Continuing with the process of updating the Beatles catalog to the best sonics available in the 21st century (so far), we get a little reimagining and a taste of things to come with the release of the Beatles gold standard ‘Greatest Hits’ or rather best overview of the band. Not to mention the gateway albums into the peerless world of the Beatles catalog.
Yes. Like many of you, my introduction to the Beatles were the ‘Red’ 1962-1966 and the ‘Blue’ 1966-1970 double album sets. Originally released in 1973 and oddly enough, compiled by the notorious, Allen Klein. Say what you will about the man, but he did have an ear for compilation albums. He was also responsible for the Rolling Stones, ‘Hot Rocks’ album, which is another stellar piece of song selection and sequencing burned into my brain from an early age.
A few weeks ago, we were offered a new version of the ‘Red and Blue’ albums to celebrate their 50th anniversary, to serve as a landing pad for the Beatles track, “Now and Then”, to correct and expand some omissions, and to introduce to world some new Giles Martin remixes. The latter is what most interested me.
Upon the release date, I spent most of the evening listening to the entire ‘Red’ album front to back. This is the album that has all new mixes, none previously heard, as the remix project has currently ended with ‘Revolver’. I am a big fan of the remixed albums thus far so I was excited to hear a teaser of what I can only assume is going to be released.
Quick note: As I mentioned in our previous post, it is through Peter Jacksons technology that Giles was able to do these remixes properly. The Beatles were using 4 tracks at the time, and they were bouncing tracks constantly, saving things like vocals for separate tracks, so to be able to make a modern mix whereby each component is on its own track, Peter Jacksons MAL Tech was invaluable. Just like the separation on the ‘Now and Then’ demo, now Giles could get all the drums, bass, harmonies, etc on individual faders to make a full true stereo mix.
I know many purest Beatles aficionados are not fans of this remixing business, but I have to say I absolutely love it. Some more than others, but the vast majority are technicolor magic to my ears. But onto the albums…
For me, the earliest tracks the Beatles recorded, do benefit from the remix treatment, but they also lose a bit of the patina of era they came from. ‘Love Me Do’ sounds amazing, but it is a different feeling to have it sound so expansive. Perhaps it’s just not that type of song to my ears. It’s a live song by a new group just trying to do the best they can. You can hear the nerves in Paul’s vocal. It is the first protozoa Beatles recording crawling out of your speakers. The sonically bigger version of Giles Martin robs it of this purity. So, I’m going to jump into Side B album 1 and beyond, starting with ‘A Hard Day’s Night’. This side really gets it all going. The sonics, the power of the Beatles, and the love of guitars is all fully on display. I could go track by track (because I’m a bit obsessive) but just put on ‘Ticket to Ride’ or ‘I Feel Fine’, or even better, ‘Day Tripper’. The drumming at the coda of Day Tripper is all you need to hear. Ringo’s fills smeared across the stereo field sound incredibly dynamic as you’ve never heard them before.
But the Beatles were not just about rock; ‘And, I Love Her’, ‘Yesterday ‘, ‘You’ve Got to Hide Your Love Away’ and my favorite, “Norwegian Wood’, sound absolutely all encapsulating in their ‘more’ acoustic setting. The tracks burst with autumnal colors and make you feel like you’re in the room with the band. (I can’t wait to hear ‘I’ve just Seen a Face’).
Giles Martin has done a wonderful job modernizing these timeless songs and still retaining the spirit of the original mixes that we are all familiar with. I do think it should be noted that the additional album that now comes with the anniversary release is a very valuable addition to the trajectory of the Beatles history. Now we have some George Harrison songs and the essential, ‘Tomorrow Never Knows’, which must have seemed like an alien track to listeners in 1966. One of my favorite songs of all time and a crucial song to include in any overview of the Beatles career.
I can only assume that the full remixed version of Rubber Soul is coming, along with the rest of the catalog, but for now I am more than happy to have this tasting menu to blast through my Tannoy speakers. I can only hope that the next generation and beyond will find these compilations as perfect as I did as an entry into the world of the Beatles.
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The newest and final (?) Beatles song was made available to stream yesterday and it too is already becoming a point of contention in the Beatles universe.
If you are a fan of the Beatles then you are aware of ‘Now and Then’, the last of 3 songs Yoko Ono gave to George Harrison, Paul McCartney, and Ringo Starr in 1994 while working on the Anthology project. The song itself is a cassette demo that John Lennon laid down in the Dakota sometime in 1977. The original plan was for the three remaining Beatles to complete these songs as a way of reimaging an actual Beatles reunion. The songs completed at the time were ‘Free as A Bird’, ‘and ‘Real Love’ both released to much fanfare in 1995 along with the Anthology. ‘Now and Then’, was worked on during this time as well, but due to the poor quality of the demo cassette itself, Jeff Lynne (producer/ELO) and the three remaining Beatles decided to shelve that song.
A Technical Aside: The original demos were indeed recorded on a Boom Box by John, to use as a working reference most likely. Unlike a professional recording or even a 2 or 4 track recording where instruments and voices can be balanced and separated on their own track, these recordings had Piano, voice and assorted background noise all on the same tracks. When the three remaining Beatles convened to add their parts in a professional recording studio it would have been very difficult to make John’s home demo tape match the new recordings of Bass, Guitars, Drums, and other overdubbed bits and sound cohesive. For the technology available in 1994 I think Jeff Lynne did an outstanding job marrying the old elements to the new parts. Yes. John’s vocals on Real Love and Free as a Bird sound slightly distanced and processed, but I would add that John was known to dislike his own voice and was quite keen to use all sorts of processing on his vocals during the Beatles recording years.
