Procession- Queen
Police On My Back- The Equals
People Got To Be Free- The Rascals
Pearly Queen- Traffic
Poop Ain't Gotta Scuffle No More- James Andrews
Pancho & Lefty- Willie Nelson & Merle Haggard
Pretty Ballerina- The Left Banke
Popcorn Double Feature- The Searchers
Please Don't Leave Me- Phil Lynott & John Sykes
Postcard- Blossom Toes
Percy's Song- Fairport Convention
Patchouli- Squeeze
Pocket Full of Rain- Steve Earle & The Dukes
Police & Thieves- Junior Murvin
Power Trippin'- Power Station
Peaches- The Stranglers
Paris 1919- John Cale
Please Let Me Wonder- The Beach Boys
Pale & Precious- The Dukes Of Stratosphear
Penny Lane (Mystery Mix)- The Beatles
There is a gentleman named Paul who has done some truly amazing work over at his place, Albums That Should Exist.
Each project is a labor of love that would take the patience of a saint to create. When you're through here, go pay a visit and give him some love and attention. It's a treasure trove of music. But please don't forget to come back.
Today's entry is a collection of Chrissie Hynde and James Walbourne's Bob Dylan covers recorded during lockdown. I'll give you a head start on this one, but you'll have to fall into your own rabbit hole over there.
Thanks Paul.
Tracklist
In The Summertime
You're A Big Girl, Now
Standing In the Doorway
Sweetheart Like You
Blind Willie McTell
Love Minus Zero- No Limit
Don't Fall Apart On Me Tonight
Tomorrow Is A Long Time
The first time I heard "Taxman" was also the first time I recall recognizing the bass guitar as something other than what was at the bottom, keeping a song whole. I thought McCartney's distinctive phrase on the intro was as important to that song as Harrison's guitar solo, except it wasn't Harrison. That ferocious guitar solo that happens twice is also Paul, and believe it or not, I only found that news out in the late 90s. I hung my head.
Then, just under a year ago, I was mildly embarrassed again, when I credited one of my favorite drum parts to one of of my favorite drummers. I was having a "Rag Mama Rag"/Levon Helm moment, only to be told, "That's Richard Manuel." This incident might have actually happened on these premises.
Hey, it happens!
Are there more songs featuring surprisingly amazing and distinctive parts not played by the starting player of the instrument?
Any one man band artists like Todd Rundgren, or McCartney on his solo records, should not be considered. I'm looking for obvious songs by obvious bands, like if we found out the guitar solo on "Stairway To Heaven" was John Paul Jones.
I spent approximately 60 minutes this morning sampling the new recordings of six new bands. My goal was to discover one or two gems to rave about and pass along, instead of the ideas I had on deck, which were either a piece about Patto's debut, a fun post involving Richard Manuel and Paul McCartney, a continuation of an earlier post about two different songs that are essentially the same, or another dreaded reggae post, no pun intended.
I don't like homework! I never did!
A few years after our shop closed, my business partner mentioned how one of the few good things about no longer having a record store was no longer feeling the pressure of having to listen to new music. On the surface, that seems very curmudgeonly. But listening to music should not be homework. And while I wasn't repulsed by what I heard this morning, the music mostly made my eyes roll.
Here's the grunge-y, indie band, slogging away on a riff and shouting some lead vocals. Here's the neo-psychedelic band, with backwards guitars and their third-rate "Tomorrow Never Knows." Here's the band with the 12-string guitars and Byrds-chords and not bad harmonies over a fairly tuneless tune. Here's the beardo and his guitar, with his nasal voice trying desperately to keep himself alive. I wasn't having fun no matter how much I wanted to love and support a band that isn't celebrating their 40th anniversary of being broken up.
New music needs to come to me naturally; an email from a trusted friend, a review by a trusted critic, or that rare occasion when I hear something being played somewhere. These days, it's either the post office, the pharmacy or the supermarket, so the chances of hearing something other than the Doobie Brothers or Lady Gaga are slim.
I am not opposed to "new" and "young." I am opposed to the pressure, or to the occasional comment about lawns and the need to get off of them. I am also not a fan of listening to 50 different records in 50 different genres from 50 different age groups, just so I can say I did.
