YOUNG WINGS CAN FLY: In one of the most ambitious reissue projects seen in some time, the enigmatic WJBK label has released the first eight installments of what promises to be an ongoing CD series, WJBK Hits, chronicling the most rare and overlooked singles from the weekly surveys of the legendary suburban Detroit radio station's prime run between 1956 and 1964. Editor/Publisher Michael McDowell has the story below (Click on above image to enlarge).


The Majic Ship
(Gear Fab)

Upon emerging from a brief sabbatical slightly more than twenty years ago, Roger Maglio's Littleton, Colorado-based Gear Fab label literally hit the ground running. Since that time, it has more than sustained its momentum as one of the premier reissue labels in all of music.

Appropriately and somewhat inevitably, Gear Fab has come full circle with this expanded edition of one of its earliest and most acclaimed collections. First issued in late 1997, The Complete Authorized Recordings brought together for the first time the richly diverse works of this ambitious Long Island quintet. The original project was presented in a manner not unlike Tommy Roe's late 1969 Twelve In A Roe anthology album for ABC Paramount, in which excerpts from interviews with Roe introduce each track in the album itself. Maglio followed suit with this Majic Ship project, providing valuable first hand observations into the legacy of this somewhat enigmatic band.

For the twentieth anniversary reissue, Gear Fab dropped the jewel case format used for the 1997 edition and added a bonus track, an expanded essay and newly discovered band photos. But as before, the music nonetheless takes center stage here. Featured of course is their 1969 signature cover of Sam and Dave's You Got Me Hummin' (originally issued as a single on the Crazy Horse label), as well as their entire 1970 album for Bel-Ami Records and their unique takes on Sir Mack Rice's Mustang Sally, the Tokens' Green Plant, Buffalo Springfield's For What It's Worth and Bert Sommer's And When It's Over.

With another installment in their ongoing Psychedelic States series (with the next one spotlighting West Virginia) and a CD reissue of the hopelessly rare 1971 album by the Pearl River, New York-based quintet Daybreak scheduled for July 2017 release, Gear Fab's momentum is happily continuing unabated. In the meantime, this upgraded Majic Ship collection is, in the words of one of the band's signature tracks, an On The Edge essential. 

Roy Orbison
(Legacy Recordings)

Upon rare occasion, an artist comes along who is so prolific over an extended period of time, that their work actually sounds like the creation of several different artists, due to inevitable changes in vision and mission statement.

One such performer is the late jazz trumpeter, Miles Davis. By the time his career came to an end with his passing in September 1991, the focus of his current releases was far removed from his acclaimed earlier efforts for Prestige and Columbia.

The same could be said of beloved composer and vocalist David Bowie. When he passed away in January 2016, he left behind more than a half century's worth of work that found him reinventing himself on a regular basis.

To be certain, the best way to appreciate such an artist is to treat each phase of their work as being by an entirely different performer. Indeed, such an approach would also be fortuitous when taking into consideration the more than three decades' worth of material produced by the subject at hand: vocalist, composer and Vernon, Texas native Roy Kelton Orbison.

Upon launching his career in the early 1950s as a member of the Wink Westerners, Orbison went on to record a number of groundbreaking tracks for such labels as Je-Wel, Sun, RCA Victor, Monument, MGM, Asylum and Virgin. In the process, he amassed a wealth of original material that is regarded in the highest esteem by many.

All of which could well serve to make the project at hand an exercise in futility.

Indeed, to attempt to compress such a vast legacy into a single twenty-six track CD is bound to generate howls of indignation from both the faithful and the casual devotee. Many would contend that his work for Monument Records alone would fill a two-CD Best Of package to capacity. And in light of the recent release of a box set that comprehensively chronicled his tenure with MGM, there has been renewed interest in that phase of his work.

Some may also cite his stature as one of the premier artists of the legendary Memphis-based Sun label and direct their attention to that relatively smaller yet no less impacting chapter of his career. Still others would hail his 1988 comeback single, You Got It and his concurrent work as a member of the Traveling Wilburys, immediately prior to his tragic and unexpected passing at age fifty-two in December of that year.

Indeed, one could also rightly contend that a collection of career defining tracks which omits his larger than life mid-1965 farewell single for Monument, (Say) You're My Girl has no right to be referred to as a "Best Of" collection. The exclusion of such similarly essential fare as Goodnight, Working For The Man, Uptown and Breaking Up Is Breaking My Heart only serves to underscore the point, as does the fact that several far more comprehensive (and no less essential) multi-disc CD sets containing most of those key tracks have all surfaced within the past decade.

So what does a single disc billed as The Ultimate Collection include that would be worthy of such a distinction? There are of course the obvious Monument-era tracks such as Oh Pretty Woman, Crying, Only The Lonely, Dream Baby and Running Scared. His MGM work is represented by Crawling Back, Too Soon To Know and the wonderful Ride Away. And while the earlier Sun era material relies on the obvious and often covered Ooby Dooby to represent it, the inclusion of You Got It and two Traveling Wilburys tracks will likely serve to sustain the interest of those who discovered his art in the home stretch.

Assembled by Orbison's son, Alex Orbison, The Ultimate Collection is certain to be a point of contention by title alone with the purists, who have their own individual perspectives on the issue of "ultimate". That said, with its emphasis more on Orbison's rocking material and a reasonable cross section of his discography, this latest addition into the fold will certainly (to invoke the title of one of his classic singles for Sun) add admirably to what is already a very full Rockhouse.

Dee Dee Sharp (ABKCO)

One of the great injustices in rock and roll history was the decades long unavailability of the majority of the catalog of the Philadelphia, Pennsylvania-based Cameo/Parkway family of labels.

