes had evaded fans until now.

The album, as the last-remaining-Zombies-standing Rod Argent and Chris White conceived it, was neatly split in two: side one was written by Argent and White, and performed by Argent, White, Russ Ballard, Jim Rodford and Bob Henrit, in a line-up soon to be known as Argent; side two was assembled from previously unreleased tracks that had been recorded years earlier by the original group, and brushed up by Argent and White (notably with backing vocals and orchestral touches) for the album. There’s a musical seam between the two sides, but the new recordings aren’t a complete departure. In fact, they sound like what they actually were: a follow-on to the progressive end-times of the original line-up’s Odyssey and Oracle, heavily influenced by the band’s keyboardist.

Listeners familiar with the Zombies’ hits will immediately resonate with Colin Blunstone’s lead vocals and the group’s harmonies on side two. These earlier songs also have beat and baroque pop touches that are closely associated with the Zombies original sound. Argent and White’s material on side two, sung by Argent, including an organ jam, “Conversation Off Floral Street” (a track that was apparently mislabeled with “of” on the singles of the time), and slinky piano-led “I Could Spend the Day” that speak to the jazz inflections of “Time of the Season.” Both album sides have material that is as good as anything the Zombie released during their hit-making tenure, including the singles “Imagine the Swan” and “If It Don’t Work Out,” featured here in both stereo album and mono single mixes.

Zombies fans probably have most or all of this material on compilations and box sets, but it’s still worth hearing the original stereo mixes, in the original sequence, from the album’s master tape. The mono single mix of “Don’t Cry For Me” (the flipside of “If it Don’t Work Out”) is offered here for the first time in a digital format, and the mono mix of “Smokey Day” makes its first-ever appearance. Despite the album’s cobbled-together origin, this is a volume that belongs on the shelf right next to Begin Here, The Zombies and Odyssey and Oracle, extending the criminally under-rewarded brilliance of the Zombies. [Â©2014 Hyperbolium]

The Zombies’ Home Page

Tom Freund: Two Moons

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Former Silos bassist extends his catalog as a singer-songwriter

Tom Freund is a songwriter who’s something of a musical chameleon. His latest release opens with “Angel Eyes,” a tune whose sharp edged lyric, “funny how when you leave L.A. you gotta drive into the desert / out of the frying pan and into the fire,” is worthy of Randy Newman. Freund’s lap steel further echoes Los Angeles with its David-Lindley-esque tone, and his guitar complements Al Gamble’s organ on “Heavy Balloon” with atmospheric notes and a meaty solo that builds the track to its close. The latter is a fitting background to a lyric that graduates from ambivalence to skepticism to possibility to hope.

Such sophisticated, and often contrasting, shades of emotion are central to Freund’s songwriting. “Happy Days Lunch Box,” ostensibly a nostalgic tribute to childhood, is freighted with adult hindsight, and the anti-love song “Next Time Around” paradoxically embraces the missing embrace of a partner and wraps it in a 20s-styled tune. The album’s bittersweet closer “Sweetie Pie” is an appreciation of a love that’s ended, sung to acoustic guitar and bass. Freund has a nasally voice that suggests Dylan, songwriter Moon Martin, and on the riff-driven “Grooves Out of My Heart,” Joe Walsh, with a nod to Led Zeppelin in the fadeout for good measure.

Freund phrases like Paul Simon on “Same Old Shit Different Day,” and his plea for acceptance “Let Me Be Who I Wanna Be” provides the same sort of rallying flag as Sonny Bono’s “Laugh at Me,” but with a tone that’s satisfied rather than reactionary. In addition to the deft songwriting and wide-ranging musical palette, Freund’s production includes well-placed touches of strings, horns, ukulele and vintage keyboards, guest harmonica from Stan Behrens, and backing vocals from Ben Harper, Brett Dennen and Serena Ryder. Freund’s imagination as a songwriter is matched by his reach as an arranger and producer, making this collection both varied and cohesive. [Â©2014 Hyperbolium]

Tom Freund’s Home Page

OST: Porky’s Revenge

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A terrific Dave Edmunds-helmed soundtrack to a forgettable film

If you don’t remember, or never knew, the film Porky’s Revenge, don’t be surprised. As the third film in the Porky’s trilogy (filled in the middle by Porky’s II: The Next Day), its sophomoric humor was a tired rehash that had little of the original film’s raunchy charm. What this sequel did have is an inexplicably fine period-influenced soundtrack piloted by Dave Edmunds and stocked with A-list talents that include Jeff Beck, George Harrison, Carl Perkins, Clarence Clemons, Willie Nelson, Robert Plant, Phil Collins, Slim Jim Phantom, Lee Rocker and the Fabulous Thunderbirds.

