When I was a growing up in the 1970’s my neighbor owned a custom van. Both sides of the vehicle were the canvas for a larger than life painting of an owl, with piercing yellow eyes and outstretched wings; a meticulous airbrushed version of Hugh Syme’s original album artwork for Rush’s second album, Fly By Night. This was a van that belonged to a true Rush fan, a place where any music would do as long as it was all Rush all the time.
My musical journey with the band started in earnest a few years later with my oldest sister’s copy of Exit Stage Left. There was and is something special about listening to music on vinyl. I remember holding the album, reading the liner notes and seeing the artwork that Hugh Syme designed for the album, it would have looked great on an Econoline van.
Fast forward to 2019, the five LP box set Clockwork Angels Tour (Rhino/Atlantic Records) arrives in the mail. In the era of streaming music, it feels almost remarkable to see and hold an LP box set. Clockwork Angels Tour is an exquisitely packaged and pressed live recording from Rush’s tour to support the studio album Clockwork Angels. While it is possible to stream thefive-album box set,this is a body of work that begs to be consumed in a linear fashion, on vinyl. Clockwork Angels Tour is an epic 31-song musical journey, that rolls, twists and intertwines, each song effortlessly slides into and beyond the other.
The majority of the tracks from the exceptional Clockwork Angels album are found on Sides C-F of the box set. These songs are not a separate act of the play, but a musical thread that weaves the incredible talent and development of Rush, it’s the evolution and pursuit of the craft. With Rush this pursuit never seems to be complete, it is the process and the product.
The brilliance of the band’s 38 years of musical creativity is on display, this is not a greatest hits album it’s a sample of the live experience with Rush. It’s a complex story that seems to be aimed at drawing you in and placing you within the interplay of all things that came before and will come after. Clockwork Angels Tour is a musical and artistic work of art, that begs you to slow down, take some time and lose yourself in the remarkable musical talent of Rush. —Brian Dzwonek
Creedence Clearwater Revival – Willy and the Poor Boys (180 Gram Vinyl Edition) (Fantasy/Concord)
This new version blows the original vinyl away
As a lifelong collector of vinyl, I will often tell you that “older is better.” I’d rather search out an original pressing of an album than buy some new version. The reason is that, in my experience, a lot of new vinyl is done with very little quality control. Well, here comes Craft Recordings to, once again, prove me wrong.
Craft Recordings has recently re-issued both Green River and Willy and the Poor Boys on vinyl in celebration of Creedence Clearwater Revival’s 50th anniversary. They sent us Willy and the Poor Boys and we compared it to an original vinyl copy in our library.
The results are stunning.
While the original vinyl sounds pretty good, this new, 180-gram, edition is far superior in every way. First, this new version is very quiet – the pressing was done with a great deal of care. Second, and really the biggest difference, is that there is so much more depth to this new pressing. The guitar at the beginning of “Down on the Corner” is rich, there’s more punch to the drums on “It Came Out of the Sky,” and the acoustic guitars on “Cottonfields” are warm.
The album was created using the half-speed mastering process, meaning the original audio was played back at half the speed and the cutting lathe was also slowed down, allowing the grooves to be cut more precisely.
Everything from “Fortunate Son” to “The Midnight Special” jumps out of the speakers. These classic recordings have never sounded this good on their original, vinyl format.
As an added bonus, the album comes packaged in a heavy weight cardboard sleeve, replicating the original, tip-on jacket.
CCR were one of the original, roots-rock American bands. It makes sense then, that they should be enjoyed in analog.
I sincerely wish that all vinyl reissues were given the same treatment as this Willy and the Poor Boys edition. Vinyl fans rejoice! —Tony Peters
Celebrating their semi centennial with a solid career overview
For any band, reaching the half-century mark is a monumental achievement. Years of touring, success, lack of success and friction of inter-personal relationships have caused the end of many a great band over the years. The fact that America is still a working group, playing shows, year after year, is a testament to the dedication of both Gerry Beckley and Dewey Bunnell to the same ideals that brought them together over 50 years ago.
A new collection, 50th Anniversary – Golden Hits, celebrates the high points of a long career.
The set opens with their first, and most recognizable hit, “A Horse With No Name,” a combination of CSN harmonies and Neil Young-like lead vocals, over a gentle, pulsing acoustic backdrop, that somehow manages to make a statement of the dying ecology; it still jumps out of the speakers, almost five decades later.