From late 1956 until its untimely demise in early 1968, Cameo, Parkway and its family of affiliate labels (including Wyncote, Winchester, Sentar, Vando, Fairmount, Lucky Eleven, Showplace, Windy C and others) set the bar high with a richly diverse and world class artist roster. Just a random sampling of the artists whose work graced those labels more than underscores the point, including Charlie Gracie, the Storey Sisters, Bobby Rydell, the Mike Pedicin Quintet, the Applejacks, Chubby Checker, Ray Vernon, John Zacherle, the Rays, the Dovells, the Turbans, the Orlons, the Tymes, the Kinks, Sounds Orchestral, the Rag Dolls, the Three And A Half, the New Colony Six, Evie Sands, Bob Seger and the Last Heard, the Olympics, the Rationals, Bunny Sigler, Terry Knight and the Pack, Frankie Beverly, the Ohio Express, Eddie Holman, the Yellow Payges, the Five Stairsteps, Chris Bartley, the Bossmen, Candy and the Kisses, Question Mark and the Mysterians, Lonnie Youngblood and Clint Eastwood.

Soon after Cameo/Parkway’s demise, its catalog’s continued availability fell under the jurisdiction of the ABKCO label. For several years, ABKCO kept select highlights of the label’s archives in print on vinyl, including a handful of Various Artists album collections and in demand singles, including Chubby Checker’s cover of Hank Ballard and the Midnighters’
The Twist, the Tymes’ So Much In Love and Bob Seger and the Last Heard’s East Side Story and Heavy Music.

However, other than occasional appearances on Various Artists CD compilations of questionable origin in the late 1990s, much of the Cameo/Parkway archives lay dormant until the first decade of the twenty-first century. At that time, ABKCO tested the waters with a highly acclaimed CD box set that showcased a diverse overview of the label’s legacy.

Soon after, an agreement was reached with the Collectors Choice label in the United States and Ace/Big Beat in the U.K. to once again make available some of the highlights of Cameo/Parkway’s album legacy in the CD configuration. Impeccably produced and highly acclaimed collections featuring the works of Bobby Rydell, the Rationals, Clint Eastwood, Chubby Checker, the Orlons and Terry Knight and the Pack followed suit. However, not long after their release, the Collectors Choice label ceased operations, once again derailing the overall mission statement’s momentum for a season.

Happily, ABKCO itself is now attempting to pick up some of the slack. To its considerable credit, it has opted to go the ambitious route with this latest reissue.

One of Cameo’s most beloved and impacting solo artists was the Philadelphia born vocalist and pianist, Dione “Dee Dee Sharp” LaRue. Not long after signing with Cameo, Sharp earned widespread critical acclaim for her duet single with Chubby Checker,
Slow Twistin’. A series of engaging solo singles for Cameo followed, including Ride!, Gravy, Wild, Do The Bird, Deep Dark Secret, Where Did I Go Wrong, Let’s Twine and the utterly stupendous late 1965 monster classic, I Really Love You. Sharp also worked alongside label mate Bobby Rydell on Cameo’s influential You Be A Disc Jockey instructional album.

From the onset, Sharp’s considerable vocal prowess made a considerable impression on label heads Kalman “Kal Mann” Cohen and Bernard “Bernie Lowe” Lowenthal, as well as Cameo’s resident musical director, Dave Appell. Although Mann, Lowe and Appell usually combined their formidable technical acumen to create highly refined and personalized material and arrangements tailored to each individual artist, they upon occasion would incorporate the creative vision of each artist into the project(s) at hand (most notably with Charlie Gracie, who was and is a virtuoso guitarist). In Sharp’s case, so impressed were Mann, Lowe and Appell with the results of her 1962 debut LP,
It’s Mashed Potato Time, that in mid-August of that year, she was sent to New York City (in tandem with the aptly named vocal trio, the Cameos) to bring to fruition her personal musical vision by recording this extraordinary and ground breaking second album. 

To be certain, Sharp was no stranger to Gospel music. The granddaughter of a Baptist minister, Sharp had frequently led worship services at her grandfather’s church. For a season, she also worked alongside the late Thomasina Winifred “Tammi Terrell” Montgomery in the All-City Philadelphia Choir. And while the resultant
Songs Of Faith was a considerable departure from that which had defined her work to date, the project proceeded with the label’s blessings.

To that effect,
Songs Of Faith drew from a wellspring of some of the best known Gospel standards of the day. They include Thomas A. Dorsey’s Peace In The Valley, Al Hibbler’s He, Frankie Laine’s I Believe, Les Paul and Mary Ford’s Vaya Con Dios, Stuart Hamblen’s It Is No Secret (What God Can Do) and the Mahalia Jackson/Laurie London staple, He’s Got The Whole World In His Hands.

Happily, the mission statement did not lose its primary focus through the inclusion of such peripherally Gospel favorites as Edna McGriff’s
Heavenly Father and Richard Rodgers and Oscar Hammerstein’s Climb Ev’ry Mountain (from the soundtrack of The Sound Of Music). The Cameo leadership team even contributed commendably and credibly to the proceedings with We’ll Walk Together (co-authored by Kal Mann and pianist Jack Pleis, who turned in one of Cameo’s best instrumental releases later that year with his All The Hits Of 1962 album) and Mann and Lowe’s celebratory I’ll Make You Mine.

Apparently aware of the timelessness and crucial impact of the Gospel message, Cameo astutely afforded
Songs Of Faith the full benefit of its recent studio technical upgrades. Much has been written elsewhere (including Blitz Magazine’s landmark 2016 interview with Bobby Rydell) about how Cameo overcame early technological challenges and created some of the most lavishly arranged and impeccably produced releases of all time under the most challenging of conditions. But by 1962, the label had invested heavily in technical upgrades, recording its best material (including this album) on four track, thirty-five millimeter stereo film, rather than conventional recording tape. The story of those developments was chronicled in detail on the back cover of the original album release and is included in this collection, along with the original sleeve notes by J.P. Byrne (who also did the honors for the aforementioned Jack Pleis album) and an all new essay by Gayle Wald.

Meanwhile, Sharp continued to record for Cameo throughout 1966. After the label’s demise, she sustained her momentum into the 1970s with releases for Atco, Gamble and Philadelphia International. And while to date she has not returned to Gospel music in the studio on such a grand level, Songs Of Faith nonetheless continues to serve as a fitting testimony to both her divinely inspired gifts and as tangible evidence of Stuart Hamblen’s maxim that
It Is No Secret (What God Can Do). 


