The Korgis – with the Rialto Symphony Orchestra – Orchestrations (Omnivore Recordings)
Strings replace synths, with satisfying results
The Korgis had a worldwide smash in 1980 with the ethereal, synth pop track, “Everybody’s Got to Learn Sometime.” That song has continued to be covered from artists like Beck, and Zucchero & Vanessa Carlton. Orchestrations features, you guessed it, new renditions of 10 Korgis’ songs, set to symphonic arrangements.
Admittedly, I only knew that one track from the Korgis – yet, after diving in, the rest of the band’s catalog is very solid as well, and deserving of a deeper look.
“Everybody’s Got to Learn Sometime” sounds sweeping and grand in this setting – absolutely gorgeous. There’s even an additional, “lost” second verse. If you only know the Korgis for their one big hit, you’re in for a treat. “All the Love in the World” is a tender ballad, while their first UK hit, “If I Had You,” has great harmonies to augment the orchestration.
“Something About the Beatles” deals the death of John Lennon and the indelible mark his band left on us all. “The Best Thing You Can Do Is Love Someone,” a more recent composition, is a simple prayer for peace during these divisive times. “Bringing Back the Spirit of Love” is a more upbeat track with a similar message.
If there’s one word to describe this, I’d go with cinematic.
A note about the vocals – from what I can discern from the liner notes, these are new recordings (sometimes, as in the recent Elvis with the symphony disc, an old vocal was pasted over new orchestrations). In this case, these are new renditions. I have to say, if that is true, James Warren sounds absolutely fantastic on vocals. His soaring voice has lost nothing over the years.
If you’re a fan of Eighties’ synth pop, there’s a lot here to love about Orchestrations. —Tony Peters
The Babys – Live at the Bottom Line, 1979 (Omnivore Recordings)
Proof that they could rock!
The Babys are largely remembered as the band that helped start John Waite’s long musical career. But, as a brand new, archival live album reveals, The Babys should be taken more seriously on their own.
Live at the Bottom Line, 1979, finds the British/American band on a rare headlining gig during a US tour mostly supporting other acts, like Alice Cooper and Styx. The group had just issued their third (and finest) album, Head First, and not surprisingly, it’s the main focus of this set.
The show kicks off with the appropriate, pounding title track from that new LP. Waite sounds great, maybe a little raspy from the extended road trip? The band featured both lead guitar and keyboards, and it’s an interesting dynamic, especially on songs like “Give Me All Your Love” and “Run to Mexico,” which are augmented by a clavinet. A real highlight is the very melodic “California,” which should’ve been a single.
The band’s latest single was the ballad, “Everytime I Think of You,” and it’s interesting to hear Waite’s breathy vocal here. Plus, not sure who the girl who provides the additional vocal on the chorus is, but it’s fantastic. This version really rocks.
The brooding “Stick to Your Guns” features someone else singing, and is a totally unreleased Babys’ track – it never appeared anywhere in studio form, that I can find. Another treat is “Crystal Ball” which would be retitled “Anytime” for their next record. After an interesting keyboard flourish from new member, Jonathan Cain (who later joined Journey), they launch into their other big ballad, “Isn’t It Time” – here, a little rough and ragged, which gives it more heat. There’s also a nice, extended guitar solo at the end too.
As the concert nears the end, they dig all the way back to their debut for the excellent “Lookin’ For Love.” And, it wouldn’t be the 70’s without an extended drum solo! The set ends with a rousing cover of “Money,” which gives Waite a chance to introduce everyone in the band, before the guys encore with another unreleased track, “Loaded.”
Often lumped in with other glam bands, Live at the Bottom Line, 1979, proved that the Babys could definitely rock. —Tony Peters
Whitesnake: The Purple Album (Special Gold Edition) (Rhino Records)
By Ann Stevens
It’s not unusual for mothers to have keepsakes of their kid’s childhood. A drawing, a baby tooth or maybe a lock of hair. But if your David Coverdale’s mum or “mam” as he calls her, you keep handwritten lyrics. Some people may not know that Coverdale’s first rock band was Deep Purple and he found some of those original DP lyrics in a trunk of his mom’s personal belongings that was in storage. What a find!