What made America such a juggernaut is that back in their heyday, they had three capable vocalists and songwriters all adding their own elements to the band (Dan Peek was the third original member). Beckley’s piano ballad “I Need You” was a counterpoint to Bunnell’s ominous “Sandman.”
Three songs from their second album, Homecoming, show off their versatility. Peek turned in the countryfied, 12-string jangle of “Don’t Cross the River,” which features some goose-bump-inducing harmonies on the chorus, while Bunnell gave us the iconic, acoustic-flavored “Ventura Highway” (with the crazy “alligator lizards in the air” lyric), while Beckley gives us another, McCartney-esque, “Only in Your Heart.”
After the somewhat lackluster Hat Trick (I mean, if Captain & Tennille outdo your “Muskrat Love,” you might want to regroup and come up with a better plan, right?). That plan was to bring in Beatles’ guru/producer George Martin. This partnership brought immediate dividends in the gentle simplicity of Bunnell’s “Tin Man” and the absolutely gorgeous “Lonely People” (a highlight of Peek’s songwriting talents).
Beckley gives us another great ballad in “Daisy Jane,” while Peek turns in the reggae-infused “Woman Tonight,” a forgotten track off of the album Hearts. The real highlight off that album was the smash hit, written by Beckley, “Sister Golden Hair,” one of their finest singles.
Another lost single, Bunnell’s “Amber Cascades,” was one of the high points of the album Hideaway. Their final album as a trio, Hideaway, yielded the minor single, “God of the Sun.” After that, Dan Peek left for a solo career, reducing America to a duo. They returned in 1982 with the Russ Ballard-penned “You Can Do Magic.”
There’s also a 3-disc version of this collection that delves deep into their catalog.
The strength of 50th Anniversary – Golden Hits is that it’s concise (six less tracks than the somewhat bloated Complete Greatest Hits), but also contains all the highlights of the band’s career (something that the original America’s Greatest Hits does not). Although there are plenty of great songs throughout America’s vast catalog, 50th Anniversary is a great starting point. —Tony Peters
Abbey Road has always been my favorite Beatles’ album. It’s the one I remember begging my mom to play again and again on our console stereo system, while I lay in between the large wooden speakers, basking in the glow. The original album got so much love, it eventually developed skips, which I knew by heart.
But, as much as I love that album, it always bothered me sonically.
The original version kind of sounded like shit.
While that statement certainly smacks of blasphemy, let’s examine things a little closer. The original vinyl was mastered at a low volume, meaning all but absolute pristine copies are marred by pops and scratches, which overpower the music. There’s also tape hiss that even shows up on those original pressings (just replay a vinyl copy of “I Want You (She’s So Heavy)” for proof).
Things only got worse when the band’s catalog eventually moved to compact disc. Not only was all that tape hiss louder, but many of the tracks sounded tinny and brittle. How did this once-great album come to sound so lifeless?
All of that has been fixed with this glorious new remix by Giles Martin.
As the son of Beatles’ original producer George Martin states in his new liner notes, the goal of this project was to “peel back the layers and be as pure as we can.” They have done that and more.
Sonically, it is a massive upgrade. While we were critical of the somewhat heavy-handed approach of The White Album remix, there seemed to be a reverence surrounding this new project. The result is something that all but the pickiest of Beatles’ fanatics will be thrilled with.
One of the greatest triumphs is the spine-tingling remix of George Harrison’s “Something.” His vocals and guitar are warm, the bass – big and fat, and the strings engulf you.
A side-by-side comparison from the original CD version gives some insight into just how improved these songs really are. Take, for example, “Maxwell’s Silver Hammer,” which on the original album, was full of midrange frequencies and had instruments that were panned hard right and left. For this new remix, they were able to play Paul’s original piano track through speakers at the original Abbey Road studios, miking the sounds on the edges of the room, giving you the feeling that you are in the room with the band. Ringo’s drums have punch, and everything just sounds more human.
In this new mix, “Sun King” leaps out of the speakers. The chirping crickets are everywhere, while Paul’s bass is full, and less distorted, and Ringo’s thumping beat is enormous. The harmonies in stereo are a nice touch.
What about “I Want You (She’s So Heavy)”? The hiss is gone, and what remains is a testament to just what kind of a blistering band the Beatles could be. John seems to be working through some of the pains of his eroding band in the gritty vocals. Not to be outdone, this new remix really shows what a fantastic vocalist Paul was as well on the impassioned “Oh Darling.”