Various Artists (Teensville)

Over the past decade, Ash Wells' Sydney, New South Wales-based Teensville and Rare Rockin' Records family of labels has firmly established itself as one of the premiere outlets that specializes in the reissue and/or continued availability of some of the rarest and essential material in all of music.

In recent years, Wells' extraordinary collections have taken one of two routes. The first features well compiled and lavishly annotated anthologies by individual artists (including Brian Hyland (an overview of his essential work for Philips and Dot), the Cascades, Steve Lawrence (the aptly titled Walking Proud collection), Lesley Gore (Mercury-era rarities), the Castells, Paul Petersen and Danny Williams, as well as a Songwriter Master Series that showcases the compositions of David Gates, Roger Atkins, Ellie Greenwich, Ritchie Adams, Joe South and others). The second is comprised of a wealth of Various Artists compilations that truly rank among the best such collections anywhere, with each following a common thread.

In that latter category, many of the individual collections are particularly noteworthy for including one or two absolute top drawer tracks among roughly thirty or so other first rate rarities. To wit, Teensville's recent Mind Excursion compilation spotlights the Montanas' MAM label-era Suzanne single amidst stellar cuts by the Californians, the Proctor Amusement Company and Something Young. Likewise, the label's Guys Go Pop 1965 package includes the Duprees' 1965 essential high drama Around The Corner single for Columbia and Vic Dana's rocking Blue Ribbons (For Her Curls) B-side alongside world class releases by Jimmy Boyd, Kenny Rankin, Jimmy Griffin and Bobby Hart.

In turn, Teensville's ambitious Guys On 45 release sports Robert Knight's early Dot label gem, Dance Only With Me alongside equally compelling fare by Dean Barlow, Kenny Gamble and Billy Ford. Volume Four of their acclaimed Girls On 45 series follows suit with the great Lynne Randell's Ciao Baby, Diane Renay's Billy Blue Eyes and both sides of Carole Bayer-Sager and Sherry Harway's 1965 MGM single (as Carol and Sherry), Join The World Outside / Watch From The Corner, augmented with magnificent sides by Christine Quaite, Dee Dee Ford, Jean DuShon, Dodie Stevens and Felice Taylor.

All well and good, and all essential. But with this latest collection, the Rare Rockin' Records/Teensville family of labels appears to have outdone itself.

Left In The Can is a modest description of what in reality is an astounding collection that includes thirty less than obvious tracks recorded by the absolute cream of the musical crop between 1960 and 1969. Yet despite the common assumption that some of these artists' vast archives of unreleased material was believed to have been exhausted, this remarkable anthology suggests that such is not the case. And given the level of talent involved, Left In The Can is indeed a most inspiring revelation.

Actually, many of the tracks included here have seen release previously, either through low fidelity online clips or in various CD and/or vinyl reissues (with some being of dubious origin). One such example is the Beach Boys' 1963 uptempo Brian Wilson composition, I Do, as well as Rick Nelson's 1966 country rock era lament, Peddler Man. But this is arguably the most pristine presentation of the overwhelming majority of the selections therein, taken primarily from stereo master tapes.

Irrespective of previous showcases, Left In The Can certainly underscores the notion that the leftovers by artists of this caliber are often on par with their more familiar work. To wit, the late Robert Thomas "Bobby Vee" Velline's magnificent 1963 Three On A Date is arguably one of the most astute commentaries on the multi-faceted negative ramifications of the proverbial love triangle. The Pennsylvania-based vocal virtuoso group known as the Skyliners follow suit with their passionate rocker, Footsteps (intended for release on Calico in 1960). The late, great Charles "Del Shannon" Westover brings the point full circle with his trademark assertiveness and multi-octave vocal range in the Keep Searchin'-inspired Stand Up, a self-penned Liberty label outtake from 1966.

Conversely, the venerable Crests stayed true to the template that worked well for them with Step By Step in their 1960 Coed Records cut, Learning 'Bout Love (with the stereo mix highlighting magnificently their sublime trademark vocal blend). The Ronettes took that idealism to the extreme with the mid-tempo, echo laden, high drama Paradise, which was co-authored by the legendary Harry Nilsson and became a part of their Phillies label repertoire in 1965. And with their career masterpiece, Around The Corner in place that same year, the Duprees made a solid case for Columbia being a more sympathetic outlet for them than Coed had been with the Jackie DeShannon-penned Children And Flowers, proving their competence at the lighter side of first generation garage rock, and inspiring a cover by the Critters in the process.

Left In The Can also showcases several artists seemingly more in their element than their most familiar work would suggest. To wit, much could be said about the late Mary Wells' finest moment being the attitude-heavy Drop In The Bucket, which was recorded in the early 1960s, but not released until it surfaced on a Various Artists compilation in the 1980s. The utterly stupendous Forgive And Forget follows suit here, a Ron White (of the Miracles) composition that brings the high drama of her self-penned Bye Bye Baby full circle. Conversely, Wells' one time Tamla/Motown label mate Marv Johnson herein succeeds admirably with the opposite approach; forsaking his usual upbeat delivery for the introspective and prototypical Northern Soul gem, That's All I Want.

Likewise, the late composer, vocalist and Kansas City native, Eugene Booker "Gene" McDaniels was blessed with an extraordinarily commanding and wide vocal range, not unlike the legendary Roy Hamilton. But while Hamilton consistently soared without peer in a variety of genres, McDaniels for a season focused his commanding vocal delivery on such lyrically vivid material as Tower Of Strength and the utterly stupendous He's Got My Sympathy. 1963's Strange Neighborhood (featured here) suggests a latent desire to think outside of the box; utilizing as it does a metaphorical approach that worked well at the time for Dionne Warwick in Don't Make Me Over and the Impressions in It's All Right, and ultimately expressed with relative candor later that year by Clyde McPhatter in Deep In The Heart Of Harlem.

And while the beloved vocal virtuoso Lesley Sue "Lesley Gore" Goldstein was not exactly out of her element with the earliest phase of her extraordinary body of work for Mercury, the 1965 Van McCoy-penned Happiness Is Just Around The Corner suggests the increasing presence of the high drama approach that was to be found in her subsequent releases, such as My Town, My Guy And Me, I Won't Love You Anymore (Sorry) and California Nights. The same can be said for one time Lesley Gore collaborator Lou Christie's magnificent Jack Nitzsche-produced Watch Your Heart After Dark, the perfect transition track between Crying In The Streets and Wild Life's Season from that crucial MGM phase into the sublimely dramatic Columbia-era Gina and Escape.