Released in Rocktober 2023, the special 2-LP gold color vinyl reissue of the 2015 Purple Album is “thing of beauty” and “beyond sexy,” according to Coverdale, who marks his 50th anniversary of joining Deep Purple. There are several forms to listen to the Purple Album reissue: digital, Blue Ray and the LP. Each contains revisited, remixed and remastered songs, expanded for each edition with some previously unreleased material.
Inside the double jacket of the album, Coverdale tells the tale of how Jon Lord wanted to have a Deep Purple reunion and how Coverdale wished to make amends with Ritchie Blackmore with a collaborative effort that never was able to come to fruition.
Not deterred, Coverdale went forth with his homage to the band that launched his rock career with current Whitesnake band members Tommy Aldridge, Reb Beach, Joel Hoekstra, and Micheal Devin. All the “snakes” according to Coverdale were enthusiastically onboard with this celebration disc, bringing their own “identity to the music.” Add the Hook City Strings, a string quartet from the Reno Philharmonic, and the Hook City Hooligans on chorus vocals, along with special guest keyboards from Derek Sherinian (Hammond organ) and Derek Hilland and you’ve got an amazing compilation of iconic kick ass songs such as “Burn,” “Stormbringer,” “You Fool No One,” and “Lay Down, Stay Down.” The original demo that Coverdale recorded when he auditioned for Deep Purple is also included on this studio album.
All in all, Deep Purple and Whitesnake fans will relish unboxing the re-recorded music that has withstood the “sands of time” and gave us some of of the best rock musicians including the “Deeps” rhythm section of Ian Paice and Glenn Hughes.
Van Halen – The Studio Albums & Rarities (1986-1996) (Warner Brothers)
Much-maligned VH mach II compiled and reevaluated
It’s perhaps one of the most heated debates amongst music fans – David Lee Roth vs. Sammy Hagar – which era is better? And, while there’s no disputing the influence of the former, delving deep into the Van Hagar years reveals some surprises. The Studio Albums & Rarities (1986-1996) includes all four of the band’s albums, in remastered form, with an additional CD of Studio Rarities.
5150 – The band’s second era begins with Sammy Hagar mimicking the Big Bopper’s “helloooo baby!!” before launching into the blistering “Good Enough.” The guys sound like their having a blast without David Lee Roth – Eddie is tearing off leads, while brother Alex is pounding gleefully on the skins. And, Hagar has found a partner-in-crime in bassist Michael Anthony – their two voices blend seamlessly. Hagar’s presence is definitely felt in the melodic first single, “Why Can’t This Be Love” – the Roth-era would’ve never been able to pull this off. Oh, but we get even deeper. An actual ballad? “Dreams” is powered by Eddie’s piano and synths, but the chorus is pure Hagar.
“Summer Nights” is an excellent, good time rock anthem, while “Best of Both Worlds” shows that Hagar could posture just like Roth, but out duel him in the process. “Love Walks In” was another synth-led piece. In fact, this one doesn’t have any guitar on the main parts. This is territory that the previous iteration of the band would’ve never attempted. The album closes with the goofy “Inside.”
OU812 – opens with the pulsing “Mine All Mine” – although the production seems a little watery. Some of the punch is muted here. “When It’s Love” is another Eddie synth ballad that chugs along nicely. They really developed a knack for great choruses. “A.F.U. (Naturally Wired)” is more VH posturing, while “Cabo Wabo” would introduce two words that would become synonymous with Hagar – he’d take it to the bank when he introduced a brand of tequila with that namesake. The song is just kinda meh, but let’s hear it for inspiration! While “Source of Infection” gives longtime Eddie fans a chance to marvel at his two-hand tapping.
