Sunday, December 31, 2023
Concert Review: Something Corporate Reunion in Anaheim, Calif. – Night #1
Tuesday, December 19, 2023
2023: The Year in Review - Best Albums and Live Performances
3. Noel Gallagher's High-Flying Birds, Council Skies
4. Blur, The Ballad of Darren
9. Old Dominion, Memory Lane
10. Local Natives, Time Will Wait for No One
3. Blossoms - Darker Waves Festival, Huntington Beach, CA
4. Gang of 4 - Cruel World Festival, Brookside at the Rose Bowl, Pasadena, CA
5. Tears for Fears - Darker Waves Festival, Huntington Beach, CA
6. Mike Peters of The Alarm (acoustic) - Wiens Family Cellars, Temecula, CA
7. OMD - Darker Waves Festival, Huntington Beach, CA
10. The Hooters - YouTube Theater, Los Angeles
An interview with Trevor Rabin: The new album 'Rio,' working with Yes and more
Trevor Rabin was a creative force behind the ‘80s career
resurgence of Yes. After he joined the band, they made 90125, a more modern-sounding
album based on Rabin’s demos that were originally earmarked for a solo project.photo: Hristo Shindov
Released 40 years ago this month, 90125 reached
the Top 5, went triple platinum and spawned the Billboard pop and rock radio chart
topper “Owner of a Lonely Heart” (that is Rabin’s iconic guitar intro), plus the
hits “It Can Happen” and “Leave It.” The South African singer/guitarist also enjoyed
major success with Yes on 1987’s Big Generator (featuring AOR mainstays “Rhythm
of Love,” “Love Will Find a Way”).
Following two more solid studio efforts with the group,
Rabin sought a new path. He left to work as a film soundtrack composer, notably
on a succession of high-profile titles produced by Jerry Bruckheimer (“Armageddon,”
“Con Air,” “Gone in 60 Seconds,” “Enemy of the State,” “Remember the Titans,”
“National Treasure”), as well as other movies and television shows.
Rabin’s studio session guitar, bass playing or backing
vocals have been heard on albums by Tina Turner, Michael Jackson, Paul Rodgers,
Seal, Frankie Goes to Hollywood, Roger Hodgson, and Carly Rae Jepsen (Rabin’s
son Ryan, formerly of Grouplove, co-wrote and produced a track on 2022’s The
Loneliest Time).
Now the Rock and Roll Hall of Famer has unveiled his adventurous
studio album Rio, which encompasses hard rock, pop, bluegrass, world
music and more. Rock Cellar recently caught up with the musician at home in Los
Angeles. The engaging conversation has been lightly edited for clarity.
Q: The last time you put out a
proper rock album was 1989’s Can’t Look Away. How do you think longtime
fans will react to the new one, Rio?
A: I’m
very curious, because [Rio] goes through a lot of different styles. It
was almost like being on vacation and visiting different places. I hadn’t done
a rock and roll vocal album for decades, so it was really enjoyable for me. The
good news was it felt very fresh - almost like doing your first album after
having tons more experience than you had before you did your first album.
Q: Your followers have raved online
about the singles released so for, especially on the effusive standout “Big
Mistakes.”
A: My
wife tells me that there’s 99 percent good vibes. I said, ‘I really need to
hear the bad vibes, so I can correct or learn from them.
Q: What prompted you to finally
make another rock album with vocals and handle most of the instruments? Did you
have a lot of downtime during the pandemic which kicked everything into gear?
A: That
was a small part of it. Vinnie Colaiuta - one of the most ridiculously
[talented] drummers on Earth - played on “Push.” We couldn’t get together, so we
did it virtually.
Back when I first got into film [music], I thought I’d
do four or five of them and then get back to doing an album. Just having some
variation. Now here we are, 30-odd years later and 50 films later and I'm doing
an album. I really got to the point, where I thought, ‘If I don't do it now,
I'll be dead. I better move!’
Q: Your granddaughter was the inspiration
for the Rio album title. Can you elaborate?
A: Yeah.
