Wow! Leave it to Sundazed to pull off the ultimate Christmas gift for Byrdmaniax-not that any of them will wait until then to devour this quintuple 45rpm box set. All of these A and B sides were originally conceived of as the “next” Byrds single, but for one reason or another, were shelved. Now Sundazed has resurrected them with fabulous sound and impeccable, sumptuous packaging.
A nice return to form has been achieved. While I thought their last album, Hello Nasty, was lacking compared to the groundbreaking holy trinity of Paul's Boutique, Check Your Head and Ill Communication, To the 5 Boroughs brings back some tasty examples of why the boys will go down in musical history as Rap-Rock trailblazers.
This 1978 set, featuring cornetist/arranger Bill Berry, backed by some of L.A.'s top jazz musicians, offers a time capsule into a not too distant past when both Pablo and Concord Records documented a still vital recording and gigging Southern California jazz scene that I'm not sure still exists. Players include many familiar jazz veterans such as Lew Tabackin (tenor sax/flutes), Bill Watrous (trombone), Dave Frishberg (piano), Monty Budwig (bass), and Frankie Capp (drums).
This bio produced by the Spanish Eforfilms is essential viewing for any Nat King Cole fan. There's plenty of great Nat footage, but more importantly, an intelligent script a that looks at all facets of Nat's life, including the tension between Nat the jazz pianist and Nat the pop crooner. Also key was the difficult racial environment in which Cole, among others, was forced to suffer.
There are complete musical performances, including Cole with Ella and a hilarious duet with Sammy Davis, Jr., with Sammy doing a perfect Nat impression, much to the “King”'s delight. Unfortunately I was unable to view the bonus footage, because the bar code on the jacket was placed over where the disc sits and when the distribution company punched the promo hole, it put a hole in the disc. Even without the bonus footage, this is worth having. Other bios in the series include Billie Holiday and Lena Horne, with a Frank Sinatra disc due soon.
Also for Nat fans: Nat "King" Cole Soundies and Telescriptions (idem Home Video IDVD1017NT), a 72 minute DVD compilation of Cole performances from various venues. Mostly black and white with lo-fi sound, it's Nat's look that will mesmerize, and the music's so good, the bad sound will not interfere
Usually an aggressive Irish folkie with a penchant for some mad strumming, Mr. Bloom delivers a real snoozer on this 9 song set. If it puts you to sleep Bloom will be happy, for that is his intent.
Englishman Dolby hit double paydirt with a catchy synth-novelty song and an accompanying video just as the pop-synth and music video/ MTV phenomena broke. However, “She Blinded Me With Science” was not his first song, nor does it really reflect what the guy's about. His first album, The Golden Age of Wireless (Harvest ST-12203), was originally issued without “She Blinded Me…”. When the song and video became popular, the album was reconfigured and reissued. Dolby was an instant celeb, and faded just as quickly, though his album Aliens Ate My Buick (EMI Manhattan E-148075) remains a cult fave for both music and sound. Come to think of it The Flat Earth was pretty good as well.
This 1957 classic, an early LP concept album filled with break- up songs, has always sounded better in mono because Capitol had a bad habit back then of tacking on way too much echo to stereo mixes. Hoffman remixed from the original 3 track master tape, cutting way back on the reverb to produce a positively stunning studio document from the golden age of analog recording.
Dylan's Halloween '64 performance before an adoring Philharmonic Hall (currently Avery Fisher Hall) audience waited forty years for release but remarkably, here it is in the digital age, still available in the LP format, sumptuously packaged, mastered and pressed for Sony by Classic Records.
Grand Funk Railroad proclaimed itself “an American band,” but CCR was arguably, the American band of the late '60's early '70's rock era. Even if Fogerty and Co. was not your premier domestic purveyor of rock'n roll, the group's sound has stood the test of time and actually grown in stature. Dredged from blues, swamp, and rhythm and blues, and overlaid with a now-classic propulsive '60's rock sensibility, CCR today still sounds fresh and remarkably pure, even as so much of the music from back then sounds “of the time.”
Originally recorded for a King Biscuit Flower Hour radio show and taken from a decent stereo board mix, this set chronicles The Ramones at their peak before an adoring home audience. The group had just returned from a triumphant European tour during which It's Alive had been recorded at the Rainbow Theatre on New Year's Eve just a week before.
Mining America's musical blue highways is Sundazed's specialty. This collection of Wray's Swan singles, “A” and “B” is a perfect example of what the label does best. Best known for his classic hit, the trend-setting, iconic “Rumble,” the guitar twanger had a long, if not quite as successful recording career afterwards, specializing in rock'n'surf tinged, raunchy instrumentals. When he did sing, it was Elvis all the way-and a good Elvis it was, augmented by some hard-edged falsetto screaming.
I’m not comfortable writing about classical music. I’m not an expert, and I can’t tell you how this performance of Schumann’s music compares to others. According to the liner notes Mr. Lill is a world-class concert performer who has toured with the London Symphony Orchestra, the London Philharmonic, the City of Birmingham Symphony and many others, and performed with the New York Philharmonic and more than a dozen others. He was the joint winner of the prestigious Moscow International Tchaikovsky Competition in 1970.
The review of the original Blix Street vinyl issue appeared in the February, 2003 musicangle.com home page. I wouldn't bet heavily against Nick Webb's Abbey Road mastering and Pallas's pressing quality, so when this S&P reissue showed up, I wondered how it could possibly improve upon the original—good as Steve Hoffman's work can be—but this reissue, mastered at AcousTech and pressed at RTI, does improve on the original.
While Four Sail was an obligation owed to the old label (Elektra) after Lee had signed a new contract with Blue Thumb, and while Lee shows signs of losing his muse, the album has actually added luster over the years, as in hindsight, the brilliance of Lee’s eclectic, restless mind comes through with greater clarity, even as the originality hangs mostly on his arranging skills.
Perhaps this 1963 session isn’t peak Mingus, but it’s still unpredictable, volatile Mingus, leading two different 10 piece ensembles recorded in January and September of 1963. Side one’s group includes Eric Dolphy, Booker Ervin and Jaki Bayard, among others, and Mingus’s arrangements let them take flight beginning with a rumbling “II B.S.” (two bullshit), which probably became the template for every second rate jazz composer scoring for 1960’s television crime shows. The track absolutely smokes, fueled by Britt Woodman’s angry trombone blats and Jaki Bayard’s controlled keyboard pounding. Try not to get charged up when this track is playing.