George’s other masterpiece is “Here Comes the Sun,” and everything, from the acoustic guitar, the strings, even the handclaps, are all upgrades in sound.
That glorious medley of songs that make up the original side two are made even more enjoyable by the new remixes. Everything seems to build from song to song, cresting with “Carry That Weight,” with the strings and brass really shining through. The guitar solos on “The End,” by Paul, George and John respectively, are more isolated, giving you a better appreciation for each’s approach to the instrument. After a lengthy pause, the brief “Her Majesty” brings everything to an abrupt close.
I wouldn’t be a Beatles’ fanatic without a couple of minor quibbles. There are points where Martin and company insert little “new” bits into things – there’s extra vocals and guitar parts at the end of the new “Come Together,” which to me don’t add anything. There’s also extra guitar fills at the end of “You Never Give Me Your Money,” even ones that sound like mistakes. There’s also times where a different effect is used on the vocals, especially apparent on the “one sweet dream” part of “You Never Give Me Your Money.”
There are several different versions available to purchase. The two-disc set contains a second CD of rarities. Of note here is a demo version of “Something,” where you can really hear the song coming together (pun intended). There’s a fragility to this take which adds to its power. The other tracks are interesting to hear once, but nothing stands out as revelatory. Either the vocals are rough takes or the instrumentation breaks down.
The real treat on the 4-disc set is “The Long One,” a 16-minute early version of side two, which has “Her Majesty” not at the end of the album, but sandwiched in between “Mean Mr. Mustard” and “Polythene Pam.” There’s also differences in vocals and instrumentation on every song. This is a nice addition, but you either have to purchase the more expensive version, or just stream it online. A demo version of “The Ballad of John & Yoko,” proves that just John and Paul played on the track, while Paul’s version of “Come and Get It” is very close to what Badfinger eventually released as their debut single.
There’s something always bittersweet about listening to Abbey Road. As great as the music is, it’s also the final recordings by the Beatles. A great deal of love and care has gone into this new remix. —Tony Peters
Foreigner – Live at the Rainbow 78 (Eagle Rock / Rhino)
Proof they really were THAT good
Foreigner sold millions of records, placed several singles in the Top Ten, and toured incessantly, yet never had a proper live album of the classic lineup of the band – until now.
It was DEFINITELY worth the wait.
Live at the Rainbow 78 finds the original six-piece in front of a rabid UK crowd after being on the road for over a year in support of their debut album.
No covers – no senseless noodling – this is rock n’ roll with a purpose.
The concert kicks off with a rousing version of “Long, Long Way From Home,” fitting as half of the band were from America. The real highlight on this track is drummer Dennis Elliott, adding frenetic fills throughout and building the excitement. Guitarist Mick Jones turns in some truly scintillating guitar work on “I Need You.” Then, he introduces “here’s one for the ladies here tonight, my mum included,” before kicking off “Woman Oh Woman,” with Jones and singer Lou Gramm trading off lead vocal duties.
Gramm really shines on “Hot Blooded,” a song that wouldn’t be out for several weeks yet (the lead single from their second long player, Double Vision). He effortlessly hits the high notes while Jones shreds on the solo.
Ed Gagliardi’s bass is intertwined with the keyboards on “The Damage is Done” – the live version has much more power, even grooving in the middle. “Cold as Ice” opens with a cool stager before briefly pausing, allowing the crowd to roar in approval. This live take is fueled by the keyboard duo of Ian McDonald and Al Greenwood. The band had been playing this track for at least a year now, yet it still sounds fresh. There’s even a nice acapella part, followed by a keyboard solo and a killer ending.
McDonald shows off his multi-instrumentalist skills, breaking out a flute solo on the spacey “Starrider,” featuring Jones on lead vocals. This extended flute jam might be the only part where things drag just a tad.
The twin guitar of Jones and McDonald are on display for another new song, “Double Vision” – and great harmonies in the middle and yet another great ending.
If you want proof that Gramm was one of the finest vocalists in rock, look no further than “Fool For You Anyway.” Sure, he could belt out rockers, but here he’s soulful. The Rhodes piano gives a gentle approach that the band would explore more fully on ballads like “Waiting For a Girl Like You” a few years later.
“At War With the World” is one of the hardest rockers the band ever played, while the concert closes with an extended take of “Head Knocker,” complete with Gramm getting behind another drumset and battling with Elliott – the entire song crests and whips the UK crowd once again into a frenzy, lasting over 12 minutes.