“Feels So Good” is an interesting mid tempo piece, melodically pulsing along. It is perhaps the most pop thing VH had ever done to this point. The sequencing of this record is strange. Some of the best stuff is tucked away on side two. “Finish What You Started” is deceptively seductive in its slinky guitar and rhythm. It also features a fantastic guitar solo. While “Black and Blue” is a hard and slow grinder.
While there are good singles, the album cuts seem to fall flat, especially to what came before.
For Unlawful Carnal Knowledge – opening with the sound of an electrified power drill, “Poundcake” was one of their best rockers. “Judgement Day” is sort or a paint-by-numbers rocker, but then check out those cool harmonies on the chorus.
Another odd sequence here. Many of the best songs are further into the record. “Spanked” just kinda lays there. But, then that’s followed by the very good rocker “Runaround.” Killer Eddie riff powers this. I might argue that this is the best Hagar-era track. The way Eddie interacts with Sammy’s vocals – the band just seems fully engaged. I love the way it breaks down and then builds again.
“In ‘N’ Out” just seems like an idea that shouldn’t have been an actual song. “Man on a Mission” is another VH posturing number. But, “The Dream is Over” is much better – I love Eddie’s guitar on here. Surprised that this wasn’t a single. Great chorus.
All of that is eclipsed by the stellar, “Right Now.” A cascading piano piece opens, then Alex’s hi hat, followed by the band, crashing in. The song itself has a good message too. The acoustic instrumental “316” is a nice touch. “Top of the World” is a fantastic rocker. Why they chose to leave it until the end of the record, huh?
Odd how they “recreated” the vinyl inner sleeve for an album that wasn’t issued on vinyl.
Balance – opens with the sound of monk’s chanting, then the band lays down some serious riffing on “The Seventh Seal.” It’s a decent rocker, but it really doesn’t go anywhere. In fact, that is a recurring theme here. “Don’t Tell Me (What Love Can Do)” was the Van Halen’s answer to the burgeoning Grunge movement. But years later, it doesn’t really resonate – it’s just loud and tuneless. While the posing of “Amsterdam” recalls the Fair Warning-era, but in a forgettable way. “Big Fat Money” sounds like them trying to recreate “Hot For Teacher” without any of the passion, it’s just obnoxious.
There’s also pointless tracks like “Doin’ Time,” an unimpressive drum solo by Alex Van Halen, and “Strung Out,” which features strange string noises. “Not Enough” has a sing-a-long feel, but it feels half-baked, and still just kinda ok. While “Take Me Back (Deja Vu)” is tucked away near the end and is pretty good, except for the stupid effects on the chorus.
Two tracks save the album from being a complete dumpster fire. The first, “Can’t Stop Lovin’ You,” is Van Halen’s most obvious stab at a ballad, but it worked. And, it still sounds good. Today, it’s the second-most streamed song of the Hagar era (behind “Why Can’t This Be Love”). It’s also the ninth-most streamed VH song overall (I would’ve lost that bet!).
The second great track, “Aftershock,” features some flange Eddie riffing and then just builds and builds. Hagar sounds like he’s singing like his life depends on it, while the entire band is on fire. Eddie even throws in some much-neglected two-hand tapping on the excellent guitar solo. This was criminally-overlooked as a potential single, and is one of the Hagar-era’s best.
Studio Rarities, 1989-2004 – collects some oddities, including a decent, down-and-dirty cover of Little Feat’s “A Apolitical Blues,” which ended up originally as a b-side. The standout track is “Human’s Being,” recorded specifically for the Twister soundtrack, it features a fantastic “shine on” chorus. Unbelievable that one of their finest moments as a band would be marooned on a soundtrack. The rest of the fare here is just ok.
If I were to rank the four albums, I would say 5150 is their best overall – it’s got very little filler, while F.U.C.K. has a lot of fine moments. Third would be OU812 because of the filler and the watery production, and falling a distant fourth would be Balance, which is largely a mess.
