THE SHAPE OF THINGS TO COME (REISSUES AND ANTHOLOGIES) By Michael McDowell

 CD AND LP REISSUES / ANTHOLOGIES (PLUS BOOKS)

(REVIEWS ARE POSTED IN ALPHABETICAL ORDER BY ARTIST)

YES, THAT'S WHAT I'M GONNA DO: Has the well run dry given the extensive archiving and chronicling afforded first generation garage rock over the past half century? The Teen Beat Mayhem: Slipped Thru The Cracks anthology on Roger Maglio's Gear Fab label would suggest otherwise. Editor/Publisher Michael McDowell discusses the ongoing merits of blowing up K-Mart amplifiers below (Click on above imaege to enlarge). 

EXPERIMENT IN METAPHYSICS,

PART TWO -

Perry Leopold 

(Gear Fab)

Jordan Christopher knew when to say no.

In the 1966 motion picture, The Fat Spy, the late composer, vocalist, actor, Wild Ones co-founder and Youngstown, Ohio native cautioned of the dangers of materialism in the opening number, People Sure Act Funny. Accompanied by some ambitous, Leadbelly-inspired twelve-string guitar from Chuck Alden, that track has long been hailed as a forerunner of the solo acoustic movement that increasingly availed itself in the folk genre at the time. 

Unlike Christopher, the Philadelphia-based composer and vocalist Perry Leopold threw lyrical caution to the wind in his like minded endeavors. In spite of the red flags borne of experience, as articulated by Abraham Sofaer as the Swami in the Monkees' 1968 motion picture, Head (and underscored decisively by his concluding observation, "Or should I speak, since I know nothing?"; a caveat that doubtlessly escaped Leopold's attention), Leopold plunged head first into the abyss.

Buoyed in part by the cavalier perspective indigenous to the so-called underground rumblings of the day, Leopold released his first such collection in 1970 as Experiment In Metaphysics. The fact that such an approach left unchecked could avail itself in close to the edge manner was evidenced by his Christian Lucifer project nearly three years hence. 

In keeping with his acclaimed academic / optimistic mission statement as curator, Gear Fab CEO Roger Maglio herein presents this final Leopold outing as an integral component of the overall legacy of the genre. Leopold (who passed away in 2024) had preserved the session tapes (recorded in a shoe repair shop in 1970), with with the intent of their being an adjunct to his earlier release.

The material speaks for itself. Using ambiguous lyrical imagery as a distraction of sorts, the titles of several of the numbers nonetheless pretty much articulate intent: White Clouds Of Embers, The Prophesy, View From Within, Lookin' For Another World, etc. 

Hank Williams once sang of traveling down the Lost Highway. In turn, the Hollies lamented their journey down a Long Dark Road. But unlike those tales of wisdom, Leopold's journey was one that left unchecked could lead to a dead end. Proceed with caution.

LIVE FROM THE

LOS ANGELES SPORTS ARENA -

Pink Floyd (Columbia)

"The memories of a man in his old age are the deeds of the man in his prime".

So noted Pink Floyd in Free Four, a most encouraging return to form cut from their 1972 Obscured By Clouds album for the Harvest label. A return to form in that the album followed several relatively challenging years in terms of songwriting in the wake of the departure of guitarist and primary composer Syd Barrett from their ranks. That move towards reinvigoration ultimately served them well, as Pink Floyd soon found themselves in the upper echelons of mainstream acclaim, where they remained for the next several decades. 

As of this writing, four of the band's six members remain active in various  capacities. Original guitarist Rado "Bob" Klose has long enjoyed a successful career in photography. Primary lead guitarist Dave Gilmour (who succeeded Barrett in that capacity in 1968) and bassist Roger Waters have both flourished as solo artists, while drummer Nick Mason has toured in recent years with the like minded A Saucerful Of Secrets (sadly, Barrett and keyboard man Ric Wright are both deceased). Nonetheless, there has been no new Pink Floyd studio project since The Endless River for Columbia Records in 2014.