In turn, the beloved and prolific vocalist and composer Neil Sedaka was demonstrating an increased propensity for the dramatic in his single releases from late 1962 throughout the remainder of the decade. To wit, his true to form Let's Go Steady Again gave way to such relatively contemplative fare as Bad Girl, The Dreamer, The World Through A Tear and I Hope He Breaks Your Heart. A completely different track from the aforementioned 1963 Bad Girl single, 1962's Bad, Bad Girl (a structural prototype of Let's Go Steady Again) finds Sedaka and long time collaborator Howard Greenfield setting the template for the lyrical reproof and correction to come.

Also prolific in the studio at the time were Sedaka's one time collaborators and RCA Victor label mates, the Tokens. Supremely gifted as vocalists, composers, instrumentalists, arrangers and producers, the Tokens (brothers Phil and Mitch Margo, joined by Jay Siegel, the late Hank Medress and for a season the enigmatic Stephen "Brute Force" Friedland) rose from the ashes of Darrell and the Oxfords (whose singles for Roulette featured Siegel and Medress) and went on to work with such fellow greats as the Chiffons, whose 1967 post-Tokens, Gerry Goffin and Carole King-penned He's A Bad One is featured in this collection. Meanwhile, Sedaka and Greenfield continued their affiliation with the Tokens here via their 1963 ballad, Somewhere There's A Girl, which showcases the Tokens' magnificent vocal acumen quite well.   

In 1964, the Tokens endeavored to keep the momentum going for fellow vocal virtuosos, Randy and the Rainbows. The group continued to record for Laurie's affiliate Rust label, as the Tokens brought the Neal Levenson-penned, Don't Worry (I'm Gonna Make It) to their attention.

"From what I remember, we had some extra time while we were in the studio", Randy and the Rainbows co-founder and lead vocalist Dominick "Randy" Safuto recently told Blitz Magazine.

"The Tokens had said they had this song they liked, and said they wanted us to do it. We heard it, liked it and put it together that night, and never heard it until now!

"I think they were going to put another group name on it. But that never came about".

While that ambitious Randy and the Rainbows track was certainly reflective of the overall atmosphere of optimism and unparalleled creativity in the world of music in 1964, the year itself was not without tragedy. Among the influential legends that were lost that year were the beloved R&B visionary Sam Cooke, jazz giants Eric Dolphy and Jack Teegarden, songwriter extraordinaire Cole Porter, country music visionary Jim Reeves, pioneering blues great Cyril Davies, veteran rocker and one time Crickets lead vocalist David Box and the multi-talented vocalist, composer, humorist and actor, Edward Israel "Eddie Cantor" Itzkowitz. 

Sadly, Left In The Can also features one of the final sessions by pioneering rocker John Joseph "Johnny" Burnette. Co-founder of the immensely influential Johnny Burnette Trio and co-author (with brother Dorsey) of Rick Nelson's 1958 signature single, Believe What You Say, Johnny Burnette had already established an impressive track record as a solo artist with Liberty when he entered the studio in March 1964 with composer and producer David Gates to cut the lavishly orchestrated and superbly executed I Think She Knows, included here. Tragically, the song never saw release in Burnette's lifetime, as he perished in a Clear Lake, California boating accident on 14 August 1964.

Meanwhile at Liberty, the aforementioned Bobby Vee continued to record nearly twice as much material as actually saw release at the time. By 1966, he had embraced first generation garage rock, resulting in his career-defining interpretation of the Playboys Of Edinburg's sublime Look At Me Girl that year. Around that time, he cut the ambitious He Did A Lot, which ends this collection and would certainly have been an ideal fit for such like minded bands as the Distant Cousins, the Count Five or Terry Knight and the Pack.

Left In The Can also spotlights world class offerings by Ral Donner, the Miracles, the Shirelles, Jay and the Americans' Jay Black, the Drifters, Bobby Rydell, Adam Faith, the Everly Brothers, Roy Orbison (the Gene Pitney-penned Darkness), Connie Francis (Old Records, an early profession of the renewed solidarity between rock and roll and country) and Dion DiMucci, making this collection easily on par with Teensville's penultimate collection, Teenage Memories, Volume One. Or as Dion DiMucci somewhat prophetically observed here, as close to a walk down Swingin' Street as can be expected.

Various Artists (WJBK)

"Lack of critical thinking is hurting my brain".

So said one highly respected entertainment industry veteran recently in a spirited social media discussion about the current socio-political climate. Indeed, while invective has become increasingly commonplace in such settings, it can also be inferred that a seeming lack of critical discernment has likewise clouded the vision of many within the musicologist and record collector demographic.

To wit, there remain many who were instrumental in the critical backlash against the protracted aesthetic slump in which mainstream music at large found itself in the late 1960s and early 1970s. To their considerable credit, the faithful stood their ground and took above and beyond the call of duty action by either forming bands (resulting in the so-called punk/new wave revolution of the mid to late 1970s) or by becoming journalists, who picked up the slack in the mainstream and once again made certain that credit was given where credit was due. Indeed, Blitz Magazine was a part of that movement, and remains the lone still active survivor within the genre.

Most curiously, many of those same individuals who took such a groundbreaking stance more than four decades ago are now a regular presence in the aforementioned social media circles. Yet they now espouse a much more conciliatory and much less imaginative perspective on the very subject which had previously so moved them. For example, many within their ranks will post online various musical selections which are to their liking. Often these are tracks that are celebrated and well respected within their circles, and the artists behind them are routinely afforded the admiration, respect and attention that their work deserves.

But instead of singing the praises of that particular piece's merits, the posting is often accompanied by complaints from the one who posted it along the lines of, "I can't believe this never went any higher than number 92 on the national charts", "Why isn't this artist in the Hall?", or "I'm amazed. I didn't think this record would be any good. It was never a hit".