While nowhere near as influential as the Roth-era of the band, the Sammy Hagar-led years featured more depth, as the band wrote a heaping amount of melodic tracks that still sound good today. No reason to choose just one era of the band, the Hagar years are certainly worth re-discovering. —Tony Peters
Various Artists – Written in Their Soul – The Hits: The Stax Songwriter Demos (Stax/Craft Recordings)
These lost treasures debut on vinyl for Record Store Day
Written in Their Soul was an absolute goldmine – a 7-CD box set of newly-unearthed soul demos from the Stax Records archives. For information on it, read our review here. The Hits is a small sampling of these treasures, making their first-ever appearance on limited edition, orange vinyl, for Record Store Day.
The set leads off with “634-5789 (Soulsville, USA),” a song made famous by Wilson Pickett, but here, featuring writer Eddie Floyd on vocals, and Steve Cropper on guitar, plus some background vocals. It’s rough and lacks drums, but there’s a joyfulness that just permeates the track. Some of the artists here you may not be familiar with but they were key players in the Stax sound – like Deanie Parker, who’s “I’ve Got No Time to Lose” became an R&B hit for Carla Thomas, or the spine-tingling Homer Banks and his “I’ll Be Your Shelter (In Time of Storm).”
Mack Rice, who wrote “Mustang Sally,” is featured here with a killer, infantile version of the Staple Singers’ “Respect Yourself” – it’s gritty, distorted, and his guitar is definitely out of tune, but damn, it’s so funky, that you just don’t care. Or how about Henderson Thigpen singing “Woman to Woman” from the perspective of a woman?
Some tracks are bare-bones, but others are fairly complete – dig that wah wah guitar on Shelbra Bennett’s “I’ll Be the Other Woman.” You’ll probably recognize the title “(If Loving You is Wrong) I Don’t Want to Be Right,” either from Luther Ingram or Barbara Mandrell, but you’ve never heard it with so much passion, coming from the song’s composer, Homer Banks.
This LP contains a mere 13 tracks, while its parent box set has 146. Which means, if you like what you hear, there’s a whole lot more to dig into.
Gil Evans – Gil Evans & Ten (Prestige/Craft Recordings)
Mono edition sounds fabulous on vinyl
Gil Evans had already made a name for himself, working with Miles Davis on the Birth of the Cool and Miles Ahead albums, and writing songs for Peggy Lee and Tony Bennett. But, Gil Evans & Ten is the first release to showcase Evans’ as a leader by himself. Here, he puts together an 11-piece ensemble that really shines.
The album opens with the sound of Evans’ own piano on Irving Berlin’ s “Remember,” but then his “Ten” show up, and it’s a lush sound, akin to what he and Miles had been brewing as of late. I love the heavy use of things like the trombone and French horn, less common as solo instruments in jazz.
Evans’ takes inspiration from just about anywhere, as “Ella Speaks” shows – it’s a Leadbelly song, followed by Leonard Bernstein’s “Big Stuff,” which features gorgeous bass trombone, played by Bart Varsalona. Whatever the material, Evans’ arrangements make things exciting.
Evans’ gift was finding the middle ground between jazz and classical, and Rodgers and Hart’s “Nobody’s Heart” shows this off perfectly, again led by that buttery smooth trombone, but then, a few minutes in, the track begins to swing.
This mono version is a super quiet, all analog pressing, done by Kevin Gray at Cohearent Audio – these guys are getting a reputation for churning out high-quality material. I love that they recreated the classic, yellow Prestige record label for the LP. –Tony Peters
Bill Evans Trio – Sunday at the Village Vanguard (Riverside/Craft)
You’ve never heard this album sound this good
When you make a list of the greatest jazz albums of all time, this needs to be on it. Just issued by Craft Recordings as part of their newly-resurrected Original Jazz Classics series, Sunday at the Village Vanguard has never sounded better.
I have a recent, but standard pressing from Fantasy Records that sounds ok. That is, until you compare it to this new OJC version. In every possible way, this new version is far superior. While the music on the original sounds good – this new version immerses you. Scott LaFaro’s bass is rich, deep, and his fingers click on the neck, while Paul Motian’s drums are crisp, and the warmth coming off the keys of Bill Evans’ piano is amazing.
