Audiophile Vinyl

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Ken Kessler  |  Dec 10, 2010
Although most would credit Sly & the Family Stone or Funkadelic’s empire for inventing acid-dripping, hard funk, back in ’69, the super-smooth Temptations were getting spacey, too. Sharp suits metamorphosed into the kind of garb that Elvis Presley would copy for his Vegas era, and track times would extend beyond the AM-friendly norm of Motown. While fans may have been taken aback by the wicked title track, the Temps had already shown an experimental streak with ‘I Know I’m Losing You’. And we certainly owe thanks to this LP for the later ‘Psychedelic Shack’, and of course, the immortal ‘Papa Was A Rollin’ Stone’.
Ken Kessler  |  Dec 10, 2010
It simply doesn’t get any better than this if you’re a Motown addict. This LP from ’67 contains a half-dozen gems, eg, ‘Bernadette’, that are forever associated with the ’Tops, plus a couple of covers they made their own: ‘Walk Away Renee’ and ‘If I Were A Carpenter’. With 20/20 hindsight, considering that The Monkees have been reassessed and found not to be the infra dig swill that snobs once deemed them to be, we learn here just how appealing was the material they chose: the ’Tops cover two of their hits, turning ‘Last Train To Clarksville’ and ‘I’m A Believer’ into almost-credible Motown stompers. Reach Out is the quintessence of the group’s and the label’s sound.
Ken Kessler  |  Dec 10, 2010
There’s no end to the astonishingly good albums that the psychedelic era produced, which were overshadowed by the genre’s giants. Although Fever Tree’s origins are Texan, the group sounds like it could have been part of Boston’s ‘Bosstown’ sound or from New York’s artier element, with its heavy orchestration and baroque touches. And while their eponymous debut from ’68 features fascinating originals, like the hit ‘San Francisco Girls (Return of the Native)’, what’s more intriguing are interpretations of the Beatles’ ‘Day Tripper/We can Work it Out’ and Neil Young’s ‘Nowadays Clancy Can’t Even Sing’. Another great find for hard-up collectors from Sundazed.
Ken Kessler  |  Dec 10, 2010
Humble Pie embodies a genre yet to find a name, the division of ‘stadium rock’ that seemed to consist entirely of ex-pat British bands who did better in the USA than they ever could back home. Amusingly, as Smokin’ – their biggest-seller – shows, they were simply feeding back to America what Yanks rockers invented: southern-fried HM boogie, only now with an Essex twang. But when the line-up included ex-Small Faces frontman Steve Marriott, one of the best hard-rock vocalists ever, the results were miles away from the pedestrian. Marriott’s mod roots are evident, with covers of ‘Road Runner’ and ‘C’mon Everybody’, but elevated to a tougher, harder level.
Ken Kessler  |  Dec 10, 2010
If you’re bemused by the current obsession with ‘the American Songbook’ – even the BBC got in on the act with a week of specials devoted to it – this is an ideal time to hear one of the finest practitioners of the genre, before it became retro-cool. Ms Lee, arguably one of the half-dozen or so finest female popular music vocalists of the 20th Century, sexily slides through a dozen lesser-known gems, including her politically-incorrect composition which provides this LP with its utterly non-contemporary title. But stuff that: this is an album to play after you’ve run out of Mad Men DVDs, when you long for a time when men were men and women didn’t mind it. Sound Quality: 85% .
Ken Kessler  |  Dec 10, 2010
Like the title says, this is part of APO’s astonishing direct-to-disc series, but for me, it’s also the culmination of a decade-long plea for this label to record the R&B legend. It’s here I must declare personal involvement: I wrote the liner notes, explaining how it came about. Chad Kassem’s efforts have resulted in a delicious live session which justifies my nagging. Tate reaches down to the soles of his shoes to deliver exquisite takes of two trademark songs from his classic Verve LP, ‘Look At Granny Run Run’ and ‘Ain’t Nobody Home’, plus four others.
Ken Kessler  |  Dec 10, 2010
Less than year since Michael Jackson’s passing, armed as we are with 40 years’ worth of 20/20 hindsight, it’s hard to be objective about this, their second LP. For those – like me – who couldn’t stand their teeth-jarring precocity, beaten only in the saccharine stakes by their contemporaries, the too-clean-to-be-real Osmonds, it was simply Motown For Kids. But on reflection, this is so polished, irresistible and, it must be admitted, funky, that one must subjugate any preference for the Temps and admit that it’s as catchy as a dose of the clap in Magaluf. Most eerily, the tracks beyond the title hit sound – sophistication-wise – like they’re sung by a 35-year-old.
