Category Archives: CD

Various • Making Time: A Shel Talmy Production

I finally made time for this one. A compilation of tracks produced by an American ex-pat, Making Time: A SHEL TALMY Production is a 25-track platter of mostly British rock and freakbeat from the early/mid ’60s. Talmy is most famous for producing The Who’s first album (and its same-titled single) My Generation, a few Kinks records and The Creation’s greatest, errr, creation, “Making Time.” Ace Records, the UK label known for putting out quality compilations of this ilk, has once again sorted out a quality collection of tunes, including some big names and lots of lesser known ones—and even a pseudonymous track by a fellow called Davy Jones (not that guy from the Monkees). What you don’t get with Making Time is the feeling that Talmy was the great producer that legend has him, but really just a hustler with a good ear.

After all, Shel Talmy is famous not only for a handful of great singles but the fact that he lied his way into producing in the first place. In the early ’60s there was no such thing as the internet or even fax machines; Talmy flew across the Atlantic with a stack of records he hadn’t produced, presented them as his own and landed himself a job with Decca Records UK. (He was supposedly given the okay to do so by the man who did produce them, Capitol Records’ Nik Venet, who passed away in 1998.) Apparently Talmy was a good enough salesman to quell any doubts there may have been about his CV because the next thing you know he’s producing The Kinks—represented here with “Tired of Waiting for You”–and then The Who. Along came The Easybeats, Manfred Mann, The Creation, Chad & Jeremy and a load more. Hell, he even produced a female singer with the unlikely but cool name of Perpetual Langley! Later down the road he started his own label, Planet Records (not to be confused with the one started by Richard Perry in the late ’70s). Talmy gets a bad rap for keeping The Who in mid-sixties limbo with litigation that severely curtailed their early momentum, but that was eventually sorted out by both parties.

Making Time presents such a varied group of artists that it’s hard to make a case for him being such a great producer. His productions are fine, for the time, but they don’t stand out as being all that unique, like Phil Spector’s and even Brian Wilson’s do. He did pick some talented groups to produce, though, so perhaps we should really salute his ear for talent rather than production. This compilation presents a reasonable number of great artists and tunes, but there are some definite duds, too; good lord please don’t make me listen to anything else by Lee Hazlewood if it’s as bad as “Bye Babe”! And I could live without ever hearing Tim Rose or Trini Lopez again. In all, though, this CD is of Ace’s usual high quality level and worth the price.

Bonus notes: One track here is by The Rockin’ Vickers, which was a group that included the young Ian Kilmister under the name Ian Willis (who finally achieved fame as Lemmy of Motorhead). Also, the Davy Jones track, “You’ve Got a Habit of Leaving,” is a “previously unissued alternate overdub” of the young David Bowie’s 1965 Pye single.

2.5/5 (Ace Records CDCHD 1497; 2017)

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The Beach Boys • 1967 Sunshine tomorrow [CD]

Here’s another in a series of releases designed to bring you more of THE BEACH BOYS’ mid/late ’60s output. This time, since they’ve already mined the Pet Sounds/ Smile era about as much as must be possible, we’re getting the very next chapter in their story: the sessions for their following album, 1967’s Wild Honey. Unsung by the mainstream press but acclaimed by those with a deeper appreciation for Hawthorne, CA’s favorite sons/cousins/best friends, this new release covers a year’s worth of activities from a time when the Wilson Bros. & Co. were much busier than anyone knew.

1967 Sunshine tomorrow [capitalization is theirs, not my typo] is a 2CD set with a mind-numbingly large quantity of tracks, 65 in all. The Wild Honey album itself is quite good—this, after all, is where the single “Darlin’” comes from—the band’s first LP outing in which they produced themselves, played most of the instruments, and really began to cut loose from Capitol Records’ short leash. Chances are, after the lukewarm reception Pet Sounds garnered, and then the Smile catastrophe, record company suits were okay with letting the band just go away for awhile. Who knows, they may have secretly been giving them enough rope to hang themselves, making it easier for the label to cut ’em loose and let their current slump become some other executives’ problem.

