Audiophile Digital

Of all the ‘lost’ rock films, this should never have landed in the vaults. A multi-artist concert from ’64, it may be the most important ‘rockumentary’ of the era, in the Top 5 of any rock-flick list. Viewed only in fragments for 46 years, it’s now available in clean 16:9 black & white, with a mono soundtrack. What you get are magical performances from (deep breath) the Barbarians, the Beach Boys, Chuck Berry, James Brown & the Famous Flames, Marvin Gaye, Gerry & The Pacemakers, Lesley Gore, Jan and Dean, Billy J.

Interesting re-packaging of the US version of Hendrix’s debut, but not absolutely necessary if you bought this 17-track expanded release in 1997. This adds only cooler packaging and a 17-minute DVD of engineer Eddie Kramer and three now-departed figures – Hendrix’s one-time manager, Chas Chandler, and the members of the Experience, Mitch Mitchell and Noel Redding – talking about the recording sessions. But if you don’t own any Hendrix, this is the best place to start: it’s an utterly incendiary album bursting with invention, the blueprint for psychedelia, jazz-rock and so much more. An ear-opener then, a touchstone now for every guitarist since.

Arguably the finest album of standards he ever delivered – the opener is ‘When I Fall In Love’, for goodness sake – this stunner sounds so good that Analogue Productions has released it on both 2x45rpm vinyl (to be reviewed soon) and SACD. But not just any SACD: its layers are set up so you can enjoy it in mono, stereo, three-channel and, if your processor has worthy rear-channel extraction, in surround. However you choose to play it, the sound is so silky and natural that you’ll use this as a demo disc. Of course, this is first and foremost about the music.

Not one but two recent biopics of John Lennon have taxed the patience of the hardcore, but the consensus is that this beats BBC4’s Lennon Naked hands down, despite Christopher Eccleston’s uncanny, note-perfect, award-worthy portrayal in the latter. This covers Lennon’s pre-Hamburg youth, so the two form a natural pairing (or a chronological trilogy, with Backbeat in the middle), but the depth and sensitivity of this entry strikes the viewer as somehow more authentic. All three suffer the sort of anachronistic details that will have the fanboys’ knickers in a twist, and they also beg the real need for fictional accounts of events so recent, but this one is perhaps worth a viewing for its cinematic value. Sound Quality: 83% .

After a run of smash hit LPs, the Doobies had no trouble maintaining a winning streak in 1976 because this, their sixth release, was also their first with the man who would kick everything up a notch and strengthen its sound in a highly distinctive manner: vocalist Michael McDonald. There were always signs that the group had hidden blue-eyed soul leanings and MM’s presence, along with that of another Steely Dan refugee, Jeff ‘Skunk’ Baxter, ensured that the increasing levels of sophistication would render the band an AOR/FM staple. Classy, and not as far removed from ’Dan as you might imagine, in case you’ve always hungered for more from that outfit. Sound Quality: 87% .

Not that I needed reminding that the J Geils Band was one of the best live acts I’d ever enjoyed, this nearly two-hour long set from the Monkey Island period is the 200-proof, real deal. Frontman Peter Wolf demonstrated the showmanship that enabled him to work an audience; harpmeister Magic Dick and axemaster Geils were on top form; and the remainder of the band constituted the tightest rhythm section north of Memphis. They ran through their most famous material, including a raunchy take on the Supremes’ ‘Where Did Our Love Go’, while a peppering of instrumentals leave no doubt this was the best house party/bar band ever. Sound Quality: 80% .

Alas, this lacks ‘Time Has Come Today’, the majestic 1968 hit and their greatest claim to fame, but the seven tracks here remind us that the Chambers Brothers were an R&B act first, and hippie anthem creators/psychedelic soul brothers second. The recording quality is magnificent – not that live recordings from the Fillmores were ever bad – but the sense of space and air, and the precise locations of instruments and players really benefit from the higher-res offering. Percussion and bass make this flow, and the showstopping take of ‘I Can’t Turn You Loose’ recalls a Stax Revue. Possibly the best $6 I’ve spent on-line this year.