Losing both Peter Green and Emitt Rhodes, two of my musical heroes, in the same week, shed some light on just how many people had no idea who either were. That's six albums right there that are brand spanking new to so many.
In summation, I am going to do what I do best and leave the discovering of up and coming talent to other bloggers. I am sure there are many writers out there who are more suited to write about the bands on Stereogum's Top 50. I'll be here to remind them that "Dark Side Of The Moon" was not Pink Floyd's first record.
Waiting For The Worm To Turn- Bourgeois Tagg
Your Own Worst Enemy- Bruce Springsteen
She's Such A Beauty- Emitt Rhodes
Grass- The Pretty Things
Rose Darling- Steely Dan
Tell Me About Your Love- Van Morrison
I Won't Be The Same Without Her- The Monkees
Waiting For The Worm To Turn- Bourgeois Tagg
During the recording of this song, originally called "Waiting For The World To Turn," producer Todd Rundgren stopped the proceedings in the middle of the lead vocal, pushed down on the "talk" button and said, "From now on, this song is called "Waiting For The Worm To Turn." Larry Tagg, the Tagg of Bourgeois Tagg, shared that with me one afternoon in my shop. He also said, "It was better. I couldn't argue with Todd." This song and that story came to mind while discussing with a friend how difficult Todd could be in the studio.
Your Own Worst Enemy- Bruce Springsteen
No story behind this entry, just wanted to hear it and share it.
She's Such A Beauty- Emitt Rhodes
One more for Emitt.
Grass -The Pretty Things
I have never been a huge fan of "S.F. Sorrow." I like it, but I think it falls short of the accolades it receives. "Parachute" from 1970 is the one! This track opens Side Two. It's a beauty, not unlike something Pink Floyd would achieve 5 years later on "Wish You Were Here." Rose Darling- Steely Dan
This one woke me up. I don't recall if I was dreaming it, but I was singing it even before coffee on Wednesday morning.
Tell Me About Your Love- Van Morrison
This beauty was in my in-box, sent from my pal Zippy with a note, "Never heard this before and I really like it." Well, I had never heard it before either and it is now my new favorite Van tune. Recorded in 1973, mixed in 1999, and eventually released as a U.K. b-side to "Back On Top."
I Won't Be The Same Without Her- The Monkees
Another I just wanted to hear and share. I think one of Nesmith's best.
AND ALSO...
Here is a bonus six pack featuring some of my favorite Peter Green moments.
The Supernatural
Jigsaw Puzzle Blues
One Sunny Day
My Dream
Like Crying
Man of The World
There are those who have never heard a note of Fleetwood Mac's music prior to "Rhiannon." You're forgiven. I dig every lineup. But Peter Green's Fleetwood Mac was a different planet altogether. It wasn't just British blues. That band, led by Green's guitar prowess, pushed and shoved the blues into places no other musicians had the balls to take it. "Then Play On" remains an otherworldly entity of 60's music, combining blues, folk and psychedelia into one truly special listening experience. Nothing before or after "Then Play On" comes close to transforming blood, blues, sweat and tears into one brilliant musical experience. And those are my four cents about Peter Green.
On The Road Again- Canned Heat
On the Sunny Side Of The Street- Dizzy Gillespie, Sonny Stitt & Sonny Rollins
Our Day Will Come- Ruby & the Romantics
Oh! You Pretty Things- David Bowie
O Sole Mio- Wingy Manone
Obscurity Knocks- Trash Can Sinatras
Outbreak Of Love- Midnight Oil
Ocean In Your Eyes- Smokey & Miho
Oh, Candy- Cheap Trick
Oh Bondage, Up Yours!- X-Ray Spex
Oh Me Oh My- Lulu
Oh! Darling- The Beatles
Oklahoma USA- Leigh Harris
Ol' 55- Shelby Lynne & Alison Moorer
Our Love Was- The Who
Oh Babe, What Would You Say- Hurricane Smith
Out In The Country- Three Dog Night
Open My Eyes- The Nazz
Ode To Joy- Joe Jackson
Old Town- Phil Lynott
Ooh La La- Faces
I've seen Paul Weller's new record "On Sunset" described as "the most overtly soul and funk-infused" record since The Style Council. Actually, I think The Jam had more funk and soul in their frenetic, Who-inspired, three minute blasts of mod punk than anything on the Style Council records, which I always thought sounded cold, like so much of the manufactured and synthetic pop of the 80's, a few solid singles aside.