Edmunds was initially hired to produce only the film’s theme song, but he grew the project into a full original soundtrack – the only one of the series. And by selecting songs and then drafting friends and colleagues to perform (including a backing band of Chuck Leavell, Michael Shrieve and Kenny Aaronson), he elevated the soundtrack well beyond the artistic qualities of the film itself. At the time of the soundtrack’s mid-80s recording, Edmunds was a few years past a commercial run that began with 1979’s “Girls Talk.” But he’d maintained his well-earned reputation for modern-edged roots music, and had recently worked on projects with the Everly Brothers and the Sun class of 1955, Johnny Cash, Jerry Lee Lewis, Roy Orbison and Carl Perkins.

The original album included two Edmunds originals – the bouncy “High School Nights” and the synth-laden instrumental “Porky’s Revenge.” The 2014 CD reissue adds “Don’t Call Me Tonight” (which had appeared two years earlier on Edmunds’ Information), and a Carl Perkins remake of “Honey Don’t.” The bulk of the album is filled with lovingly crafted covers, including Jeff Beck’s impressive take on Santo & Johnny’s “Sleepwalk,” George Harrison’s recording of the obscure Bob Dylan title, “I Don’t Want to Do It,” the Fabulous Thunderbirds torrid version of Lloyd Price’s “Stagger Lee,” Carl Perkins remake of “Blue Suede Shoes” with Perkins’ guitar and the Stray Cats’ rhythm section dialing up some real heat, and Clarence Clemons blowing his thunderous sax on “Peter Gunn Theme.”

Edmunds finishes out his contributions with a bright, double-tracked cover of Bobby Darin’s “Queen of the Hop,” which was also released as a B-side to Harrison’s track. The album included two tracks not overseen by Edmunds: a Chips Moman production of Willie Nelson covering “Love Me Tender,” and a Robert Plant-led cover of Charlie Rich’s “Philadelphia Baby.” Other than the closing instrumental, everything here resounds with Edmunds retro sensibility and the talent of his guests. Perkins shines especially bright, with Slim Jim Phantom and Lee Rocker stoking the rockabilly rhythm. If you missed this the first time around – and most probably did – here’s a chance to get your hands on a truly unexpected treat. [Â©2014 Hyperbolium]

Vanilla Fudge: The Complete Atco Singles

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Heavy ’60s covers of pop, soul and folk hits in original mono

This Long Island quartet grew from a blue-eyed soul act into one of the progenitors of what would eventually be labeled “heavy metal.” The group’s soul background is evident in their selection of cover material, but their mid-to-late 60s prime was also heavily influenced by the psychedelic era. Combining the two, Vanilla Fudge turned out a series of singles that relied heavily on slowed-down arrangements of then-contemporary covers, enlarged to nearly operatic size by producer Shadow Morton.

The band’s debut cover of the Supremes’ “You Keep Me Hangin’ On” stalled on the charts in 1967, but reissued in 1968, it climbed into the Top 10. The arrangement, supported by Mark Stein’s organ, the heavy rhythm section of Tim Bogart and Carmine Appice and unison backing vocals was a template for what was to come. The single’s original B-side, a cover of Evie Sands’ “Take Me for a Little While,” was also re-released as an A-side in ’68, and charted in the Top 40, sounding like a heavy version of the Rascals, and showing off the quartet’s instrumental talent in Bogart’s bass solo.