Live at the Rainbow 78 reminds us that Foreigner were a force to be reckoned with as a touring band. A phenomenal live set that does nothing but add to this great band’s legacy. —Tony Peters
Rush – Time Machine – Live in Cleveland 2011 (Roadrunner)
Grizzled Canadians Return to the US City That Embraced Them First
2011 marked the 30th anniversary of Rush’s Moving Pictures album – their biggest, and best album. To celebrate, the band played that classic record in its entirety, along with an eclectic smattering of album cuts and hits. Time Machine: Live in Cleveland 2011, the document of that tour, has just been issued for the first time on a 4-LP set on vinyl.
The city of Cleveland played a significant role in the band’s history. DJ Donna Halper of Cleveland’s WMMS was the first person to play Rush’s music in the States (she’s actually thanked on the back cover of the group’s debut album). So, it would only be fitting to play in front of fans that believed in them first.
Part of the, er…rush of a Rush concert is hearing the band effortlessly tackle their intricate studio arrangements in a concert setting. That’s great live and in person, but usually doesn’t work too well on their countless live albums. What sets Time Machine apart is the amount of humanity that shines through. Okay, these tracks still mostly sound like the studio versions, but, for one, Geddy Lee’s voice has aged. More of a squawker than pure singer, his vocals have a deeper, resonating quality to them and there’s a hint of rasp as well, giving some of these songs a “lived to tell about it” feel to them that isn’t apparent on the studio renditions.
Other times, like in the early part of “Red Barchetta,” the band doesn’t seem to lock in quite like they used to. Yet, there’s a kinetic sense of playing together for so long, that things don’t ever veer too far off course.
The show kicks off with “The Spirit of Radio,” a little rough around the edges, and slower than usual, but still rockin’. This jumps right into “Time Stand Still,” with the band still reprising Aimee Mann’s background vocals, courtesy of a sampler. Other early highlights include a decent version of moody “Subdivisions” and the seldom played “Presto.”
A minor quibble is that Neal Peart’s drums seem somewhat buried in the mix. Largely, he’s the main attraction here, as he still sounds in fine form. Yet, at times he’s lost under the sludge of guitars.
Moving Pictures comes at the midway point in the concert. Only problem is, that means the album performance starts on Record two and completes on Record three (again, minor quibbling here). Just for consistency, it would’ve been nice to have the complete album in live form on a single disc. “Tom Sawyer” flat out rocks, while there’s some silly carnival sound effects at the start of “Limelight.” It’s nice to hear songs like “Vital Signs” in a live setting.
For the remaining tracks, the band digs back to their prog rock roots for the “2112 Overture” and “La Villa Strangiato.” At the same time, you also get both “BU2B” and “Caravan,” songs that were brand new and would show up the following year on the album Clockwork Angels.
And what would a Rush concert be without a mammoth drum solo by Neil Peart? This one, originally titled “Love For Sale,” gets retitled “Moto Perpetuo,” clocking in at over nine minutes in length.
The concert ends on a surprising note, with the band diving into a reggae version of “Working Man” (hmmm…). Thankfully, it morphs into the real song about 1:30 in.
By showing a band that’s aging, and a little rough around the edges (yet still in fine form), Time Machine is the most human of all Rush live albums, and that’s a good thing. —Tony Peters
Mister Rogers – It’s Such a Good Feeling – The Best of (Omnivore Recordings)
Johnny Costa – Plays Mister Rogers’ Neighborhood (Omnivore Recordings)
The Neighborhood, from a couple of different perspectives
It was easy to make fun of Mister Rogers’ Neighborhood as an adult. Eddie Murphy certainly did several times on skits for Saturday Night Live. His slow, deliberate delivery which he addressed his young audience could get on our nerves. The music seemed trite and Rogers was anything but a great singer. Oh, not to mention the cringe-worthy subject matter. I mean, how dare he talk about DEATH on his show?
Of course, now we realize it was all pure genius
First came the 2018 documentary, Won’t You Be My Neighbor. Now, coming in November of 2019, is A Beautiful Day in the Neighborhood, a movie starring Tom Hanks. Yes, Mister Rogers is finally getting his due.
Bridging the gap between those two films are a pair of reissues from Omnivore Recordings, which shed further light on Fred Rogers’ gifts. It’s Such a Good Feeling is a collection of many of the best-loved songs of the 5-decade long TV series, while Johnny Costa Plays Mister Rogers’ Neighborhood shows that the melodies laid under the lyrics were also a thing of brilliance.