And therein lies the paradox. If the aesthetic merit of a given musical work is subject to its performance on a so called national chart, or whether or not some hall with no public mandate and no more authority to act in that respect aside from that which they have bestowed upon themselves has deemed them worthy of an autographed picture on their wall, then those making such observations have contradicted themselves. For it is often those same individuals who will champion the works of such beloved musical visionaries as the Pretty Things, Ronnie Self, the Chocolate Watchband, Charlie Feathers, the International Submarine Band and Johnny Powers, each of whom enjoyed only modest (at best) mainstream success.

So does the lack of commercial acclaim for those artists infer that the quality of their work is substandard? If that were the case, the ongoing demand that has kept their catalogs in print for more than a half century would not exist. But what is most disconcerting is that those who should know better remain so jaded by their early indoctrination into a system that drilled into them a "charts and radio" method of shaping their musical perspective (and again, this is supposedly a more discerning audience, not the rank and file peripheral "fan" for whom music was little more than background fodder for their personal revisionist history) continue to make such laments, as if they need the permission of the mainstream to proceed with their opinion of a given artist or recording. In other words, an inability to think for themselves. Or, as the astute entertainment industry veteran noted above, "a lack of critical thinking".

All of which makes the project at hand as much of a seeming incongruity as the limited perspective of those who once espoused the height of critical discernment.

From the onset, Blitz Magazine has acknowledged the impact of the legendary Dearborn, Michigan radio station, WKNR Keener 13 and its vaunted air staff (known as the Keener Key Men Of Music) as the single most impacting and enduring influence on our own work. Our ongoing series of salutes to the station's vaunted alumni (which to date has included lengthy dialogues with Jim Sanders and Frank "Swingin' " Sweeney) will resume soon, featuring long time station mastermind and resident visionary, Bob Green.

So, as a radio station with a 32 singles and four album weekly playlist, how could the likes of WKNR be cited as a catalyst for critical thinking? For the simple reason that each member of its air staff brought to the broadcast booth a thinking outside the box mission statement that Green subsequently (and somewhat infamously) referred to as "intelligent flexibility".

In other words, while a weekly WKNR Music Guide provided a template, it soon after their late October 1963 inception became a template without walls. On the spot creativity could prompt everything from the airing of such off the charts moments as Kenny Young and the English Muffins' Mrs. Green and Norma Tracey's The Skateboard Song to customized renditions of crucial classics (with Edwin Starr re-cutting his landmark 1966 Ric-Tic label Stop Her On Sight single as Scott's On Swingers, as well as first generation garage rock greats the Shy Guys reinventing their signature Palmer/Panik label single, We Gotta Go as The Burger Song as tributes to Keener Key Man Scott Regen, not to mention Keener's J. Michael Wilson himself overdubbing the New Vaudeville Band/Dana Rollin smash, Winchester Cathedral and the Underdogs' Love's Gone Bad with unique vocals by his on air "assistant", Rodney the Wonder Rodent).

Or as Sweeney and Green have both noted, the WKNR experience was a consummate one, not merely filler in between records. That is, the news segments (from their award-winning Contact News team), commercials and inventive (and often adlibbed) banter of the Keener Key Men Of Music was as much a part of the entertainment as the music itself. And instead of the time, temp and call letters soundbite common to much of their counterparts elsewhere (exacerbated exponentially by the rise of the Drake Format prior to decade's end), the Keener Key Men Of Music by example (if not design) articulated their case sublimely, leaving the listener to form their own perspective and draw their own conclusions.

WKNR did this so well, that theirs was the fastest ascent to the top spot in their respective market (Windsor/Detroit) in the history of the medium. By early 1964 (a mere three months after their change of call letters from WKMH, and in the wake of such potentially momentum derailing events as the tragic assassination of President John F. Kennedy and the on air meltdown of morning drive Keener Key Man Mort Crowley as a commentary of sorts against perceived injustices against the station by a local utility company), WKNR was a solid number one, both in its own market and within the industry at large. Throughout those most crucial years in the development of rock and roll (1964-1968), WKNR was one of two stations that routinely broke records nationally, with the rest of the nation's broadcasters following suit weeks (or in some cases, months) later.

While such developments bode well for the WKNR mission statement, it nonetheless came at the expense of others who were long established in the market. Among them was the suburban Southfield-based WXYZ 1270 AM, which at its pinnacle employed such giants of the industry as Dave Prince, Joey Reynolds, Joel Sebastian and Lee Alan (who went on to author an acclaimed book on the subject, Turn Your Radio On). WXYZ soldiered on bravely throughout 1966, finally switching formats to Easy Listening in January 1967.

In turn, the success of WKNR meant the imminent demise of the station that for all practical purposes was its forerunner in terms of that so-called "intelligent flexibility". That station, WJBK made its debut on 07 October 1925 on 1290 AM in nearby Ypsilanti, Michigan. WJBK relocated to Detroit in 1940, at which time it switched its broadcast frequency to 1490.

The station once again took a slight move to the right on the AM dial in 1954, when it ended up at 1500 AM. Two years later, WJBK increased its power to 50,000 watts and concurrently embraced a wide variety of music, with rock and roll in the forefront.

With such formidable and relatively free thinking on air talent as Kemal Amin "Casey" Kasem, Marc Avery, Clark Reid, Robert E. Lee, Bob Edgington and future first generation garage rock giant Richard Terrance "Terry Knight" Knapp (as Jack The Bellboy), WJBK espoused its own version of consummate entertainment, only to be inevitably overshadowed by WKNR's undeniable mastery of the concept. WJBK conceded the race in 1964, persevering throughout the 1960s with a series of variations on the Easy Listening format before changing call letters to WDEE on 26 December 1969 and quickly taking over the reins of the country music demographic from the Royal Oak-based WEXL 1340 AM. Now known as WLQV, 1500 AM features a Christian talk format that includes regular broadcasts by such beloved and influential evangelists as John MacArthur and the late Adrian Rogers, as well as the magnificent John Vernon McGee's renowned five-year Thru The Bible series.

During its formidable run, WJBK also published a weekly Radio 15 Record Review survey, which embraced a much larger and diverse template of seventy-five singles. It is from those most ambitious weekly chronicles that the magnificent CD reissue series at hand takes its cue.