Hence the memories of the deeds of the men in their prime. To that effect, a pair of  archival live albums have surfaced in recent years: 2021's Live In Venice and 2023's The Dark Side Of The Moon Live At Wembley.

Live From The Los Angeles Sports Arena is the latest in that series. Released on both vinyl and CD in tandem with the Record Store Day 2026 celebration, the album was recorded on the 26th of April 1975. The material therein had previously been issued in 1993 as an extracurricular release of sorts under the title Dogs And Sheeps.

To be certain, the venue itself was the ideal setting for the so-called arena rock that the band epitomized in 1975. To that effect, their 1973 The Dark Side Of The Moon album was in the second year of its extraordinary nineteen year consecutive run on the so-called national charts. Faithfully executed material from that album comprises the second half of this live set. 

For openers, the band took a relatively upbeat approach that in part served to acknowledge Barrett's contributions in light of his well publicized health concerns. The opening numbers Raving And Drooling and You've Got To Be Crazy did so with remarkable candor, as did the well-received Have A Cigar and Shine On You Crazy Diamond from their forthcoming Wish You Were Here album (released in September of that year).

Although the band's hardcore faithful numbers are still legion, there are no plans for another Pink Floyd studio collaboration. But given the resolve with which Gilmour, Waters and Mason have pursued their individual interests, in the words of some of the band's post-Barrett transitional releases, it would perhaps be in the best interests of the rank and file to not Meddle in such matters, instead giving them the option to sidestep The Narrow Way and open the door to the possibility of a new Dramatic Theme.

TEEN BEAT MAYHEM:

SLIPPED THROUGH THE CRACKS -

Various Artists

(Gear Fab)

"The well has run dry for worthwhile '60s garage tracks. Why buy comps anymore? The best stuff has already been reissued."

So said author Mike Markesich in the sleeve notes of this latest of many such collections from Roger Maglio's Gear Fab label. Markesich was citing arguments often voiced within musicoogist and record collector circles, and offered an impassioned defense in response. 

But in reality, does the subjectivity of passion hold its own against the hard evidence?

Since the reissue movement began in earnest with the release of Elektra's Nuggets LP in 1972, countless projects of similar intent have surfaced. Many indeed got the job done. 

Conversely, many such collections border on the pedestrian. They are often underscored by seemingly endless retreads of I'm A Man, Hey Joe and other such over-covered standards. 

For the past three decades, Gear Fab has taken an unwaveringly academic approach in such endeavors. The results (including a number of geographically-themed collections) speak for themselves, making the label one of the industry's leading lights in that respect. 

To that effect, the twenty-eight tracks herein draw from some of the most obscure indie labels, including Afton, Ramco, Orlyn, Mondo and Rank. As a byproduct, budgetary concerns kept production to a minimum, meaning that it was largely incumbent upon the artists to rise to the challenge and deliver.

And deliver they did. Drawing primarily from original material, the bands used their relative lack of studio polish to showcase their raw talents. Their efforts were not in vain, as highlighted by such standouts as Patrick And The Shamrocks' Yes That's What I'm Gonna Do, the Night People's Ain't Gonna Happen, the Decompressed Impossibility's Blues For An Impossibility, the Egyptians' Walkin' Shoes and Tinsel Mecca's 1968 gem, Things That Do Exist.

In the closing scenes of the 2014 motion picture, The Monuments Men, a team of academically-inclined soldiers rescued a treasure of stolen, centuries-old art during the final months of World War II. The question is asked as to whether their efforts would be remembered three decades after the fact. If the results of the like minded Teen Beat Mayhem: Slipped Thru The Cracks are any indication, the answer remains a most resounding yes more than six decades hence.

THE SHAPE OF THINGS TO COME (NEW RELEASES) By Michael McDowell

A PLACE TO HANG:  His gift for and understanding of the crucial role of lyrical development has long made the Southern California-based GARY CALAMAR a key figure among both vocalits and composers. Blitz Magazine - The Rock And Roll Magazine For Thinking People Editor / Publisher Michael McDowell takes rhyme and reason into consideration via an in depth look at Calamar's latest Big Stir label releae, Odd Numb3rs And Slanted Rhymes. (Click on above image to enlarge).