Jump to 2020: Peter Jacksons’ innovations that went into the Get Back documentary. For those that are unaware, Peter Jackson and his team developed software that could in essence, learn a persons voice (vocal patterns are like a fingerprint in a way) and then separate out that persons voice from other noises and then be put on an individual track of just the voice. The scene in the Get Back documentary where John and Paul are discussing George leaving the group is an excellent example of how powerful this technology is. In addition, Giles Martin has also employed Peter Jacksons technology to separate the Beatles actual 4 track recordings to enable him to create the new Beatle remix albums. Revolver being the first, but now that I’ve seen the track listing information on the new ‘Red’ and ‘Blue’ albums I can only assume he has remixed the entire catalog this way. Prior to this, The Beatles did not use 8- Track recording studios until 1968 and they had to go to Trident Studios first before EMI upgraded their own facilities.
Jump to 2023: With this new technology, John’s voice could be separated from the original cassette demo and Ringo and Paul could go back to the studio and properly mix the new recording of ‘Now and Then’. From what I have read from Giles Martin, they did indeed use George Harrisons original acoustic guitar parts from 1994 and repurposed some harmonies from the Beatles recording of the 1960’s (I believe I hear Because in the mix). So, in effect this song has all 4 Beatles playing on an original song by John Lennon and is therefore a Beatles song. Right?
I can hear the brakes screeching right now.
‘Repurposed harmonies?’ ‘Computer Technology?!’ ‘Artificial Intelligence?’
‘Blasphemy! This is fake and is not a Beatles song.’
To this I say, ‘Easy does it. It's only rock and roll. There are so many more things going on in the world to get upset about. Try and go along with it.
But to be honest, I understand what these people are saying. To me the fact that John was working on this song alone 45 years ago and he did not record it during sessions for Double Fantasy, clearly indicates he wasn’t finished with the song itself, so it is not a true Beatles song. And what I mean is, John wasn’t trying to collaborate on this material or necessarily seek out input from others. He may very well have decided that he wasn’t that happy with the songs so why continue working on them let alone record them. All conjecture obviously. As a songwriter myself it is not uncommon to have lots of ideas floating around for years. In fact, I would say that because he recorded the original demos that were fully formed, he was actively working on these songs and perhaps the songs on Double Fantasy and Milk and Honey came along more easily to him. Or perhaps he forgot them altogether. However, like Free as a Bird and Real Love, I think Paul did an excellent job of completing the songs and arranging them.
As far as the technology used to finish the song, it doesn’t bother me in the least. One of the hallmarks of the Beatles, is their fearlessness in using whatever technology was available to them at the time. By all accounts they were excited by what they could do with new gadgets and would often intentionally throw the proverbial kitchen sink at tracks and songs, just to see what would happen. And furthermore. whether or not the song can live up to the rest of their original catalog is irrelevant. Of course, it can’t. Their output from 1962 to 1970 is an impenetrable fortress. There is no catalog in all modern music that has been as influential on such a global and generational scale.
I was not alive when The Beatles were together, but like millions and millions of people, I had the good fortune of hearing them from as far back as I can remember. I owe this to my father, who would play Rubber Soul (The American version) Abbey Road, and of course the ‘Red’ and ‘Blue’ albums while I would be playing with my toys on the floor in our living room.
To the naysayers I say, be grateful and celebrate the fact that in the year 2023 we have the excitement of hearing a song written by John Lennon that has Paul McCartney, George Harrison and Ringo Starr playing on it. Their parts are real, the song is real.
Hearing John Lennon’s majestic voice so clearly, is an emotional and bittersweet reminder of his gift and what should have been. The whole track made me equal parts happy and sad. Hearing Ringo’s signature fills and Paul’s bass (and tribute slide solo for George), and George’s rhythm guitar felt like time itself could be manipulated. That somehow The Beatles could take us back before John and George passed on. They could cut through the horrors and injustices of our world, and just for a moment we could remember when they were all with us and it seemed that everyone was paying attention. The wonderful thing is that it isn’t fantasy. There is an actual song to listen to. I was transported back to my parents living room. Playing on the floor. Big Yamaha bookshelf speakers blasting Let it Be from my fathers, SL-1650 TechnicsTurntable. and me not even wondering where or when this glorious music was made.
Arguing the merits of any art is a fool’s game. But if your attitude is negative or suspicious going in, then the odds are pretty good you’ve already made up your mind, which is a shame because how many times can you say you were alive to hear the premiere of a Beatles song?
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At the top of list, is a prolific artist from San Benito, Texas, Charley Crockett, who has been releasing albums since 2015 and has been on my radar since his 2018 album, ‘Lonesome as a Shadow’. His most recent album is, ‘Live from the Ryman Auditorium’ on Son of Davy Records/Thirty Tigers, and it is a beautiful document and summation of his career up until this point.
For me, Charley Crockett is a bit of an outlier, even to the aforementioned list of country music outliers. He is part Hank Williams and part Spaghetti Western. His sound is both Buck Owens and southern fried soul. His rich baritone is Johnny Cash and William Bell. He is an amalgamation of folk, Cajun, blues, soul, country, and rockabilly. This is not to say there is any artifice in his work. Charley Crockett is Charley Crockett no matter what he is singing. He seems genuine and respectful of all the material he performs, whether it is a cover song or an original.
On this new release you get to hear every incarnation of Charley Crockett backed by his superb band, The Blue Drifters, playing to an enthusiastic and appreciative Ryman audience.
The performance is vibrant, electric, well recorded, and Charley Crockett and his band are in excellent form. The album is truly one big highlight, but the standout cuts among standouts are ‘Black Sedan’, ‘Jukebox Charley’, ‘Odessa’, ‘I feel For You’, and ‘Travelin Blues’. However, I would be remiss if I didn’t mention that his version of Townes van Zandt’s, ‘Tecumseh Valley’ is worth the entire price of admission. The song is performed solo on his acoustic guitar and Charley’s deep empathic voice, and phrasing totally encapsulate the poignant sadness of the story of Caroline.
If you are interested in songs about the human condition (love, loss, confusion, beauty, exuberance, struggle) performed by a genuine musician, who seems to love the art of singing for singings sake and what connections can be made from that honesty and simplicity. I cannot recommend this album enough. Yes. It is a throwback to another time. It is a reckoning of sensibilities and aesthetics of a surreal past, from an artist who admitted that he was, “The man that time forgot”, but it is a welcome artifact in a world of complication, over wrought technology, and detached humanity.