Compiled by sympathetic industry veterans with considerable research and painstaking attention to detail in terms of sonic and visual quality, the WJBK Hits series offers an average of twenty-nine to thirty-two tracks per disc, each taken from the weekly Radio 15 Record Review charts between 1956 and 1964. Every volume features a reproduction of a classic WJBK survey on the front cover, while the back cover chronicles title and artist, year of release, peak chart position on WJBK and whether each track is presented in stereo or monaural (with a most welcome generous helping of stereo whenever possible).

And therein is the key to the thinking outside the box mission statement championed by WJBK, WXYZ and WKNR, and reinforced with this remarkable reissue series. For example, consider the year 1963. While current revisionist history within sympathetic circles continues to summarize the year through a handful of familiar singles (including among others the Kingsmen's Louie, Louie, Steve Lawrence's Go Away Little Girl, Jan and Dean's Surf City, Lesley Gore's It's My Party, the Trashmen's Surfin' Bird, Marvin Gaye's Can I Get A Witness and Dion DiMucci's Donna, The Prima Donna), WJBK (and before year's end, WKNR) took a much broader perspective on the musical landscape, both then and as commemorated within this CD series.

For while those aforementioned singles were a key part of the WJBK canon, so were a wealth of releases that were as integral to their focus, yet which remain largely overlooked by the supposedly sympathetic demographic that curiously continues to defer to mainstream outlets to dictate their taste for them. WJBK Hits sets the record straight accordingly, including among the eight volumes such landmark 1963 releases as the late, great James Louis "Jimmy Soul" McCleese's tongue in cheek romp, Go 'Way Christina, the Temptations' pre-David Ruffin Farewell My Love, the Chordettes' vocal harmony rich True Love Goes On And On, Nina Simone's extraordinarily thinking outside of the box live rendition of Little Liza Jane (which was inspired in part by composer Stephen Foster's 1850 standard, Camptown Races and which was honed to perfection via its impassioned live duet performances by banjo virtuosos Louis "Grandpa" Jones and David "Stringbean" Akeman), Nancy Sinatra's commendable take on Peter, Paul And Mary's The Cruel War, beloved country rock pioneer Big Al Downing's Mister Hurt Walked In, veteran rocker Jimmy Clanton's ambitious Red Don't Go With Blue, Baby Jane and the Rockabyes' Bert Berns-produced exercise in vocal euphoria Hickory Dickory Dock, Preston Carnes' high drama ballad Someone, Herb Alpert's masterful vocal ballad (as Dore Alpert) Dina, the Pennsylvania-based Classmen's Limelight label upbeat rendition of Bobby Helms' My Special Angel, actress and vocalist Noreen Corcoran's essential Vee Jay label Love Kitten single, the great Vic Dana's unique take on Vernon Dalhart's The Prisoner's Song, visionary blues rocker T-Bone Walker's Cold, Cold Feeling, the Darlings' Mercury label mid-tempo tale of woe Two Time Loser, the Jaynettes' magnificent Keep An Eye On Her, the legendary Waylon Jennings' utterly stupendous A&M label ballad Love Denied, Boot Hog Pefferly's cover of Clyde McPhatter's I'm Not Going To Work Today, Danny Wayne's stupendously hard rocking Card label single You're Wrong, the O'Jays' magnificent Stand Tall, the Appalachians' variations on a theme by the Coasters (Over Yonder), and the late, great vocal virtuoso Dean Martin's sublime take on the Ray Peterson interpretation of Corrina, Corrina.

As if that poignant cross section of groundbreaking music from 1963 alone was not enough, WJBK Hits at large combs the station's playlists in depth to emphasize just how richly diverse was the musical landscape throughout their run at the top throughout the late 1950s and early 1960s. Among the many, many highlights are Ruth Brown's repertoire-expanding What Happened To You, the Four Aces' inventive rearrangement of Ace Brigode's 1925 standard Yes Sir That's My Baby, James Hugh "Sonny James" Loden's engaging cover of Hank Williams' Lovesick Blues, Rusty Draper's arguably definitive rendition of the Hollywood Flames' larger than life rocker Buzz Buzz Buzz, the Rev-Lons' wonderfully screwy After Last Night, the Tarriers' Kingston Trio-inspiring Pretty Boy, Hank Snow's uncharacteristic My Arms Are A House, the Delroys' brilliant Bermuda Shorts, the Adorables' euphoric Deep Freeze, Boyd Bennett's risk taking cover of Dickey Doo And The Don'ts' Swan label monster classic Click Clack (risk taking in that covering such a landmark record basically amounts to tackling absolute, utter perfection, which Bennett nonetheless did most admirably here), the Four Tunes' somewhat bizarre take on the Sons Of The Pioneers' Cool Water, the late vocal powerhouse David Whitfield's majestic rendition of I'll Find You from the motion picture Sea Wife (which the legendary Ron Goodwin also recorded as an instrumental for Capitol), the Rockaways' Red Bird label prototypical garage rock and surf rock hybrid Top Down Time, the Couplings' Josie label rendition of the rocking Young Doves Calling (which shared the spotlight with a determined take by the Mudlarks),the late Debbie Reynolds' dramatic I Saw A Country Boy, and the Surfaris' straight ahead hot rod rocker, Boss Barracuda. Others among the too numerous to mention essentials include worthwhile and less than obvious contributions by the Clovers, Del Vikings, Miles Stone, the Secrets, Hank Ballard and the Midnighters, Tony Williams, Bill Haley and the Comets, the Tymes, Bill Doggett, the Fiestas, JoAnn Campbell, Barbara and Brenda, the Dave Clark Five, the Darnells, Jackie DeShannon, Clairette Clementino, Diane Ray, the Cascades, Otis Williams and the Charms, Dee Edwards, Johnny Faire, the Society Girls, Billy Eckstine, Dotty and Kathy, Steve Lawrence, the Percells, La Brenda Ben, the Victorians, Count Basie with Joe Williams, O.C. and the Holidays, the Playmates, Henrietta, Jerri Adams, Kay Starr, the Darnells and the Prodigals.