This was the first of two albums culled from the trio’s performances on June 25, 1961, just ten days before LaFaro was tragically killed in an auto accident. The second set, Waltz For Debby, we already raved about here. This album was meant as a showcase for the late bassist, so there’s lots of room for him to stretch out. No band had ever had this much freedom between all three members – it truly was a three-way conversation.
As LaFaro is pouring his soul into these dazzling solos, you can clearly hear people having a conversation. We can forgive them for not realizing that they were witnessing a fleeting moment of sheer greatness. But, that’s how phenomenal this vinyl sounds – you literally hear things you’ve never heard before.
You do not have to have great ears to tell the difference. It’s just that good. Sure, this copy is going to probably cost you about double what your standard version would….and, it’s 100 percent worth the price.
I noticed that the mastering job is different as well. While my standard copy segues quickly between tracks, there are pauses between tracks here.
Even the cover art gets a badly-needed overhaul. Comparing my repressing to the new OJC, my version looks like a bad Xerox copy – strictly black and white, while this new one has a rich, grayish brown hue.
The job the team at Craft Recordings is doing with these Original Jazz Classics albums is very impressive. Finally albums that truly take advantage of the analog format. You will not be disappointed. —Tony Peters
Collection examines the radio-friendly side of Prog Rockers
On the surface, this is one of the strangest compilations ever. Take Yes, arguably the most successful band of the Progressive Rock genre, known for their extended songs, and put together a list of their singles, meaning the drastically-edited versions that were handed to AM radio and put on 45 rpm singles. Seems crazy, right? Yet, it’s a great compilation.
What has always set Yes apart from all other Prog Rock bands, is their uncanny knack for writing great melodies. Sure, they could stretch out and solo endlessly with the best of them. But, they also knew how to write hooks.
The album opens with “Your Move” – essentially part one of the fantastic “I’ve Seen All Good People” suite, it’s just missing the end, about half the song. You wait for the next part to come in, and it isn’t there. Same with “Starship Trooper: Life Seeker” – an oddity, since it’s in mono, and also about 1/3 the album track’s length. It’s basically the first 3 minutes of the song, and then it fades out.
“Roundabout” was the song that put Yes on the map, due in part to a highly-edited version that climbed to #13 on the Billboard singles chart. They did a better job of truncating this one. Sure, it cuts an eight-minute track down to three, but it still hits all the high points.
Yes would then issue the strange Simon & Garfunkel cover, “America” – as a single only. The album-length version is somewhat of a rarity, showing up from time to time on reissues and clocking at more than 10 minutes in length. Another example of Yes’ brilliant melodicism is “And You And I” – the album version runs again around 10 minutes, but the single is tight at 3 1/2 mins.
As the band’s music became more expansive, the singles were a great place to keep things concise. The bloated, 22-minute, “The Gates of Delirium,” was condensed into the beautiful “Soon.” Although truncated, “Sound Chaser” is a mess – noisy, lacking melody, it’s an odd choice for a 45 rpm. “Wonderous Stories” is the first Yes single that was included in its full length (in this case, 3:50), same with “Don’t Kill the Whale,” which clocks in at a mere 3:55.
“Into the Lens” is an interesting oddity – a single cut without singer Jon Anderson. Instead, Trevor Horn and Chris Squire handle the vocals, but it still has that distinct Yes quality.
But, after that proved unsuccessful, the band asked Anderson to rejoin. Now, with guitarist Trevor Rabin in the fold, they scored their biggest hit to date, the forward-leaning, “Owner of a Lonely Heart.” Full of synthesizer tricks, it would climb all the way to #1 on the charts. Oddly, even though this is touted as a singles collection, this is, in fact, not the single version, which is shorter than what’s included here. The album closes with the mostly-acapella “Leave It.”