Whatever was the label’s master plan, The Beach Boys themselves started a number of projects in 1967 and no less than seven of them are represented here. Wild Honey itself makes up disc one, with a brand new stereo mix (it was never mixed that way back in the day) that shines a nice bright light on the album, including some great songs of their own and a cover of Stevie Wonder’s “I Was Made to Love Her.” Some thirteen tracks of outtakes from the album’s sessions are next, which comprise an interesting look at what the Boys were doing but which aren’t that revelatory to their working practices. (We’ve already been given two different 4CD anthologies of how they made Pet Sounds, and though these WH tracks were primarily recorded at their own personal studio, aside from sound quality they don’t show anything new of the group’s arranging and recording methods.) Still, disc one is Wild Honey through and through. Disc two, however, is much less focused. Here we get Smiley Smile sessions (the album prior to WH that ultimately became the sad reminder of what Smile might have been, had the band ever finished it), live and simulated live tracks for the aborted Lei’d in Hawaii album, more live tracks, and a few pre-Surf’s Up studio tracks. I found the Lei’d tracks quite depressing. I hoped (or is it expected) they’d be exciting, but instead they were slow and dull. Clearly The Beach Boys were in transition, and it’s been documented that they, indeed, seemed rudderless at this point. Sadly, this is the proof. The actual live tracks are as lifeless as the studio recordings they planned to add audience sounds to in order to hoodwink America. Luckily, the band—or some entity close to them—sensed these dreary tracks would not help their case and chose not to go ahead with the project. That they have now speaks to either their wish to give the hardcore fans what they want or to their failing memories. After all, the Boys are now Old Men.

1967 Sunshine tomorrow would have made a dazzling single disc. As a crammed 2CD venture, though, Wild Honey gets lost in the morass-o-tracks presented here. I’d have preferred a one CD affair. And yes, I can choose to just not listen to the other disc (which I will likely do), but in reviewing the entire thing, I gotta say, the “sunshine tomorrow” we’re given today is sooooo bright that it’s hard to see the Wild Honey at its core.

2.5/5 (Capitol Records)

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Robyn Hitchcock • Robyn Hitchcock [CD]

It’s been awhile since ROBYN HITCHCOCK put out a proper full-band album. Or at least, since he did one in the same spirit as his Egyptians-era albums of the mid to late ’80s. This one, cleverly titled Robyn Hitchcock, is a lot like those heralded albums such as Fegmania! and Globe of Frogs. Recorded in a short stint in Nashville, Robyn apparently decided it was time he unleashed a batch of songs on an untested group of musicians and see what happens. Luckily, the results are in and this 2017 release is available for us to hear for ourselves.

Having started his recording career as founding member of The Soft Boys, Hitchcock went solo for a couple of albums before, in 1985, putting together the Egyptians (really The Soft Boys minus one) and releasing Fegmania! The Byrdsy, Barretty band came up with some great arrangements of RH’s tunes, including “Egyptian Cream,” “My Wife and My Dead Wife” and the odd but good “The Man with the Lightbulb Head.” The band went on to do a handful of albums until, in the early ’90s, they disbanded and Hitchcock went on to pursue extra textures (within and without group settings) with varying results.

What I like about his new one—I still can’t believe he didn’t come up with a better title than Robyn Hitchcock—is that it recalls the Egyptians but adds some interesting vibes via pedal steel guitar (don’t get yer panties in a wad; it ain’t a country record!) and the sheer kismet of making music with a new group of people. At times the tunes feel like they were channeled through the Egyptians—or that the band, perhaps subconsciously, asked themselves, “what would the Egyptians do?” when approaching these songs. Definitely, “Mad Shelley’s Letterbox” and “I Want to Tell You About What I Want” have that classic vibe. But a few, like “Virginia Woolf,” “Autumn Sunglasses” and “Raymond and the Wires” go that extra mile to reveal something different. Maybe it’s that pedal steel adding those swirly, stretchy, almost keyboardy soundscapes. Or even just the difference in the bass—Jon Estes has a different tone and approach to the instrument than Andy Metcalfe did. Whatever it is, if you’re a seasoned fan of RH&E then you’ll be pleased and even surprised at how good this album sounds. If you’re more attuned to Hitchcock’s post-Egyptians epoch then this will feel good, too. Robyn & Co. have given us a record that all of us Hitchcock fans can enjoy, and that’s pretty awesome. And one with a lot less insects crawling around.

