THE SHAPE OF THINGS TO COME (NEW RELEASES) By Michael McDowell
I FOUND A DREAM: Vocalist and musicologist Susanna Pichin and the Roomates' Steve Webb discuss their new doo wop celebration, 16 Reasons And More. Editor/Publisher Michael McDowell has the story below (Click on image to enlarge).
CDs - NEW RELEASES
INFINITAS RAPSODIAS - Del Castillo
(Smilin’ Castle)
(Smilin’ Castle)
The Austin, Texas-based Del Castillo is a rare example of a band whose members were able to set aside individual mission statements of limited potential for the common good. In the process, they have developed a cohesive and enduring musical persona that has produced several albums of engaging original material.
Del Castillo began in 2000, when brothers Rick and Mark del Castillo came to the realization that their individual musical endeavors were ultimately little more than directionless nods to mainstream rock. But with encouragement and mentoring from family and colleagues, the del Castillo brothers began to draw from more cerebral inspirations (including Flamenco and Blues), each of which readily found its way into their original material. The resultant Brothers Of The Castle, Vida and Brotherhood albums served as ample testimony to the fact that Del Castillo had both found their niche and created one in the process.
With Infinitas Rapsodias, Del Castillo (which is rounded out by lead vocalist Alex Ruiz, bassist Albert Besteiro, percussionist Jason Murdy and drummer Mike Zeoli) revisit triumphs from previous releases and augment them with five like minded new originals. Of the earlier material, Vida benefits as a remake from del Castillo brothers’ obvious instrumental prowess, while ¿Por Que? (which likewise originally appeared on their 2002 Vida album) is particularly effective as a showcase for the band’s collective penchant for high drama.
The remainder of Infinitas Rapsodias is indeed an ambitious and engaging celebration of a collective testimony to wisdom gleaned from astute mentoring. To wit, the opener, Lumbres De Babylon even enables the del Castillo brothers to draw from those earlier mainstream inspirations without compromise to the project at hand. In turn, Fuego Egipcio takes the concept a step further by enabling the band to assert individual personalities without detracting from the collective process. Wisely, all concerned provided for themselves a release valve in that respect with an accompanying DVD, in which they revisit cover material that was apparently an integral part of their pre-Del Castillo endeavors.
With guest appearances by pianist Carl Thiel, vocalist Anna Maria Kaufmann and violinists Erik Hokkanen and Phoebe Hunt (amongst others), Infinitas Rapsodias is Del Castillo’s most engaging release to date. Indeed, with this release, Del Castillo may well find themselves at last embraced by the demographic whose attention they previously sought, yet whom they have obviously outgrown. In the process, they may well bring said demographic to a higher level of musical discernment.
Del Castillo began in 2000, when brothers Rick and Mark del Castillo came to the realization that their individual musical endeavors were ultimately little more than directionless nods to mainstream rock. But with encouragement and mentoring from family and colleagues, the del Castillo brothers began to draw from more cerebral inspirations (including Flamenco and Blues), each of which readily found its way into their original material. The resultant Brothers Of The Castle, Vida and Brotherhood albums served as ample testimony to the fact that Del Castillo had both found their niche and created one in the process.
With Infinitas Rapsodias, Del Castillo (which is rounded out by lead vocalist Alex Ruiz, bassist Albert Besteiro, percussionist Jason Murdy and drummer Mike Zeoli) revisit triumphs from previous releases and augment them with five like minded new originals. Of the earlier material, Vida benefits as a remake from del Castillo brothers’ obvious instrumental prowess, while ¿Por Que? (which likewise originally appeared on their 2002 Vida album) is particularly effective as a showcase for the band’s collective penchant for high drama.
The remainder of Infinitas Rapsodias is indeed an ambitious and engaging celebration of a collective testimony to wisdom gleaned from astute mentoring. To wit, the opener, Lumbres De Babylon even enables the del Castillo brothers to draw from those earlier mainstream inspirations without compromise to the project at hand. In turn, Fuego Egipcio takes the concept a step further by enabling the band to assert individual personalities without detracting from the collective process. Wisely, all concerned provided for themselves a release valve in that respect with an accompanying DVD, in which they revisit cover material that was apparently an integral part of their pre-Del Castillo endeavors.
With guest appearances by pianist Carl Thiel, vocalist Anna Maria Kaufmann and violinists Erik Hokkanen and Phoebe Hunt (amongst others), Infinitas Rapsodias is Del Castillo’s most engaging release to date. Indeed, with this release, Del Castillo may well find themselves at last embraced by the demographic whose attention they previously sought, yet whom they have obviously outgrown. In the process, they may well bring said demographic to a higher level of musical discernment.
SHINE ON - Gar Francis
(Bongo Boy)
(Bongo Boy)
With each succeeding generation, the practitioners of garage rock have added their own perspective to the pioneering work of such bands as the Monkees, the Count Five, the Standells, the Seeds and the Thirteenth Floor Elevators. In the process, each generation has ensured their own respective legacies.
Those successive generations may have indeed brought their own unique set of challenges and goals to the basic garage rock template. But in the process, endeavoring to assure their own mark of originality along the way has given rise to peripheral concerns among the less discerning observers. To that effect, some may voice concerns when subsequent generations add to the template in a manner that is seemingly incongruent with its basic precepts. Others may take a linear approach to the issue and in the process will maintain that Hank Williams Junior’s infamous, “If it ain’t broke, don’t fix it” maxim as a rare moment of solidarity with an outside perspective (albeit an outside perspective that should not be outside).
All of this is of apparent little concern to Plainfield, New Jersey native and Doughboys guitarist, Gary “Gar Francis” Venittelli, whose new solo release, Shine On mixes metaphors with apparent abandon. Having been recruited to succeed the Doughboys’ late guitarist Willy Kirchofer (who passed away in 2005), Francis suddenly found himself an integral component of a still very much active and prolific first generation garage band.
However, Francis brought to the table a wealth of experience as an active participant in second and third generation garage rock circles. As such, it was inevitable that some of the attributes unique to that phase of the genre would find their way into both his work with the Doughboys and solo endeavors such as this one.
To wit, the opening title track takes the basic backbeat of the Dave Clark Five’s Bits And Pieces (Epic 5-9671), adds a bit of the rave up perspective from that band’s labelmates, the Yardbirds and generously embellishes it with the bravado and technical flair of the second generation garage rock visionary and revisionist, Dave Edmunds. While such alliances are not without precedent, they nonetheless do put the most discriminating of peripheral observers on alert.
As such, those observers will no doubt find themselves scrambling to reconcile the perceived dichotomy in Back In 1985, in which Francis’ most marginal references to the closing moments of the heyday of second generation garage rock will find its basic early electric era Bob Dylan template to be an incongruous foundation for such a setting. Indeed, by the time that the fundamentals of the Will Bradley Trio’s Down The Road Apiece (Columbia 35707) find their way into Blue Cadillac, the purists will no doubt be in full retreat mode, only to be finally driven back into their narrow parameters by the Dunwich sandwich (combining the commanding rhythm guitar of the Shadows Of Knight’s Gloria with a variation on the Barqoue-ish leanings of the lead guitar from George Edwards’ Norwegian Wood) on a basic slice of the Everly Brothers’ Since You Broke My Heart (Cadence 1376) that constitutes Tragedy, and the curious deferences to the hippie movement (which remains anathema to the mission statement of many a genre purist and progressive, alike) that suggest at least a brief flirtation with the much despised arena rock that closed out that ilk’s impact on the movement at large at the midpoint of I’m Still Alive.
Which of course is their loss. While a more structured incorporation of the various metaphors may have helped Francis in terms of accessibility (and may have in turn have fostered a modicum of understanding with respect to his perspective on that closing track), Shine On nonetheless stands quite well on its own merits (mixed metaphors and all) and underscores the fact that the best mission statement is one that is a reflection of its creator.
FOR THE LOVE OF CHARLIE (ABKCO)
BABY DOLL (SINGLE / GENERIC) -
Charlie Gracie
BABY DOLL (SINGLE / GENERIC) -
Charlie Gracie
An integral component in the creation of a musical work of aesthetic merit is the God-given talent bestowed upon the creator or creators of that given work. While such periphery as chronology and geography are often associated with it for purposes of reference, in reality the direct impact of such factors on the outcome is, at best, marginal.
That said, a sold case can be made for the city of Philadelphia, Pennsylvania as being a collective point of reference in the development of rock and roll. As the home of the original American Bandstand television series, as well as the legendary Chancellor, Swan/Lawn and Cameo/Parkway labels, Philadelphia was home to many of the genre’s major innovators and artists.
One such artist and innovator is singer, songwriter, guitar virtuoso and visionary, Charles Anthony “Charlie Gracie” Graci. Born in Philadelphia on 14 May 1936, Gracie was already an established artist at the age of fourteen (due in no small part to ongoing encouragement from his father), with an extraordinary vision for the development of rock and roll.
As such, it is probably no coincidence that one of the first to recognize Gracie’s potential was the immensely gifted and prolific bandleader, composer, musician and commentator, Paul Samuel Whiteman. With such landmarks as the October 1924 Rhapsody In Blue single (Victor 55225) and a central role in the groundbreaking 1930 motion picture, King Of Jazz amongst his numerous credits, Whiteman continued to have a significant impact on the development of music at the dawn of the rock and roll era.
Following an appearance on his Paul Whiteman’s TV Teen Club program in 1950, Gracie came to the attention of Graham Prince, who signed the aspiring guitarist to his Cadillac label. While at Cadillac, Gracie released three singles, Boogie Woogie Blues (Cadillac 141) in 1951, the somewhat prophetic, piano-driven Rockin’ And Rollin’ (Cadillac 144) in 1952 and the exuberant, Gospel/rhythm and blues hybrid, T’ain’t No Sin In Rhythm (Cadillac 154) in 1953.
The success of Gracie’s Cadillac label singles led to appearances on Bob Horn’s Philadelphia based American Bandstand show, which in turn brought him to the attention of the 20th Century label. At 20th Century, Gracie continued to build upon his legacy as one of rock and roll’s absolute masters with the 1953 single, My Baby Loves Me (20th Century 5033) and its 1954 follow up, Honey, Honey (20th Century 5035). Both singles reflect the impact of the work of such fellow visionaries as Bill Haley and the Comets, Louis Jordan, Hank Williams and Big Joe Turner and irrefutably placed Gracie alongside of them in the forefront of the movement.
Much of the recognition afforded Gracie up to that point emanated from his Philadelphia home base. But by late 1956, his role in the explosive growth of rock and roll was about to take a major turn for the better. In December of that year, former Teen Records president Bernard “Bernie Lowe” Lowenthal and veteran comedy writer Kalman “Kal Mann” Cohen launched the enormously influential Cameo label. Among Cameo’s first signings were actress/vocalist Arlene DeMarco, area favorites the Quakertown Singers, rhythm and blues/jazz pioneer Don Gardner, balladeer Billy Scott, the Tommy Ferguson Trio (who had been a part of the Action In The Afternoon television series in 1953, alongside future labelmate, John Zacherle) and Gracie.
Of those, it was Gracie who first put Cameo on the map with his early 1957 single, the Anthony September-penned Butterfly (Cameo 105). Recorded on 30 December 1956 and featuring backing vocals from Dave Appell and the Applejacks, Butterfly had all of the components of a monster classic, including a tight and impeccable executed arrangement, sublime backing vocals and impassioned delivery from Gracie. Gracie shared the spotlight for Butterfly with Andy Williams, who released his own version on Cadence 1308. For its flip side, Gracie’s Cameo debut featured the equally charismatic Ninety-Nine Ways, which further enhanced Gracie’s stature and earned a commendable cover from Arthur Andrew “Tab Hunter” Kelm (Dot 45-15548) in February 1957.
Buoyed by the momentum, Gracie quickly followed up Butterfly with what many consider to be his career highlight, the irresistible Fabulous (Cameo 107). Backed with Mann and Lowe’s equally essential, hard rocking Just Lookin’, the Fabulous single is widely regarded as one of rockabilly and first generation rock and roll’s definitive masterpieces.