While it is nice to have many of these single edits in one place, there’s no clear definition for this track list. Yesingles is not the “best of Yes” (it’s missing some of their biggest songs: “It Can Happen,” “Love Will Find a Way,” and “Rhythm of Love,” come to mind). It’s also not a “complete” singles collection, as there were many songs issued as 45’s that were left off (“Going For the One” and “Lift Me Up” are two more omissions).
Yesingles is a nice summation of many of the high points of Yes, albeit in abbreviated versions. —Tony Peters
Rhino Records Celebrates 45 Years with New Rhino Red Editions of Classic Albums
Each album comes with a bonus 45 rpm single
Rhino Records is the most important record label of the last 50 years.
While that might sound like hyperbole, the fact is, no other record company has done more to promote the rich history of music than Rhino. From their humble beginnings issuing novelty records, the little label from California soon began to repackage forgotten hits of the past. Imagine what the genres of garage rock or girl groups or soul would be like without Rhino’s fantastic reissues. They’ve also overseen countless classic album remasters, each with their meticulous attention to detail.
In celebration of 45 great years, Rhino has started a Rhino Red campaign, taking a variety of legendary albums from their catalog and reissuing them on translucent red vinyl, along with a bonus 45 single. Some are straight reissues, while others are special editions. These exclusive editions are only available at rhino.com
The Doors – Golden Album
A recreation of a 1968 Japanese compilation that covers the band’s first three albums: The Doors, Strange Days, and Waiting For the Sun. Mastered by Bruce Botnick and lacquers cut by Bernie Grundman Mastering, the album was pressed at Third Man in Detroit. The deluxe gatefold jacket comes with a lyric booklet and photos of the band.
I don’t think you can name a single LP Doors’ collection that features “Light My Fire” AND both epic pieces, “The End” and “When the Music’s Over.” I’m surprised at side two’s track listing. When you total all six of the songs, you’re at roughly 27 minutes, which is pretty full for an album side. While one might quibble over the choices – “Moonlight Drive” seems an odd omission – but it’s a pretty killer, no filler look at the early days of the Doors.
The 7-inch single is an interesting one, a 33 rpm single featuring 5 songs also available on the album: “Hello, I Love You,” “Strange Days,” “The Unknown Soldier,” “Light My Fire,” and “People Are Strange.” Odd choices, since “Strange Days” especially wasn’t a single. But, it’s maybe the only time that the full, album-length version of “Light My Fire” has been available on a 7-inch single.
Todd Rundgren – Runt (early version)
Todd fans will delight with this discovery: a rare, “early mix” of the Runt album. The biggest surprise is a full version of what became the Runt “Baby Let’s Swing Medley.” I also hear echo on some of the tracks that isn’t on the later, more-common mix. They’ve faithfully recreated the inner sleeve with the lyrics and band photos.
The 45 rpm single is the mono mix of “We Gotta Get You a Woman” backed with the “Baby Let’s Swing” Medley – also in mono. They used the Bearsville logo for the LP, but they paid homage to the Ampex logo, but substituting the word “Rhino” instead.
Doobie Brothers – Minute By Minute
Although this is touted as a straight reissue, this is sonically different from my 1978, OG LP. “Here to Love You” seems compressed, while the kick drum and bass on “What a Fool Believes” seems louder. Also, the claps on “Depending on You” also seem more prevalent. They did faithfully recreate the album’s inner sleeve, complete with the giant doobie!
The 45 single is “What a Fool Believes” backed with the excellent, “Don’t Stop to Watch the Wheels.”
Chicago – V
Probably the best packaging of this series. Two, large, black and white posters of the band. Gatefold cover (but what band would literally not list the song titles either on the front or back cover 0R even the inside cover??
Chicago V was really a triumph considering it immediately followed the bloated, 4-LP live At Carnegie Hall box set, and the band’s previous studio album, Chicago III didn’t contain any major hit singles. Chicago V also marked the first time the band issued a single LP – everything before that was a double album or the aforementioned live set.