The band landed a few more singles in the Top 100, including the original title “Where in My Mind” and a two-part cover of Donovan’s “Season of the Witch” that was generously carved from the lengthy album track. They softened their sound into a soul croon for Bacharach and David’s “Look of Love,” but this was unusual for a single. More typical is their hard-rocking cover of “Shotgun,” with its wailing guitar and full-kit drum fills, and the strutting B-side original “Good Good Lovin’.” Perhaps the band’s most miraculous single was their cover of Lee Hazelwood’s “Some Velvet Morning,” which somehow managed to cram 7’34 onto a seven-inch, 45 RPM record. A three-minute DJ promo edit is included in this set as a bonus.

After their initial success on the singles chart, the band continued to score with albums and on the concert stage. Their later singles featured a greater helping of original material, but failed to score commercially. These eighteen tracks represent all ten of the band’s commercially released singles for Atco; all that’s missing is a DJ-only promo single of “Eleanor Rigby” and “Ticket to Ride.” As the band became an album attraction, it’s interesting to hear how they were still represented in the singles market with punchy mono mixes (all but 1984’s synth-laced reunion single “Mystery” b/w “The Strangler”) that really should have gotten more radio love. [Â©2014 Hyperbolium]

Vanilla Fudge’s Home Page

Keith Allison: In Action – The Complete Columbia Sides Plus!

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Los Angeles studio musician’s mid-60s solo shot

Keith Allison’s discovery at a taping of Dick Clark’s Where the Action Is is an only-in-Hollywood tale to rival that of Lana Turner’s first sighting at the Top Hat Malt Shop. Allison had been living a relatively anonymous life as a session musician (that’s his harmonica on the Monkees “Tomorrow’s Gonna Be Another Day“) and latter-day band member for his cousin Jerry Allison’s Crickets. Allison’s appearance as an audience member on Where the Action Is quickly led to a featured slot and a recording contract with Columbia. The latter gave Allison an opportunity to work with producer Terry Melcher for a single and Gary Usher for a pop-rock album.

His first Columbia release turned Joey Brooks and the Baroque Folk’s “I Ain’t Blamin’ You” into folk-rock, and featured an excellent, original B-side, “Look at Me” that turned up two years later as a Cher album track. His next single brought him Boyce & Hart’s “Action, Action, Action” and Mann & Weil’s bounch sunshine pop, “Glitter and Gold.” The former, produced by future Scooby Doo theme song vocalist Larry Marks, is offered here in both its stereo album and mono single mixes.

Allison’s full-length album played to his television audience, who knew him for his covers of hits-of-the-day. The album’s lone original is the very fine country rock “Freeborn Man,” co-written with Mark Lindsay; the rest of the track list is filled with tunes from Boyce & Hart, Neil Diamond, Donovan, Ray Charles and Lindsay. As the liner notes highlight, the variety of material provided a showcase for Allison’s versatility, even when the covers don’t add anything radical to the better-known hits. “Louise” and “Good Thing” give an early indication of how easily Allison would later fit into Paul Revere & The Raiders, and the country-rock arrangement of “Colours” adds something vital to Donovan’s original.

More interesting is the discovery of Neil Diamond’s early single “Do It,” the rave-up “Action, Action, Action,” and a take on “Leave My Woman Alone” that adds a psychedelic edge to the Everly Brothers earlier interpretation. Real Gone’s twenty-three track collection pulls together the Columbia album and singles and adds a self-produced one-off single for Amy that backs Bo Diddley’s “Who Do You Love” with the Byrdsian original “I Don’t Want Nobody But You.” The post-LP singles include an emotional cover of “To Know Her is to Love Her,” a rave-up medley of Chuck Berry and Jerry Lee Lewis and a lite-psych version of Tommy Roe’s “Everybody.”

Despite a promising start and continuing success as a musician and songwriter, Allison’s solo career never really took off. His work with the Raiders can be heard on several albums, starting with 1968’s Hard ‘n’ Heavy, and he turned up on tracks by Al Kooper, Johnny Rivers, The Dillards and others. He dabbled in acting (including a bit part on The Love Boat!), and has recently gigged with the Waddy Wachtel Band, but the quality of these mid-60s sides suggest there was something more to be had. Stardom is a fickle mistress, and though Allison had the talent and a shot, the stars simply didn’t align. Lucky listeners can now cast themselves back and ask “what if?”Â [Â©2014 Hyperbolium]

Keith Allison Info Page