3/5 (YepRoc YEP-2483, 2017)

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David Bowie • Cracked Actor (Live in Los Angeles ’74) [3LP, 2CD]

Talk around the internet forums and blogs in April of this year was that this splendid release, DAVID BOWIE‘s Cracked Actor (Live in Los Angeles ’74), would probably be out on CD at some point. After all, the vinyl-only Record Store Day release sold out quickly and surely there was plenty of still-mourning fans who’d missed out. I’m not sure any of us figured the CD would be out barely sixty days later, but here it is: the 2CD reissue of a release not even two months old. Clearly it was always the plan. Crank up the hype machine, sell out of the initial vinyl run and then unleash the compact disc set while the iron was still hot. [Does that count as a mixed metaphor?]

Cracked Actor is an exciting live album and worth every penny regardless of the configuration you chose/choose. If you didn’t get the vinyl – for whatever reason – and you still thrill to a live Bowie show then you’ll want to add this release to your collection. Recorded in concert at the Universal Amphitheatre in September 1974, it’s a show and band lineup that appeared between the Diamond Dogs and Philly Dogs tours of that year. Bowie seemed to be tinkering with set lists and musicians incessantly and this transitional date was, luckily, recorded by the BBC to bolster a documentary they were working on at the time. The band included Carlos Alomar and Earl Slick on guitars, Mike Garson on keys and David Sanborn on sax, and they were a startlingly solid group considering how recently they’d come together. Vocalists included Warren Peace, Ava Cherry and a certain Luther Vandross, who worked with DB on his next studio release, Young Americans. Songs include numerous cuts from Dogs, plus some from Aladdin Sane and Ziggy Stardust as well as “All the Young Dudes” (written by Bowie and a then current hit by Mott The Hoople) and a cover of “Knock on Wood.” I really like the muscular, saxified “Cracked Actor” and the sublime “It’s Gonna Be Me,” ultimately an outtake from Young Americans. Cracked Actor is another case for Bowie as the amazing interpreter of his own songs that he was, and how every concert of his was an event because of that.

Indeed, the show has been bootlegged fairly extensively (apparently there was more stage banter and a longer intro than appears on this official release) so it’s not news to the more intrepid Bowiefans that this show even exists, but you won’t be sorry for buying this version even if you do have one of the boots. In a deluxe three panel album jacket, the 3LP presentation is a 5-sided, 20-song show that features rearrangements of even his then most recent material. (Side 6 features an etching of the distinctive Bowie logo that dons the cover of this release, as well as Dogs.) Sound quality is pretty top-notch for a live show, given its 1974 recording but late 2016 mix by longtime Bowie partner Tony Visconti, and mastering by Ray Staff at AIR Mastering. The pressing itself is on 180 gram vinyl and is dead quiet, with the records coming in static-free poly-lined black sleeves. The 2CD comes out tomorrow and features the same track listing but some liner notes and photos not in the vinyl package. It ought to be just as compelling, albeit maybe not as warm as the wax. At least you won’t have to flip the discs over as often. Either way, vinyl or CD, I wouldn’t miss this one!

4/5 (Parlophone DBRSD 7476 [0190295869373], 3LP, 2017) [I reviewed Bowie’s other 2017 RSD release, BOWPROMO, here.]

Here’s a clip of the title track from this very record, as broadcast on the BBC’s Cracked Actor documentary in 1974.

 

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John & Yoko/Plastic Ono Band* • Sometime in New York City [album]

“Boy, he sure does cover a lot of Beatles-related stuff in this blog.” – Yes, I Do

JOHN & YOKO got together in the late ’60s when they were still John Lennon, one of The Beatles, and Yoko Ono, fairly obscure avant garde artist. The kindred spirits not only made love together, but art and music, too. At the time they made 1972’s Sometime in New York City with their Plastic Ono Band the music and other aural delicacies they’d created were quite often looked upon as liberal rubbish. Sometime, though, was the first time they put out a record of actual songs and music under both of their names – so they were really laying it out on the line. Of course Lennon didn’t have a lot to lose; he was, after all, still considered a Beatle. Yoko, as we all know, willingly lured Lennon into a life of aural degradation (ahem) and broke-up her husband’s band, so she also had little to worry about as she was already the lowest of the low! Forty-five years ago today he and his wife committed this double album to wax (and 8-track tape) and let the dice fall where they may.