Successive Cameo releases, including his sublime cover of the 1948 Floyd Tillman ballad, I Love You So Much It Hurts (Columbia 20430) on Cameo 111 and the stunning, double-A sided rocker, Cool Baby / You Got A Heart Like A Rock (Cameo 118) (as well as an appearance alongside fellow rock and roll greats Jimmy Bowen, the Four Coins, Antoine “Fats” Domino, Buddy Knox and Jerry Lee Lewis in the 1957 motion picture, Jamboree) led to an increased demand for live appearances. Gracie responded in kind by touring extensively. He was extremely well received in the United Kingdom, where on 26 August 1957, he recorded a live album at the Globe Theatre in Stockton-On-Tees, North Yorkshire. Although it remained unreleased for decades, Live At The Stockton Globe was eventually issued on vinyl by the Roller Coaster label and reissued in the CD configuration in 1996 by the now defunct, Ann Arbor, Michigan-based Schoolkids Records. Featuring a generous helping of his Cameo singles and a mesmerizing cover of Arthur Smith and his Cracker-Jacks’ 1947 instrumental, Guitar Boogie (MGM 10293), Live At The Stockton Globe has been widely hailed as a touchstone of first generation rock and roll live performance.
Differences with Cameo in 1959 led to Gracie’s signing with a variety of labels, including Coral (where he released three singles), Morris Levy’s highly prolific Roulette Records, Felsted Records (for whom he recorded the bizarre, quasi instrumental, Porky Pig satire, W-wow on Felsted 8629 in 1961) and President (where his lone 1962 single featured the return to form rocker, Night And Day USA on the B-side). After a brief hiatus from recording, he joined forces in 1965 with the Diamond label (recording home at the time of Johnny Thunder, the Bobbettes, Andy Foray, the Passions and the great Ronnie Dove) and reinvented himself early that year as a formidable exponent of first generation garage rock with the superb and indispensable He’ll Never Love You Like I Do single (Diamond 178).
Interestingly enough, Gracie’s affiliation with first generation garage rock proved to be short lived. He again took a sabbatical from recording, re-emerging briefly in 1969 with the Walk With Me Girl single (Sock & Soul H-102). But by the 1970s, he turned his attention primarily toward the concert stage, where he continues to flourish.
By the late 1990s, Gracie began to redirect his attention back to the recording studio. After a meeting in Valley Forge, Pennsylvania with guitarist and studio owner, Quentin Jones, the two joined forces for a CD project on the Lancaster, Pennsylvania based Lanark label. Produced by Jones, the 2001 I’m All Right album irrefutably demonstrated that Gracie’s status as a master rocker continued unabated. A pair of subsequent releases for the Rhythm Bomb label, Gracie Swings Again and Just Hangin’ Around underscored the point handsomely.
Meanwhile, Gracie’s former label, Cameo had been the subject of no small amount of ongoing attention from musicologists, academicians and record collectors since its demise in early 1968. Although Cameo/Parkway’s vast catalog was subsequently acquired by ABKCO Records, it had mostly remained out of print for decades (although represented extensively in the interim by a series of bootlegs on the CamPark label), until the release of ABKCO’s Cameo Parkway 1957 - 1967 CD box set and a series of single disc collections by the label’s front runners (including Gracie) in 2005 returned the vaunted label into the spotlight.
By decade’s end, ABKCO had joined forces with Collectors Choice Records in the United States and the Ace/Big Beat family of labels in the United Kingdom to begin an extensive Cameo/Parkway reissue series. Ace/Big Beat led the way with a mandatory two-CD overview of the work of the legendary first generation garage rockers, the Rationals, followed by a series of highly acclaimed album reissues (in tandem with Collectors Choice) by such Cameo/Parkway veterans as Terry Knight and the Pack, Clint Eastwood, the Orlons, Chubby Checker, Bobby Rydell and Dee Dee Sharp.
Although Collectors Choice ceased operations as a label in recent months, ABKCO has brought the Cameo/Parkway project full circle by once again joining forces with Gracie for the all new For The Love Of Charlie album. With Quentin Jones again contributing as producer (alongside Royal Teens veteran Al Kooper), For The Love Of Charlie is one of the musical highlights of the century to date.
With long time Blitz favorite, Peter Noone as a guest backing vocalist, For The Love Of Charlie opens with the no-nonsense, Gracie-penned 4/4 rocker, All I Wanna Do Is Love You. That no-nonsense rocker sets the precedent for the remainder of the proceedings not so much in genre as it does originality. For while the bulk of For The Love Of Charlie is indeed of the calibre of excellence expected of one of rock and roll’s absolute masters (underscored beyond reproach in the utterly stupendous second track, My Hummingbird), Gracie herein occasionally turns his attention to sympathetic musical idioms in which his superb capabilities can likewise flourish. The sublime country Gospel workout, And Now I Win not only states the case as well as it can be stated, it concurrently provides the key to the longevity and immense talent with which Gracie has been blessed. Likewise, the late Four Aces co-founder Al “Al Alberts” Albertini’s vaudeville-inspired On The Way To Cape May also affords Gracie a showcase for diversity; encompassing as it does his ongoing solidarity with his home town, as well as his obvious enthusiasm for a wide variety of musical genres.
Nonetheless, For The Love Of Charlie is primarily a rock and roll album. To wit, the album’s closers Rock ’N’ Roll Heaven and Rock ’N’ Roll Party run the gamut of Gracie’s experiences, with the Gracie-authored former track saluting such fallen colleagues as Carl Perkins, Eddie Cochran, Charles Hardin “Buddy” Holly and Vincent Eugene “Gene Vincent” Craddock, while the latter cut allows Gracie to exercise his God-given talents in both celebration and gratitude.
Inbetween, For The Love Of Gracie offers a generous helping of first rate original material, primarily from Quentin Jones. Among the standouts are Jones’ hometown homage, Back To Philadelphia, his lush ballad, I Don’t Know Why, and the cover of Jimmy Accardi and the Wild Cats’ late 2008 rocker, Dance My Blues Away.
Interestingly enough, the celebration does not end with For The Love Of Charlie. The Generic label has released a new Charlie Gracie single, Baby Doll, which is not included on the album. A blistering rocker of the highest calibre, Baby Doll provided Gracie with a much deserved hit single in 2011, making him one of only two artists who have recorded for more than six decades to enjoy the distinction of hit status with new material during the year (the other of course being the great Tony Bennett, whose Duets II album was widely acknowledged as one of the highlights of 2011).
Ironically, For The Love Of Charlie was not the only triumphant release of first rate new material by veteran artists from Philadelphia in 2011. The beloved rock and roll vocal trio, Danny and the Juniors (currently led by group founders Joe “Joe Terry” Terranova and Frank Maffei, along with Maffei’s brother, Bob) also turned in a career highlight with their superb, We’re Forever & Ever & Ever Yours album for Nova Music. While this does not necessarily make a case for provincialism as an essential factor in the proceedings, it does however open Gracie’s proclamation herein of, And Now I Win to multiple interpretations. To be certain, he is blessed on a variety of fronts, both eternal and temporal. And as the multitudes who have been graced with his work over the past six decades, so are we.
That said, a sold case can be made for the city of Philadelphia, Pennsylvania as being a collective point of reference in the development of rock and roll. As the home of the original American Bandstand television series, as well as the legendary Chancellor, Swan/Lawn and Cameo/Parkway labels, Philadelphia was home to many of the genre’s major innovators and artists.
One such artist and innovator is singer, songwriter, guitar virtuoso and visionary, Charles Anthony “Charlie Gracie” Graci. Born in Philadelphia on 14 May 1936, Gracie was already an established artist at the age of fourteen (due in no small part to ongoing encouragement from his father), with an extraordinary vision for the development of rock and roll.
As such, it is probably no coincidence that one of the first to recognize Gracie’s potential was the immensely gifted and prolific bandleader, composer, musician and commentator, Paul Samuel Whiteman. With such landmarks as the October 1924 Rhapsody In Blue single (Victor 55225) and a central role in the groundbreaking 1930 motion picture, King Of Jazz amongst his numerous credits, Whiteman continued to have a significant impact on the development of music at the dawn of the rock and roll era.
Following an appearance on his Paul Whiteman’s TV Teen Club program in 1950, Gracie came to the attention of Graham Prince, who signed the aspiring guitarist to his Cadillac label. While at Cadillac, Gracie released three singles, Boogie Woogie Blues (Cadillac 141) in 1951, the somewhat prophetic, piano-driven Rockin’ And Rollin’ (Cadillac 144) in 1952 and the exuberant, Gospel/rhythm and blues hybrid, T’ain’t No Sin In Rhythm (Cadillac 154) in 1953.
The success of Gracie’s Cadillac label singles led to appearances on Bob Horn’s Philadelphia based American Bandstand show, which in turn brought him to the attention of the 20th Century label. At 20th Century, Gracie continued to build upon his legacy as one of rock and roll’s absolute masters with the 1953 single, My Baby Loves Me (20th Century 5033) and its 1954 follow up, Honey, Honey (20th Century 5035). Both singles reflect the impact of the work of such fellow visionaries as Bill Haley and the Comets, Louis Jordan, Hank Williams and Big Joe Turner and irrefutably placed Gracie alongside of them in the forefront of the movement.
Much of the recognition afforded Gracie up to that point emanated from his Philadelphia home base. But by late 1956, his role in the explosive growth of rock and roll was about to take a major turn for the better. In December of that year, former Teen Records president Bernard “Bernie Lowe” Lowenthal and veteran comedy writer Kalman “Kal Mann” Cohen launched the enormously influential Cameo label. Among Cameo’s first signings were actress/vocalist Arlene DeMarco, area favorites the Quakertown Singers, rhythm and blues/jazz pioneer Don Gardner, balladeer Billy Scott, the Tommy Ferguson Trio (who had been a part of the Action In The Afternoon television series in 1953, alongside future labelmate, John Zacherle) and Gracie.
Of those, it was Gracie who first put Cameo on the map with his early 1957 single, the Anthony September-penned Butterfly (Cameo 105). Recorded on 30 December 1956 and featuring backing vocals from Dave Appell and the Applejacks, Butterfly had all of the components of a monster classic, including a tight and impeccable executed arrangement, sublime backing vocals and impassioned delivery from Gracie. Gracie shared the spotlight for Butterfly with Andy Williams, who released his own version on Cadence 1308. For its flip side, Gracie’s Cameo debut featured the equally charismatic Ninety-Nine Ways, which further enhanced Gracie’s stature and earned a commendable cover from Arthur Andrew “Tab Hunter” Kelm (Dot 45-15548) in February 1957.
Buoyed by the momentum, Gracie quickly followed up Butterfly with what many consider to be his career highlight, the irresistible Fabulous (Cameo 107). Backed with Mann and Lowe’s equally essential, hard rocking Just Lookin’, the Fabulous single is widely regarded as one of rockabilly and first generation rock and roll’s definitive masterpieces.
Successive Cameo releases, including his sublime cover of the 1948 Floyd Tillman ballad, I Love You So Much It Hurts (Columbia 20430) on Cameo 111 and the stunning, double-A sided rocker, Cool Baby / You Got A Heart Like A Rock (Cameo 118) (as well as an appearance alongside fellow rock and roll greats Jimmy Bowen, the Four Coins, Antoine “Fats” Domino, Buddy Knox and Jerry Lee Lewis in the 1957 motion picture, Jamboree) led to an increased demand for live appearances. Gracie responded in kind by touring extensively. He was extremely well received in the United Kingdom, where on 26 August 1957, he recorded a live album at the Globe Theatre in Stockton-On-Tees, North Yorkshire. Although it remained unreleased for decades, Live At The Stockton Globe was eventually issued on vinyl by the Roller Coaster label and reissued in the CD configuration in 1996 by the now defunct, Ann Arbor, Michigan-based Schoolkids Records. Featuring a generous helping of his Cameo singles and a mesmerizing cover of Arthur Smith and his Cracker-Jacks’ 1947 instrumental, Guitar Boogie (MGM 10293), Live At The Stockton Globe has been widely hailed as a touchstone of first generation rock and roll live performance.