Side one is absolutely flawless. Robert Lamm is on fire as a songwriter. As some of Chicago’s previous releases featured a lot of styles of music, especially excursions into jazz and experimentation. Here, the band seems focused. But, make no mistake, this is still very much the classic, Chicago sound. With the very next album, the band would find success in ballads. “Dialogue Part 1 & 2” is the perfect fusion of melody and improvisation. Guitarist Terry Kath has a killer solo at the end.
Side two starts with a funky, jazz number called “While the City Sleeps.” I love Cetera’s bass on this. It’s followed by the quintessential Chicago song, “Saturday in the Park.” The horns sound somewhat muted here on this new vinyl version for some reason. It is truly one of the greatest pop songs in history. “State of the Union” is a great, slinky rocker. The album ends with “Alma Mater,” giving Kath an opportunity to show off his acoustic guitar skills over some rather unique chord changes.
Foreigner – Agent Provacateur
A side-by-side comparison of the new, Red version to an original album shows this new one to be warmer, with more low end. This album is very digital sounding in any format, they were using the tools of the moment, including synth drums. Their previous album, 4, was a huge success, but also introduced a more pop element. Here, Foreigner sounds trapped between two worlds. They started out as a hard rock outfit, but every rocker here sounds forced. “Reaction to Action” and “Tooth and Nail” suffer from mid-Eighties production, so lack the punch of their earlier work (even though the guitars are meaty, they’re wrapped in echoed drums and a gloss that isn’t necessary).
By contrast, the pop side of things really shine. “That Was Yesterday” is still a fabulous single, “I Want to Know What Love Is” is the heartfelt ballad follow up to “Waiting For a Girl Like You.” Some of the album’s best songs are on side two, like the sleeper album cut “Love in Vain,” while “Down on Love” perhaps should’ve been a bigger hit. Both are synth driven, but still sound great.
The 45 rpm single included is the single version of “I Want to Know What Love Is” backed with “Street Thunder,” an instrumental which sounds like it came from the Beverly Hills Cop soundtrack. It isn’t really memorable though. The 45 Atlantic label is actually incorrect. I believe it had the “F” Foreigner logo.
The original album sleeve featured a raised letter “F” but that was probably too pricey to recreate.
Also available is Love’s second album, De Capo, in its rare, mono version. The accompanying single has “7 & 7 Is” backed with the non-LP “No. Fourteeen”; Love Man, Otis Redding’s third posthumous album, here in stereo, along with a promotional EP featuring four songs in mono from the same album; and Aretha Franklin’s fifth Atlantic album, Soul ’69, featuring the single “Gentle on My Mind,” backed with the non-LP “I Can’t See Myself Leaving You.”
Rhino Red offers a chance to grab unique copies of some of the classic albums in the Rhino catalog. Some, like the Doors and Todd Rundgren, are worth getting because they offer different versions. Either way, this is an excellent way to celebrate the many accomplishments of Rhino Records. Here’s to another 45! —Tony Peters
Darkness – Permission To Land; 20th Anniversary 5LP Super Deluxe Box (Atlantic/Warner Music)
The Darkness breakthru record ‘Permission To Land just turned twenty and was re-released by Warner Music as “Darkness – Permission To Land; 20th ANNIVERSARY 5LP SUPER DELUXE BOX.” I started with LP2; I Believe in a Thing Called Love DEMOS. The vox and instruments on each cut were far in the background, very flat sounding, low and unremarkable. Definitely needed something.
Next it was LP3 – Singles and B-sides, which contain the radio cuts of each track, including the Smash Radio Single “I Believe in a Thing Called Love” and the 2003 holiday track “Christmas Time (Don’t Let the Bells End).” Also, it has the harder to find explicit cuts: “Get Your Hands Off my Woman,” “Makin’ Out,” “Physical Sex,” and “Bareback,” which eluded radio play for some reason. Between the Demos and Singles the difference in clarity and punch on each song is amazing.
Next, I spun to the remastered (LP1) versions of each song which brought lead guitar and vocals even more front and center, focused, with added effects, doubled vox in spots and tightened up the overall track. They again improved the width of the tracks allowing each vocal and instrument to break thru more cleanly, while adding amazing clarity and balance.