To call Sometime in New York City a political album would be putting it mildly. Nine of the ten songs that make up record one (the second is comprised of live cuts) are political in one way or another, whether it’s “John Sinclair” or “Angela” (about Sinclair and Davis, both who had been jailed [separately] for very minor offenses), or the main, lead off track, “Woman Is the Nigger of the World.” The fact that Lennon & Ono chose it as the album’s only single shows that they must have been ready to tackle all comers and (naturally, considering the title) go to lengths to defend its title and what it was actually about. And, not surprisingly given its name, the single pretty much tanked. (Released on 45 in the US, it made it only to number 57.) Not a bad song at all, “Woman…” catalogs some of the many crappy ways women are treated (“we make her paint her face and dance…/We insult her every day on TV and wonder why she has no guts or confidence”) and is one of Lennon’s most fully realized political messages. You might argue that its title is over the top, and by today’s standards it’s definitely politically incorrect, but you can’t argue that the song’s point isn’t clear. Other songs on the LP tackle “Sunday Bloody Sunday” and “The Luck of the Irish” (both concerning then current events in Ireland), “Attica State” (about a prison riot and how the authorities poorly handled it) and a few other topics. Only “New York City” lets up on the polemics, coming at the end of side one and a nice 12-bar blues breather before getting back to business on the other side of the record.

As noted above, Sometime features both John and Yoko songs, and indeed, Ms. Ono sings lead on half of the studio tracks. This may be the one time before 1980’s Double Fantasy that Yoko’s singing isn’t difficult listening. In fact, her songs here are as pop as she ever got, even considering “Kiss Kiss Kiss” or 1981’s “Walking on Thin Ice.” Seriously, if you think all she was capable of was caterwauling you’re wrong. I’m not saying that her vocalizing isn’t an acquired taste to most of us, just that if ever there was an argument against the standard that ain’t singing, that’s noise line, this album is it.

Hampered somewhat by its mixes, the Lennon and Phil Spector-produced studio part of the album is a fairly murky presentation of John & Yoko’s latest. The second record, internally called Live Jam, sounds much better. It was recorded in concert in London, 1969 and at NYC’s Fillmore East in ’71 on a bill with Frank Zappa & The Mothers (that set resulting in The Mothers’ acclaimed Fillmore East – June 1971). A few of the songs here are of Lennon & Co. and Zappa & Co. together jamming (as we used to call it) on some blues and other concoctions.** In 2005 Yoko Ono oversaw a remix of the studio cuts and most of the live tracks for a single CD reissue, ending up with a much clearer, more palatable mix of the album. (She had all of Lennon’s albums remixed in that decade and they’re worth checking out if you don’t find the exercise completely sacrilegious.) While its not necessarily how Lennon would have wanted us to hear it, this version of Sometime in New York City does give new life to his and his wife’s early Seventies co-billed creation.

3/5 (Apple SVBB 3392 [2LP, 1972]; Capitol CDP 0946 3 40976 2 8 [CD, 2005])

* Full original credit: John and Yoko/Plastic Ono Band with Elephants Memory and Invisible Strings [sic].  ** Frank reissued these cuts in a more Zappa-centric mix on an early 1990s compilation called Playground Psychotics.

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The Beatles • Sgt. Pepper’s Lonely Hearts Club Band [2CD Anniversary Edition]

Today being the 50th Anniversary of its release, here’s my take on THE BEATLES’ quintessential record.

“I get high with a little help from my friends,” sings Ringo Starr near the beginning of the most written about album in rock. I still feel “high” when I listen to it, having discovered it among my parents’ records as a kid. For its 50th anniversary, THE BEATLES have released Sgt. Pepper’s Lonely Hearts Club Band in a new mix and a bevy of formats designed to shed new light on their pop art masterpiece. Of course, five decades on the album has been both heralded and hacked. But the fact of the matter is: it’s still being written about. You can say all you want about it – badmouth it, throw sticks and stones at it – but it refuses to be influenced by naysayers or acclaimists. So let’s skip all of that (after all, fifty years of criticism is hard to summarize) and just get to the heart of this release.