"Some of the best music ever made", said CKLW veteran and renowned musicologist and music historian, Ric Allen. Allen was not a contributor to the WJBK Hits series, but nonetheless regularly chronicles the subject masterfully via such online sites as Michigan Music, as well as his own Facebook page.

"And some of the rarest, rather than the same 600 to 800 songs we currently get crammed down our throats".

While by its very nature the series is both a very limited pressing and available only in select outlets, WJBK Hits is nonetheless an inspiring and essential enough project to hopefully prompt some of the faithful to reassess their own self-imposed limitations and engage in a bit of that critical thinking necessary to both procure it and raise their own bar back to the high standards they have long professed to champion. Or, in the words of one of this series' most endearing tracks by first generation garage rockers, the Mojos, Everything's Alright.




I WROTE THE BOOK: The Greg Kihn Band has turned in one of their most ambitious and engaging releases to date with their all new Riot Media release, Rekihndled. Editor/Publisher Michael McDowell has the story below (Click on above image to enlarge).


Dana Countryman (Teensville)

Sometimes there is much to be said in favor of the team approach in recording.

To wit, for an artist such as Doris Day to enter a studio with the intention of covering all of the bases in the recording process would be an exercise in futility. Doris Day was extraordinarily blessed as a vocalist with few peers. And when her considerable vocal acumen was combined with the efforts of the best composers, musicians, arrangers and producers, the results were invariably nothing short of spectacular.

When it was announced that veteran composer and vocalist Dana Countryman would be signing on with Ash Wells' Sydney, New South Wales-based Teensville label, there were concerns about the feasibility of such a venture. Countryman has an established track record as a producer of first rate original material that curiously reflects the inspiration of what he envisions as the highlights of an era that was nonetheless largely responsible for one of the most insufferable aesthetic slumps in music history, the early 1970s.

Conversely, Teensville head Ash Wells' has long been held in high esteem as perhaps the most astute among visionaries whose mission statement focuses primarily on the reissue of rare, obscure and often heretofore unreleased material from rock and roll's glorious formative period. Teensville and its affiliate Rare Rockin' Records label specialize in the continued availability of treasured sides by such beloved artists as Dore Alpert, Kenny Karen, Dwayne Hickman, Ritchie Adams, Jimmy Boyd, Ron Dante, the Duprees, Susan Wayne and others of similar intent. To date, Wells' labels have produced several dozen collections featuring such material, as well as acclaimed single artist anthologies by Paul Petersen, Lesley Gore and others.

To be certain, both Countryman and Wells have repeatedly exercised creative autonomy in their respective endeavors. As such, given that one another's territory had heretofore been out of their individual comfort zones, it stood to reason that the team approach would be the most feasible solution to any such collaborative proposal.

The resultant Girlville! collection bears out this hypothesis in abundance. On his earlier outings for his own Everett, Washington-based Sterling Swan label, Countryman repeatedly made his case for the inspiration of the cream of the singer/songwriter contingent that continued to make an impact despite the overall protracted aesthetic slump in progress at the time. On his most recent such venture, Pop3! Welcome To My Time Warp, Countryman stated his case by repeatedly focusing on the upbeat and enduring elements, producing such memorable tracks as the low key Run Back Into My Arms, the Spiral Starecase-inspired Can't Get You Out Of My Mind and the Gospel/bubblegum hybrid Nice Shot (Straight To The Heart) in the process.

But with Wells' occasional forays into the release of new material, he has invariably held his artists to a given standard in terms of genre and inspiration. Thankfully, Countryman was able to rise to the occasion accordingly with this nineteen track collection. Enlisting the services of such guest vocalists as Andrea Perry, Kathy Hettel, Tricia Countryman, Molly Felder, Kelly Harland and the great Lisa Mychols, Countryman and his colleagues delivered a collection that is both uncompromising and inspiring, if not unwaveringly true to form from a purist perspective.

To that effect, Kathy Hettel evokes the inspiration of the mission statements of such vaunted labels as Chancellor and Cameo/Parkway in the endearing Twist Party At Granny's House. In turn, Tricia Countryman delivers most movingly in I'll Be Good For You; a successor of sorts to the sublime proclamations made by the Chordettes in their True Love Goes On And On single for Archie Bleyer's Cadence label.

"I wrote I'll Be Good For You because I wanted to write a ballad in an almost church like style", said Countryman.

"I felt that the album needed something sweet, simple and quiet to close with".

But "quiet" certainly does not describe the album's inspired closer, at least not in terms of the backstory.

Co-authored by Dana Countryman and executed masterfully by Tricia Countryman, Girlville! wraps with Johnny Still Loves Me; an answer song of sorts to the Colpix label Johnny Angel and Johnny Loves Me singles by the legendary Shelley Fabares. Most disconcertingly, Fabares declined Countryman's offer to provide the lead vocals for this most endearing track.

"Shelley, I'm sorry you wouldn't sing this song for this album", said Countryman in the sleeve notes.

"At least we tried!"

But if Shelley Fabares remains reluctant to build upon her impeccable recorded legacy (which also includes memorable sides for the Dunhill, Vee Jay and RCA Victor labels), Countryman was nonetheless blessed with the participation of one of the genre's most capable current exponents, the Long Beach, California-based Lisa Mychols. With numerous duly-inspired releases to her credit, Mychols approaches her art with a mastery rarely seen among latter generation aspirants. The fruits of their collective labors were borne out superbly in I've Run All Out Of Tears (To Cry Over You), as well as the genre-meshing Proud To Be His Girlfriend.

To be certain, in I've Run All Out Of Tears (To Cry Over You), Mychols demonstrates a mastery of the genre that isn't always evident in like minded endeavors by other artists. Therein, she takes ownership of the arrangement and executes with authority, rather than gingerly studying it from an outsider's perspective. Given that Mychols (who is an extraordinarily gifted and prolific songwriter) did not compose this track, and in light of the fact that the genre is relatively new territory for Countryman, it stood to reason that there may have been challenges for her in that respect. Nonetheless, that was not the case.

"I never even suspected this genre as new territory for Dana", said Mychols.

"Sounds like he's been writing like this for years! Yay Dana!