That said, I think Weller's new record is indeed full of soul, but even more important, "On Sunset" doesn't rely on style or trends like so much of his solo career. Every song within feels like it could be a single. The songs here are natural and accessible, and yes the Philly strings, occasional Tamla/Motown backing vocals and funky beats all add to it. But "On Sunset" doesn't lose its way, like some of Weller's recent work. This is a straight forward pop record as much as it is a soul record and it plays beautifully.
There are a few hints of Weller's past, like the lovely one-two of "Equanimity" and "Walkin'," the former sounding like a title theme from a mid-70's Neil Simon flick and the latter like every AM radio pop hit from the early 70's. And I can't help but think of both Oasis and The Verve while listening to the the finale, "Rockets." Still, "On Sunset" is mostly what it aims to be, with elements of Marvin Gaye, pre-MTV Hall & Oates and even a bit of Isaac Hayes wig out on the track "More."
The heart of this record beats like the heart of all those great records by The Jam and the heart of Weller's finest solo work. I love this record and it is by far, the best thing Paul Weller has done since "Stanley Road," and I love a lot of his solo records, especially "22 Dreams," "Illumination" and "Wake Up the Nation." But "On Sunset" made me do something I haven't done in ages...I dropped the needle right back on Side One as soon as it was over.
Pop? Soul? Let's just do away with the labels. "On Sunset" is one terrific record and it is a current contender for one of the very top spots of 2020.
Producer: Jimmy Miller
Drums: Bruce Rowlands
Piano: Ian Stewart
Guitar: Jimmy Page
Bass (vocal): Rick Grech
Guitar: Keith Richards
Acoustic Guitar, Vocals: Mick Jagger
As I mentioned yesterday, some of the Merry-Go-Round's b-sides rival the a-sides. Emmit Rhodes delivers a typically heartbreaking lead vocal on this track written by producer Larry Marks, a man who sang the original lead vocal on the "Scooby Doo, Where Are You," theme. "Missing You" was inexplicably left off the debut album and slapped onto the back of "Listen, Listen." Yes, I love that MGR album. I've written about it a number of times and included it on my "Other 100" list. Yet, two b-sides, "She Laughed Loud" and "Missing You" might be my two favorite MGR songs.
Emitt Rhodes was ready, willing and able, and that one Merry-Go-Round record remains a cult favorite for a reason. It was pop perfection. It helped to follow it up with a solo album that critics compared to McCartney right when Sir Paul was trying the one man band thing himself.
Long story short, Emitt Rhodes got fucked and he gave up. There's a lot more to the story and if you are interested, I highly recommend the documentary, "The One Man Beatles," which you can watch HERE.
But, if you just want the music, there's plenty of it. It's not just the Merry-Go-Round record, which is a true lost classic that will come with me when I die. Or the self-titled debut, which is absolutely deserving of the accolades. There are b-sides that rival any a-side, like "She Laughed Loud." Or, the MGR leftovers found on "The American Dream," which for me, plays even better than the critically acclaimed debut. And "Mirrors," a cut out bin perrenial, so undeserving of its fate.
Chris Price, singer-songwriter and producer, did all he could for an Emitt comeback. The result, "Rainbow Ends," was a wonderful step in the right direction.
Listen to some Emitt Rhodes. I'll give you a head start.
Don't Wait Up For Me- The Beat
No You Don't- Sweet
Rain When I Die- Alice In Chains
Tried To Love- Peter Frampton
Ain't That Pretty At All- Warren Zevon
We Meet, We Part, We Remember- The Holmes Brothers
Hold On Tight- Lil' Band O' Gold
Don't Wait Up For Me- The Beat
Paul Collins utilizes every hook in the book for this three minute pop gem. A great opener!
No You Don't- Sweet
A far cry from the bubblegum glam of "Little Willy," this track is more my speed. Sweet's records were mostly uneven, but that trio from "Sweet Fanny Adams" to "Give Us A Wink" are essential. You'll find this one on "SFA" in the U.K. or "Desolation Boulevard" in the U.S.A..