Differences with Cameo in 1959 led to Gracie’s signing with a variety of labels, including Coral (where he released three singles), Morris Levy’s highly prolific Roulette Records, Felsted Records (for whom he recorded the bizarre, quasi instrumental, Porky Pig satire, W-wow on Felsted 8629 in 1961) and President (where his lone 1962 single featured the return to form rocker, Night And Day USA on the B-side). After a brief hiatus from recording, he joined forces in 1965 with the Diamond label (recording home at the time of Johnny Thunder, the Bobbettes, Andy Foray, the Passions and the great Ronnie Dove) and reinvented himself early that year as a formidable exponent of first generation garage rock with the superb and indispensable He’ll Never Love You Like I Do single (Diamond 178).
Interestingly enough, Gracie’s affiliation with first generation garage rock proved to be short lived. He again took a sabbatical from recording, re-emerging briefly in 1969 with the Walk With Me Girl single (Sock & Soul H-102). But by the 1970s, he turned his attention primarily toward the concert stage, where he continues to flourish.
By the late 1990s, Gracie began to redirect his attention back to the recording studio. After a meeting in Valley Forge, Pennsylvania with guitarist and studio owner, Quentin Jones, the two joined forces for a CD project on the Lancaster, Pennsylvania based Lanark label. Produced by Jones, the 2001 I’m All Right album irrefutably demonstrated that Gracie’s status as a master rocker continued unabated. A pair of subsequent releases for the Rhythm Bomb label, Gracie Swings Again and Just Hangin’ Around underscored the point handsomely.
Meanwhile, Gracie’s former label, Cameo had been the subject of no small amount of ongoing attention from musicologists, academicians and record collectors since its demise in early 1968. Although Cameo/Parkway’s vast catalog was subsequently acquired by ABKCO Records, it had mostly remained out of print for decades (although represented extensively in the interim by a series of bootlegs on the CamPark label), until the release of ABKCO’s Cameo Parkway 1957 - 1967 CD box set and a series of single disc collections by the label’s front runners (including Gracie) in 2005 returned the vaunted label into the spotlight.
By decade’s end, ABKCO had joined forces with Collectors Choice Records in the United States and the Ace/Big Beat family of labels in the United Kingdom to begin an extensive Cameo/Parkway reissue series. Ace/Big Beat led the way with a mandatory two-CD overview of the work of the legendary first generation garage rockers, the Rationals, followed by a series of highly acclaimed album reissues (in tandem with Collectors Choice) by such Cameo/Parkway veterans as Terry Knight and the Pack, Clint Eastwood, the Orlons, Chubby Checker, Bobby Rydell and Dee Dee Sharp.
Although Collectors Choice ceased operations as a label in recent months, ABKCO has brought the Cameo/Parkway project full circle by once again joining forces with Gracie for the all new For The Love Of Charlie album. With Quentin Jones again contributing as producer (alongside Royal Teens veteran Al Kooper), For The Love Of Charlie is one of the musical highlights of the century to date.
With long time Blitz favorite, Peter Noone as a guest backing vocalist, For The Love Of Charlie opens with the no-nonsense, Gracie-penned 4/4 rocker, All I Wanna Do Is Love You. That no-nonsense rocker sets the precedent for the remainder of the proceedings not so much in genre as it does originality. For while the bulk of For The Love Of Charlie is indeed of the calibre of excellence expected of one of rock and roll’s absolute masters (underscored beyond reproach in the utterly stupendous second track, My Hummingbird), Gracie herein occasionally turns his attention to sympathetic musical idioms in which his superb capabilities can likewise flourish. The sublime country Gospel workout, And Now I Win not only states the case as well as it can be stated, it concurrently provides the key to the longevity and immense talent with which Gracie has been blessed. Likewise, the late Four Aces co-founder Al “Al Alberts” Albertini’s vaudeville-inspired On The Way To Cape May also affords Gracie a showcase for diversity; encompassing as it does his ongoing solidarity with his home town, as well as his obvious enthusiasm for a wide variety of musical genres.
Nonetheless, For The Love Of Charlie is primarily a rock and roll album. To wit, the album’s closers Rock ’N’ Roll Heaven and Rock ’N’ Roll Party run the gamut of Gracie’s experiences, with the Gracie-authored former track saluting such fallen colleagues as Carl Perkins, Eddie Cochran, Charles Hardin “Buddy” Holly and Vincent Eugene “Gene Vincent” Craddock, while the latter cut allows Gracie to exercise his God-given talents in both celebration and gratitude.
Inbetween, For The Love Of Gracie offers a generous helping of first rate original material, primarily from Quentin Jones. Among the standouts are Jones’ hometown homage, Back To Philadelphia, his lush ballad, I Don’t Know Why, and the cover of Jimmy Accardi and the Wild Cats’ late 2008 rocker, Dance My Blues Away.
Interestingly enough, the celebration does not end with For The Love Of Charlie. The Generic label has released a new Charlie Gracie single, Baby Doll, which is not included on the album. A blistering rocker of the highest calibre, Baby Doll provided Gracie with a much deserved hit single in 2011, making him one of only two artists who have recorded for more than six decades to enjoy the distinction of hit status with new material during the year (the other of course being the great Tony Bennett, whose Duets II album was widely acknowledged as one of the highlights of 2011).
Ironically, For The Love Of Charlie was not the only triumphant release of first rate new material by veteran artists from Philadelphia in 2011. The beloved rock and roll vocal trio, Danny and the Juniors (currently led by group founders Joe “Joe Terry” Terranova and Frank Maffei, along with Maffei’s brother, Bob) also turned in a career highlight with their superb, We’re Forever & Ever & Ever Yours album for Nova Music. While this does not necessarily make a case for provincialism as an essential factor in the proceedings, it does however open Gracie’s proclamation herein of, And Now I Win to multiple interpretations. To be certain, he is blessed on a variety of fronts, both eternal and temporal. And as the multitudes who have been graced with his work over the past six decades, so are we.
CURIOSITY - Carly Rae Jepsen
(604)
(604)
For an artist such as Carly Rae Jepsen, the phrase “burden of proof” must certainly factor into her mission statement. The Mission, British Columbia-based singer/songwriter has availed of herself in a genre that is rife with like minded aspirants; many of whom simply do not at this juncture possess either the acumen or the foresight to distinguish themselves above the herd.
Thankfully for Jepsen, the proof is found in Curiosity, her second release (following her September 2008 Tug Of War debut). Curiosity is indeed a collection that manages to maintain solidarity with the idiom at large, while demonstrating potential that will ensure her survival beyond the genre’s trademark limited shelf life.
To wit, the mid-tempo Just A Step Away evidences Jepsen’s ability to discern between the two with the recurring theme of “space between the words”. In other words, the rare ability to function effectively within the moment, with a discerning eye towards both the big picture and the long term. Jepsen underscores the point with a not-so-revisionist look at Judy Collins’ Joni Mitchell-penned, 1968 single, Both Sides Now (Elektra EK-45639), which in this context comes across as a moment of self-depreciation with an eye towards self-improvement.
Nonetheless, Jepsen’s strengths lie in the moment at hand, evidenced primarily by the boundless optimism of Call Me Maybe. The video that accompanies this track (not included with this collection) finds Jepsen articulating a familiar theme with a surprise ending that hints at a propensity for social commentary not only when circumstances dictate, but perhaps even within the comparatively more regimented parameters in which her fellow aspirants must function. To that effect, Jepsen moves with relative ease between expectations (the title track) and the confounding of same (Talk To Me, which addresses a familiar theme from a slightly more seasoned perspective).
In the words of one of the standout tracks from her 2008 debut, Jepsen has had to do some Heavy Lifting in order to elevate her profile within a field where long term aesthetic success has been an attribute in short supply. But judging by the evidence herein, Curiosity has enabled her to distinguish between the Money And The Ego of which she once sang with considerable discernment. In that respect, Jepsen seems to be on the winning end of that Tug Of War.
WE ARE THE SAND - Peter Lacey
(Pink Hedgehog)
The 2011 release of the box set that compiles the 1966 - 1967 sessions for the Beach Boys’ Smile album was not so much a revelation (given that much of the material therein had been widely available through alternative means for decades) as it was the definitive presentation of one of the key musical moments of the twentieth century. Given that countless artists subsequently drew their inspiration from Smile makes its legitimate release an indispensable point of reference.
One artist whose ongoing mission statement personifies not only the inspiration of Smile, but other groundbreaking Beach Boys albums such as Sunflower, Surf’s Up, Carl And The Passions and Holland is the veteran multi-instrumentalist (including guitar, keyboards and drums) and Brighton, Sussex native, Peter James Lacey. Originally a church worship leader, Lacey went on to establish a prolific track record as a BBC session musician before launching his career as a solo artist. His Beam album for former EMI producer David Paramor’s RP Media label set the precedent in that respect.
“My first solo albums are saturated in all things Wilsonian, especially from the Smile to Holland era”, said Lacey.
“The reason was simply that I could pour songs out of this particular mould, almost easy as breathe!”
The inspiration of the Beach Boys continued to serve Lacey well throughout such subsequent releases as 2005’s Songs From A Loft and the three-track EP, Permanent Wave. However, the key lesson that Lacey learned from Wilson’s work was to take his cue from others and create an original statement via his own unique talents, rather than default to slavish imitation. That lesson continues to bear considerable fruit with We Are The Sand, Lacey’s latest release for the Pink Hedgehog label.
“We Are The Sand is a revisit in many ways to my starting point in the music of Brian Wilson and the Beach Boys”, said Lacey.
“So for We Are The Sand, it was like returning home.”
The opening moments of We Are The Sand underscore Lacey’s observations handsomely. Not only does the title track echo the laissez-faire atmosphere of the Holland album’s Mount Vernon And Fairway bonus EP, but Drinkin’ In The Sunshine is a celebration of the most introspective moments of Sunflower and Surf’s Up, with an undercurrent of Smile. Likewise, There’s A Feeling even hints at the contributions of Flame cofounders Blondie Chaplin and Ricky Fataar to that phase of the Beach Boys’ legacy, with a trace of the melancholy that characterized much of Beach Boys lead guitarist Carl Wilson’s solo endeavors.
Yet in spite of these noble beginnings, We Are The Sand is more than mere deference to one of rock and roll’s most influential bands. To wit, Lacey shifts gears abruptly with the instrumental interlude, Part Of The Rock, which owes as much to the Allman Brothers’ Jessica as it reasserts Lacey’s commitment to diversity. “What a segue!” proclaims project collaborator David Beard in the piece’s closing moments, to underscore the point.
Lacey again returns to form with the original Carl And The Passions / Surf’s Up symphonic hybrid, She’s A Rainbow (not to be confused with the 1967 Rolling Stones single of the same name) before diving headfirst into quasi-psychedelic balladry with Come What May (another original, bearing no connection to the similarly titled Atlantic label classic by Clyde McPhatter) and ultimately finding its footing with the mid-tempo 4/4 proclamation of enlightenment, Why? (again an original, with no further affiliation to the duly named 1964 single by the Chartbusters).
Indeed, while titles and inspiration may carry with them some degree of familiarity, Lacey is most assuredly an original. The album’s closing moments bear this out in abundance through the grandiose (and aptly named) Full Circle, as well as the lavishly orchestrated ballads, Time, Less Reason and An Open Heart, as well as the seemingly anti-climatic (though in reality a matter of fact, congratulatory exercise) closer, Call It A Day.
“As time went by, I diversified musically and explored other styles and genres”, said Lacey.
“However, the album also contains other influences; thus giving it greater scope, in my opinion. Those influences must include the Beatles, Paul Simon, the Moody Blues and Stevie Wonder. Very good company!”