It's funny. I played in Rio in 1985 with Yes. It was the biggest audience Yes
ever had - 500,000 people there. I’d never seen anything like it. To play there
was just surreal. The next night was Queen on this Rock in Rio festival. All
the bands were staying at the same hotel, and I remember saying to Freddie [Mercury]
and Brian [May], ‘I’m going to watch you tomorrow, but I’m not coming to the
show’ because we were playing again three nights later. I said, ‘I’m definitely
going to be watching on TV. Good luck and everything.’ We watched them and that
night my son Ryan was conceived. When his child was born, he called her Rio…when
I tell people the story, if my son’s in the room, he’ll say, ‘Don’t say that,
it's disgusting!’
Q: You designed the album cover art on computer. What is the background behind it?
A: It’s
sort of a collage. I've been painting for years. I usually do it with oil, and add
acrylic to oil, which I find really cool. Then, I realized when new programs
came out that I don't have to wash my hands every 10 minutes. I don't have to
clean the carpet. I started getting into that. When I was talking about the
cover with the head of the record company [Inside Out Music], I sent him four
or five of my pieces. He said, ‘How do you feel about doing the album cover like
this?’ I said, ‘It’s fine, as long as if in a week’s time you don’t like it,
I'm happy to fire the artist. It’s got to be right.’ I don't have an ego toward
it.
Q: Among the various Rio formats
is a Blu-ray edition with a 5.1 mix. Knowing you’re a sonic architect in the
studio, I’ll bet you really enjoyed working on that.
A: It's
one of the benefits of having done film for so long. When a rock band does a
5.1, most of the time I would think they’re not familiar with stereo. But I’ve
been mixing film in 5.1 for years, so it comes as naturally to me as stereo. Once
we did that, I would listen and say, ‘Maybe we should look at that song again.
I want the reverb to come from the back or from above’ or wherever. I’m loving
that.
Q: On Rio, you played instruments
like guitar, bass, drums, keyboards and percussion. You also had a few people
such as Colaiuta - known for his work with Sting, Joni Mitchell, and Frank
Zappa - help out. Do you find that basically doing everything yourself makes it
easier because you don't have to explain your vision to other musicians?
A: That's exactly right. I was with the [1970s South African pop/rock] band Rabbit in my earlier years and we had a great relationship. It was easy working with a band. But in the absence of a band, it’s very efficient and my focus is 1000 percent, so it really works for me.
Q: Your frequent collaborator
Lou Molino III, who contributed to Can’t Look Away and 2012’s
instrumental Jacaranda, plays drums on four tracks. Was getting him in your
studio a no-brainer?
A: Absolutely. There's a shorthand with Lou. He's such an incredible drummer and instinctively
knows if it's not what I want. He knows what the track needs…One of the
benefits with Vinnie and with Lou is if you ever want to write it out, you can
because they read [music]. So that’s really useful. In the chorus of ‘Push,’ I wrote
the part out for Vinnie and it’s in a very weird time signature. I think it goes
from 11/8 to 12/8 to 10/8 and then three bars that circle back. Usually, it would
be a four bar or two bar. But he just did it and it was like he was eating
breakfast. It was just so normal to him.
Q: Did any of the Rio
songs take longer to complete than others due to their complexity?
A: I'm
a stickler for this digital world we live in. It’s so easy to go in and tune
things and fix things. I absolutely hate that and refuse to do that. I know how
to do that with films when there are time constraints and issues. I do it like
a racehorse. I'm very familiar with how to do it. But I absolutely refused to do
it, even on my previous instrumental album. If something wasn't right, I’d just
replay it. ‘Don’t be lazy,’ I will say. With that in mind, there’s a song on
the album called ‘Tumbleweed,’ with an a cappella vocal in the beginning.
It's a very large cluster and has very jazzy extended
chords. It’s jazz chords that the vocal sings. There’s a lot of them on there
and it’s just me. That definitely took a while. There’s many vocals. I would do
each note multiple times, stand in one spot for the first take of that note and
then I did the same note standing eight feet back. If you look at the room,
there's a circular choir singing it. I would do that and put sticks on the
floor to know where to sing it. When I doubled one note, it’s kind of phasing
and a little out of tune. I would just have to redo it. The whole process took
a while.