CDs AND VINYL - NEW RELEASES

(REVIEWS ARE POSTED IN ALPHABETICAL ORDER BY ARTIST)

DAUGHTER FROM H*LL - 

Gracie Abrams (Rainstorm)

How far is too far?

In his 2011 Fifteen Minutes album, composer and vocalist Barry Manilow issued a number of hard hitting warnings to fellow artists about avoiding falling victim to the trappings of success. While generally universal in nature, those caveats took on a whole new meaning when a certain prominent artist succumbed to such pitfalls shortly after the album's release.

This is not to say that every artist is steps away from the proverbial rabbit hole. Many have walked close to the edge in the studio, yet have managed to distance themselves accordingly. 

One artist who has excelled at walking that fine line on record while keeping their focus intact is composer, vocalist and Los Angeles native, Gracie Madigan Abrams. For this, her third studio album (and fourth overall, counting her acclaimed 2025 live album), Abrams primarily sings cautionary tales from the perspective of first hand experience. 

In tandem with Abrams' thinking outside of the box approach, the prerequisite data inigenous to album packaging is kept to a minimum, making it incumbent upon the listener to investigate more diligently than usual to fully appreciate the results. While a lavish string background avails itself upon occasion, it provides only minimum distraction from the mission statement. Closer investigation finds discernment borne of experience availing itself most prominently in Cold Goodbyes, The Knife, the single Look At My Life, and Humming (with its savvy hook line, "What a way to feel in your 20s").

The remainder of the material runs the gamut of emotions, from less assertive (the ballad Mews) to the somewhat flippant and relatively uptempo Minibar, which was composed in tandem with Audrey Hobert. 

"Where is it written that every album I make has to sound like the last one?" Rock and roll legend Dave Edmunds once asked that question in response to an inquiry about a perceived change in direction. 

In turn, while the endearing naievete that graced much of the material on her 2024 The Secret Of Us album has given way to an atmosphere of greater candor, suffice to say that the creative process herein assures that any well intended cautionary caveats have already been heeded or are a work in progress. Job well done.

ODD NUMB3RS AND

SLANTED RHYMES - 

Gary Calamar (Big Stir)

IThere are several attributes which mark the success of an effective lyricist. 

First and foremost among them is vivid imagery. This distinction does not necessarily apply to the methodology of the more poetically inclined composers (such as Hank Williams, William "Smokey" Robinson or Bob Dylan), who tend to emote, inspire and convict from an abundance of resoures in terms of a turn of phrase.  Rather, it suggests a center stage presence of universal benchmarks that combine to evoke solidarity among the faithful. 

Also indigenous to the proceedings would be judicious use of geography. Almost every artist who performs in a live setting is well aware of the value of greeting the rank and file with a spirited, "Hey Detroit!" or "How's it goin', Miami?" That many a song makes such references a seeming prerequisite (the Easybeats' Saint Louis, Nancy Adams' Ypsilanti, Kenny Price's Biloxi, the Clash's London Calling) underscores the point.

Product placement: The stakes were raised to the degree of earning a BBC ban for the Playmates in 1958, when their tale of a drag race between a limousine and a little bubble car generated no small amount of incredulity when presented as a face off between a Cadillac and a Nash Rambler. Carly Simon found herself in similar circumstances in 1971, when her Anticipation single for Elektra (originally intended to depict a meeting with fellow composer and vocalist Steven Demetre "Cat Stevens" Georgiu) became a celebration of the speed (or lack of same) with which the contents of a bottle of Heinz catsup availed itself. 

In the case of renowned composer, vocalist and lyricist Gary Calamar, all of these attributes and more factor into this highly anticipated collection of seventeen originals. Depicting his journey from downtown Los Angeles to Santa Monica (in reality, a trek of little more than an hour that perhaps has a parallel in a sojourn across Essex County, Ontario from Windsor to Leamington) as having earned him the title of The Prince Of Pico Boulevard, Calamar paints a matter of fact picture of his surroundings in a healthy variety of such settings.