Rain When I Die- Alice In Chains
I've bought and sold, rebought and resold, re-rebought and re-resold AIC's "Dirt" quite a few times. I did it again last week. I love Side One, and this track, which I think is the greatest of their short career. Layne Stayley's vocal performance is massive. I never play Side Two. Might be up for sale soon. Stay tuned... Tried To Love- Peter Frampton
I thought I might get into a Frampton fest after last week's post and the first thing that came to mind was this song. A personal fave with a little help from Michael Philip Jagger. We Meet, We Part, We Remember- The Holmes Brothers
Sweet and simple with lovely harmonies, a Holmes Brothers specialty.
Hold On Tight- Lil' Band O'Gold
LBOG, the Traveling Wilburys of Louisiana, and their perfect take on ELO's hit. It's as if it was originally a Cajun rocker and Jeff Lynne covered it.
Now I'm Here- Queen
No Time- The Guess Who
New Lace Sleeves- Elvis Costello
Nothing In The World Can Stop Me Worryin' 'Bout That Girl- The Kinks
Natural Man- Lou Rawls
Neither One Of Us- Gladys Knight & The Pips
Nobody- Johnny "Guitar" Watson & Larry Williams w/Kaleidoscope
Neat Neat Neat- The Damned
Natty Dread- Charlie Hunter Quartet
Nightclubbing- Grace Jones
No Religion- Van Morrison
No One Told Him- Thin Lizzy
New Girl Now- Honeymoon Suite
Night Of The Long Grass- The Troggs
Never Again or Forever- Jules Shear
Never Going Back- Lovin' Spoonful
Now- Dion
Nothing Doing- The John Sally Ride
New Mistake- Jellyfish
New Career In A New Town- David Bowie
No More Sad Refrains- Sandy Denny
I thought about writing some lengthy praise for "A Steady Drip, Drip, Drip" but figured I'd be setting myself up for disappointment. So rather than do all that work, I am taking the easy way out.
The new Sparks records might end up being my favorite record of 2020.
"Grant Green's Blue Note debut album, 1961's 'Grant's First Stand,'
still ranks as one of his greatest pure soul-jazz outings, a set of
killer grooves laid down by a hard-swinging organ trio. For having such a
small lineup -- just organist Baby Face Willette and drummer Ben Dixon -- the group cooks up quite a bit of power,
really sinking its teeth into the storming up-tempo numbers, and
swinging loose and easy on the ballads."
That is the first paragraph of All Music's review and I agree wholeheartedly. But I'd also like to add that what I find most appealing about "Grant's First Stand" is how well it sits musically next to your go-to rock and soul albums of the 70's. Four of the six songs are band originals, so if you're a bit apprehensive about diving in, fearing an umpteeth take on a standard when jazz really isn't your thing in the first place, I suggest that you at least give Side One a chance.
I also find it interesting how 1961 for rock and roll seems like ancient times compared to what began to take place just five or six years later. Think "Tossin' & Turnin" or "Take Good Care Of My Baby" versus "Paint It Black." But jazz in 1961 was already a few years into a new wave of groovin', especially the records being released on Blue Note, than say the classics like "Blue Train" or Cannonball Adderley's "Something Else," from just a few years earlier.
"Grant's First Stand" sounds even more daring than a few of Green's Blue Note classics that followed.
I bought this record the week it came out, a used white label promo
copy, priced $2.99 at the greatest record store of them all,
the titan that was Titus Oaks on Flatbush Avenue off Church Avenue in Brooklyn, a few yards to the right of Erasmus Hall High School, famously attended by Barbra Streisand and Neil Diamond. It was only a 15-20 minute train ride from Sheepshead Bay to Flatbush, but it felt like an eternity.
This trip was a Saturday morning ritual for me and my cousin. I can still feel my heart picking up the pace. My stride started to cover twice the ground it had covered back in Sheepshead Bay the closer I got to the
shop. I struggled between the importance of maturity and the need to look cool to my cousin, four years my senior, and my impending nervous breakdown if I didn't beat my cousin by two full lengths to
the front door. If I wasn't the first to find the one copy of whatever we were both looking for, I'd hear about it for days with relentless teenage teasing. And if I was the first to grab that promo of "Diamond Dogs," that was even worse. It was lose/lose and my only solace was waiting in a bin with shrink wrap and a price tag.
I'm sweating just typing this.