"One thing I've noticed in the past year of recording songs written by men is that the lows go pretty low and the highs go pretty high! But I love a good musical challenge! So I guess it's for the love of the song and the music that makes for success".

Mychols in turn made a remarkably smooth transition into the interpreter role.

"As for the story line, I felt the story line of the song and the melody worked really beautifully together", she said.

"This helped me to actually re-tell the story in my own voice and inflection. And what an experience it was! Yep, I had my own past of raw emotions surface a bit now and then in this one!"

Conversely, Proud To Be His Girlfriend seemed to present a dichotomy of sorts, with Countryman's familiar frame of references being taken to task by the decidedly different parameters indigenous to the project at hand. In such endeavors, one side or the other frequently suffers. Indeed, there seemed to be an undercurrent of such tensions in the basic template of the track itself. Yet Mychols once again rose to the occasion and brought two disparate camps together with minimal friction and maximum deference to the insights of the composer. 

"Such an innocent puppy dog track", she said.

"The tensions? That's all Dana!"

Happily, whatever dynamic tensions are extant throughout the project ultimately contribute to its charisma. And with Girlville!, both Countryman and Wells have bridged any such perceived gap decisively. And in the words of one of this collection's standout tracks, that's a Pretty Good Sign

The Doughboys (RAM)

In this largely do it yourself age in the world of music, the practice of multi-tasking has almost become a necessity among veteran musicians. Many are expected not only to record and tour prolifically, but to oversee the recording and release process through from start to finish (a responsibility previously assumed by the artist's record label). 

However, the still very much active and prolific first generation garage rock pioneers, the Doughboys have taken multitasking to a whole new level. To that effect, lead guitarist Gar Francis (who replaced the late Willy Kirchofer upon the latter's untimely passing in 2005) also oversees releases on the Bongo Boy label with business partner Monique Grimme. Bongo Boy's roster includes releases by the renowned composer and vocalist Deborah Henriksson, as well as a wealth of ambitious genre specific Various Artists collections (highlighted by the ongoing Gnarly Wave surf music series). 

In turn, Doughboys front man Myke Scavone (an alumnus of the Epic label band, Ram Jam) is also a current member of founder and drummer James Stanley "Jim" McCarty's ever changing line up of the Yardbirds. The band continues to record and tour prolifically, with McCarty as the lone active original member.

And then there is drummer Richard X. Heyman, who pursued a successful career as a solo artist during the Doughboys' protracted sabbatical after the release of their two singles for Larry Uttal's Bell Records in the late 1960s and their permanent reformation in 2000. Heyman's most recent solo release, Incognito spotlights the multi-instrumentalist maintaining the constant with strong and accessible original material that stays fairly true to the Doughboys' original mission statement.

As for the Doughboys themselves, Front Street Rebels finds them immersing themselves increasingly in the harder edged rock that has become their trademark since the release of their Is It Now? album in the previous decade. While the mid-tempo The Queen Of Bizarre may be the track most endearing to the long term aficionados who still base their expectations on that brief affiliation with Bell nearly a half century ago, the remainder of the original material herein downplays any such aspirations in favor of a more straight ahead rock approach that thankfully both stops short of generic arena rock and takes into account the more heavy handed aspects of second generation garage rock without the lack of focus that was often its downfall.

To wit, Ready Or Not employs a straight ahead 4/4 march tempo, pleasantly diverting at midpoint with an acoustic interlude that adds a touch of subtle humanity to the otherwise hardcore approach. Likewise, The Atomic Wavelength Transference Device draws more from the second generation precepts that have long seemed to be their real strengths; taking elements from Pere Ubu, the Human Switchboard and the Twinkeyz and transposing them into a more cohesive setting. The likes of the stagger tempo Manic Reaction and the Last-inspired guitar attack of History also do much to underscore the band's diverse approach without vacillating too far away from the basic template.

Bearing in mind their longevity, it is indeed remarkable that the Doughboys individually and collectively have sustained their momentum on such an impacting level. To be certain, just as the album's opener calls upon the observer to Sink Or Swim, with Front Street Rebels, the Doughboys have thankfully pursued and excelled at the latter option.

The Greg Kihn Band (Riot Media)

It is always most gratifying when veteran artists continue to outdo themselves with each successive release.

Such is the case with renowned vocalist, composer and Baltimore, Maryland native Gregory Stanley "Greg" Kihn. An integral part of the artist roster of the vaunted Beserkley label in the 1970s (which also launched the careers of the Rubinoos, Jonathan Richman and the Modern Lovers and Earthquake), Kihn has continued to record and tour prolifically in the ensuing years. To date, he has more than fifteen albums to his credit, and has also authored several novels. 

But with Rekihndled, Kihn has more than lived up to the plays on words that have often defined his album titles. Buoyed by a sympathetic and savvy line up that currently includes Robert Berry on keyboards and Kihn's son, Ry Kihn on lead guitar, Rekihndled is as much of a solid, articulate and cohesive chronicle of life and art at his particular stage of life as was the Monkees' landmark 1996 Justus album and the Beach Boys' like minded late 1970s - early 1980s releases. 

To wit, the album's hard rocking opener, The Life I Got matter of factly incorporates a universal metaphor into a mid-term report card of sorts. The territory and approach is familiar, yet executed with a first time freshness. Likewise, the tongue in cheek Big Pink Flamingos invokes Kihn's long standing penchant for word play, underscoring the point with a template inspired by Golden Earring's signature Radar Love single and reaffirming solidarity with the everyman by deftly name checking everything from Judy Jetson to (indirectly) Carl Perkins and mobile home parks. 

In turn, the Nick Lowe-flavored (a la Heart Of The City) Cassandra does much for the "If it ain't broke, don't fix it" perspective. Furthermore, Good To Be Me defers to the mainstream overview extant during his initial heyday to simply affirm his artistic resolve.

Lest the faithful fear compromise, the no nonsense The Brain Police and Trained Monkey decisively reassure that Kihn's core mission statement continues unabated. And with Rekihndled, Greg Kihn and his band most encouragingly not only affirm and celebrate a mission statement that is still in peak form, but they also take decisive steps to assure all concerned that, from his perspective, It's Never Too Late.