Supplemental Notes: I stream music on my way to work and while I am at work, and I was very familiar with the album before I purchased the vinyl. It needs to be noted that the vinyl version sounds superior. The energy and the space itself is rendered with greater depth and nuance. I am proud to have this colored vinyl edition in my Oiled Oak Music Boxes.
Philip Doucet
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Confessin' The Blues plays like the greatest K-Tel blues compilation you've ever heard, from Robert Johnson to Chuck Berry, the very seeds of inspiration of rock music jumps out of every well pressed groove.
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Hello Vinyl Friends,
What's are those sweet records surrounding our vinyl storage at Music Box Hq?Let's find out...
Wow! What an incredible past few weeks for amazing vinyl releases. Let's recap; Bob Dylan, "More Blood, More Tracks", The Rolling Stones blues compilation, "Confessin' the Blues Vol. 1 and Vol.2" and The Beatles, "The Beatles" aka The White album, remixed by Mr. Giles Martin.
It's as if my birthday, Christmas, and New Years, got together and decided to celebrate on the same day as part of an orgasmic audio festival. And you know what? I'm still at the party.
Now, I could focus on any one of these amazing releases and expound on the sonic virtues of each one in glorious detail, but a better thought occurred to me during a "My Own Private Whiskey and Vinyl" session. ( At least it seemed like it at the time) Each of these three releases speaks to the larger trajectory of recorded music. And for the sake of argument, I'll limit my thoughts to the genre of rock music.
What you have in these three albums are vital touchstones of the history of recording and the rock album itself.
Confessin' The Blues plays like the greatest K-Tel blues compilation you've ever heard, from Robert Johnson to Chuck Berry, the very seeds of inspiration of rock music jumps out of every well pressed groove.
Recordings back then were essentially like an autograph from the artist. A rudimentary facsimile of the live performance; functional and efficient. At the time, recording equipment and recording techniques were extremely basic as were the majority of home playback equipment, think heavy cartridges and one speaker. Recordings were not designed to take the listeners on a journey into sonic nirvana. They were meant to reproduce a song, plain and simple.
As I recall, it was probably about the time I was listening to Mississippi Fred McDowell doing, You Gotta Move, that I started forming this idea. I immediately put on Yer Blues and aside from being completely blown away by the powerful new mix, I began to see the cycle and connection these titans of music were entangled in.
Flash forward to the Beatles. They too began their recording career the same way as those legends of the blues. I believe their first album, "Please Please Me" was recorded and mixed in about 1 day. But they were the kids who grew up on the music of some revolutionary artists, Buddy Holly, who was an early pioneer of multitrack recording and other unconventional recording techniques. (Cardboard box drums, etc). And don't forget about Les Paul, another innovative recording pioneer (and guitar player as well). Of course I would be remiss if I didn't include the very man who made their journey possible, George Martin, who cultivated his experimental spirit by recording elaborate comedy albums in the 1950's. These artists and a handful of others were experimenting with sound recording as an art form onto itself, pushing and developing this uncharted medium into an unknown destination.
I must confess that I usually skip over Revolution 9, I feel it breaks up the flow of the White Album, but something about the new mix, actually makes it more enjoyable sonically. Like the whole remixed album, the scope of the recording are more clearly rendered. Its as if Giles removed a coat of grease from the tapes. And I was probably on my 3rd drink by now.
Sound for the sake of sound. By the time the Beatles got on to "Revolver", it didn't matter to them that actual live reproduction of their records could be achieved. (I will refer to Tomorrow Never Knows as a prime example). They were creating sounds that didn't exist in reality. (Naturally there were many influences that led them to this level of experimentation. And yes. They sort of out dueled the Beach Boys- but we're sticking to these 3 releases)
So, 2 years after recording "Revolver" and 1 year after the cultural touchstone that is, " Sgt. Peppers Lonely Hearts Club Band", they take a cue (as did many bands) from Mr. Bob Dylan's, "John Wesley Harding", and , excuse the pun, bring it all back home.
Yes. In the midst of psychedelia, and a burgeoning super heavy blues rock (a la Cream, Hendrix, and the beginning of Led Zeppelin), the Beatles recorded a rough and ready travelogue of material, ranging from plaintive acoustic ballads, Chuck Berry like rockers, and proto-metal freak outs. The recording themselves are fairly straightforward (with the exception of Revolution 9) almost as if they knew they had reached a certain level within the realms of recording and just focused their creativity solely on the songwriting.
At the tail end of my 3rd drink the entire connectedness of these artists was crystal clear. I immediately put on , More Blood, More Tracks, and listened to Lily, Rosemary and the Jack of Hearts. The rich, austere and confident reading of the song, just shored up everything in my mind, and that's when I decided to lay it out for you.
Jump ahead to 1975 when Dylan released Blood on the Tracks ( one of his finest collection of songs) and look back at what is in between that release and the White Album, the ascendency of singer songwriters. A back to basics approach to recording that mirrors the earliest days of rock/blues recordings. Recording equipment and techniques had changed, but the goal of affording the public a document of the singer and the song had not.
These giants of 20th century music were/are eternally tied together, moving and pushing the boundaries of what is possible and beautiful in music. The bedrock of song, the catalyst for a great journey, but always returning to the one.
That's the way these albums connected with my brain. And yes. I realize how many incredibly talented artists I'm leaving out and how much I'm jumping around, but the circle these 3 albums make can't be denied and even if they can, so what? All three releases are fantastic and more importantly sound fantastic so you should buy all 3 and enjoy.
As always thank you for your time and Keep Spinning that Wax
Philip Doucet
]]>Hello vinyl friends. Man, it’s been a long, hot, sticky, and wonderfully busy summer. As always, our very special thanks to all the incredible support for our Vinyl Storage Boxes . Your photos and compliments mean everything to us.
And yes. As I always say, the daily business of preparing your Music Boxes in addition to our much needed record listening time has made writing difficult.