Titus Oaks was one
flight above a donut shop, and for years I'd associate the sweet smell
of coffee, baked goods, sugar and butter with used vinyl. And they had a great policy- for every three used records you'd trade in, you'd get a brand new release for 99 cents. I can still see the faces of the staff. Quiet Jerry who we called John Cale because of the resemblance, was the toughest with your trade-ins. Mario, curly mop and chubby face, always smiling and laughing and always stoned, was the most generous. And Jenny with the long blonde hair was the equalizer. She wasn't going to take just any of your shitty records like Mario, but unlike Jerry, if you looked pathetic enough, she might just add that "Les Variations" LP you read about it Creem, dropped the precious dime for, and hated with enough intensity you almost cried on your inner sleeve, as the third trade-in.
But I digress.
I've
had "Frampton" in one form or another for 45 years and only today did I
notice that he is wearing a Steve Marriott t-shirt. Really. Never picked up on that before today.
This record aged
really well, by the way, even if I haven't.
There's a new Ray Wylie Hubbard record. It's called "Co-Starring" and it features, among others, guest appearances by Pam Tillis, Aaron Lee Tasjan, Larkin Poe and on the opening track "Bad Trick," Joe Walsh on guitar, Don Was on bass, Chris Robinson on vocals and Ringo Starr on drums.
"Co-Starring" is a typically wonderful Hubbard affair with songs running the gamut from heartbreak to hilarity. "I'm gonna drink till I see double and then I'm taking one of you home," for example. Or, the stunningly beautiful closer "The Messenger" where RWH states, "I am not looking for loose diamonds, or pretty girls with crosses around their necks, I don't want Four Roses and water, I'm not looking for God, I just want to see what's next."
But it's the title track that kills me, maybe for an obvious reason. "Bad Trick" is a burner, and I'll give the credit to Mr. Starkey. This video absolutely tickled me. Try to ignore Don Was and enjoy Ringo being all "Ringoey," as my pal Peter put it. Ringo doesn't like playing drums alone these days. Even on his All-Starr tours, he plays along while the main drummer Greg Bissonette does all the hard work. But on "Bad Trick" it's all Richie, sounding very "White Album" with his groove and fills.
Last week I mentioned a TV special being aired on AXS-TV, celebrating the Beatle's 80th birthday. It was a mostly fun affair, with new video contributions from Sheila E. with Ringo on drums turning in a solid "Come Together," Joe Walsh doing a DIY version of "Boys," and Sheryl Crow pulling a Roy Wood, playing a half dozen or so instruments including a cello for a fine take of "All You Need is Love." Friends and family from Edgar Winter and Mick Fleetwood to a whole lotta little Starkeys sent birthday greetings and Ringo played host from behind his kit, airing video clips of his All-Starr Band, as well as a new video for his single "Give More Love" that featured vocal contributions from an endless roster of rockers, including Elvis Costello, Steve Earle, Willie Nelson, Jackson Browne and more. Sir Paul was a no-show, which was both a surprise and a disappointment, and instead the show closed with a clip from a few years ago of Paul and Ringo doing "Helter Skelter" from one of Macca's live shows.
Somehow, Peter Frampton's lovely take of "It Don't Come Easy" did not make the final cut. Thanks to hpunch for finding this one and sending it off to me.
Watermelon Man- Buddy Guy
Mini-Skirt Minnie- Wilson Pickett
China Girl- Iggy Pop
This Boy- The Beatles
Nothing Too Much Just Out Of Sight- The Fireman
Silly Love- 10cc
Like It Or Not- The Turtles
Watermelon Man- Buddy Guy
This was almost last Saturday's cover version, but I liked the idea of opening up the SOTW with it.
Mini-Skirt Minnie- Wilson Pickett
Not one of The Wicked Pickett's biggest hits, peaking at only #50 on the Billboard chart, but definitely one of my favorites.
China Girl- Iggy Pop
Fell into an Iggy, Bowie, Berlin, Kraftwerk hole last week after reading Mojo's review of the new Iggy/Bowie boxed set. I think I listened to 'The Idiot" twice in a day. I think Ig's original "China Girl" kicks Bowie's ass.