Interestingly enough, We Are The Sand contains intermittent simulations of a radio broadcast, inferring that the album would be a welcome addition to a given station's playlist. Considering that radio in general has for decades largely ceased to be a viable source of consequence for new music, it may seem at first curious that Lacey would consider such pursuits to be a worthwhile endeavor.
“Interesting interpretation”, said Lacey.
“David Beard, who collaborated with me on the album, performed the radio DJ slots.”
True to form, those interludes were inspired not by the pedestrian fare that characterizes much of radio’s output in the twenty-first century, but by a hallmark of the BBC’s legacy that continues to resonate with artist and audience alike, more than a half century after its demise.
“The inspiration (was) partly our shared love of The Goon Show”, said Lacey, in reference to the 1951-1960 BBC Home Service series that featured Spike Milligan, Harry Secombe, Michael Bentine and Peter Sellers.
“So to that end it is something of a send up, although David has been a professional radio DJ, which brought a high degree of realism to proceedings too! Also, the theme is one for a time when radio was paramount to new music. A sadly lamentable decline.”
Interestingly enough, the Charlotte, North Carolina-based Beard, who also designed the CD cover and co-authored several of the album's tracks, has a slightly different perspective on the issue. So does he still consider the pursuit of radio airplay to be a viable endeavor?
“I think so, more than ever”, said Beard.
“Remember the days when you'd be in a car and hear the latest hit on the radio? By the early 1980s, you could hear the song, then go home and see the accompanying music video. For me, those were special days.”
Indeed, We Are The Sand is a testimony to the ongoing viability and stringent work ethic of one of the most well equipped original voices to emerge in recent years. Therein, Lacey provides a timely reminder of the limitless potential of an artist with the discernment to make the most of his God given talents. On that point, Beard definitely concurs.
“We Are The Sand is a musical statement about being a part of something bigger”, said Beard.
“A conscious whole. By that same token, Peter and I did not want to shove the concept down the listeners throat. So we kept it light and fun.”
Ironically, the release of We Are The Sand comes in tandem with Pink Hedgehog's announcement that they are going to scale back production of physical CDs in favor of internet downloads.
“Effectively, as a tiny label, we can’t survive in an increasingly money-driven, rather than music-driven industry”, said Pink Hedgehog founder and president, Simon Felton in a statement on the label’s website.
“In most cases, the bands/artists themselves will be responsible for selling their own releases in the future.”
Given that graphics are obviously an essential component of this album, it would seem that the project’s graphic designer would concur that any such developments are premature. Yet once again, Beard takes the high road.
“I do not blame Pink Hedgehog being financially savvy in these unusual times”, he said.
“The demise of radio is as sad as the demise of the record company. There is certainly no lack of music, and there is no lack of desire for music. As for physical packaging, I think it continues to have its value. When listeners no longer have the desire to want to know about what the artists looks like, our society will lose an additional layer of humanity.”
The impasse at which the recording industry finds itself in that respect was the subject of a recent Blitz Magazine editorial, and was also famously lamented by Pink Floyd drummer and cofounder, Nick Mason in an interview on NBC television’s Late Night With Jimmy Fallon program in September 2011. While Mason inferred therein that the demise of the compact disc was a foregone conclusion from the industry’s perspective, he nonetheless concurred that the move was both premature and lamentable.
Nonetheless, Beard believes that there is a possibility for compromise.
“From a digital media standpoint (iTunes, etc.). downloadable packaging/liner notes should accompany every release”, he said.
“This was proposed to Pink Hedgehog, and they opted to pass. It doesn't cost anyone anything extra. That is something that I consider a major oversight.”
Label woes notwithstanding, We Are The Sand has to date met with considerable acclaim on all fronts.
“Peter Lacey’s latest album has proved another huge success for him”, said Felton.
Yet despite the triumph of the moment, Lacey is not content to rest on his laurels.
“I’m busy on the follow up”, said Lacey.
No matter what direction that follow up takes, if We Are The Sand is any indication, the results will surely follow the right path, while carving an equally worthwhile new one. Or, in the words of one of the signature tracks from Songs From A Loft, it will no doubt be More Than Wonderful.
One artist whose ongoing mission statement personifies not only the inspiration of Smile, but other groundbreaking Beach Boys albums such as Sunflower, Surf’s Up, Carl And The Passions and Holland is the veteran multi-instrumentalist (including guitar, keyboards and drums) and Brighton, Sussex native, Peter James Lacey. Originally a church worship leader, Lacey went on to establish a prolific track record as a BBC session musician before launching his career as a solo artist. His Beam album for former EMI producer David Paramor’s RP Media label set the precedent in that respect.
“My first solo albums are saturated in all things Wilsonian, especially from the Smile to Holland era”, said Lacey.
“The reason was simply that I could pour songs out of this particular mould, almost easy as breathe!”
The inspiration of the Beach Boys continued to serve Lacey well throughout such subsequent releases as 2005’s Songs From A Loft and the three-track EP, Permanent Wave. However, the key lesson that Lacey learned from Wilson’s work was to take his cue from others and create an original statement via his own unique talents, rather than default to slavish imitation. That lesson continues to bear considerable fruit with We Are The Sand, Lacey’s latest release for the Pink Hedgehog label.
“We Are The Sand is a revisit in many ways to my starting point in the music of Brian Wilson and the Beach Boys”, said Lacey.
“So for We Are The Sand, it was like returning home.”
The opening moments of We Are The Sand underscore Lacey’s observations handsomely. Not only does the title track echo the laissez-faire atmosphere of the Holland album’s Mount Vernon And Fairway bonus EP, but Drinkin’ In The Sunshine is a celebration of the most introspective moments of Sunflower and Surf’s Up, with an undercurrent of Smile. Likewise, There’s A Feeling even hints at the contributions of Flame cofounders Blondie Chaplin and Ricky Fataar to that phase of the Beach Boys’ legacy, with a trace of the melancholy that characterized much of Beach Boys lead guitarist Carl Wilson’s solo endeavors.
Yet in spite of these noble beginnings, We Are The Sand is more than mere deference to one of rock and roll’s most influential bands. To wit, Lacey shifts gears abruptly with the instrumental interlude, Part Of The Rock, which owes as much to the Allman Brothers’ Jessica as it reasserts Lacey’s commitment to diversity. “What a segue!” proclaims project collaborator David Beard in the piece’s closing moments, to underscore the point.
Lacey again returns to form with the original Carl And The Passions / Surf’s Up symphonic hybrid, She’s A Rainbow (not to be confused with the 1967 Rolling Stones single of the same name) before diving headfirst into quasi-psychedelic balladry with Come What May (another original, bearing no connection to the similarly titled Atlantic label classic by Clyde McPhatter) and ultimately finding its footing with the mid-tempo 4/4 proclamation of enlightenment, Why? (again an original, with no further affiliation to the duly named 1964 single by the Chartbusters).
Indeed, while titles and inspiration may carry with them some degree of familiarity, Lacey is most assuredly an original. The album’s closing moments bear this out in abundance through the grandiose (and aptly named) Full Circle, as well as the lavishly orchestrated ballads, Time, Less Reason and An Open Heart, as well as the seemingly anti-climatic (though in reality a matter of fact, congratulatory exercise) closer, Call It A Day.
“As time went by, I diversified musically and explored other styles and genres”, said Lacey.
“However, the album also contains other influences; thus giving it greater scope, in my opinion. Those influences must include the Beatles, Paul Simon, the Moody Blues and Stevie Wonder. Very good company!”
Interestingly enough, We Are The Sand contains intermittent simulations of a radio broadcast, inferring that the album would be a welcome addition to a given station's playlist. Considering that radio in general has for decades largely ceased to be a viable source of consequence for new music, it may seem at first curious that Lacey would consider such pursuits to be a worthwhile endeavor.
“Interesting interpretation”, said Lacey.
“David Beard, who collaborated with me on the album, performed the radio DJ slots.”
True to form, those interludes were inspired not by the pedestrian fare that characterizes much of radio’s output in the twenty-first century, but by a hallmark of the BBC’s legacy that continues to resonate with artist and audience alike, more than a half century after its demise.
“The inspiration (was) partly our shared love of The Goon Show”, said Lacey, in reference to the 1951-1960 BBC Home Service series that featured Spike Milligan, Harry Secombe, Michael Bentine and Peter Sellers.
“So to that end it is something of a send up, although David has been a professional radio DJ, which brought a high degree of realism to proceedings too! Also, the theme is one for a time when radio was paramount to new music. A sadly lamentable decline.”
Interestingly enough, the Charlotte, North Carolina-based Beard, who also designed the CD cover and co-authored several of the album's tracks, has a slightly different perspective on the issue. So does he still consider the pursuit of radio airplay to be a viable endeavor?
“I think so, more than ever”, said Beard.
“Remember the days when you'd be in a car and hear the latest hit on the radio? By the early 1980s, you could hear the song, then go home and see the accompanying music video. For me, those were special days.”
Indeed, We Are The Sand is a testimony to the ongoing viability and stringent work ethic of one of the most well equipped original voices to emerge in recent years. Therein, Lacey provides a timely reminder of the limitless potential of an artist with the discernment to make the most of his God given talents. On that point, Beard definitely concurs.
“We Are The Sand is a musical statement about being a part of something bigger”, said Beard.
“A conscious whole. By that same token, Peter and I did not want to shove the concept down the listeners throat. So we kept it light and fun.”
Ironically, the release of We Are The Sand comes in tandem with Pink Hedgehog's announcement that they are going to scale back production of physical CDs in favor of internet downloads.
“Effectively, as a tiny label, we can’t survive in an increasingly money-driven, rather than music-driven industry”, said Pink Hedgehog founder and president, Simon Felton in a statement on the label’s website.
“In most cases, the bands/artists themselves will be responsible for selling their own releases in the future.”
Given that graphics are obviously an essential component of this album, it would seem that the project’s graphic designer would concur that any such developments are premature. Yet once again, Beard takes the high road.
“I do not blame Pink Hedgehog being financially savvy in these unusual times”, he said.
“The demise of radio is as sad as the demise of the record company. There is certainly no lack of music, and there is no lack of desire for music. As for physical packaging, I think it continues to have its value. When listeners no longer have the desire to want to know about what the artists looks like, our society will lose an additional layer of humanity.”
The impasse at which the recording industry finds itself in that respect was the subject of a recent Blitz Magazine editorial, and was also famously lamented by Pink Floyd drummer and cofounder, Nick Mason in an interview on NBC television’s Late Night With Jimmy Fallon program in September 2011. While Mason inferred therein that the demise of the compact disc was a foregone conclusion from the industry’s perspective, he nonetheless concurred that the move was both premature and lamentable.
Nonetheless, Beard believes that there is a possibility for compromise.
“From a digital media standpoint (iTunes, etc.). downloadable packaging/liner notes should accompany every release”, he said.
“This was proposed to Pink Hedgehog, and they opted to pass. It doesn't cost anyone anything extra. That is something that I consider a major oversight.”
Label woes notwithstanding, We Are The Sand has to date met with considerable acclaim on all fronts.
“Peter Lacey’s latest album has proved another huge success for him”, said Felton.
Yet despite the triumph of the moment, Lacey is not content to rest on his laurels.
“I’m busy on the follow up”, said Lacey.
No matter what direction that follow up takes, if We Are The Sand is any indication, the results will surely follow the right path, while carving an equally worthwhile new one. Or, in the words of one of the signature tracks from Songs From A Loft, it will no doubt be More Than Wonderful.
NOW IS THE TIME - The Lemon Clocks
(JAM)
(JAM)
The results produced when established musical innovators collaborated have been known to vary widely. On one hand, the first supergroup, the Heidelburg Quintet (which was comprised of solo superstars Billy Murray, Steve Porter, Will Oakland, John Bieling and William F. Hooley) set the standard of excellence in vocal group harmony when they joined forces in 1912. Conversely, the well intended Blind Faith (which endeavored to unite members of Cream, the Spencer Davis Group and Family) let individual egos take precedence over their collective mission statement, and the group imploded after one 1969 album for Atco Records.