Giles Martin, son of legendary producer and “fifth Beatle” George Martin (who produced the original), got the go-ahead to give the legendary Sgt. Pepper a makeover. Giles & Co. used the original 4-track tapes (including session tapes that, luckily, weren’t recorded over or discarded) and created a new stereo mix designed to deliver the punch and clarity of the original mono mix, which was done by George Martin and The Beatles over the course of a few weeks in the Spring of 1967. The original stereo mix – the one we’re all used to – was created over a few days without the Fab Four’s oversight. It became the de facto official version because stereo became the default configuration for future rock releases. Eventually the mono mix was put out to pasture, and that’s too bad because it was quite good (though it’s now again available on both vinyl and CD). Giles Martin’s new stereo mix relies less on gimmicky over-separation and goes for a more evenhanded approach, and it largely succeeds. (Stereo was new to the pop audience of the mid ’60s so exaggerated separation was the order of the day – sort of like over-enunciating in order to be understood.) Though some changes on the new stereo mix are too subtle for the typical listener to notice, it’s just as enjoyable. I like the more pronounced bass and drums, the clarity of some of the guitar and piano parts, and of course, the lovely sound of John, Paul, George and Ringo’s vocal harmonies. I could go into detail (I took notes during my first playback), but really, you can find that online in many places. Go ahead if you want to, or just go pick up a copy and hear for yourself.

As for the various formats available of this 50th Anniversary release, there are Sgt. Peppers to suit every budget and lifestyle. I decided to start with this 2CD version, which features the new stereo mix on disc one and a similarly-sequenced program on disc two that features early versions, false starts, instrumentals and more. It comes with a 50-page book (quite generous with photos and notes) and the original cutouts in a nice little slipcase. I got it on sale for $20 locally so it’s pretty affordable. You can also buy a single CD (just the new stereo mixes), a 2LP version (new stereo mixes on record one, some alternate versions and such on record two), and of course, the super deluxe 4CD/DVD/Bluray box set with even more alternate takes, a 140-page hardcover book and a brand new 5.1 surround mix in high resolution audio. Don’t get me wrong – I will get the big deal box – but the 2CD version is probably your best Beatles buy if you’re not bothered with all the extras. My purchase of it came with a nice poster of the inside of the original gatefold album cover (pictured above), which is pretty cool despite the extreme cropping of a very familiar image.

So there you have it, hopefully not too long-winded and with just the right info to pick the perfect Pepper.

4.5/5 (Apple/Capitol/UMe B0026524-02)

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Paul McCartney • Flowers in the Dirt [2017 Reissues]

If you follow all the latest reissue news on the many fine blogs there are dedicated to such important info, you may know that PAUL McCARTNEY has been under fire for this, the latest in his Archive Collection series. Flowers in the Dirt has just been reissued in multiple formats, including a 2CD version, a 2LP vinyl version, and a super deluxe 3CD+DVD box set. All three include the original 12-track 1989 album (the CD versions had and have an additional track) plus a second disc of demos. The super deluxe adds on a third CD of “demos” and a DVD featuring videos of the singles and documentary footage. What’s all the hubbub, bub? you ask. And for that you’ll have to read on (or if you’re impatient, skip down a few paragraphs)…

Flowers in the Dirt was one of McCartney’s occasional “return to form” releases – an album that brought him some solid chart success after nearly a decade of drought (from ’83 until ’89 was a struggle – remember “Spies Like Us”?). Arriving just ahead of the single release of lead-off track, “My Brave Face,” Flowers was at once contemporary and completely McCartney. This album showed Macca at his best, with sweet, hooky pop on tracks like “This One” and “Figure of Eight” (both released as singles), lush confections like “Motor of Love” and the super single-that-wasn’t, “Rough Ride.” It was also a record featuring songs the once-Beatle co-wrote with new wave wunderkind Elvis Costello, whom it was noted filled a sort of John Lennon role – EC being a foil for McCartney to bounce ideas off of, and (presumably) a voice of reason if Paul were to lose the plot. “My Brave Face,” penned by the pair, placed in the Top 20, and Costello’s recording of “Veronica” (also composed by McCartney/MacManus) gave EC his highest placing ever in America. The demos the two recorded together are what make the second CD/LP a got-to-have; here are nine of the songs the duo wrote together, performed raw ’n’ ready and including great tunes that never made it to proper release, such as “Tommy’s Coming Home” and “Twenty Fine Fingers.” You get these same nine songs, further along in arrangement, on disc three of the super deluxe edition, and (I’m told) much closer to full band versions. I haven’t picked up this version yet, and here’s why…

This 1989 limited edition version of Flowers in the Dirt included a 3″ CD with non-album tune “Party Party,” which is only included as a download in the 2017 box set.