This Boy- The Beatles
It was Ringo's 80th, so...this...boy. Nothing Too Much Out Of Sight- The Fireman
Paul McCartney doing business as The Fireman. "Electric Arguments" is worth your time if you are unfamiliar with it. It's uneven, like most experiments. But it's never boring, at least not to these ears.
Silly Love- 10cc
I had considered a 10cc week, five days of trying to spread the word about four musical geniuses who might only be remembered for two or three hits. Still considering it, but until then...
Like It Or Not- The Turtles
A track from the unfinished/never released swansong by The Turtles, "Shell Shock," this track was produced by Jerry Yester and can now be found as a bonus track on the Ray Davies produced "Turtle Soup." All of the "Shell Shock" tracks can be found elsewhere, so not sure why it wasn't a separate release in the reissue campaign. Oh, I know why...because they never get it right!
Manifesto- Roxy Music
Madison Time Pt. 1- Ray Bryant
My Whole World Ended- David Ruffin
Madness- Prince Buster
Maggie's Farm- Linda Gayle
Mickey Mouse Boarding House- Walter "Wolfman" Washington
Man Attack- The Revillos
Malibu- Hole
Mandocello- Cheap Trick
Mona Lisa- Moon Mullican
Man Comes Around- Johnny Cash
Man Of The Wolrd- Fleetwood Mac
Melancholia- The Who
Mr. Wilson- John Cale
Me & Magdalena (Version 2)- The Monkees
Mixed-Up, Shook-Up Girl- Patti & The Emblems
Mary- Robert Fripp
Matilda Mother- Pink Floyd
Metal Firecracker- Lucinda Williams
Mindless Child Of Motherhood- The Kinks
My Girl The Month Of May- Dion & The Belmonts
Mississippi- Bob Dylan
Moody's Mood For Love- King Pleasure
Okay ladies and germs, I am on the road, driving south through plutonium, to pick up some records. I'm loaded up with face shields, hand sanitizer, some Fig Newtons and my trusted copy of Kitty Kelly's "His Way: The Unauthorized Biography Of Frank Sinatra."
Wish me luck!
All you vinyl freaks, be sure to click on the link over to your right to see the new loot for sale. And don't worry, I've got your letter "M" weekend mix ready to go.
Enjoy your Thursday and please, do the math, wear your masks and stop being vain, selfish, greedy pricks.
My first drum kit was a bass drum, a snare and a ride cymbal, set up in the corner of my mother's bedroom in a two bedroom apartment that was shared by a set of grandparents, along with my aunt and uncle. No one cared if I played. It was encouraged at all times.
I'd play along to "No Reply" from "Beatles '65" and "I'll Get You" from "The Beatles Second Album." I can still see those two album covers in living color lying on my mother's bed, as I hammered away, completely drowning out the man I was trying to emulate.
One Friday evening, my mother had some friends over. Maybe six people, at most. I was in the bedroom listening to The Beatles and one of my mother's friends asked if I would play the drums for them. I was terrified. She said, each of them would give me a dollar. It would have been my first paying gig, and $6 to a kid in the 60's was definitely something to shake a stick at...but I refused. $6 bought two LPs back then, but I still couldn't do it. She closed the door and I continued smacking away at "No Reply," albeit a bit more quietly and self-consciously.
Today, Ringo Starr is 80 years old. Every July 7th since 2008, Ringo has asked for a world celebration by requesting that everyone says or thinks "peace & love" at noon. That seems easy enough. Every July 7th, I think of that night in my mother's bedroom, holding out for more money, and refusing to play along to my hero in front of a measley crowd of six.
Almost 60 years later and The Beatles remain in heavy rotation, never sounding anything but fresh and exciting. Timeless, as the cliche goes. It's hard to believe the two living moptops, Paul and Ringo, are 77 and 80, respectively. Seems impossible, really.
Tonight, check your local cable provider, if you happen to be a fan, for an 80th birthday celebration on AXS-TV, beginning at 8PM, E.S.T., and starring the man of honor, Ringo Starr, with a little help from his friends, Paul McCartney, Joe Walsh and a few others that don't really add up, like Jackson Browne and Ben Harper.