Those settings would range rom the second generation garage rock-inspired, crisp, keyboard-heavy, execution of Back Door Man and the perhaps not so much cautionary as celebratory She's So Mid-Century  to the mid-destination diversion of Little Tokyo and the reality check of Looking For A Job, Calamar most assuredly did not come by this abundance of lyrical acumen lightly. 

A long time fixture in the Southern California music industry, he is aware of his limitations ("I play guitar about as good as I did in high school, but I rock those chords"), as well as the attributes of industry peers who can contribute at maximum level.

To that effect, long time Calamar colleague and advocate Willie Aron provides key sweetening herein on backing vocals, harmonica and melodica, as well as keen insights into Calamar's mission statement.

"As Gary's long time friend and some time musical collaborator, I marvel at his journey from record store manager to manager of the Balancing Act to well respected music supervisor", Aron said.

"Gary sharpened his considerable skills as a singer / songwriter. His songs have wit, humor, heart and soul and rock and roll, to quote his semi-autobiographical, The Prince Of Pico Boulevard.

"It has been my pleasure and honor to appear on this great album."

To be certain, Odd Numb3rs And Slanted Rhymes is an engaging collection, in which Calamar matter of factly addresses any perceived Rough Patch and assesses Who Are We Gonna Be Today?  Even the rank and file observer is certain to be Giddy as a result.

MY VOICE -

Laura Chavez (Ruf)

During the so-called Golden Age of Instrumentals, it was often noted that many a musician learned to play guitar by studying the instructional albums produced by the Ventures and the Kingston Trio.

Prior to running its course, that movement began to diversify. Lavishly orchestrated singles began to take center stage, as typified by classic singles from Raymond LeFevre, Nick DeCaro, Hugo Montenegro and Paul Mauriat.

Although she draws her inspiration from a variety of sources, the San Diego, California based composer and guitarist Laura Chavez is most assuredly a firebrand whose mission statement stands in solidarity (however unintentionally) with that of the Ventures. To that effect, My Voice showcases a variety of original and cover material to underscore the point.

In the latter category, My Voice opens with a faithful reading of Creedence Clearwater Revival's Born On The Bayou. Dedicated to her father Tony (a self-professed devotee of the former Golliwogs' work), Chavez's rendition is at once faithful to the original while reflecting her own inspiration. 

In turn, Southern California's beloved Blasters are saluted with a spirited take on their stage favorite, So Long Baby Goodbye. Therein, Chavez does a remarkable job of instrumentally simulating the trademark intense and passionate vocal delivery of Phil Alvin, complete with a healthy dose of Bob Bogle-inspired power chords and a bit of Dave "Baby" Cortez-like keyboard flourishes from Lea Worms to bring the mission statement full circle. The mid-tempo take on Booker T. And The M.G.s' Chinese Checkers follows suit impeccably.

Perhaps the only anomaly within the proceedings is the slow blues take on the traditional La Llorona. Included at the insistence of label head Thomas Ruf (in part keeping with the label's overall mission statement), Chavez rallied to the cause only after a pause for reflection to make certain that she was in solidarity with the results. 

Thankfully, original material such as Mind Your Step, Wanderer and Mamba Negra brings a much welcome element of diversity to the proceedings; an attribute that is often in short supply within those circles. 

"I had to find a way, with my guitar as the primary voice to communicate the same things my favorite singers were able to communicate through true songs with hooks, melodies, and most importantly, my own voice and personality", Chavez said.

To that effect, with My Voice, Chavez's words ring loud and clear.

BLUES NOW -

GA-20 With

Charlie Musselwhite

(New West)

Sometimes Word Of Mouth can go a long way.