In the case of Portage, Michigan-based singer, songwriter, producer, multi-instrumentalist, record label president, session musician and pastor, Jeremy Morris, autonomy in the studio has for so long defined his legacy, that, despite his well known propensity for altruism, would seem to be somewhat of an affront at least on an aesthetic level.
However, that is not the case with Now Is The Time, the debut album on JAM Records by the Lemon Clocks. The ambitious trio is comprised of Morris, Todd Borsch and Stefan Johansson; three individuals who came into this project with well established legacies.
“Stefan lives in Sweden, Todd lives in Illinois, and I live in Michigan”, said Morris.
“We all have home recording studios. Each one of us brings something a bit different to the band. We started working and playing together and found that the music flowed out from us naturally.”
Such singularity of purpose has not always come with such ease in previous endeavors of similar intent. The Lemon Clocks may indeed be a super group of sorts, given that key members of established bands have joined forces for this project. Even so, each member comes from different generations of garage rock. Traditionally, each generation has put their distinctive stamp on the genre and has emphasized different aspects of its fundamentals.
To wit, although Morris debuted as a second generation garage rocker, he has always aligned himself with the first generation garage rock maxim of strong songwriting. Conversely, Todd Borsch comes from the Ringles and the Gilligans; third and fourth generation garage rock bands, respectively. Generally, third and fourth generation garage rock bands placed a greater emphasis on sound and presentation over the fundamentals of song structure. In other words, getting the guitar sound right taking precedence over a solid verse, chorus and bridge template.
Happily, the Lemon Clocks seem to have adjusted accordingly. Morris has taken the majority of the lead vocals and wrote almost all of the material. Even so, there are points throughout the proceedings where presentation takes precedence, such as in the extended Pink Floyd/Soft Machine-inspired workout, Better World Beyond. As such, it would seem that such perceived differences in priorities might be evidenced amongst one another during the recording process.
“Yes, it is true that I am a first generation rocker in my approach to music”, said Morris.
“For me, the song is the most important thing! Everything else is secondary to that. Like most first generation rockers, I put the vocals up front in the mix and actually want the words to be articulated. These are qualities that I maintain, regardless of genre.
“After releasing a lot of solo albums under the name Jeremy, I felt that Now Is The Time to also have an international psychedelic power pop rock band. The Lemon Clocks are truly that!
“There was no struggle in the making of this album for me. It was a labor of love. As a band, we love a lot of the same kinds of music and we get on very well.”
Reassuringly, Better World Beyond does not define the project as a whole. To that effect, the Byrds/Cars hybrid opener, Garden Of Eden, is as much of a testimony to the ultimate singularity of purpose of the various generations of garage rock as it is a not so subtle venue for the witnessing of the Gospel that ultimately drives Morris.
“Most of us are secretly longing for the Garden Of Eden in our personal lives”, said Morris, who nonetheless could not resist another plug for Pink Floyd in his observations.
“The reconnection with our Creator is what this song symbolizes. But the listeners can draw their own conclusions. I left the message deliberately Obscured By Clouds to some degree.”
Indeed, much of Now Is The Time is devoted to emphasizing what Morris perceives as the common ground between the often diametrically opposed garage rock and prog rock factions. He first states the case in the album’s other extended offering, Rainbow Bridge, with occasional nods to Johnny Kidd and the Pirates’ Shakin’ All Over. His Life Is Like A Dream further underscores the point in some respects as an acoustic variation on Status Quo's signature track, Pictures Of Matchstick Men.
“Yes, good call”, said Morris.
“I am sonically name checking one of my favorite bands. Status Quo put out a lot of great albums during the ’60s and ’70s. I think they are under appreciated. Many do not realize just how good they are. When touring the UK in the past year, these guys were still playing and filling up stadiums!”
Borsch endeavors to maintain stylistic diversity herein with his engaging original, Gum On My Shoe, which seems to draw its inspiration in part from Rick Nelson’s 1972 arrangement of Chuck Berry’s Talking About You. But almost inevitably, as has been the case with so many projects of similar intent, the inspiration of the Byrds is almost invariably a given, with second generation garage rock protagonists often reinforcing the aforementioned emphasis on performance by highlighting the inspiration of the Byrds’ trademark jangling guitars over song structure.
Herein, the 5D-like Built To Last suggests such an influence, again raising concerns about maintaining a reasonable level of creativity within such parameters. Once more, Morris has reassured that such concerns are without foundation.
“Since the music flows from the heart instead of the brain, I don't find it to be much of a challenge” said Morris.
“I am not concerned if the sound is original, as some pretend to be. There really is nothing new under the sun. So why not just let it flow and accept it for what it is?”
Ultimately, Morris, Borsch and Johansson have done just that. While Now Is The Time might reiterate Morris’ “nothing new under the sun” observations to a degree, it nonetheless concurrently proves that God-given capabilities ultimately used for His glory will reap dividends beyond human comprehension.
“In all this music , I am not trying to be anything”, said Morris, with a not so subtle deference to the glory of the Creator.
“I AM just being. Out of the abundance of the heart, the music shall speak."
THE EP COLLECTION - James McCartney
(Engine Company)
(Engine Company)
“There is only one thing to do with high expectations, and that is meet them.”
So said singer, songwriter, multi-instrumentalist and London native, James Louis McCartney in reference to this ambitious, two-disc debut. The expectations to which he refers of course have much to do with the demands placed upon him by those who presume that the successes of individual musicians will resonate within and be dutifully replicated by any family members who opt for a similar career path.
In James McCartney’s case, the relative in question is of course his uncle and Liverpool, Merseyside native, Peter Michael “Mike McGear” McCartney, co-founder (with Roger Joseph McGough and John Gorman) of the legendary vocal group, the Scaffold. The visionary trio was responsible for a number of groundbreaking, multi-genre classics, including the upbeat, jazz-flavored Today (Parlophone R5703), the wry social commentary, 2 Days Monday (Parlophone R5443) and the ambitious and irresistible, Renaissance-inspired vocal workout, Long Strong Black Pudding (Parlophone R5548).
Indeed, traces of McGear’s trademark attention to detail are evidenced in McCartney’s work, if not the cavalier reaction to his surroundings that inspired McGear’s best Michael Flanders and Donald Swann-inspired satirical output. But McCartney instead seems to have taken most of his cues from the lavishly arranged British psychedelia of Tomorrow, Finders Keepers, the Majority and Tintern Abbey, tempered with the emphasis on songwriting championed by one man band predecessor Karl Wallinger of World Party and fellow “high expectations” singer/songwriter, Elvis Perkins (who, as the son of the late and beloved singer/actor Anthony Perkins, has nonetheless carved out a most impressive track record for himself as the front man of Elvis Perkins In Dearland).
Most assuredly, strong songwriting is a recurring attribute throughout this two-part debut. The EP Collection is comprised of two early 2011 internet only releases, Available Light and Close At Hand. Both are reproduced here in their entirety, along with several heretofore unissued tracks.
In the case of Available Light, McCartney delivers at optimum level from the onset. The opening track, Angel sports impressive lead guitar flourishes, underscoring a tale of guarded optimism with an encouraging understanding of the effectiveness of well timed minor chord progressions.
In turn (and true to his precepts), the mid-tempo Glisten finds McCartney’s inventive guitar work played deftly against a sympathetic cello score (by Steven Isserlis); again enabling the seeds of British psychedelia to bear fruit. That fruit continues to blossom in the reflective My Friend, the album’s most British psych-inspired offering, filtered through the third generation garage rock sensibilities of Wallinger’s aforementioned World Party. With its Proverbs-like, line by line itemization of key maxims, the universally themed Denial is the most seriously executed track, recalling a familiar motif often incorporated in the output of a musician acquaintance of McGear.
In Close At Hand, McCartney returns with the benefit of hindsight; improving upon ideas from the first project and persevering undaunted with fresh ones. In terms of unfinished business, the opener, I Only Want To Be Alone expands upon the Proverbial proclamations of Denial primarily for the purpose of asserting creative autonomy. To further confound expectations (or fulfill them, depending on perspective), Wings Of A Lightest Weight (a tribute to McCartney’s late mother, who was a renowned photojournalist) and the forthtelling The Sound Of My Voice delve even further into brooding, acoustic territory. The Sound Of My Voice takes the Denial template to the limit, complete with the acoustic/echo hybrid of the Beach Boys’ Al Jardine-penned Lookin’ At Tomorrow (from their 1971 Surf’s Up album on Brother RS6453) to underscore solidarity with its crossroads perspective.
The crossroads alluded to in Close At Hand is spiritual one, as McCartney progressively articulates his growing realization of the need for salvation. While Else And Else But Dead addresses in part the futility of secular pursuits, McCartney then takes the next, inevitable step in Jesus Be My Friend, which is a revelation on several counts. Relatively subdued in arrangement and execution to emphasize the logic and wisdom of such an assertion, the proceedings are nonetheless embellished with occasional string flourishes to highlight the dichotomy that often follows when the futility of the secular is met with the hope of the spiritual. “God is close at hand” and “I’m not sure just who you really are”, he sings alternately, reiterating the need for clarification that almost invariably comes in tandem with such circumstances.
In an obvious moment of divine intervention, that clarification surfaces in due course. After addressing in Fallen Angel the familiar misstep of attributing failed human relationships to divine shortcomings, McCartney rallies in short order with Spirit Guides, which at once alludes to spiritual exercises in futility made en masse by certain factions in the late 1960s and reaches the inevitable conclusion that it is the Holy Spirit of the Bible that accurately and effectively guides.
To drive the point home, McCartney abruptly shifts gears and wraps up Close At Hand with a faithful and upbeat cover of the late, great Carl Perkins’ rockabilly monster classic, Your True Love (Sun 261). Not surprisingly, Your True Love was also covered by Rick Nelson, who at one time underwent a spiritual quest not unlike McCartney’s. More than mere deference to two of rock and roll’s absolute masters, Your True Love provides a perfect resolution for the issues at hand, with its classic conclusion, “God made the world and he made it round, I’ve got my baby and I’m glad I found her love was meant for me”; simultaneously resolving all concerns at hand.
While not originally a part of Close At Hand in internet form, Your True Love is one of two covers included in this project. The other is a straightforward reading of Neil Young’s 1972 single, Old Man (Reprise REP1084), which originally closed out the internet release of Available Light. Reasoning for its inclusion becomes readily apparent in light of the four original bonus tracks that accompany the CD version. By definition (and possibly in spite of its creator’s intentions), Old Man concurrently alludes to the frequent “Christianese” invocation of the term to distinguish works of the flesh (that is, the deeds of an unbeliever) from those of a regenerate (saved) individual, as well as the familiar use of it as an endearing, colloquial reference to one’s male parent.
With the bonus material, McCartney at once resolves and underscores the point, with I Love You Dad acknowledging his unyielding (and apparently agape) devotion to both his Heavenly Father and his earthly one. Interestingly enough, the latter, Sir James McCartney Senior (who is also the brother of Mike McGear) likewise served as producer for these sessions, in tandem with former 415 Records engineer, David Kahne.
Credit for this release must go in part to Blake Morgan’s New York-based and somewhat enigmatic Engine Company label. Best known for its release of Lesley Gore’s landmark Ever Since album in May 2007, Engine Company’s penchant for perfectionism proves to be an ideal fit for McCartney, who has obviously lived up to his own challenge about high expectations with this debut. Given the remarkable growth demonstrated in short order between the two projects herein, a sequel named Abundant Light would not be at all surprising.
LIVE AT BIRD’S EYE - Hendrik Meurkens
(Zoho)
(Zoho)
It can safely be said that such periphery as chronology and geography have at best only a marginal impact on the aesthetic merit of a given musical composition. Nonetheless, in recent years, a disproportionately high number of highly productive and promising artists from New York and Brazil have surfaced within the jazz idiom.
In the case of harmonica and vibraphone master, Hendrik Meurkens, both locales indirectly play an integral role in his own work. Meurkens came to New York from Hamburg, Germany, while drummer Adriano Santos and bassist Gustavo Amarante have joined forces with him from their respective home bases of Sao Paulo, Sao Paulo State and Belo Horizonte, Minas Gerais. The quartet is rounded out by the very capable pianist, Misha Tsiganov, who hails from Saint Petersburg, Russia.