But, as an active Crate digger I feel obligated to share the vinyl that’s been in heavy rotation for me this summer. It’s a real mixed bag of new releases and older classics. From the heaviest of metal to the smoothest of hip hop... this summer has been a real gift to my ears
Interlude: Recently, I was extremely fortunate enough to get my hands on a Linn LP 12 and I am in Analog heaven. It is a dream come true and I have been thinking of writing a little summation of my audio rig, just to let you all know how deep I really am I’m into my own private audio. It is a sickness I am certain many of you are familiar with.
I won't get too deep into review territory, I'll just skim the surface on a few of the cream of the crop.
I’ll start with the new, and this record is gonna be tough to top as my favorite of 2018, just for the frequency and delight I get listening to it.
Rolling Blackouts Coastal Fever - Hope Downs . I’m a big fan of these guys and this is their first full length LP. I recommend All their previous releases as well, but if you have the money for just one, pick this up. Start to finish, pure gold. Think R.E.M. , the Go Betweens, Television and a little poppier Clash and you’re in the right tent. Great songs, great performances and a well produced album that retains the urgency and power of this Melbourne band . In a better world “Talking Straight” would be a number one single.
MF Doom - Operation Doomsday. Yeah. I’m late to the party but music has no tardy policy so I don’t really care, I'm just happy I made it. What lead me here was Czarface meets MF Doom. Both albums are wildly entertaining, creative hip hop masterpieces. Inspectah Deck leads the charge on Czarface and the record is just such an all encompassing journey: it’s rich in production, smooth in delivery and just an all around fun creative listen. I find myself spinning both back to back often.
Willie Nelson- Pamper Demos- Who doesn’t love Willie Nelson? Singer songwriter extraordinaire. Well, I picked up this collection of his early demos, you know when Nashville told him to stick to just songwriting. If you’re a fan of Willie or just looking for what plays like a greatest hits of traditional American songwriting I’d suggest picking this up. You can listen with or without a drink and still catch a buzz!
Israel Nash- Lifted . I’m a big fan of this great great musical talent. And his latest is yet another gem to add to his catalog. Think Beach Boys meets Neil Young and you’ll be on the right track. It’s pastoral, lush, chock full of glorious harmonies and beautiful songs
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Donovan- Greatest Hits. I found this copy sealed for €15 and nearly cried. I love Donovan and this is a great compilation.
Zuider Zee- Zeenith. Light in the Attic Records unearths a stellar set of tracks from this horribly unknown band from the 70’s. Melodies and top notch songwriting galore.If you dig Paul McCartney or Big Star this Record is for you. And heck if Cheap Trick dug em’ then you will too .
Depeche Mode- Music For The Masses- Because its just plain awesome, and pretty good damn sexy to boot!
Jellies- 77:78- I don't know much about this band, it was referred by my good friend Anton at Concerto, and damn! He was right. Psychedelic? 70's Pop? Absolutely!
And last, but certainly not least...
Iron Maiden- Number of the Beast. I'm going to be really honest here, I was never into any type of metal (I do not consider Sabbath or Led Zeppelin metal). However, I do remember being fascinated by Eddie as a child. I'd see those album displays at Record World and feel a mix of excitement and fear. 'Surely, this is the work of real satanists.' And though I have always been a fan of satan, I still felt like there was a line I should not cross.I would continue to admire from far away, and through my friends, many of whom worshipped Iron Maiden. So, did I give into satan? I guess so, if giving into the dark lord means rocking out with the tightest, most all encapsulating righteous metal I've ever heard.
And with that I will wrap it up with the continued promise to write more frequently and to keep delivering the best damn vinyl storage on the planet!
Keep Spinning that wax and share your summer vinyl lists with right here. I love referrals!
Philip
]]>Thank you all for keeping us busy with our Music Boxes. Your incredible letters of happiness with our Vinyl Storage Boxes always make me smile. However, writing time is difficult, but I cannot neglect your vinyl needs. And so...
As I often do, I occasionally get caught in a spiral of one particular artist or genre for a period of time. I'll dip back into my record collection and wonder why I haven't been spending enough time with this record or that record, and then I get to thinking...
Perhaps it was the recent release of the stellar archival live recording of the Who 1968 at The Fillmore East that prompted me to listen to more Who, and then even more Who. Who knows? (I will make every effort to stop with the "Who" puns)
I've been a fan ever since I watched the Woodstock VHS tape and saw them utterly destroy the entire line up with their patented blend of melody and sheer ferocity. So, it was with great pleasure that I accidentally picked up a copy of 'Meaty Beaty Big and Bouncy', thinking it was just any old album they put out.
"This must be the greatest band in the entire world! Every song is a hit.", I naively thought to myself.
And, as with all newcomers, I quickly realized my mistake, which in no way altered my previous thought. I went through their catalog; Who's Next, Odds and Sods, Quadrophenia, By Numbers, and Tommy. Then I saw the amazing documentary, "The Kids are Alright", where, again, the footage of them at the Rolling Stones Rock n Roll Circus proved to be a bloodbath in the titanic power the Who were capable of. So much so, that I have read that the Rolling Stones shelved the whole enterprise because they knew the Who obliterated them completely with 'A Quick One While He's Away'.
This exposure to their untempered ferocity lead me to Live at Leeds, and then many years later to an expanded Live at Leeds, with the full inclusion of Tommy live (Which in my opinion is the absolute best way to hear Tommy) Its close, but I think I have listened to Live at Leeds more than any other album I own. The songs, the performance, and the recording are all second to none in the Who catalog.
And now we have this new document of the Who, recorded 2 years prior to Live at Leeds, so sans Tommy, but chock full of delights performed with the subtly of a meth addict looking for a score. To me, it is a proper bridge to where the Who would ultimately refine or shall I say contain, the beast they were able to conjure up in future live incarnations.
I am not the first to make the connection between the Who and the punk rock aesthetic of the 70's, but if Live at The Fillmore East doesn't convince you then you may have a serious condition. The attitude, the pace, the in between banter...it's all there.
Now for the million dollar question: Is it better than Live At Leeds? Tough one.