In June of 2018, the Rolling Stones released a gargantuan boxed set with the somewhat clumsy title, "Studio Albums Vinyl Collection 1971-2016." Here's what "they" said about it:
‘The Studio Albums Vinyl Collection 1971-2016’ presents this
monumental era in rock’n’roll history in a highly bespoke, lenticular
mounted, limited edition box-set housing the 15 studio albums from
Sticky Fingers through to Blue & Lonesome in faithful and intricate
original packaging replications. Every album has been lovingly
remastered and cut at revelatory half-speed at Abbey Road Studios, from
vinyl specific original tape transfers designed to get the very best
possibly sound from the format. Each album is pressed on heavyweight
180-gram black vinyl and includes a download card for HD digital
redemption of the catalogue and includes a numbered certificate of
authentication. Cut at half speed, these are among the highest
quality vinyl pressings that these classic Rolling Stones albums will
have ever received. Half speed mastering and pressed to a very high
standard ensures top notch sound quality for the listener. Special
care has been taken to create packaging to the same high standards,
with detailed artwork reproduction for each album including ‘Some
Girls’, which comes housed in the replica design including 20 cut-outs
on the cover, while the sleeve of ‘Sticky Fingers’ is presented as Andy
Warhol’s original design, complete with a working zip with a hidden
image underneath and ‘Exile On Main Street’ comes with a set of 12
original postcard inserts."
I might have fallen hook, line and idiot for it, had the retail price not been the equivalent of a Shetland pony. And though I have gone on the record a number of times, expressing my displeasure with most of the band's output post "Steel Wheels," as both a record collector and fan of the Stones, there was something appealing about finally owning nice, shiny vinyl copies of the heretofore impossible to find later titles like "Bridges To Babylon" and "A Bigger Bang," not to mention the sonic upgrade of the earlier essentials from "Sticky Fingers" through "Some Girls."
Still, I showed great restraint and passed on the box, assuming, in typical label fashion, that once all the shnooks shelled out for this monster, the powers that be would release the titles individually, at a much more affordable price, thus relieving the cheapskates from having to purchase the unwanted titles.
CUT TO: July, 2020
The Rolling Stones have just released all of the half-speed masters from the boxed set, most of which retail for a little under $20, with double LPs, fetching somewhere in the $35 range.
What'd I tell ya?
I took a dive and grabbed two of my favorite Stones albums, the criminally underrated "It's Only Rock 'N' Roll" and "Black and Blue," as well as "Bridges To Babylon," a record that quite honestly, I remembered exactly two things about---k.d. lang had something to do with it and I loved the sound of "Might As Well Get Juiced." I figured, let's test the half-speed mastering on two albums that could use an upgrade, and get an album that might as well be a new Stones record to my ears.
THE VERDICT
I took "Bridges To Babylon" out for a spin first and this sucker blew me away. It truly is one of the most perfect sounding records I have heard. Crisp, full of body, a real powerhouse of sound. Honestly, when Side Four was over, I was in love with "Bridges To Babylon." Was this record always this good? Have I convinced myself that this record was this good because I loved the sound and package? Whatever! Mission accomplished, Interscope Records.
Next up, "Black And Blue." I carefully slice through the shrinkwrap and pull out a...LYRIC SHEET? Where is my faithfully replicated inner with the studio tracking information? A lyric sheet? Did I need to read, "Melody, it was her second name" over and over and over? This is not good. No, no.
Still, it's open. Might as well give it a spin.
Nice! That opening snare smack of "Hot Stuff" and I was sold. The record sounds better than ever. But, replacing the original inner in a package that boasts "faithfully replicated artwork" with artwork that never existed is a crime. Why not replace "Hey Negrita" with...well...anything?
Still at this point, I am so chuffed with the sonics, I jump for another $18 and get "Some Girls" before I bother to unwrap "IORR." As I wait for "Some Girls" to arrive, it's time to visit "IORR." Slice, open, BOOM. Original hard custom inner, just like I pictured it, and the record sounds fantastic. I guess these geniuses over at Abbey Road know what they're doing, though it is a bit odd that nowhere on any of these three records does it say "Abbey Road Studios." The hype stickers all simply say, "Half Speed Mastered." Abbey Road info is in the deadwax.
CUT TO: A few days later.
In short, "Some Girls" sounds like crap. What the hell happened? The life has been sucked out of this amazing record. It's been cleaned up, vacuumed of all its essential filth and fury. And the damn cover has NOT been "faithfully replicated." It's not diecut. It's flat, like the sound. I've gone from chuffed to crushed in less than 72 hours.