True to form, Live At Bird’s Eye is not so much an assertion of individual expectations as it is a triumph of the endeavors of the collective spirit. To be certain, there are occasional assertions of that individualism, such as the collaborative workout, Sambatroplis, which is reprised here from Meurkens’ 2008 studio version and more than lives up to the title’s multi-cultural implications. But the faithful version of Coleman Hawkins’ October 1939 monster classic, Body And Soul (Bluebird B-10523) and the reflective take on Antonio Carlos Jobim’s Dindi reiterate the notion that all concerned can set aside any perceived personal ambitions and rise to the occasion accordingly.
Having effectively dispensed with any such preconceived notions, Meurkens and his colleagues deliver the goods in fine form throughout the remainder of the proceedings. His upbeat and genial Lingua De Mosquito (which previously appeared on Meurkens’ 2004 Amazon River album) does wonders for dispensing with any such assumptions, just as the reflective take on the late Rome, Lazio pianist Bruno Martino’s Estate gives credit where credit is due without apparent need to wax in elitist manner.
In fact, by the time Meurkens and his colleagues wind up the proceedings with a vibraphone-led take on Jobim’s Voce Vai Ver, it is obvious that band and audience are in one accord in terms of voice and vision, as the song suggests. To be certain, Live At Bird’s Eye is a collection that, in the spirit of an earlier Meurkens release, is Clear Of Clouds.
IT’S... THE MOBBS! - The Mobbs
(BB Rex)
(BB Rex)
In an interview published in the May - June 1980 issue of Blitz Magazine, Monkees cofounder, bassist and keyboardsman Peter Tork was asked to elaborate upon the impact of excess versus economics within his own musical mission statement.
“I’m an artist, and an artist must tear his work down to the bare bones”, he said.
“There is no room for excess in real art. As far as I’m concerned, excess is self-indulgence. That is, the narrow, limited, individualized self. Not the greater, glorious self that we all partake of. You can’t be self-indulgent at that level. I don’t intend to be self-indulgent. Efficiency is my byword!”
Among the many musicians to take their cue from Tork’s observations were the San Pedro, California-based trio, the Minutemen, who elaborated on the concept in the November - December 1984 edition of Blitz.
“It’s basically the concept of playing a lot less than a lot more”, said drummer George Hurley.
The Minutemen’s late front man and guitarist, Denis Boon concurred.
“When we were kids, if a band didn’t play a ten minute drum solo and a fifteen minute guitar solo, they were considered terrible” he said.
“It was really the idea of the band…..to destroy that heavy metal attitude.”
Most recently, the Northampton, East Midlands trio, the Mobbs have incorporated Tork, Boon and Hurley’s teachings into their own repertoire, as evidenced in their most recent release, the Jim Riley-produced, It’s... The Mobbs! Comprised of bassist Jimi, drummer Cheadle and guitarist/front man Joe B. Humbled, the band reiterated as much with the album’s debut single, Jolly Good!, which was referred to in their press release as, “A testament to economy.”
Indeed, the fourteen originals in It’s... The Mobbs! showcase both Tork’s commitment to efficiency, as well as the Minutemen’s professed penchant for playing less. While not limited to a sixty second maximum per song (as were the Minutemen, for the most part), the Mobbs nonetheless manage to pack a considerable amount of diversity within those parameters.
To wit, the opener, Gad...It’s The Mobbs!!! Takes advantage of the Minutemen’s trademark breakneck template to paint a succinct band autobiography. Conversely, Ghastly Business applies that same sense of urgency to more universal concerns, at a relatively subdued tempo.
The change of pace sets the stage for Better The Devil You Know, which meshes the best attributes of blues rock and Wall Of Voodoo into an engaging mix that showcases the band’s predilection for well arranged vocal harmony. Likewise The N-Town Odd Shoes Blues, which acknowledges the ongoing viability of the genre, as perceived by such duly inspired torch bearers as Savoy Brown and Dave Edmunds. Standout cuts like Sweet Beatrice, Jolly Good! and Old Square Eyes highlight the remainder of the set.
As the Minutemen and Tork proved decades ago, the wisdom of conciseness is without question. Have the Mobbs also made a viable argument to that effect here? While some of the accompanying visual and biographical periphery may serve as a distraction in the eyes of the more discerning observers, the trio has indeed stated their case as well as it can be stated. In the words of one of It’s… The Mobbs!’ highlights, You Be The Judge.
VOODOO MOON - Savoy Brown
(Ruf)
(Ruf)
During a protracted hitting slump at the midpoint of a particularly challenging season in the 1990s, Los Angeles Dodgers first baseman Eric Karros ended a tough inning by striking out at the plate, prompting announcer Vin Scully to generously remark, “Once again, Karros proves to be a hallmark of consistency.”
One such “hallmark of consistency” that on the surface appears to also strike out is the veteran blues band, Savoy Brown. Since their formation in Battersea, South West London in 1965, only guitarist Kim Simmonds has remained a constant in the band’s lineup. The remaining positions in the band have changed so frequently since that time, that more than one observer has referred to their legacy as one of a “revolving door policy”.
However, to Simmonds’ considerable credit, the band has nonetheless remained a hallmark of consistency in that their sound has remained true to Simmonds’ vision. In addition, it has flourished and grown within a genre for which diversity has not always been synonymous.
Although championed by an unwavering cadre of hardcore devotees, blues rock is often presented in one dimensional fashion. More often than not, it is characterized by endless variations of the basic twelve-bar template that invariably remain indistinguishable from one another.
But where Savoy Brown remains a hallmark of consistency is in their ability for Simmonds’ various charges to rise to the occasion and bring a fresh perspective into the mix. While the twelve-bar motif is not ignored, it plays only a modest role in a repertoire that celebrates the outermost reaches of the genre.
To wit, their most recent release (and their first for the Ruf label), Voodoo Moon is every bit the engaging mix of blues, rhythm and blues, soul and rock and roll that characterized their acclaimed earlier releases for Parrot Records, yet with no apparent trace of redundancy. To wit, Look At The Sun cleverly employs the tried and true juxtaposition of a minor based structure (which carries with it an undercurrent of despondency and/or uncertainty) with lyrical guarded optimism. Groups such as the Climax Blues Band and the Steve Miller Band invoked this formula on a number of occasions with great success. Savoy Brown follows suit, again sidestepping the tag of redundancy by embellishing the results with a suitable amount of personality.
Likewise, 24/7 ventures into the dangerous territory of the extended jam; a format that thankfully fell out of favor with the passing of the Woodstock era. But like fellow blues rockers Canned Heat (another band that has survived and flourished amidst numerous personnel changes), Savoy Brown has brought an often tedious concept to life by executing it as a rondo. The recurring point of reference has allowed the various participants to soar without losing sight of the overall picture.
In turn, the set opener, Shockwaves builds upon the basic boogie theme with a familiar story line that is ultimately redeemed by sidestepping the plot twist that has ironically been invoked on numerous occasions by others for the very purpose of confounding expectations. To reiterate their commitment to that philosophy, the band pulled out all stops on She’s Got The Heat, an exuberant rockabilly/blues hybrid that would fare equally well in the hands of such masters as Dave Edmunds.
For the current project, Simmonds is joined by vocalist/saxophonist Joe Whiting, bassist Pat DeSalvo and drummer Garnet Grimm. They represent the band’s most cohesive lineup in some time; one that seems equipped for the long haul, in the event that Simmonds opts to reconsider his revolving door policy. To be certain, just as Eric Karros rose from the ashes of his protracted slump to become the Los Angeles Dodgers’ all time home run champion, in the words of its closing track, Voodoo Moon proves that Savoy Brown can still Meet The Blues Head On and emerge victorious.
To their considerable credit, Ash Wells’ Sydney, New South Wales-based Rare Rockin’ Records and Teensville labels have ascended to front runner status in the reissue category in relatively short order with superb collections by such artists as Paul Petersen and Lesley Gore, as well as a Billy Meshel tribute CD and sublime thematic compilations that feature the work of such greats as Susan Wayne, Dore Alpert, Bobbi Martin, Peter Gordeno and Dwayne Hickman. Yet with this Susanna and the Roomates release, Rare Rockin’ Records has taken somewhat of a risk with that most elusive of commodities: a relative aspirant with the discernment, vision and capability of the veteran greats.
While the doo wop idiom remains one of the most respected and productive of all rock and roll sub-genres, its track record has not been without concern in recent years. Granted, many of the veteran greats still produce at optimum level, as evidenced by Danny and the Juniors’ 2011 masterpiece, We’re Forever & Ever & Ever Yours. Nonetheless, there are those among the surviving legends who for some reason presume that a pedestrian set comprised primarily of the over-exposed triumphs of others would somehow be of greater interest than a combination of classic and newer material from their own repertoires. Sadly, many of the up and coming practitioners of the form also fall short for the simple reason that they often fail to grasp the subtle nuances of execution that gave doo wop an edge within the vocal harmony niche.
All things considered, Wells is not one to approach any of his ventures in cavalier fashion. Not surprisingly, for this, his label’s first foray into new material, Wells has once again triumphed.
Since their formation in the mid 1980s, the Roomates have more than proven themselves with a series of impeccable releases for Ace Records, comprised largely of pertinent covers and duly inspired and impeccably crafted originals. In the autumn of 2010, the group decided to add a female lead to their ranks. After an extensive search, the Enfield-based Susanna Pichin was invited to come on board.
Not surprisingly, the resultant 16 Reasons And More is a triumph on all fronts. In some respects, this all new collection (recorded at SRW Studios) is a logical extension of Rare Rockin’ Records’ mission statement, in that it gathers together thirty impeccable and often overlooked gems that would have made an ideal compilation, had the original versions had been used instead. Yet in some cases, the group’s proficiency is as such that they have managed to equal (if not surpass) the impeccable standards set by the respective original renditions.
“A lot of the songs on the CD are well-known and some not so”, said the Roomates’ Steve Webb.
“When covering well known tracks, it has always been the policy with the Roomates to try and stay clear of exact copies, as it generally adds very little to what otherwise is an already great performance. Our philosophy in that case is not to cover it at all, unless you can add something different to it.”
To wit, their impeccable rendition of Connie Stevens’ Sixteen Reasons (Warner Brothers 5137) is somewhat of a curiosity in that respect. Therein, the Roomates’ lone discernible variation on the original was the fact that they did not execute the descending half step in the “why I love you” line of the chorus.
“We just didn't do the half step down, so that it would be noticed”, said Webb.
Nonetheless, their commitment to individualism does give momentary pause for concern when it is applied toward such revered material as the Tune Weavers’ August 1957 monster classic, Happy, Happy Birthday Baby (Checker 872). Most curiously, Pichin did not execute the double tracked vocal harmonies in the, “How could way say goodbye?” line that defined the late Margo Sylvia’s performance in the original.
“This arrangement owes more to a version by a group from Singapore called Naomi and the Boys, from 1965”, said Pichin.
“(Naomi and the Boys) also opted not to use the well known intro as the Tune Weavers' version.”
Conversely, their spirited rendition of Carole King’s 1958 Under The Stars (ABC Paramount 9986) features vocals that are a bit more prominent than King’s version.
“Although the Carole King version isn't widely well known in the UK, we could have decided to do a straight copy of her version”, said Webb.
“But seeing that the CD was to have The Roomates, who are a vocal harmony group, backing Susanna on some well-known and some not so songs, there would always be the intention that we would utilize what The Roomates do best.”
To that effect, the Roomates asserted themselves accordingly with an astute aside that not so coincidentally showcases the attributes of both King and her vaunted labelmates, the Elegants.
“Most notable is the Little Star nudge at the end of the song”, said Webb, in reference to their nod to the Elegants’ 1958 signature single on Apt 45-25005.