Having listened to the aforementioned Leeds album for so long, it would be unfair of me to judge. But, being a fan and trusting my own ability to evaluate unbiased I will say that, no. It isn't as good. But I am splitting atoms. 'As I said the fury on Live at The Fillmore is unbridled, sometimes too much so and the recording is excellent, but a few notches down from the Leeds (of Hull or wherever it was actually recorded).
By the time they recorded the Leeds record, The Who, were a well oiled machine firing on all cylinders. They had won at Woodstock, they had recorded Tommy, Roger Daltrey alone had become as essential as any member of the group, and they learned to control the beast they created live (Moon-just barely). The 1968 recording reveals a band on the cusp of something, that perhaps even they were not aware of. Primal, emotive, explosive rock songs that could take over an entire planet. Transitioning.
The Who are on the Mount Olympus of rock for a reason. They are dangerous. They are sensitive. They are searching. If your exposure to them is My Generation (which is certainly undiluted awesome), then go deeper. The perfect spot would be the 1974 collection, Odds and Sods, it is an incredible album of castaway tracks from their early days, through the aborted Lifehouse project.
Had I picked up that album first, I would have still thought they were the greatest band in the entire world!
Happy Listening
Philip Doucet
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I've been meaning to write this post for some time. It is very personal to me. Some my even say sacred. I mean religious conversions are a big deal right? But, first I should clarify a vinyl obsessive "religious conversion". Yes. It is deep, it is all consuming, it is life changing, and it is spiritual. It makes you want to tell everyone of the glorious news you have heard, knock on doors and grab strangers by the collar so that they too can revel in the nourishing glow of knowledge. For you see, I have come to god, and by god, I mean Eric Clapton.
My current rotation vinyl storage box is a bustling turnstile of activity, stuffed to the brim with new records, old favorites, and "must listen to". However, I have noticed a few records that have weathered the changing winds for months on end. Albums I keep returning to. Rich, rewarding music that I throw on with great frequency, and this got me thinking. "Why didn't I hear this before?"
Blues Breakers John Mayall with Eric Clapton, 461 Ocean Boulevard, Layla and Other Assorted Love Songs, and Slowhand.
Yes, I hear the rumblings of disappointment, confusion, outrage, and indifference.
Sure, I am familiar with Eric Clapton, he is god after all. "Heart Full of Soul" was one of the first 7 inch records I ever purchased as a kid. And, as a devout fan of the Beatles , I was well aware of his stellar guitar work on "My Guitar Gently Weeps", and like any other sentient being, I was intimately familiar with Layla ( although I was most curious about Jim Gordon’s coda). Yes, I knew about Cream, but I never really cared enough to buy an album. Compared to Hendrix it seemed lack luster. Clapton just seemed like one of the musicians who I had to know about, but I didn't have to buy his records. The singles were always played on the radio, or beer commercials. (Remember Michelob?) To me he seemed like a well educated college professor offering disscertations on blues guitar, while simultaneously churning out light pop singles. "Its In the Way That You Use It", did not sound like gritty blue to me. Possibly it was the production? And that beer commercial stank like something designed by a PR firm to make Clapton seem cool and dangerous.
Perhaps it was age, or perhaps it was my discovery of JJ Cale (more than likely) that made me pick up 461 Ocean Blvd. Whatever the reason, I got really into it. The sound? The Songs? It was mellow, more laid back and playful than I thought it would be. I was drawn in, and decided to go for broke and dive into the Mobile Fidelity Sound Lab version of Derek and the Dominoes, and the British Blues classic with John Mayall's Blues Breakers. Both stellar albums on the opposite side of Mr. Clapton's career. The former, a Bonnie and Delaney influenced rock fest, with an all star team of musicians laying down the groove. The latter, a seminal piece of British homage to the American masters of electric blues.
"But where do go I next?" Journeyman? Behind the Sun? There's One in Every Crowd? No. I went back to my love of JJ Cale and let his stellar songwriting guide me.
Side one of "Slowhand" is one of those rare albums that plays like a greatest hits. As a musician I always get a kick out of putting myself in the studio while an album like this is being recorded and wondering what that must have been like.
"So fellas, we'll do 'Cocaine' into 'Wonderful Tonight' into 'Lay Down Sally' then 'Next Time You See Her' and finish it up with probably one of the best songs that no one will talk about, 'We're All The Way' (wriitten by the late great Don Williams)"
In addition to his playing and own songwriting, one of Clapton's greatest assets seems to be his ability to pick and interpret other peoples songs, completely making them his own. It is no easy feat. His execution and understanding of songwriting is on par with a short list of other great interpreters of music. Dare I say he may be touched by the hand of...himself, that sounds weird, but again, he is god.
So Mr. Clapton I am truly sorry from the bottom of my heart for not embracing your omnipotence before this past year. I have repented and I am now saved. So if you too are in the dark, searching for salvation give Eric Clapton a go, it is well worth the effort.
Until Next time keep spinning that wax
Philip
]]>But, onto the business at hand, my personal year end list. Let me just say that in a world filled with chaos, sorrow and uncertainty, music has and will always be my place of solace and joy. My wish for the coming year is for a more compassionate world. No matter your personal beliefs, differences, or hardships, we are all here together. And contrary to some opinions, we need each other. When I'm down or overwhelmed I turn to my turntable and forget about the stresses in my life, if only to catch my breath. Music has been with us since the beginning and in some ways we need it now more than ever before. And so...
2017 was a great year for all sorts of new releases, my criteria were those albums that I reached for the most.
1. Lee Bains and The Gloryfires- Youth Detention- Whoever keeps saying guitar based bands are dead obviously has to do more digging. If you like early R.E.M. and the Drive By Truckers, this is for you. Sounds great on wax! Muscular guitars, great songs, and relevant storytelling. Choice cut: Crooked Letters.