Flowers’ super deluxe version also comes with a disc’s worth of downloads, comprising many of the b-sides and remixes spawned by the album. Many hardcore fans feel these should have been included as physical media, especially considering the high cost of the set. With four books included, it does seem like McCartney’s leaning more on his own scribbles ’n’ doodles and then-wife Linda’s photos than on the music – and that’s supposed to be what these “archival releases” are all about. It also happens that this means some great songs are missing, such as “Flying to My Home” and the two sides of the 1987 single that preceded the album, “Once Upon a Long Ago” and “Back on My Feet,” which were never even released in the USA. For a box set at such a price this disc-worth of tuneage is conspicuously missing. Sure, many of us already have these items via the singles (vinyl and CD) they came from – or via a plethora of bootlegs – but it’s the principle of the thing! And besides, these items were already officially released once so it’s not like Macca’s denying a demo’s release because his voice sounds hoarse or out of tune. He claims he’s trying to stick with the times by offering these tracks as downloads, but really, the only people likely to buy the super deluxe version of Flowers want them on physical media – people who are generally older than those who spend their time downloading music. McCartney and his advisory team need to wake up! Conduct some fucking focus groups, people! Find out what the bulk of the likely buyers want, and give them that. Jeez. Do I have to do this myself?! (Don’t even get me started on Paul’s cassette-only release for Record Store Day!)

ANYHOW. Flowers in the Dirt is a brilliant record, and this remaster (I’m judging from the CD) sounds just fine. Nothing stands out one way or the other from the original 1989 release, though I’m hoping the vinyl is better than the original. Those buying the CD version in the USA may want to pick up a copy at Best Buy, who offer a free limited edition 7″ of “My Brave Face” (b/w “Flying to My Home”) via coupon included in the package.

4/5 (Capitol/UMe; 2CD, 2LP and 3CD/1DVD box set)

For more about the FITD controversy, visit Paul Sinclair’s excellent SuperDeluxeEdition.

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The Clash • The Clash [LP, CD]

In early April 1977, punk rock was something us Yanks enjoyed from the relative tranquility of our overstuffed living room chairs via nightly network newscasts and their exaggerated coverage of the UK’s latest outrage. Twenty-somethings with safety pins for earrings (and noserings!), ratty leather or Levi’s jackets emblazoned with patches and pins of their favorite bands – bands we’d never heard of here, with crazy names and logos – were shown constantly. It was real exciting for a 14 year old just starting his first band! I, like most of America, bought into the hyped-up, dumbed-down coverage, believing that “punk rock” must be pretty stupid judging from what our US talking heads were reporting. Of course, most of the stories on TV were shallow, not telling us how the movement was both a slam against the mega-rich rock stars of the time and the fact that there were no jobs for the working class, who were forced to try and live “on the dole” with no hope and quite likely no future.

By the time THE CLASH had their debut album, The Clash, released 40 years ago, punk was everywhere. The Damned had already issued their first records (see my review of Damned Damned Damned elsewhere on this blog), the Sex Pistols had a single out, and bands were forming everywhere in garages across the land. Here in the States, small, punk-infused movements were getting going in New York, L.A., San Francisco and nearly every city with more than four disaffected youths, and even way down under in Australia there was The Saints (see my review of I’m Stranded) singing about the same things! Fact of the matter is, teenagers and young adults all across the civilized world were feeling fed up with what appeared to be their lots in life and music was a real good way to express it. Anyone could pick up an instrument and play it, and some could even play together well enough to create songs – the rest could buy a cheap 7″ and sing along with the woes their new heroes had set to music. Punk rock wasn’t as homogeneous as it has been portrayed; some bands came up with great tunes and melodies while others set basic war chants to music. Some bands were political, others weren’t. If you had ears to listen there was something for you.

Photo by Chalkie Davies.

The Clash was for those who were through with what the government was giving them. Joe Strummer and Mick Jones, with Paul Simonon and Tory Crimes, sang about “Hate and War,” a “White Riot” and “Career Opportunities” (“the ones that never knock”). The music was primitive and powerful. Strummer’s lead vocals weren’t so much sang as spat. Jones’ guitar was played with all the grit you could get out of a Gibson. This is a record that demands the listener to don full-on riot gear in order to avoid the blood splatter blasting from the grooves! “London’s Burning,” indeed.