In the case of Winnipeg, Manitoba bassist and vocalist Robert Neilson "Neil Merryweather" Lillie, that Word Of Mouth was conveyed via a 1969 double album on the Capitol label that ultimately served as a showcase for some of the most promising like minded artists around. They included Barry Goldberg, Dave Mason, Steve Miller, Ed Roth and the Koslusco, Mississippi-based harmonica virtuoso Charles Douglas "Charlie" Musselwhite.

In the wake of that ambitious project, Musselwhite wasted little time in cementing his own formidable legacy, as evidenced in a series of acclaimed albums for Arhoolie, Paramount, Together and other labels. Herein, he joins forces with the ambitious GA-20 for a ten track triumph that celebrates the best that the genre has to offer, and without the stopgaps that often sidetrack such proceedings.

To that effect, Blues Now falls in line straight out of the gate with Big Stars Falling, a twelve-bar motif based on the prototypical Baby What You Want Me To Do template championed by Jimmy Reed. Likewise, I'll Change My Style builds upon the sublime drama found in James "Slim Harpo" Moore's Raining In My Heart. 

In turn the instrumental romp, Universal Rock revisits the Chicken Pickin' fervor of Lonnie Mack. The proceedings draw to a conclusion in Cristo Redentor, in which Musselwhite is afforded not so much a forum in which to work out; rather, one that enables him to spotlight the basics in matter of fact manner.

In his aforementioned Word Of Mouth project, Neil Merryweather sang of savoring success by licking the spoon. To be certain, the sonic gravy evidenced herein would make such a gesture anything but an exercise in futility.

THE GREAT DIVIDE -

Noah Kahan (Mercury)

Noah Kahan knows of which he sings.

In the vivid imagery of this double album (his fourth), the composer, vocalist and Stafford, Vermont native (however unintentionally) showcases his mission statement on multiple fronts. In terms of the material itself, Kahan presents himself as an itinerant chronicler of matters both personal and cultural. 

The presentation varies at will from a full band setting (when proclaiming developments of particular concern) to acoustic (occasionally serving as interludes to draw attention to situations which provide subtle stepping stones). The former approach works particularly well on the emotionally charged Deny Deny Deny, the introspective Doors and the title track (with its instant classic key line, "I hope you settle down, I hope you marry rich"); the latter which has already enjoyed major acclaim as a hit single (as has the album itself).

Nonetheless, with that comes a variation in intent on the title. It speaks volumes about a curious dichotomy that persists within certain factions of those who envision themselves as keepers of the flame. 

To wit, a number of those keepers found themselves somewhat disenfranchised during the protracted aesthetic slump that dogged music during the so-called AM/FM wars of slightly more than a half century ago. Relief finally came in the form of the indie movement at mid-decade, which brought a sense of roots-conscious vision that countered the self-indulgent elitism at play within the mainstream.

Slightly more than a half century after the fact, much needed additional respite from what the late, great Michael Nesmith once astutely termed The Grand Ennui has again come in the form of a highly promising singer/songwriter movement among up and coming artists, of which Kahan is an integral part. Yet the response from the aforementioned keepers has otten been one of resistance or (at best) indifference, based on the same periphery (chronology, genre myopia, et al) that characterized their perceived nemesis of a half century ago. 

In all fairness, one caveat persists that perhaps warrants additional consideration between all concerned. While many of the front line artists of the current singer/songwriter movement (Kahan included) have proven themselves to be most capable and clever lyricists, many of them also come from a perspective that does not harbor particular concerns regarding what was considerered coarse language by their forerunners. Among them, such verbiage has fallen into common, everyday usage (and indeed avails itself occasionally within this project), which continues to provide an impasse between the two camps. 

For the moment, the best course of action seems to be to take the high road by highlighting and encouraging the common ground. Or as Kahan astutely put it herein, "I'll pray for you, be in pain for you, I'll leave the Porch Light on". 

KISS ALL THE TIME.

DISCO, OCCASIONALLY -

Harry Styles (Erskine / Columbia)

Flourishing in a solo career after a protracted season as part of a successful group is not always a given. 