2.Curtis Harding- Face Your Fear- Just came out a month ago, but damn! I find myself listening to it everyday. Isaac Hayes, Prince, Curtis Mayfield run through Mr. Harding's modern mind. A future classic. "I need your love"
3.Kurt Vile and Courtney Barnett- Lotta Sea Lice- I've always been a fan of Kurt Vile. He is a tremendous songwriter and a great guitar player. His pairing with Ms. Barnett is like peanut butter and jelly. Shimmering aquamarine guitar grooves under a Dylan sky.
4.Strand of Oak- Hard Love- If Ryan Adams and Paul Westerberg were in a band you'd get something like this. Its all about the power and the songwriting.
5.The Feelies- In Between- I have always loved the Feelies, and their latest is as good as anything they've ever done. Big ups to Hoboken!
6.Endless Boogie-Vibe Killer- Paul "Top Dollar" Major and company are at it again, with the perfect album to throw on and drink beer to. Finger lickin' good stuff.
7.The National- Sleep Well Beast- Inventive, immersive, and beautiful. Dreamy and unnerving. Their best collection since The Boxer.
8.War on Drugs- A Deeper Understanding- Pound for pound, the songs on Lost In a Dream are perhaps better, but its splitting hairs. The ensemble playing and production are spot on and when you give into the cosmic swirl of Neil Young-esque guitars, you're hooked.
9.BNQT- Volume 1-The closet thing you'll get to a new Midlake album. Variety and quality to spare. Its almost like a complilation. Kudos to all participants.
10. Margo Price-All American Made- She's as real as the dirt under your boot. Making Loretta Lynn and Tammy Wynette proud. The title track is one of the best songs I have ever heard.
Reissues and Remasters
1. The Beatles- Sgt. Peppers Lonely Hearts Club Band- remixed by Giles Martin. ESSENTIAL. A true gift.
2. Flying Burrito Brothers- Gilded Palace of Sin- Intervention Records remaster. Apparently they found an unused 2-track master. Its the best version I've ever heard.
3. Husker Du- Savage Young Du- Numero Group Box- Numero Group are the finest archaeologists in music. Once again, they have meticulously curated an essential piece of musical history.
4. R.E.M.- Automatic for the People- Man! I forgot how beautiful this whole album is. Well worth revisiting!
5. The Creation- Action Painting- Yup. Another Numero Group release. Pristine sound and a perfect overview of one of the more underrated bands.
Okay. I'm going to cut the cord there. I could go on with Slowdive, Psychic Temple, John Moreland or Nick Lowe Party of One, and many others, but I need to go listen to some more records.
We are curious to hear what your favorite releases were this year. Please let us know and get folks talking about music rather than most any other topics that cause wars.You might feel better.
Until next time and keep spinning that Wax!
Philip
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I often think about the powerful connection between music and memory and just how profound it can be. I recently watched a documentary of a man who was playing music to people suffering from Alzheimer Disease in an attempt to reconnected them with their memories, and thereby, reconnecting them with themselves. The man in question would bring an Ipod to the care centers where these people lived and he would ask family members which genres or specific songs their suffering loved ones used to listen to. The results were amazing and very emotional. Patients who could barely remember their own names were suddenly alive again. Whole, in the rush of memories and feelings they could relive through the experience of listening to a familiar song. Some recalled, in vivid detail the people they knew, the places they frequented, and all because of this catalyst called music. I am not a scientist and I do not know the long term effects of this type of therapy, but even if these patients regained a sense of self for a few moments it seems a worthwhile endeavor. And, it is further proof of the importance of music throughout the fabric of the human experience.
Onto the box...
I come from a close knit Italian family; Aunts, uncles, cousins, 2nd cousins, were all prevalent in my life and remain a bond that I hold dear to this day. We would all gather frequently throughout the year for holidays, birthdays, weddings, and any other reason to get together and share a meal. All of my relatives are special to me for various reasons, but it is my uncle Perry, who I will focus on for this article.
My Uncle Perry has always been a man of few words, and I love him dearly. I always thought he carried an air of "coolness" ; in his clothes, his demeanor, and especially his taste in records. I looked up to him and I loved him very much. On visits to his house I would flip through his collection of vinyl and marvel at its glory. It was both familiar and strange, but always compelling. I was aware and unaware of the many records he had in equal measure. He had Tom Petty, Chicago, Fleetwood Mac, George Benson, Van Halen, The Commodores, Genesis, Styx, Hall and Oats and on and on.
Throughout all the years, I never forgot about my Uncles records. In a way they represented as much about my childhood as they did his adulthood. Such is the generational power of music and memory. I remembered most of what was in his collection and even vowed that I would find every album I could and put it in my collection one day. However, last year while visiting New York, I was given one of the greatest gifts I could ever hope for. My Uncle gave me his entire record collection. It seemed as though a long thread that had weaved through most of my life was finally tied off. I felt I had fulfilled a strange destiny, as if I was always supposed to be the custodian of these albums and then I thought about why. Why was is so important? Why did these pieces of polyvinyl mean so much to me. And how was I going to carry all those glorious albums back to Amsterdam?
Well, to answer the last question first. I hand carried about 30 albums on the plane home and I shipped about 75 records back. Those suckers are really heavy. I borrowed a faux red alligator skin doctor type bag from my mother for the plane. Embarrassing? Yes. But I got those records back safely.
I couldn't wait to throw on those magical albums. I believe I was knee deep in a listening session. Sometimes I go in directionless. I pull out some random records and ride the wave. I was hopping from Hard Promises to Abacab to Chicago to Blondie and then onto Donny Hathaway when I answered the first two questions and it is similar to the reactions the Alzheimer patients had.
The albums and songs are all connected back to the idea of a vivid past. My vivid past, where sometimes you need a catalyst to pry open a bit more detail. I was filled with memories. Filled with childhood longing, playing, loving, family, sorrow, etc. Those records offered an auditory, visual, and emotional connection more than any photograph ever has. I threw on Van Halen, "1984", and not only was I loving the songs for the songs but, I was back in middle school playing football during lunch time recess. A chain of forgotten memories began to build into so much more than I ever could have imagined. And through the past, I felt a renewed appreciation for the present. I was happy I loved music to the extent I do.