In retrospect it’s strange that this album was considered so raw that it wasn’t even released in the USA until after the following album, Give ’Em Enough Rope, was issued. When it was finally released here (after it had sold over 100,000 units as an import), the A&R dude at Epic Records stripped a handful of songs from it and replaced them with some newer, more “radio friendly” cuts plus a 7″ single with two brand spankin’ new non-LP tracks. (See, even back in the late ’70s record companies were trying to get you to buy more and more copies of a release you already owned. “’Cause killers in America work seven days a week!”)

I’ve got a few different versions of The Clash. On CD there are both the 1999 issues (UK and US configurations, of course) and the 2013 remaster included in The Clash Sound System mega-boxset. Vinylly, I spin the pictured 2013 Record Store Day issue pressed in “white riot/Protex blue split color” wax. Both recent versions were mastered by “Tim Young & The Clash” (presumably minus Strummer!) and sound great considering the rawness of the recordings, unlike most of what was being released by major record labels in the ’70s. I imagine any 1999 or later CD or vinyl of legitimate issue will suffice – what we’re talking about here is a punk rock cornerstone, an album that would actually benefit from shoddy quality. If it was supposed to sound polished and proper it wouldn’t be punk!

4.5/5 (Epic Records, 1977)

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The Damned • Damned Damned Damned [CD, LP]

Some anniversaries make you feel old. Some of ’em make you feel young. And some – like the 40th anniversary of this, punk rock’s quintessential and inaugural album – make you feel both old and young at the same time. THE DAMNED‘s first album, Damned Damned Damned, was released in late February 1977 on UK upstart Stiff Records and in the last year it’s been reissued on both vinyl (Drastic Plastic USA) and now CD via BMG UK. It’s one of those records that never loses its cheeky appeal.

Yours truly didn’t discover The Damned until 1981-1982 (via an IRS Records sampler featuring 1980’s “Wait for the Blackout”), and by then they’d undergone a bit of maturing. But on their debut disc, The Damned were a rowdy, youthful quartet just happy to be making noise and having someone record it. Producer Nick Lowe was that someone, and you don’t have to consult reissue liner notes or Wikipedia to tell that his job was primarily to keep the youngsters focused long enough to get a dozen songs on tape. Just listen to Damned Damned Damned and you can hear all the joy and energy these guys exuded. Whether it’s their debut single, “New Rose” (“is she really going out with him?”), followup single “Neat Neat Neat,” or any of the other punk classics here (I’ll cite “Fan Club,” “Born to Kill” and “Feel the Pain” as my favorites), this barely 30-minute “long player” charges out of the gate like a horse not just going for the win but running for its life. By the time closer “I Feel Alright” (aka The Stooges’ “1970”) finishes, there’s no doubt that this album deserves its inclusion in the top of the punk pops.

Damned Damned Damned still has a lotta life in it. Whether you pick up the late 2016 vinyl reissue on Drastic Plastic (available on 150 gram yellow or 180 gram black vinyl; excellently mastered by Kevin Gray at Cohearant Audio), or the brand new 2017 BMG CD (no weight or mastering credit), you can’t go wrong. I like the vinyl for Gray’s beefy mastering job (the CD’s a tad bit thinner-sounding), but the CD comes in a book-style package with some great liner notes and photos. Neither has any extra tracks, though, so for those you’d have to grab one of the compilations like 2005’s 3CD box set, Play It at Your Sister, et al.

There have been way too many changes in personnel, temperament and outlook over the last four decades to detail here, but in ’76-’77 The Damned were vocalist Dave Vanian, guitarist/songwriter Brian James, bassist Captain Sensible and drummer Rat Scabies; a buncha guys with colorful names making raucous rock ’n’ roll. Today only Vanian and Sensible remain (the latter having switched to guitar a long, long time ago), but the band – who have made a number of great records since 1976 – still tours regularly and this year they’re touring that killer record they made forty years ago. It’d be a shame to miss the chance to hear this punk classic performed nice ’n’ loud right in front of yer face by the only band that still matters, The Damned.