Could it be that only the LPs found in the box were faithfully replicated? I guess that's possible. But these individual titles are not being sold as "budget" reissues, so it seems a bit careless to roll out a new project by a brand as huge as Jagger/Richards with such inconsistency. Though, they did allow Don Was to make "Blue & Lonesome" sound like Whitesnake. speaking of careless.
With 11 titles to go, I decide to abandon this whole project. It's not worth my time, and especially not worth spending what is likely my 300th dollar on yet another version of "Exile On Main Street" since 1972, for what should more accurately be boasting "Half-Assed" reissues as opposed to "Half-Speed" masters.
Ordinary Girl- Mike & The Mechanics
No Religion- Van Morrison
Me Just Purely- Brendan Benson
Call Me Mellow- Tears For Fears
Growing Up (Trent Reznor Remix)- Peter Gabriel
Meteor Shower- Rhett Miller
Another World- World Party
Ordinary Girl- Mike & The Mechanic
There is a fantastic 3 CD or 2 LP set covering Paul Carrack's career with everyone from Ace and Squeeze to Mike & The Mechanics and various side projects and guests spot. It's called "Collected,"and amazingly this wonderful single is not on it. FAIL!
No Religion- Van Morrison
I would not be lying if I said "No Religion" is one of my five favorite Van tracks. It is also on one of five Van records nearly impossible to track down on vinyl for less than $100. Anyone have a vinyl copy of "Days Like This" they'd like to give up? Let me know. I'll pay shipping. :)
Me Just Purely- Brendan Benson
Benson's excellent new record "Dear Life" inspired me to go back and listen to his excellent debut, "One Mississippi." That's where you'll find this song. Call Me Mellow- Tears For Fears
And speaking of favorite albums, TFF's "Everybody Loves A Happy Ending" is mine, by them. (Is that good English? Not sure, me.) But yes, this "comeback" was solid from head to tail, and this pop gem is a perfect three and a half minutes. Someone find me the vinyl on this baby! I'll pay shipping. :)
Growing Up (Trent Reznor Remix)- Peter Gabriel
About as close as you'll get to a Gabriel/Nine Inch Nails collaboration. Just discovered this on a digital only set of Gabriel stray tracks called "Flotsam & Jetsam," but it has been floating around on a single since 2003. Meteor Shower- Rhett Miller
"I cannot make light I'm so burnt out, I know where you are, I cannot believe how much it hurts, I'm a fallen star" Damn, Rhett! I'm sorry. But wow, what a track.
Another World- World Party
Found deep into the 5 CD World Party rarities set, "Arkeology," this is currently my new favorite Karl Wallinger tune.
(One of my best letters yet...if I do say so myself.)
TRACKLIST
Love Is The Drug- Roxy Music
Love Is Like An Itching In My Heart- The Supremes
London's A Lonely Town- Dave Edmunds
Last Night- The Detroit Cobras
Leaving Here- The High Numbers
Let's Make A Den- XTC
Low Expectations- The Rails
Lady Friend- The Posies
Love Song With Flute- Caravan
Life On Mars- Trent Reznor & Atticus Ross
Last Night I Had A Dream (Promo Single Mix)- Randy Newman
Loaded Gun- C.C. Adcock
Lady Madonna- Allen Toussaint
Leave My Kitten Alone- The Beatles
Limp- Fiona Apple
Long Time Woman- Pam Grier
Let It Rock- Bob Seger
Lilywhite Lilith- Genesis
Life Gets Better- Graham Parker
Love Goddess Of Venus- The Ventures
Lovely- Maurice Brown
La Villa Strangiato- Rush
There is an article in a recent issue of Mojo magazine about Diana Ross. It's your typical Mojo article with terrific writing, a lot of history, a few new tidbits and interesting sidebars. I found this track in one of those sidebars, where the writer points out some lost gems.
The Supremes, formely the Primettes, took some time to take and become the legendary Motown hitmakers that made history, and early on Berry Gordy was trying anything, including a big Wall Of Sound, a la Phil Spector. This track, "Things Are Changing" is a pretty terrible song, but possibly the only time on record where The Supremes sound like The Ronettes.