But, what is more meaningful to me is the suggestion that these records also represented a time in my uncles life. He purchased them when they came out, so we're talking the 70's and 80's. He was younger then than I am now. A young man raising a family, going to night school, and living his life. I feel as though I can gleam into his past.to get a sense of his life, his experience. The man loved Tom Petty. He loved George Benson too. He loved the Cars. Its fascinating to me to imagine him buying and then playing these albums and it all goes back to the nature of vinyl records. He wasn't walking around, scrolling through a play list. You had to get up and put them on your turntable. You had to flip them over. You had to keep them clean. You had to maintain your cartridge. Its not a medium for the easily distracted or lazy. He put them on and listened to them. Perhaps alone. Or maybe with his friends, or a loved one, just as I do.
These albums are a snapshot of his experience, and he entrusted them to me. They are a time capsule of the era they were released in, a reflection of my own history and culture and a document of my uncle. A perfect, living, breathing snapshot. So, yes. I am the custodian of these artifacts and I will cherish them forever. I hope one day to give my daughters my record collection, and I hope they discover a little piece of me and themselves whenever they throw on an album.
*As a side note- The records had not been played in nearly 25 years and yet they were all remarkably well kept. Extra kudos to my uncle.
**Double side note- I was once asked, "Why are your boxes better than any other vinyl storage I can buy?" Aside from the fact that I believe our record storage boxes are the most beautiful, I like to think my passion for music and my preferred medium, vinyl, goes into every product we sell. I know it may sound crazy, but I actually feel this way.
]]>In the days since his passing, a multitude of tributes have been written; folks that knew the man personally and the millions of listeners and music fans who were touched by his singular style of rootsy, balls out, unadorned music. For the integrity of this column and because I can't seem to reign in my emotions, I decided I would write about one of his albums that is often overlooked, but as essential as any in his catalog, the Rick Rubin produced album ECHO on Warner Brothers.
The album came out in the early spring of 1999 and due to the hospitalization of my grandfather at the time, I became utterly engrossed in its "heavy"veil of deeply personal songs. My commute to the hospital took about an hour. Each night after work I'd jump in my car and onto the Long Island Expressway and listen to this album. I'd sing every word, and get lost in the songs. I had no idea what Tom Petty was going through when he recorded this album, but because I was always a fan I just gave into the music, the performances, the production. And like all of his albums, you got just that; the sound of a great band playing razor sharp tunes, recorded by professionals who only wanted to capture that moment accurately. No studio effects or trickery. Just pure rock n roll.
Now to clarify, 1999 was a difficult year to find new vinyl and so I only had the CD. For years I looked and looked for the Vinyl pressing but as was the case, the copies I did find were very expensive and so the Echo CD, became one of a hand full of CD's I toted around and continued to play through all those years between then and now. But to my overwhelming joy I read that Tom Petty reissued his entire catalog on wax and Echo would be among the titles to be sold individually. When this stuff happens I get excited like a child the night before christmas. And so, after nearly 20 years, I now have a copy of Tom Petty and The Heartbreakers, "Echo" on double vinyl and it sounds absolutely phenomenal.
There is a great biography about Tom Petty that came out not too long ago. Its written by Warren Zane of the Del Fuegos and in it Tom talks about the stresses he was going through while writing and recording "Echo". Its a tremendous book and I highly recommend it to any Tom Petty fan.
But back to the album: I will go so far as to say that song for song, this album is as good, if not better than many other Tom Petty albums. Now before you all get your pitchforks let me clarify, I love, love all his albums, so I'm basically comparing apples to apples. However, there are always a few apples that are even more juicy than the already juicy apple you may have had. Get it? And more to the point, I am speaking about the totality of the album. Because there is not a sub par song on it.
"Room At The Top "( which in addition to being one of his best songs also contains one of Mike Campbell's most glorious solos) "Free Girl Now", "Swingin'", "Accused of Love", "Won't Last Long", "About to Give Out", and yeah. Every other song. These songs are meticulously written, though I did read that , "Swingin'" was made up on the spot, such is the intuitive nature of the Heartbreakers. There is a deep emotional undercurrent flowing throughout the album. A soul baring of breathless intensity. A struggle playing out ("Rhino skin") an internal wrangling with getting through the next day ("One More Day, One More Night"). Its is an album of the realities we all face; loneliness, depression, struggling with this person or that person, and kicking against the pricks even if you don't know what it will yield.
Every song is melodic, every song is balanced and well thought out, every song is sang and performed expertly. There are moments of high octane rocking that Tom had not done in some time, "About to Give Out" or "I don't Want to Fight" juxtaposed with pitch perfect Byrds-ian glory, "This One's For Me".
It is a perfect album to play in times of strife or uncertainty, or fragility. Tom Petty's greatest strength was his commitment to honesty in his songs. He connected with us, because there was no bullshit, no sales pitch. I'd say in times like these , we need that purity more and more. It will keep us sane. Help us to see the shit from shinola. Get us through one more night. Like I said before, "That's what rock n roll should always be about"
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Hey music loving hep cats...do you like vocalists? We here at Music Box Designs sure do; Frank Sinatra, Nat King Cole, Ella, and on and on. But you know what takes pride of place in my Jazz Music Box? Johnny Hartman- his smoky wood tone timbre is a perfect match for our new Linn color palette inspired LP Record Storage Box. Effortless, smooth, seductive. You can almost hear him singing when he's not even on the turntable, such is his presence. And yes. Johnny cut an album with Coltrane, so there's that monumental endorsement.
Hartman once said if he ever was alone with Sinatra , he would punch him in the mouth . Well, that's just a rumor, but you never know. The point is, Johnny Hartman is absolutely superb, but grossly underrated and under-appreciated and possibly bitter. And this album, The Voice That Is, is a great place to start your journey into the world of his seductive magic.
Naturally, I get obsessive about pressings, and this one is yet another Analogue Production pressing, cut at 45 RPM for maximum everything, detail, depth...an audiophile dream come true.