And lastly, I played the two live records LP4 – Live At Knebworth 2003, and LP5 – Live At Astoria 2003. These are two amazing recordings of two epic performances from the Worldwide 2003 Permission To Land tour.
With this amazing box set we can compare the Demos, Studio cuts, Unreleased versions, Live cuts and a brand new Remastered versions of each track. It is a deep dive into the history of each song and an inside glimpse of the recording process not often offered up for fan consumption. I really dig it and you will too. The Darkness are currently touring the 20th Anniversary of this amazing record, Go check ’em out, coming soon to a venue near you. – Ric Stewart
Mick & Keef get a little help from their friends on their best album in over 3 decades
What do the Rolling Stones have left to prove? Well, apparently a lot. Their 26th album is very good, and certainly worth a listen.
I’m not sure how he does it, but Mick Jagger sounds fantastic – still very much Mick – screaming, yelping, pleading. Keith Richards’ guitar is very hot in the mix, and that slinky, behind-the-beat drumming, is still very much a part of things. Only this time, with the passing of Charlie Watts, it’s handled by Steve Jordan. There’s also some very nice guest appearances.
The album opens with the fierce “Angry” – Jordan does his best Watts’ imitation. I dig when the song breaks down, we hear producer Andrew Watts’ piano, then a fine Ronnie Wood solo. Next comes “Get Close,” propelled by a funky groove, and a great sax solo near the end, and guest piano by Elton John. This is vintage-sounding Stones.
“Depending on You” is a fantastic ballad led by lightly-strummed guitar and piano, and Benmont Tench on organ. “Bite My Head Off” features Paul McCartney on bass – the verses are aggressive, but it features a great chorus.
The one thing that stands out from Hackney Diamonds is that it’s melodic. “Whole Wide World” has somewhat bland verses, but the chorus and great guitar solo save it. Same goes for “Driving Me Too Hard” – the verses are just ok, but the dreamy chorus with a slinky guitar is fantastic.
The stripped-down “Dreamy Skies,” with its acoustic and slide guitar, and piano could’ve been an Exile outtake. I love Richards’ background vocals here.
“Mess It Up” is an absolute wonder. One of only two tracks featuring late drummer Charlie Watts; it’s his phenomenal rhythms, heavy on the hi hat, that makes this the most danceable Stones’ track since “Miss You.” And dig Jagger’s falsetto on the “I won’t lie” part near the end. They would be foolish to not release this as a single.
“Live By the Sword” sees the return of original bassist Bill Wyman on a Stones’ record for the first time in 35 years. That, coupled with this being the other track featuring Watts, makes this the most complete Stones’ band song in a very long time. It’s another track with tasty piano from Elton John. Great guitar solo on this one too.
“Tell Me Straight” is a surprisingly good ballad from Richards.
“Sweet Sounds of Heaven” features Lady Gaga on vocals and Stevie Wonder on organ and piano. This is an obvious ode to “You Can’t Always Get What You Want,” not only in the chord progression, but also in the way the song builds, and its length. Jagger and Gaga trade “oh yeahs” near the end, and it’s good fun.
“Rolling Stone Blues” is the absolutely perfect way to end. This is the Muddy Waters’ song that brought Jagger and Richards together as youths. Unbelievable that they’ve never put this on record before, it’s just Richards’ electric guitar and Jagger on vocals and harmonica. It’s chilling in its immediacy – reminding us where these guys came from, albeit an eternity ago.
There’s word that the band recorded enough tracks to fill up an additional album. So, the possibility that we’ll have yet another Stones’ record soon is certainly good news. Especially if it’s as great as this one.
In the Rolling Stones’ long history, they’ve only recorded a handful of albums that are solid, from start to finish – there’s usually filler in there somewhere (think “Continental Drift” on the otherwise pretty-good Steel Wheels). With Hackney Diamonds, they’ve created an excellent album, brimming with excitement and swagger, that can proudly stand next to the band’s finest work. —Tony Peters