Some artists managed to sustain their momentum, such as Brian Wilson of the Beach Boys or David Ruffin of the Temptations. On the other hand, the best intentions of Highway 101's Paulette Carlson or William Lee Golden of the Oak Ridge Boys did not quite live up to their earlier group endeavors.

In the case of Harry Edward Styles, both he and fellow One Direction alumnus Niall James Horan have managed to flourish as solo artists since the quintet called it a day in 2016. Not content to rest on their respective laurels, Horan and Styles have both made a concerted effort to produce first rate solo material. 

Styles' most recent outing finds him increasingly diversifying his portfolio of inspirations. To wit, the album's opener, Aperture (a term occasionally invoked in music circles in reference to the proper positioning of the mouthpiece of a horn) underscores the cerebral nature of the project, augmented by a backdrop straight from the Kraftwerk catalog. 

In turn, American Girls draws from the classic template of a Sunrays or Hondells slice of relentles optimism. It is then rendered with deliberate understatement to underscore the point for a target demographic that may not yet be familiar with those inspirations. 

Indeed, the Redditch, Worcestershire native is part of a growing contingent of front line artists who are reaching out in solidarity to their inspirations. Their numbers are arguably led by composer, vocalist and avid record collector Sabrina Carpenter, although that inspiration can also be found in abundance in the recent works of Sienna Spiro, Bruno Mars, Olivia Dean and others. 

Styles runs the gamut of revisionist history throughout the remainder of the proceedings, Highlights include the dramatic semi-narrative Are You Listening Yet? (complete with a Pink Floyd-tinged interlude), the new wave vibe of Taste Back and the rollicking Pop. 

To be certain, a veteran musicologist and / or record collector would do well to investigate. In the words of one of Styles' earlier triumphs, Kiss All The Time. Disco, Occasionally is but a Fine Line between the two camps.

ANTONE'S 50TH PRESENTS

CHICAGO BOUND -

Various Artists (Select-O-Hits)

"The blues is so big, that no one person could ever learn it in a lifetime".

Some have begged to differ.

The above observation, made by Austin's late Home Of The Blues founder, Clifford Antone, has (in certain circles) often been countered with a variation to the likes of, "The genre is so monolithic, that there is far too much rich diversity out there to warrant not devoting an entire lifetime to it".

In reality, the answer lies somewhere between those two extremes. Stating the case for the defense are the artists gathered within this sampler.

Rightfully so, the defense draws from the inspiration of one of its most cherished founders, composer, vocalist, guitarist and Chess Records alumnus, McKinley "Muddy Waters" Morganfield. With such venerable visionaries as Little Walter Jacobs on harmonica and Otis Spann on keyboards as fixtures in his entourage, Morganfield stated the case for the charismatic aspects of the genre as well as could have been expected.

"All well and good", according to many of the dissenters. But their enthusiasm began to wane exponentially as the albums by those who inspired them began to showcase a disproportionately high percentage of that material as relatively pedestrian cover fodder.

For the dissenters, relief came when the aspiring artists began to compose their own material. Material that largely stood far above the herd in terms of its richly diverse verse, chorus and bridge structures.

Paradoxical circumstances indeed. In part, the methodology behind the mission statement is underscored by the level of the various visionaries involved. In this collection, the case is stated by no less than the Rolling Stones' Keith Richards and Ronnie Wood (in tandem with Ivan Neville, C.C. Adcock and Jimmie Vaughan) in One Step At A Time, as well as Moving Sidewalks founder and lone survivor of the classic ZZ Top lineup, Billy Gibbons via Hangin' On A Cliff, and brought home by the Fabulous Thunderbirds in I'm Not Ashamed. Convincing arguments are rounded out through presentations by John Primer, Anson Funderburgh, Lavelle White and others.

As the dust resettles, there of course are those who will remain resolute that the likes of the Moving Sidewalks' 99th Floor and the Rolling Stones' Aftermath album continue to provide relief for those running from the Grand Ennui. But as John Primer and his colleagues reassert in this collection's finale, the notion of having one's mojo working  continues to get the job done.