As someone who watched the very first episode of Mister Rogers as a young boy, the mere sound of this familiar voice brings back feelings of warmth, like hearing a long-deceased relative whom you loved. As the first born, Mister Rogers was my playmate and my confidant.
The thing that’s so amazing is how intricate some of the melodies are. I didn’t know I was listening to jazz at the time (sneaky, sneaky). As an adult, I’m even more impressed that most of these were done live, on the spot, while the show was being filmed.
Make no mistake, Rogers was never a great vocalist that you’d pay to see at a nightclub, but he used the most of his limitations. For example, listen how the bouncing melody and plaintive lyrics contrast the Art Tatum-like speedy piano fills of Costa on “Look and Listen.” Most of these songs are true duets – Rogers sings “Be Brave, Be Strong,” and Costa echoes with his piano.
And, Rogers’ true gift was being able to relate perfectly to the children in his audience. “Pretending” has a tension to it that adds excitement, but isn’t scary. “You Can Never Go Down the Drain” sounds completely ridiculous, yet Rogers pulls it in and keeps it earnest.
Or take “Sometimes People Are Good,” where he sings “are the very same people who are bad sometimes.” What other song better captures the duality of most of our personalities? Or “Wishes Don’t Make Things Come True” is a surprisingly sober topic for a kid’s show.
Of course, the real treats are the staples of his long-running program – opening with the insistent “Today is a Very Special Day,” and “Won’t You Be My Neighbor,” and ending with the optimistic “Tomorrow.”
Johnny Costa Plays Mister Rogers Neighborhood marks the first time this album from 1984 has been available on CD. Rogers’ accompanist takes the familiar melodies of the program and adds further colors, with the addition Carl McVicker on bass and Bobby Rawsthorne on drums.
It’s here where you really do get a better appreciation for this music. Stripped of the vocals, these songs are less childlike and more just incredibly uplifting jazz music. You also get an opportunity to really marvel at Costa as a soloist. The comparisons to the legendary Art Tatum are definitely warranted.
The second half of his rendition of “Won’t You Be My Neighbor” really swings, while “Then Your Heart is Full of Love” is very melodic.
Honestly, this is just great background music – put it on at a party and dare your friends to guess what it is!
In anticipation of A Beautiful Day in the Neighborhood, take a walk down the old street again. —Tony Peters
We treat our pop stars very strangely here in America. For the really big ones, we usually lap them up like the all-you-can-eat dessert bar, then toss them aside and pretend they never existed. Take the Bee Gees for example. In 1978, the Brothers Gibb were everywhere. By 1980, they couldn’t get arrested in the States. I saw Hall & Oates in a small club in Cincinnati in 1992 after they had been kicked to the curb (they were fabulous, by the way). Other countries aren’t so rude (take Europe’s never-ending fascination with ABBA, for instance).
Another such band is Hootie & the Blowfish, whose debut album, cracked rear view, sold a gargantuan 21 million copies before they were shown the pop culture door to Siberia.
And, it’s a shame – they didn’t deserve it.
cracked rear view is made up of simple songs – most are fueled by a repetitive riff and three chords with lyrics about relationships. You could say it’s the precursor to modern country music – but instead of boots and pickup trucks, they sing about crying and hand holding (sometimes in the same song).
The album opener, “Hannah Jane,” is pure power pop. But, with Don Gehman’s muscled production, it comes off as Mellencamp meets the Gin Blossoms. The ballads are good, “Let Her Cry” and the even better “Time.” “Only Wanna Be With You” mentions their club buddies Dillion Fence (“put on a little Dylan / Sittin’ on a fence), who were arguably far more gifted melodically, but never got even close to stardom. Yet, “Hold My Hand” is the standout, even 20 years later. It’s a universal song of people coming together with a great chorus.
Hootie & the Blowfish were a really good bar band. I saw them in October of 1994 at Bogarts in Cincinnati. “Hold My Hand” had just come out as a single to AOR rock stations. My wife and I were pleasantly surprised by the packed house. This band had obviously created a buzz. For further proof, check out the live disc, recorded a few months later in Pittsburgh. They do a fantastic job with Bill Withers’ “Use Me,” while somehow making Stephen Stills’ “Love the One You’re With” sound like they wrote it.