Q: When I first heard the song,
it reminded me of your past songs with layered vocals like “Leave It’ or something
by Manhattan Transfer.
A: That’s
great to hear. I love Manhattan Transfer!
Q: “Thandi” has a tribal animal sound.
A: Yeah.
The noise that you hear on there is actually a rhinoceros. The lyrics are a
protest against poaching. [Hunters] are getting rid of rhinos at such a fast
rate. It’s really depressing to me.
Q: Among the album standouts is the
upbeat “Egoli,” which would fit perfectly on a Disney children’s movie soundtrack.
Were the chants inspired by South African music?
A: Absolutely. In fact, I wanted it to be a joyous sounding song, but with pretty
depressing lyrics. It’s talking about how [Nelson] Mandela came in [to power in
1994] and [the future looked] so hopeful. I met him and he’s like a guru to me.
The politics of South Africa are like a kleptocracy. It’s a really problematic
place right now. Politics are so corrupt. ‘Egoli’ basically means ‘city of gold,’
which is Johannesburg. It’s essentially about Johannesburg.
Q: Another highlight on the
album is the lush sounding ballad “These Tears.” Were 10cc or ABBA touchstones
for you on the song?
A: I loved ABBA.
Q: Their 2021 comeback album Voyage
had its moments.
A: Oh,
my goodness, yeah. I remember [in the past when the UK’s now defunct] Sounds
Magazine had written an article [about my 1977 debut album Beginnings] saying
‘The Healthy Face of Heavy Metal.’ I thought, ‘Heavy metal? Well, OK. I don't
mind being on the front page.’ I accepted it. Soon after that, I was on
Chrysalis Records and asking them, ‘Could you get hold of Bjorn from ABBA? I'd
love him to produce me.’ We never went that far, but they made some
unbelievable records.
Q: After each listen to Rio,
I seem to hear little nuances that I hadn't heard before. Were you conscious of
that while mixing and engineering it - making sure different sounds pop out
here and there?
A: Absolutely.
If people say to me, ‘I'd love to hear your album,’ I will always say, ‘Give it
a couple of listens because you’ll hear something different each time.’ Not because
I've pounded stuff on it, and it's overly produced – everything’s specifically
set in a certain place to do a certain thing. I try and approach it like an
orchestrator would with an orchestra. There are parts where it becomes hugely
dense and there’s a reason for it. It’s not to chug away until your solo comes.
Q: Your guitar solos are
impressive on the album. Did you use any first takes?
A: I
try and improvise the solos as much as possible. Obviously, if an idea hits me
and I want to pursue it, I’ll do it three or four times and then choose the
best takes. Once in a while, I’ll cut between takes so that I come to one solo that's
very satisfying. But for the most part, I just try and play them and hope for
the best. I think solos are supposed to be spontaneous, so I try and keep that
live as much as possible.
Q: Changing gears, what was the
experience like getting back together with Jon Anderson and Rick Wakeman for
the Yes featuring ARW tours in the 2010s?
A: One
of the sad things was people saying, ‘Why did they break up?’ It wasn’t really
a breakup. Yes got into the Rock and Roll Hall of Fame in 2017. Then Jon and I
and Rick said, ‘Let’s do some shows.’ It just happens that five or six shows
turned into a 200-date tour.
And we loved it. We had such an amazing time and frankly,
after doing the [early ‘90s] ‘Union’ tour with Rick, we became very close. I
played on one of his albums. I’d done a guitar solo and sang on a song. We had
both said one of our bucket list [items] was, ‘we've got to do this again.’
But this time not with the eight-piece [Yes lineup],
just an ensemble of us playing together. Playing with Rick was - besides being
great and fun musically – he’s absolutely funny as can be.
Q: Did you find the touring with
Yes feat. ARW helped keep your vocals chops strong so when you made this album
you were raring to go?
A: That’s
exactly what happened. In fact, I don't know if I could have done this album
without those years with ARW because it was quite taxing on my voice.
Working on those songs, there’s some very high vocals
and it became very natural. I think the muscle or whatever it is in your voice
box actually got stronger than it’s ever been. When I listened back to my
vocals on this album compared to stuff in the past, I thought, ‘Wow, I prefer
it now more than I did then.’ I'm pretty satisfied with that.