5/5 (Drastic Plastic DPRLP76, vinyl; BMG BMGAA01CD, CD)

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John Lennon • Rock ’N’ Roll [album] vs. Paul McCartney • СНОВА Б СССР [album]

lennon-rocknroll_400pxOr Battle of The Beatles Heavyweights! Right about now in 1975, former Beatle JOHN LENNON released an album of Rock ’N’ Roll oldies – and it was to be his last for over five years. At the time the critics weren’t exactly singing the praises of it or their hero’s seeming lack of new songs. In fact, they were fairly forthright about it. It doesn’t really matter anymore, though, as today Rock ’N’ Roll stands as the man’s unique tribute to the music that inspired him, eventually to form his own band and then change the face of popular music forever.

PAUL McCARTNEY, on the other hand, was then on a roll with his band Wings. By 1987, though, Lennon’s esteemed Beatles bandmate was having a rough time of it. The hits had slowed considerably and, in an attempt to recharge his psyche, Macca revisited his rockin’ roots and did a covers album of his own, Choba Б CCCP. It was initially only available in Russia (hence the title: Back in the USSR). The record was imported and bootlegged heavily, and after McCartney issued a few of the songs as B-sides to a 1987 single, “Once Upon a Long Ago” (not released in the US), he eventually relented and released an extended version of the album on CD for all the world to hear.

mccartney-chobabcccp_400pxLennon and McCartney, though once united in rhyme in The Beatles, chose different songs for their respective tributes. They both relied heavily on the big names of ’50s rock: Fats Domino (“Ain’t That a Shame” was the only song covered by both, with McCartney also doing Fats’ “I’m Gonna Be a Wheel Someday” and “I’m in Love Again”), Chuck Berry, Sam Cooke, Buddy Holly and Little Richard. The albums were recorded over ten years apart, with different bands and under different circumstances (by ’87 Lennon had been dead for seven years, which must have weighed heavily on McCartney’s mind as he went about making his record). So pitting the two records against each other isn’t really a fair fight. But since I’m the referee in this ring, I’ve chosen to go for it anyway and render my decision. No punching below the belt, no name calling, gentlemen, let’s have a fair fight and may the best man win!

lennon-mccartney-hamburg_400pxLennon’s LP, Rock ’N’ Roll, is a very thick-sounding record. Replete with not only guitar and keyboards but a horn section, its production – by Lennon and “Wall Of Sound” originator Phil Spector – is multi-layered and at times suffers from too-much-happening-all-at-once. Yet the arrangements are quite spectacular, sometimes unique (the slow reggaefied rhythm of “You Can’t Catch Me,” for instance), and delivered with commitment. When John sings “Stand by Me” you can feel the song’s import on his life. The album’s been reissued many times. I highly recommend the 2010 vinyl, remastered from 24/96 digital files (purportedly taken directly from the analog master) but very detailed and with no noticable digital ick. For a different take on the material, find the 2005 CD – it was remixed at the time and de-clutters some of the arrangements to give you a different, maybe even better idea of just what was going on at Record Plant East Studios (“everybody here says ‘hi’”) all those years ago.

As for Choba Б CCCP, McCartney’s take on some of his favorite rock ’n’ roll classics, it’s also a winner. (I know, I know: There are no ties allowed. Wait for it.) Sparse compared to Lennon’s, these arrangements pretty much stick to your standard guitar/piano/bass/drums variety, making for a more immediate feel. Yes, the snare’s a bit overbearing (this was the mid ’80s, after all) and the guitar sometimes has a slightly over-processed tone, but this album sounds no more “Eighties” than Lennon’s does “Seventies.” McCartney, too, sounds like he means it when he’s singing Bo Diddley’s “Crackin’ Up” or Eddie Cochran’s “Twenty Flight Rock,” a song fabled in Beatles lore as the one he impressed Lennon with in 1957 or so when the two boys met and cemented their connection to each other forever. Though McCartney’s covers album was second in release (and really, Ringo Starr did an album of covers in 1970! – not a rock ’n’ roll outing), it’s hard to say which one is first in terms of greatness. But because there are no ties in pugilism – and because America loves a winner – I gotta go with Lennon. By a hair. Yes, those who know me know that McCartney is my man, but Lennon ain’t no slouch either. “But Marsh,” you might say, “McCartney’s put out a lot of crap as a solo artist.” And I would reply with, “Had Lennon kept releasing records for another thirty plus years, he might have put out a similar number of stinkers himself.” Besides: YOU WON. Let it be.

4.5/5 (Lennon, Parlophone/Apple); 4/5 (McCartney, Capitol)

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