Ken Kessler  |  Dec 10, 2010
This LP’s rarity value alone commands attention: Topham was the Yardbirds’ founder guitarist, who had to leave the band because he was only 15. By 1969, at the age of 22, he delivered this solo LP, a long-forgotten take on the blues, far removed from the Yardbirds. Despite its Blue Horizon pedigree, it’s not of the Brit Blues school per se and is a stylistic mish-mash, more akin to Andrew Loog Oldham’s covers of the Stones’ canon, but its worth to Yardbirds hard-core is unparalleled. If you could find a mint original, you’d have to part with £100+.
Ken Kessler  |  Dec 10, 2010
Christmas in July! Here, in glorious mono – but of course – is what many regard as the greatest rock ’n’ roll Christmas LP of all time: Phil Spector’s deliriously joyful showcase for his Philles Records stable of pop maestri, from 1963. You get the Ronettes, the Crystals, Darlene Love and Bob B Soxx and the Blue Jeans, backed by one of the finest assemblies of session players ever to enter a studio: the amazing Wrecking Crew, with Leon Russell, Jack Nitzsche and Sonny Bono in its ranks. The package offers 13 Christmas pop standards, and it’s unlikely you’ll ever hear a more uplifting take of ‘White Christmas’. The Wall of Sound rules, beyond prison walls.
Ken Kessler  |  Dec 10, 2010
A heartbreaker, as it’s the sole LP from one of the finest of the wave of mid-1960s US bands who wished they were the Beatles. Like the equally fragile Left Banke (yes, that’s how they spelled it) with their leader Michael Brown, this group boasted a song-writing genius in Emitt Rhodes, and gave off a whiff of ‘Sunny Afternoon’, Kinksian Englishness that permeated the whole LP. While ‘You’re A Very Lovely Woman’ is equally well remembered, their biggest hit – ‘Live’ – had the kind of catchiness that made songs like the La’s ‘There She Goes’ so memorable. Yes, it was that good.
Ken Kessler  |  Dec 09, 2010
Yes, an LP of the CD I’ve been boring you with for six years. While probably a digital original, the album lends itself beautifully to the analogue medium because it’s just so damned rich: perfectly-recorded piano; fluid guitar, Dobro and bass; Keb’ Mo’s textured vocals. This was his ‘covers album’, the bluesman choosing nine peace ’n’ love folk and rock classics, mainly from the 1960s, like ‘Get Together’, ‘Imagine’ and ‘For What It’s Worth’. They serve as a statement that’s as relevant in 2010 as when the songs were new.
Ken Kessler  |  Dec 08, 2010
As this series of Nat ‘King’ Cole LPs, pressed on two 45rpm discs, concentrates on his golden era, you know what to expect: perfect sound quality, breathtaking arrangements, tasteful material and that voice. Aaah! That voice! It delivered so much, and was so inimitable that Cole could use it to make any song his own. This release from 1963, the last of a trio of LPs arranged and conducted by Gordon Jenkins, was themed with the subtitle ‘Songs of Love And Loneliness’. Cole creates the necessary mood with such completeness that you feel an ache in nearly every note.
Ken Kessler  |  Dec 08, 2010
For those in need of some distaff R&B amidst the incredible male performers captured live by Chad Kassem & Co, Texan songstress Greenleaf and her band Blue Mercy exhibit precisely the kind of fire and grit that exemplifies the great blues and (southern) soul belters of the 1960s and 1970s. Greenleaf acknowledges gospel inspiration and cites Koko Taylor and Aretha Franklin amongst her muses, so you can expect and do receive earthy, powerful interpretations of five tracks that suffer no sonic restraint. If the modernity of the recording’s crystal clarity jars with what is a genre of elderly vintage, think of this as you would a b/w movie filmed in high-def. This is shake your booty stuff.
Ken Kessler  |  Dec 08, 2010
Ms Ross, exactly 80 years old on the day that I’m writing this, is one of the UK’s best-kept secrets: jazz aficionados who know their onions appreciate that she is one of the best interpreters of standards in the business, so this set from World Pacific back in 1959 – featuring Zoot Sims on sax – ranks with any ‘Great American Songbook’ you can imagine. The stance here differs from her more famous work as part of Lambert, Hicks & Ross, the crack sextet (with a touch of big-band class provided by Mel Lewis on drums) accenting her vocals with uncanny precision. It may be a half-century old, but it can teach a few tricks to today’s crop of wannabees. Mesmerising.
Ken Kessler  |  Dec 08, 2010
Sundazed continues to plough a furrow that only a few other reissue labels dare, that of all-but-forgotten psychedelia. This time they’ve unearthed an ultra-obscure album by a band that might have been little more than a footnote, for once having included Elliott Randall in its ranks. But they produced one of those deliriously gloomy/druggy, proto-Goth sets that mix freakish originals with unusual covers: Love’s ‘Signed DC’, Dylan’s ‘It’s All Over Now, Baby Blue’ and even a Screamin’ Jay Hawkins track. The mix shows their eclecticism, but the best aspect of Creation – unlike too much from this genre which deserves to be forgotten – is that the music is terrific.

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