There’s also a bonus disc of early material and b-sides. “I Go Blind” was another monster hit (originally written by the Canadian college rock band 54-40), but left off the original album. Another obscure cover, “Almost Home,” came from the Texas band, the Reivers. “Hey Hey What Can I Do,” came from the Led Zeppelin tribute album.
There’s also a bevy of early versions of these tracks on the album. Honestly, Gehman didn’t do much to improve these songs – they were fully-realized years before their major-label release.
Keep in mind – in 1994, the world was still knee-deep in Grunge – hailed at the time as the “savior of rock.” We now know it killed rock – DEAD. Rock stopped being fun – that’s why everyone listens to country music now.
cracked rear view still stands up as a fun, sing-a-long album. It’s time it got the respect it deserves. —Tony Peters
Travis – Live at Glastonbury ’99 (Craft Recordings)
The band’s “shining moment”?
To celebrate the 20th anniversary of Travis’ breakout year (1999), Craft Recordings has also issued Live at Glastonbury ’99, documenting the band’s career-turning performance at this popular English festival.
The Man Who had been issued the previous month with very little fanfare. The album was basically dead in the water. Then, the band took the Glastonbury stage in June, and just as they marched into their single, “Why Does It Always Rain On Me,” it started raining. This Queen-at-Live-Aid-type moment captured the spirit of the crowd and reversed the band’s fortunes. Within the month, “Rain on Me” was in the Top 10, the album would hit #1 and Travis were on their way.
While all of that is well and good, this concert is, um, less than spectacular. The first issue is that Fran Healey’s whispered delivery doesn’t transfer very well in this big setting. His voice is flat A LOT. And it cracks OFTEN.
Yeah, I know it’s live. It’s hot, it’s the festival crowd. But, R.E.M. turned in a truly career-defining moment under these same circumstances (for proof, check out their Live at the BBC performance from the same show).
“Writing to Reach You” does have a little more kick than the album version, but a lot this midtempo stuff, just kind of lays there. The drums are mixed way down, so everything just sort of lumbers along. Their older, more rocking material, like “U16 Girls” and “Good Feeling” are much better suited to the live format. What about “Why Does It Always Rain On Me”? Without the rain, it’s just a so-so rendition.
Travis is a great studio band. As mentioned in the previous review, The Man Who still stands up. So does Ode to J. Smith. This? I would only recommend to the truly devoted Travis fan. —Tony Peters
One of the finest albums of the late-Nineties gets the deluxe treatment
20 years ago, the Scottish band Travis issued their breakout album, The Man Who. At the time, it was a departure for the group, whose debut, Good Feeling, had been a rockin’ good time two years earlier. This new direction was darker, and more melodic. It also paved the way for many other UK bands, like Coldplay, who went on to even bigger fame, with their own spin on this style of middle of the road fare.
The Man Who still stands up – full of jangly guitars and gentle hooks, courtesy of leader Fran Healey. There are times when he sings so softly, as on “Writing to Reach You,” that he sounds like he’s whispering.
The gentle funk of “The Fear” – the chiming “Driftwood,” the Pepper-esque ballad “Last Laugh of the Laughter,” the slightly rocking “Turn” and the epic standout “Why Does It Always Rain On Me,” all contribute to an impressive song cycle.
The music is mellow, but still really catchy. And the entire record is solid from start to finish.
The original disc has unlisted bonus material at the end of “Slide Show,” track 10. After a 4 minute silence, the rocker “Blue Flashing Light” comes roaring in. Recorded during the sessions, but oddly out of step with the mellower material.
The original American disc has two extra bonus cuts not here, “20” and “Only Molly Knows.”
The second disc comes with 19 bonus tracks – b-sides, live cuts, etc. “Green Behind the Ears” is a great rocker, while “Only Molly Knows” is a gentle acoustic number that was a bonus cut on the US disc. “Coming Around” is a great, Byrds-esque flavored single that came right after the album. Some of the tracks rock like their first album, as on “Yeah Yeah Yeah” and “High as a Kite.” There are some odd covers – “Be My Baby” is, um, the Ronettes cover, slowed down. There are two Joni Mitchell songs – “Urge For Going” is buoyed by acoustic guitar and “River” is her “Christmas” song, on piano. “Baby One More Time” is the Britney Spears song (why?). And “The Weight” is their (not bad) version of The Band song. There’s a great acoustic rendition of “Driftwood” which is another highlight.
Travis would go on to release many more albums. Some really good, like Ode to J. Smith, and some others, just sort of so-so. But, The Man Who is still Travis’ masterstroke. —Tony Peters