Q: Since it has been 40 years
since 90125 came out, I wondered, when that success happened, did it
feel like the recognition was overdue because you’d already been releasing
albums since 1975 by that point?
A: All
the stuff that happens to me, I just see as a bridge to another place. It’s
never too contrived, because if I plan it all, it’s never going to land up
where you think it is. I just let it flow.
When Rabbit happened, we were such a great unit,
especially the three of us on bass, drums, and guitar. We had so much enjoyment
from it. And then the band blew up and became the biggest band in South Africa.
All of us just thought, ‘This is cool.’ Then it ended and was like, ‘What are
we going to do next?’
I’ve always lived like that and never been too
disappointed when things end. I haven’t been too euphoric when things work
[either], but I was very surprised when ‘90125’ did so well. I wasn't expecting
that.
When I first heard it on the radio, I was lying
outside. I was staying in Canoga Park in LA in a small house with a little pool
and the doors were open. I had this huge hi-fi system with massive speakers. It
was absolute rubbish – a ‘buy it off the back of a truck’-type thing. The
speakers seem like they’re made out of balsa wood. They don't weigh anything. They
look fantastic, but they sound horrible.
So, I'm listening to it outside and ‘Owner of a Lonely
Heart’ came on. I thought, ‘Oh boy, this doesn’t sound too good.’ I heard it in
the car a couple of days later and thought it didn’t sound too bad. Then I
couldn't turn on the radio without it being on.
Q: Right around the time Cinema morphed
into Yes, you said something about how you were wary of working with producer Trevor
Horn. Was that because the Buggles were considered a pop novelty and the previous
Yes lineup with Horn wasn't very successful?
A: Very
much so. I didn’t know Trevor, but he’d produced a very successful duo called
Dollar in England. It was real bubblegum music. I thought that had nothing to
do with me. Not to say it was bad. Producers do different things, but the
bottom line is once we finished working together on ‘90125,’ Trevor would
always call me and book me for albums he was [producing] - Tina Turner, Seal. Everything
turned out OK.
There were moments of frustration in making ‘90125.’ I
certainly didn’t want to call the band Yes. I thought that was a bad idea, but ultimately
Jon joined us and redid, probably 80 percent of the vocals. Chris [Squire] said
to me, ‘Do you mind being fired as 80 percent of the singer?’ I said, ‘the way
Jon sounds, I’m only too happy’ to.
Q: Can’t Look Away was your
most successful solo effort, with “Something to Hold On To” reaching the Top 5
at AOR radio. How would you rate it among your other solo albums?
A: Up
until this one, it was a good progression. [1981’s] ‘Wolf’ was decent, and I
had some great musicians on that like Jack Bruce...it was such a great learning
experience working with Simon Phillips and Jack and Manfred Mann, who I’d
produced [before]. Ray Davies co-produced it. I thought that went pretty well. Then
when ‘Can’t Look Away’ happened, working with Bob Ezrin was really enjoyable.
Once I got into this album, I was very clear about what I wanted to do.
Q: What’s next for you? Any tour
plans?
A: Actually, I was talking to Lou about it. There’s so many offers and the producer
of the ARW tour has been talking to me about doing shows and integrating some
film scores with it. Doing some orchestra, I conduct a bit and then do the
album and some Yes stuff.
Q: Danny Elfman did a similar format
at the Coachella Festival, and it gelled nicely.
A: That’s definitely in the works, or it’s certainly something we’re talking
about.
Photo courtesy of Chipster PR.
This interview originally appeared at rockcellarmagazine.com.
Last Minute Holiday Gift Guide for Music Lovers
Backstory: When the Northern California pop-punk trio released its major label debut album Dookie in 1994, it was fortuitous timing.
It wasn’t long before the band was a mainstay on the still-influential music video channel and modern rock radio with “Longview,” “Basket Case,” “When I Come Around” (all three singles went to No. 1 at the format) and “Welcome to Paradise.” Then they floored many people at Lollapalooza ’94 (this writer included).
