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.
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.
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.
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%
.
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.
Mayfield was one of the very first soul artists to imbue his songs with serious political content. And this self-produced, solo debut from 1970 melded contemporary soul and R&B with production values rarely glimpsed before, resulting in Mayfield’s immediate elevation to the front rank. Overshadowed by masterpieces from Isaac Hayes, Stevie Wonder and Marvin Gaye from the same period, Curtis expanded on the ground-breaking work he’d created with the Impressions in the previous decade. Sounding dated only in that it lacks the abrasiveness of the post-rap era, Curtis succeeds instead because of its intensity, beauty, intelligence and grandeur.
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.
On Main Street, this has been made available as a separate purchase for those who didn’t buy the luxury box set. It is probably more Stones than you’ll ever need or want unless you’re truly part of their hardcore following: a documentary running to over two hours dealing with the making of a single album. Admittedly, some consider Exile to be their best, so it’s no conceit to honour it in the way one would document Sgt Pepper or Blonde On Blonde. Using amazing footage, and contemporary and new interviews, it tells the entire saga of their most louche period.
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.
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%
.
© 2023 Hi-Fi News
