I've seen literally hundreds of copies of this 1959 Weavers release, but until this reissue, I've never seen a stereo copy. Didn't even know it existed in a black label “Stereolab” edition.
"Keep Your Jesus Out of My Face,” is a bumper sticker I'm contemplating having printed so I can stick it on my car's rear end, and tell people who are offended where they can stick it. That's just how I feel about religion, and Jesus, and Yahweh, and Zeus and Poseidon, and Mary, and the rest of the endless myths that hobble and delude mankind into thinking the latest iteration is the truth, the way, the best, my way, or the highway, or whatever. More evil has been committed in the name of religion than any other institution invented by mankind and nothing you're going to tell me is going to turn me around.
Hendrix's psychedelic morning after pill was a gloriously unfocused affair, at times sprawling and tentative, at times like his “Star Spangled Banner,” timeless, brilliant and classic. At his most tentative that morning, playing with a newly assembled group, Hendrix was still in control, still exploding the limits on what one man can do with an electric guitar.
The big band era was over and Duke Ellington was past his most creative years by the time this set was recorded, but the year was 1960 and no doubt the art of recording was reaching a pinnacle. If you have any doubts, check out this Classic reissue cut from the three track original.
First issued on Premonition CD in 1994 and later on limited edition LP (licensed by Music Direct, which now owns the Mobile Fidelity name) with three tracks deleted due to space limitations, and then on Mo-Fi SACD, Café Blue now gets the 3 LP 45rpm treatment, _ speed mastered by Paul Stubblebine using Mobile Fidelity's Gain 2 Ultra Analog System™.
If Travelling On With The Weavers is the original “Kumbaya Moment,” this live album recorded in 1962 is the “Kumbaya Follow Up Moment.” The first live concert I every attended was Joan Baez at Town Hall in New York City in 1962 or 3. I was in high school but until that night, had never seen unshaven legs and armpits. I mean on girls. I'd never seen moustaches before, either and again I mean on girls. But there they were! Loitering in the balcony foyer. I can still smell the Patchouli oil and what lurked just beyond. Maybe I was just imagining that.
The three new Chesky works on this stupendous-sounding disc are easily his boldest, most ingenuous and fully realized compositions yet. One needn't be a classical music critic-and I've never claimed to be one-or even an experienced classical music listener (a claim I can make), to immediately grasp and appreciate both the conceptual audacity of the music, which melds traditional classical motifs with flamenco accents, South American folk music and contemporary jazz, and the skill displayed by the composer in weaving the thread of his concept throughout the three pieces. If you want a high-concept one line “treatment,” how about “Chesky and Stravinsky Joyride South of the Border and Return to New York to write up the trip?”
Imagine a world where The Electric Prunes sell-out large arenas with outrageous ticket prices and Don Henley and Glenn Frey are more than happy to honor your request for "Southern Man" at the Barstow Holiday Inn. Imagine Dr. Byrds And Mr. Hyde selling more copies than Mr. Tambourine Man by a large margin. Now, imagine hearing a direct and natural link between Black Flag and The Flying Burrito Brothers while defending Meat Puppets II as one of the best country albums ever to anyone who'll listen, and you may just be ready to enter the peculiar world of The Sadies.
Time was, and not that long ago (well a decade or so ago), when you could easily find original pressings of this breezy addition to Ella's song book series, either as a double LP set or as two individual volumes. Fitzgerald was as much a popular singer as a jazz great, appearing often on popular venues like The Ed Sullivan Show, so her LP sales were brisk—especially the Verve songbooks. I found my original copies of these at a house in Hackensack, NJ fifteen years ago. What an Ella find that garage sale was! A real fan was jettisoning her LP collection and I was more than happy to oblige for a buck apiece.
(This Interview originally appeared in Volume 1, issues 5/6 of The Tracking Angle, published in the winter of 1995/96)
Ever hear an LP copy of Maurice Jarré's soundtrack to "Dr. Zhivago"? It was released by MGM during the label's "Sounds Great In Stereo" era. They'd put that statement on the record jacket whether or not what was inside was really recorded in stereo. "It would sound great if it had been recorded in stereo, but unfortunately, it wasn't, " is what MGM meant to put on the cover, I'm sure, but they probably didn't have room.