However, this is not to infer that either the Roomates or Pichin remain in perpetual deference to a standard that relatively few have equaled in its wake. As has been the case with a number of like minded artists before them, the Roomates and Pichin have not let their creative aspirations be limited by a purist perspective.
To that effect, although it is more in sync with the ska/rock steady template, Hazel and the Jolly Boys’ 1967 Deep Down (Doctor Bird DB-1063) still managed to maintain a doo wop-inspired vocal harmony sensibility. Given that many scholars of the latter genre have professed exclusivity to varying degrees, it would seem that covering such an experimental recording present might present overt and/or peripheral challenges.
“None whatsoever”, said Webb.
“In fact, the main decision to record this song was based around the fact of what we call a Teenager In Love chord structure. No deep down -- forgive the word play; pun intended!-- musical thinking or elitism. Just the fact that it was a great song.”
To her considerable credit, Pichin recognized subtle doo-wop nuances in the Hazel and the Jolly Boys original and improvised accordingly. In fact, the road less traveled approach seems to have suited the group quite well in this project, given their multiple successes in that respect. Witness their magnificent interpretation of the Singapore-based Crescendos’ 1964 The Other Side Of Town. With lead vocals by the late, great Susan Lim, the Crescendos’ original is a superb example of high drama; an approach that seems to be relatively elusive amongst the thirty selections in this collection.
“Like a lot of the songs on the CD, we came across this one by accident”, said Pichin.
“We seemed to find a lot of Indonesian vocal groups up on YouTube. It was a simple matter of clicking and listening. If we liked it, it was added to a list of possible songs to record.
“What caught our ears straight away about it was how well the mix between the backing vocals and her lead voice were, especially at the point where they come in on the "Sha la la la la" part after the first time they sing "the other side of town" at end of first verse.”
Happily, the remainder of 16 Reasons And More offers a wide variety of equally well chosen and executed classics. Their penchant for discernment is most aptly demonstrated in The Dance Is Over, a 1960 Gerry Goffin and Carole King-penned single for Eydie Gorme (ABC Paramount 45-10,111) that interestingly enough bears no resemblance to the 1962 duly named original by the most decidedly doo-wop inclined Billy and the Essentials (Landa 691). In turn, their spirited rendition of the great Helen Shapiro’s I Don’t Care (Columbia 45-DB-4869) enables Pichin’s penchant for improvisation to shine, as does their relatively subtle take on Doris Day’s lavishly produced Move Over, Darling (Columbia 4-42912) and their straightforward reading of Gerri Granger’s overtly melismatic Just Tell Him Jane Said Hello (Big Top 3150).
Indeed, even such difficult to master material as that produced by Neil Sedaka has been fair game for Susanna and the Roomates. Thankfully in that respect, the group once again opted for the road less traveled, with memorable versions of Sedaka’s Tonight Will Tell and I Must Be Dreaming.
“I am a huge Neil Sedaka fan and absolutely love Tonight Will Tell”, said Pichin.
“Even so much as to insisting recording it in Spanish, as well!”
To be certain, the thirty tracks that comprise 16 Reasons And More are a fitting testament to the collaborative mission statement of Pichin and the Roomates. But will their subsequent releases gravitate towards original material?
“It was a matter of just recording as many numbers as possible at first, even though Susanna had written a few of her own songs”, said Webb.
“We needed to find what songs would be best suited for her voice. So the obvious thing to do was just trawl through our record and CD collections and see what we could come up with, and the list of songs still continues. There are many cuts that didn't make the CD for one reason or another. Some are both Susanna's or/and The Roomates' own compositions, which one day will see the light of day, perhaps on the next release!”
In the meantime Susanna and the Roomates have generated no small amount of acclaim with this initial joint venture, including glowing endorsements by such beloved legends as the Starlets’ Bernadette Carroll and Delicates, Angels and Dusk co-founder Peggy Santiglia Davison.
“It’s one I’m very proud of”, said Pichin.
“I am delighted to be of assistance and to, hopefully, ensure that Doo Wop is kept alive for generations to come.”
To be certain, Pichin and the Roomates (who also have a new Ace label CD without Pichin, Dawning, which likewise includes a cover of the Beach Boys’ In My Room, as does 16 Reasons And More) have studied well every formata, crescendo and minor chord and have turned in a first rate collection from start to finish. So many have previously attempted to do the genre justice, yet ultimately their endeavors sound like little more than watered down revisionism. But that is most assuredly not the case here. The Roomates' body of work definitely takes a place right alongside the pioneers of the genre. And with Pichin now a part of the group’s mission statement, there are far more than Sixteen Reasons to be optimistic for their future.
Given the vastness and diversity of his recorded legacy, singer, songwriter, guitarist and White Plains, New York native John Foley York should be on any short list of the most impacting musicians of the past half century. The first generation garage and folk rock pioneer first rose to prominence as bassist and co-founder of the Bees, after brief stints in the Trade Winds, Nightriders and Brooklyn Bridge. The Bees (which also included vocalist George Caldwell, guitarists Peter Ferst and Ron Reynolds and drummer George Slawn) released one of the genre’s definitive masterpieces, Leave Me Be / She’s An Artist (Mirwood 5003) in mid-1965, followed by Forget Me, Girl / Baby Let Me Follow You Down (Mira 210) at year’s end.
But just as the Bees were beginning to garner attention commensurate with their efforts, York accepted a call from the late Douglas Wayne “Doug Sahm” Saldana to join the Sir Douglas Quintet. York came on board with the band in time to participate in the recording sessions for their memorable Beginning Of The End single (Tribe 8318) and remained with them into 1966 for the release of their Joey Long tribute single, Wine, Wine, Wine (Pic One 111) as the Devons.
From there, York went on to contribute in various capacities to the legacies of the Tender Trap, the Mamas and Papas’ backing band, the Lamp Of Childhood, Farina Omaline, the Sounds Of Piccardy, the Gene Clark Group and Johnny Rivers’ backing band, before accepting an offer to join Clark’s former band, the Byrds. York remained with the Byrds for two albums, Doctor Byrds And Mister Hyde (Columbia CS9755) and The Ballad Of Easy Rider (Columbia CS9942), and then embarked upon a solo career that has largely sustained him until the present day.
In 2011, York signed with the ambitious Global Recording Artists label (GRA), whose most impressive roster also includes We Five cofounder Jerry Burgan, the beloved psychedelic rock legends the Strawberry Alarm Clock and the highly prolific singer/songwriter, Bill Mumy. GRA recently issued an inspired collaboration between York and Hollywood Argyles (Alley Oop) founder, Renegades (Charge), Paul Revere and the Raiders (Like, Long Hair), and Murmaids (Popsicles And Icicles) producer, songwriter (B. Bumble and the Stingers’ Nut Rocker, Cat Stevens’ Portobello Road), artist manager (the Runaways) and solo recording artist (The Trip), Kim Vincent Fowley.
Their pairing for the resultant West Coast Revelation was an ideal one. Therein, Fowley doubled as lyricist, producer, narrator and interviewer, with York providing the music and arrangements. Their fascinating and insightful originals (including Flower Girls, Psychedelic, Laurel Canyon And Topanga and Rock And Roll Is Another Name For Freedom) spoke well for the possibility of future collaborations.
With Fowley for the moment on to other projects, York has persevered with a new solo CD. Fanfare For 2 opts for a more acoustical setting, thereby enabling York to provide a more pertinent backdrop for the autobiographical high drama that characterizes the majority of this set.
To wit, such impacting and articulate fare as the social commentary, Together At The Time and the relatively idealistic Behind The Scenes each invoke in their own manner the folk maxim of enabling the medium to convey the message. Likewise, the third person narrative, Lucky And The Trash Angel and the revisionist tale of accountability, You Just Love Cocaine each speak to York’s default demographic at large without presuming a transgression of Matthew 7:1. Even his unlikely acoustic take on the Four Tops’ 1966 monster classic, Reach Out (I’ll Be There) (Motown 1098) underscores the mutual affinity for effective high drama between each artist, a perspective that was most assuredly shared by Merrilee Rush in her own somber 1968 rendition (AGP 107).
While Fanfare For 2 in its bare bones setting might present a challenge in terms of accessibility for those whose assessment of York stems from his Bees/Byrds legacy, it is fair to say that he excels in both capacities. In that respect, Fanfare For 2 is more than a West Coast Revelation. It is an impacting statement from an artist who has drawn wisely from his cumulative experience to highlight the Power Of Now.
One such “hallmark of consistency” that on the surface appears to also strike out is the veteran blues band, Savoy Brown. Since their formation in Battersea, South West London in 1965, only guitarist Kim Simmonds has remained a constant in the band’s lineup. The remaining positions in the band have changed so frequently since that time, that more than one observer has referred to their legacy as one of a “revolving door policy”.
However, to Simmonds’ considerable credit, the band has nonetheless remained a hallmark of consistency in that their sound has remained true to Simmonds’ vision. In addition, it has flourished and grown within a genre for which diversity has not always been synonymous.
Although championed by an unwavering cadre of hardcore devotees, blues rock is often presented in one dimensional fashion. More often than not, it is characterized by endless variations of the basic twelve-bar template that invariably remain indistinguishable from one another.
But where Savoy Brown remains a hallmark of consistency is in their ability for Simmonds’ various charges to rise to the occasion and bring a fresh perspective into the mix. While the twelve-bar motif is not ignored, it plays only a modest role in a repertoire that celebrates the outermost reaches of the genre.
To wit, their most recent release (and their first for the Ruf label), Voodoo Moon is every bit the engaging mix of blues, rhythm and blues, soul and rock and roll that characterized their acclaimed earlier releases for Parrot Records, yet with no apparent trace of redundancy. To wit, Look At The Sun cleverly employs the tried and true juxtaposition of a minor based structure (which carries with it an undercurrent of despondency and/or uncertainty) with lyrical guarded optimism. Groups such as the Climax Blues Band and the Steve Miller Band invoked this formula on a number of occasions with great success. Savoy Brown follows suit, again sidestepping the tag of redundancy by embellishing the results with a suitable amount of personality.
Likewise, 24/7 ventures into the dangerous territory of the extended jam; a format that thankfully fell out of favor with the passing of the Woodstock era. But like fellow blues rockers Canned Heat (another band that has survived and flourished amidst numerous personnel changes), Savoy Brown has brought an often tedious concept to life by executing it as a rondo. The recurring point of reference has allowed the various participants to soar without losing sight of the overall picture.
In turn, the set opener, Shockwaves builds upon the basic boogie theme with a familiar story line that is ultimately redeemed by sidestepping the plot twist that has ironically been invoked on numerous occasions by others for the very purpose of confounding expectations. To reiterate their commitment to that philosophy, the band pulled out all stops on She’s Got The Heat, an exuberant rockabilly/blues hybrid that would fare equally well in the hands of such masters as Dave Edmunds.
For the current project, Simmonds is joined by vocalist/saxophonist Joe Whiting, bassist Pat DeSalvo and drummer Garnet Grimm. They represent the band’s most cohesive lineup in some time; one that seems equipped for the long haul, in the event that Simmonds opts to reconsider his revolving door policy. To be certain, just as Eric Karros rose from the ashes of his protracted slump to become the Los Angeles Dodgers’ all time home run champion, in the words of its closing track, Voodoo Moon proves that Savoy Brown can still Meet The Blues Head On and emerge victorious.
16 REASONS AND MORE - Susanna And The Roomates
(Rare Rockin' Records)
To their considerable credit, Ash Wells’ Sydney, New South Wales-based Rare Rockin’ Records and Teensville labels have ascended to front runner status in the reissue category in relatively short order with superb collections by such artists as Paul Petersen and Lesley Gore, as well as a Billy Meshel tribute CD and sublime thematic compilations that feature the work of such greats as Susan Wayne, Dore Alpert, Bobbi Martin, Peter Gordeno and Dwayne Hickman. Yet with this Susanna and the Roomates release, Rare Rockin’ Records has taken somewhat of a risk with that most elusive of commodities: a relative aspirant with the discernment, vision and capability of the veteran greats.