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Let's dispense with this straightaway, I am a huge fan of the The Beatles. There is no other music that I have heard more in my life, than the songs of Lennon, McCartney and Harrison. Over the years, I have purchased and re- purchased and re- re-purchased their albums, as different iterations were made available. We're talking cassettes, to CD's, to vinyl, to Anthologies, to Let it Be Naked, to remastered Mono vinyl, to stereo remastered vinyl, and most recently to, Sgt. Pepper, remixed stereo vinyl.
But man, that last one was the one I was most excited about. The idea of an updated sounding mix, off the original tracks , remixed from the mindset of the original mono mixes was/is utterly compelling.
I was not disappointed in any way when I dropped the needle on Sgt. Peppers Lonely Hearts Club Band in its updated form. Truth be told, I actually got teary eyed. Such was the glorious, full bodied charge that filled my listening room. Drums centered, full bodied bass, roaring guitars panned and spread out over the whole sound spectrum. Vocals rich with wide imaging harmonies, and on and on. Sonically, from a mixing standpoint, it sounds modern. Big, full, everything sitting in its proper place. Simply put, it sounds incredible. But what's next?
Well, there is a lot of chatter about The White Album and Abbey Road, especially the former, as the 50th anniversary is next year, and so its probably as safe bet. But, I say no! Don't get me wrong, I love those albums. Abbey Road in itself is a production masterpiece. However, I have to insist that the next album that Giles should get his hands on is Revolver.
Before I get into the why, I feel a general history of the landscape of Mono and Stereo should be addressed. Stereo mixes were considered a niche market concept in the 50's and 60's. mostly relegated to classical music. The underlying reason being, that kids couldn't afford 2 speakers ( and wouldn't care) , but classical music fans were older and had more money, and a finer appreciation for " real" music which deserved a more spacious presentation. The engineers who mixed records in stereo were dipping into uncharted territory. Not to mention the fact that early recordings were done with 1, 2, 3, or 4 tracks, forcing engineers to bounce different tracks together, making separation impossible. So, you often hear hard panned mixes; drums and bass on one side, vocals guitars on the other (again this is a generalization). The Beatles themselves grew up on a diet of mono recordings of Rock n Roll from the 50's so naturally they too were more used to the idea of mono.
Which brings me back to Revolver. to me, Revolver would be the Beatles album with the greatest return on investment, at least from an audio perspective.
Lets just talk about the songs themselves shall we? Who wouldn't like to hear, Taxman, in all its furious rocked out glory? or Eleanor Rigby's delicate melancholy or what about, And Your Bird Can Sing? Oh, let me end the debate right here...Tomorrow Never Knows? C'mon?! That is the quintessential Beatles track. Imagine hearing Giles work his magic stick on that song.
Revolver is the summation of what made the Beatles great up until that point in their recording career and the gateway to what they would become. To me, it was a better album than Sgt. Pepper. The songs are all exemplary and the adventurousness of the arrangements , not to mention Geoff Emerick's innovations as an engineer are unparalleled in popular music. Now, the mono mix , (like Pepper) is a meticulous masterclass in mixing, but the original stereo mix is a hard panned drums and vocal affair that does little justice to the immersive intent of the mono. Contrary to this, The White Album and Abbey Road were actually mixed in Stereo, with the involvement of the Beatles.
I had the pleasure of attending a seminar at Abbey Road studios, where Ken Scott himself told stories of McCartney, personally assisting with the stereo mix of the White Album. So to me, those albums sound more like contemporary stereo mixes, in fact, I believe Abbey Road was never mixed in Mono, such was the domination of stereo at the time. But, since Revolver was mixed for stereo as an afterthought, with little to no input from the Beatles, then a remix would be a cleansing , if you will, of a piece of art that was never afforded the proper execution it deserves.
So guys, please do us all a favor and get with Revolver. Heck, I can add it to the 5 different versions I already own.
Keep on spinning
*Please note the version of Sgt. Pepper in the photo is not the remix version.
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As an avid record buyer, I get really excited when I look at future album releases. I get that tingly, "I may have to go to the bathroom feeling" like I used to get anticipating Christmas or my birthday. This week was an extra treat, because two bands that I love had new records dropping on the same day: Queens of the Stone Age and War on Drugs.
I often try to imagine what it was like in the late 60's when album release days included new records by The Beatles, or Stones, or Dylan, or Sabbath, or Isaac Hayes, or Aretha, and on and on. Were people aware that there was a better than good chance that what had just come out would be on their turntable for 50 years? Probably not. And I am not equating War on Drugs to bands or albums that in my opinion are bullet proof gold standard classics. That takes time. Its like diamonds forming.
But, this is 2017 and as an active member of the vinyl collecting community, I take great pleasure in listening to new albums and discovering the aural gold therein.
I'm not going to get into a lengthy review, you can look up a "star ratings" system somewhere else. If I'm writing about it here, then I'm excited about it enough to share. Besides, my current rotation box is not full of eternal classics, its more of a, "news of the week or month" box. A mix of crate digging finds, older purchases that I'm feeling, and new explorations.
War on Drugs falls into the latter category. But man, let me tell you, this album is a rich, full bodied audio trip into awesome.
Beautiful arrangements, performances, and production quality. You can get lost in the soundscapes, which are a unique mix of krautrock, psychadelica, 80's synths, and 70's guitar rock. I suppose this is the modus operandi of War on Drugs. They offer a complete experience for the listener. Whereby, the entire album, from songs, execution, and production is a complete world unto itself. Full immersion. Its not an easy trick. And I applaud Adam Granduciel (Mastermind) for putting it all together so beautifully.
So here's the, "influenced by..." game. It'll give you an idea of the pieces that made the puzzle: Bruce Springsteen, Bob Dylan, Neil Young, and Tom Petty. Dip these influences into 80's synths, propulsive krautrock percussion, distorted sax, and harmonies and you get War on Drugs.
If you like any of the above artists the I highly recommend giving this album a spin. Will it go down in history with the giants? Who knows. But right now I'm really enjoying the ride.
And that's one to grow on. Let us know what sitting in your LP boxes.
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