While the doo wop idiom remains one of the most respected and productive of all rock and roll sub-genres, its track record has not been without concern in recent years. Granted, many of the veteran greats still produce at optimum level, as evidenced by Danny and the Juniors’ 2011 masterpiece, We’re Forever & Ever & Ever Yours. Nonetheless, there are those among the surviving legends who for some reason presume that a pedestrian set comprised primarily of the over-exposed triumphs of others would somehow be of greater interest than a combination of classic and newer material from their own repertoires. Sadly, many of the up and coming practitioners of the form also fall short for the simple reason that they often fail to grasp the subtle nuances of execution that gave doo wop an edge within the vocal harmony niche.
All things considered, Wells is not one to approach any of his ventures in cavalier fashion. Not surprisingly, for this, his label’s first foray into new material, Wells has once again triumphed.
Since their formation in the mid 1980s, the Roomates have more than proven themselves with a series of impeccable releases for Ace Records, comprised largely of pertinent covers and duly inspired and impeccably crafted originals. In the autumn of 2010, the group decided to add a female lead to their ranks. After an extensive search, the Enfield-based Susanna Pichin was invited to come on board.
Not surprisingly, the resultant 16 Reasons And More is a triumph on all fronts. In some respects, this all new collection (recorded at SRW Studios) is a logical extension of Rare Rockin’ Records’ mission statement, in that it gathers together thirty impeccable and often overlooked gems that would have made an ideal compilation, had the original versions had been used instead. Yet in some cases, the group’s proficiency is as such that they have managed to equal (if not surpass) the impeccable standards set by the respective original renditions.
“A lot of the songs on the CD are well-known and some not so”, said the Roomates’ Steve Webb.
“When covering well known tracks, it has always been the policy with the Roomates to try and stay clear of exact copies, as it generally adds very little to what otherwise is an already great performance. Our philosophy in that case is not to cover it at all, unless you can add something different to it.”
To wit, their impeccable rendition of Connie Stevens’ Sixteen Reasons (Warner Brothers 5137) is somewhat of a curiosity in that respect. Therein, the Roomates’ lone discernible variation on the original was the fact that they did not execute the descending half step in the “why I love you” line of the chorus.
“We just didn't do the half step down, so that it would be noticed”, said Webb.
Nonetheless, their commitment to individualism does give momentary pause for concern when it is applied toward such revered material as the Tune Weavers’ August 1957 monster classic, Happy, Happy Birthday Baby (Checker 872). Most curiously, Pichin did not execute the double tracked vocal harmonies in the, “How could way say goodbye?” line that defined the late Margo Sylvia’s performance in the original.
“This arrangement owes more to a version by a group from Singapore called Naomi and the Boys, from 1965”, said Pichin.
“(Naomi and the Boys) also opted not to use the well known intro as the Tune Weavers' version.”
Conversely, their spirited rendition of Carole King’s 1958 Under The Stars (ABC Paramount 9986) features vocals that are a bit more prominent than King’s version.
“Although the Carole King version isn't widely well known in the UK, we could have decided to do a straight copy of her version”, said Webb.
“But seeing that the CD was to have The Roomates, who are a vocal harmony group, backing Susanna on some well-known and some not so songs, there would always be the intention that we would utilize what The Roomates do best.”
To that effect, the Roomates asserted themselves accordingly with an astute aside that not so coincidentally showcases the attributes of both King and her vaunted labelmates, the Elegants.
“Most notable is the Little Star nudge at the end of the song”, said Webb, in reference to their nod to the Elegants’ 1958 signature single on Apt 45-25005.
However, this is not to infer that either the Roomates or Pichin remain in perpetual deference to a standard that relatively few have equaled in its wake. As has been the case with a number of like minded artists before them, the Roomates and Pichin have not let their creative aspirations be limited by a purist perspective.
To that effect, although it is more in sync with the ska/rock steady template, Hazel and the Jolly Boys’ 1967 Deep Down (Doctor Bird DB-1063) still managed to maintain a doo wop-inspired vocal harmony sensibility. Given that many scholars of the latter genre have professed exclusivity to varying degrees, it would seem that covering such an experimental recording present might present overt and/or peripheral challenges.
“None whatsoever”, said Webb.
“In fact, the main decision to record this song was based around the fact of what we call a Teenager In Love chord structure. No deep down -- forgive the word play; pun intended!-- musical thinking or elitism. Just the fact that it was a great song.”
To her considerable credit, Pichin recognized subtle doo-wop nuances in the Hazel and the Jolly Boys original and improvised accordingly. In fact, the road less traveled approach seems to have suited the group quite well in this project, given their multiple successes in that respect. Witness their magnificent interpretation of the Singapore-based Crescendos’ 1964 The Other Side Of Town. With lead vocals by the late, great Susan Lim, the Crescendos’ original is a superb example of high drama; an approach that seems to be relatively elusive amongst the thirty selections in this collection.
“Like a lot of the songs on the CD, we came across this one by accident”, said Pichin.
“We seemed to find a lot of Indonesian vocal groups up on YouTube. It was a simple matter of clicking and listening. If we liked it, it was added to a list of possible songs to record.
“What caught our ears straight away about it was how well the mix between the backing vocals and her lead voice were, especially at the point where they come in on the "Sha la la la la" part after the first time they sing "the other side of town" at end of first verse.”
Happily, the remainder of 16 Reasons And More offers a wide variety of equally well chosen and executed classics. Their penchant for discernment is most aptly demonstrated in The Dance Is Over, a 1960 Gerry Goffin and Carole King-penned single for Eydie Gorme (ABC Paramount 45-10,111) that interestingly enough bears no resemblance to the 1962 duly named original by the most decidedly doo-wop inclined Billy and the Essentials (Landa 691). In turn, their spirited rendition of the great Helen Shapiro’s I Don’t Care (Columbia 45-DB-4869) enables Pichin’s penchant for improvisation to shine, as does their relatively subtle take on Doris Day’s lavishly produced Move Over, Darling (Columbia 4-42912) and their straightforward reading of Gerri Granger’s overtly melismatic Just Tell Him Jane Said Hello (Big Top 3150).
Indeed, even such difficult to master material as that produced by Neil Sedaka has been fair game for Susanna and the Roomates. Thankfully in that respect, the group once again opted for the road less traveled, with memorable versions of Sedaka’s Tonight Will Tell and I Must Be Dreaming.
“I am a huge Neil Sedaka fan and absolutely love Tonight Will Tell”, said Pichin.
“Even so much as to insisting recording it in Spanish, as well!”
To be certain, the thirty tracks that comprise 16 Reasons And More are a fitting testament to the collaborative mission statement of Pichin and the Roomates. But will their subsequent releases gravitate towards original material?
“It was a matter of just recording as many numbers as possible at first, even though Susanna had written a few of her own songs”, said Webb.
“We needed to find what songs would be best suited for her voice. So the obvious thing to do was just trawl through our record and CD collections and see what we could come up with, and the list of songs still continues. There are many cuts that didn't make the CD for one reason or another. Some are both Susanna's or/and The Roomates' own compositions, which one day will see the light of day, perhaps on the next release!”
In the meantime Susanna and the Roomates have generated no small amount of acclaim with this initial joint venture, including glowing endorsements by such beloved legends as the Starlets’ Bernadette Carroll and Delicates, Angels and Dusk co-founder Peggy Santiglia Davison.
“It’s one I’m very proud of”, said Pichin.
“I am delighted to be of assistance and to, hopefully, ensure that Doo Wop is kept alive for generations to come.”
To be certain, Pichin and the Roomates (who also have a new Ace label CD without Pichin, Dawning, which likewise includes a cover of the Beach Boys’ In My Room, as does 16 Reasons And More) have studied well every formata, crescendo and minor chord and have turned in a first rate collection from start to finish. So many have previously attempted to do the genre justice, yet ultimately their endeavors sound like little more than watered down revisionism. But that is most assuredly not the case here. The Roomates' body of work definitely takes a place right alongside the pioneers of the genre. And with Pichin now a part of the group’s mission statement, there are far more than Sixteen Reasons to be optimistic for their future.
FANFARE FOR 2 - John York
(Global Recording Artists)
(Global Recording Artists)
Given the vastness and diversity of his recorded legacy, singer, songwriter, guitarist and White Plains, New York native John Foley York should be on any short list of the most impacting musicians of the past half century. The first generation garage and folk rock pioneer first rose to prominence as bassist and co-founder of the Bees, after brief stints in the Trade Winds, Nightriders and Brooklyn Bridge. The Bees (which also included vocalist George Caldwell, guitarists Peter Ferst and Ron Reynolds and drummer George Slawn) released one of the genre’s definitive masterpieces, Leave Me Be / She’s An Artist (Mirwood 5003) in mid-1965, followed by Forget Me, Girl / Baby Let Me Follow You Down (Mira 210) at year’s end.
But just as the Bees were beginning to garner attention commensurate with their efforts, York accepted a call from the late Douglas Wayne “Doug Sahm” Saldana to join the Sir Douglas Quintet. York came on board with the band in time to participate in the recording sessions for their memorable Beginning Of The End single (Tribe 8318) and remained with them into 1966 for the release of their Joey Long tribute single, Wine, Wine, Wine (Pic One 111) as the Devons.
From there, York went on to contribute in various capacities to the legacies of the Tender Trap, the Mamas and Papas’ backing band, the Lamp Of Childhood, Farina Omaline, the Sounds Of Piccardy, the Gene Clark Group and Johnny Rivers’ backing band, before accepting an offer to join Clark’s former band, the Byrds. York remained with the Byrds for two albums, Doctor Byrds And Mister Hyde (Columbia CS9755) and The Ballad Of Easy Rider (Columbia CS9942), and then embarked upon a solo career that has largely sustained him until the present day.
In 2011, York signed with the ambitious Global Recording Artists label (GRA), whose most impressive roster also includes We Five cofounder Jerry Burgan, the beloved psychedelic rock legends the Strawberry Alarm Clock and the highly prolific singer/songwriter, Bill Mumy. GRA recently issued an inspired collaboration between York and Hollywood Argyles (Alley Oop) founder, Renegades (Charge), Paul Revere and the Raiders (Like, Long Hair), and Murmaids (Popsicles And Icicles) producer, songwriter (B. Bumble and the Stingers’ Nut Rocker, Cat Stevens’ Portobello Road), artist manager (the Runaways) and solo recording artist (The Trip), Kim Vincent Fowley.
Their pairing for the resultant West Coast Revelation was an ideal one. Therein, Fowley doubled as lyricist, producer, narrator and interviewer, with York providing the music and arrangements. Their fascinating and insightful originals (including Flower Girls, Psychedelic, Laurel Canyon And Topanga and Rock And Roll Is Another Name For Freedom) spoke well for the possibility of future collaborations.
With Fowley for the moment on to other projects, York has persevered with a new solo CD. Fanfare For 2 opts for a more acoustical setting, thereby enabling York to provide a more pertinent backdrop for the autobiographical high drama that characterizes the majority of this set.
To wit, such impacting and articulate fare as the social commentary, Together At The Time and the relatively idealistic Behind The Scenes each invoke in their own manner the folk maxim of enabling the medium to convey the message. Likewise, the third person narrative, Lucky And The Trash Angel and the revisionist tale of accountability, You Just Love Cocaine each speak to York’s default demographic at large without presuming a transgression of Matthew 7:1. Even his unlikely acoustic take on the Four Tops’ 1966 monster classic, Reach Out (I’ll Be There) (Motown 1098) underscores the mutual affinity for effective high drama between each artist, a perspective that was most assuredly shared by Merrilee Rush in her own somber 1968 rendition (AGP 107).
While Fanfare For 2 in its bare bones setting might present a challenge in terms of accessibility for those whose assessment of York stems from his Bees/Byrds legacy, it is fair to say that he excels in both capacities. In that respect, Fanfare For 2 is more than a West Coast Revelation. It is an impacting statement from an artist who has drawn wisely from his cumulative experience to highlight the Power Of Now.
posted by BlitzMagazine at 8:16 PM
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