Dookie went onto be certified for 10 million sales in America and won a Grammy.
What’s inside: Marking an early 30th Anniversary, the limited edition 6LP and 4CD Deluxe Editions are both housed in a silver reflective lift-off box. They are a real treasure trove for fans. Tapping into the musicians’ offbeat humor, the vinyl box has a roll of Dookie dog poop bags, five-button set, air freshener, postcard, bumper sticker, kiss-cut large magnet sheet, paper airplane, a black-and-white “Coloring Page” cover lithograph insert, and a poster of the alternate cover art.
Grammy-winning author Bob Mehr penned a fascinating “Making of Dookie” piece in the 34-page booklet, which has numerous photos. After the blitzkrieg of the main album, the 4-track and cassette demos present embryonic takes of “Basket Case” and “Longview.” The outtakes record is highlighted by “Christie Road,” “J.A.R.” and a great cover of The Kinks’ “Tired of Waiting for You.” The short Woodstock ’94 set included here is incendiary; the tension is palpable at the end as unruly concertgoers throw mud, debris and storm the stage barricades. Even more supercharged is the full-length Live in Barcelona (originally an incomplete 1995 radio broadcast). They play several songs from indie releases and a cover of Operation Ivy’s “Knowledge,” frontman Billie Joe Armstrong constantly eggs the crowd on and tells security to let fans onstage at the end. Highly recommended.
Also available: 1LP in baby blue vinyl amazon.com
Elvis Presley - Elvis: Aloha from Hawaii via Satellite (RCA/Legacy)
Backstory: This new Elvis: Aloha from Hawaii via Satellite edition, marking the original double live LP’s 50th anniversary, is an essential addition to major Presley fans’ collections. The King of Rock ‘n’ Roll’s last great concert event was recorded at the Honolulu International Center Arena in January 1973 and beamed to multiple countries around the world (America received it three months later as a prime-time TV special). Nearly two dozen songs were packed into the 65-minute set. Elvis’ large band included legendary guitarist James Burton, bassist Jerry Scheff, drummer Ronnie Tutt, two sets of backing vocalists, an orchestra, and others.
What’s inside: Remixed from the original 16-track recordings, the sound is fuller than on previous reissues. Notable examples are Elvis’ powerful vocal delivery on the dramatic “I Can’t Stop Loving You,” “It’s Over” and “You Gave Me a Mountain” and tunes utilizing horns and/or orchestration like “American Trilogy” and “What Now My Love.” Highlights include “Suspicious Minds,” Burton’s psychedelic touches on a lightning quick “Hound Dog” and bluesy licks amid James Taylor’s “Steamroller Blues.”
The deluxe 3CD + Blu-ray (the visual format debut) package is housed in a nifty 8x8 box as on previous Elvis reissues. A four-panel slipcase jacket pulls out to reveal photos of The King, the concert stage and studio tape reel boxes. More rare images comprise the 28-page booklet with insightful liner notes by former L.A. Times music critic Randy Lewis and recollections from participants. The concert film boasts a noticeably sharper picture; both the Blu-ray and CDs have the previous night’s dress rehearsal show, plus bonus performance inserts done (via multiple takes) especially for the U.S.
Also available: 1LP, digital
Billy Joel - The Vinyl Collection, Vol.2 (Columbia/Sony Legacy)
Backstory: After many years of moderate-to-good-selling albums in the 1970s, Billy Joel finally found legitimate success with The Stranger and 52nd Street releases. But the Long Island singer/songwriter/pianist’s popularity skyrocketed in the decade to come.
What’s inside: The 11LP deluxe box set is primarily geared around Billy Joel’s 1980-1993 pop music catalog. A large scale, 62-page booklet sports a glossy cover and matte finish pages, with an informative essay by Rob Tannenbaum, Joel’s impressions on each album (Glass Houses was “probably the most fun”), lyrics, and photos.
Beyond the memorable big hits (“It’s Still Rock ‘n’ Roll to Me,” “You May Be Right,” “Allentown,” “Pressure,” “Tell Her About It,” “Uptown Girl,” “A Matter of Trust,” “Modern Woman,” “We Didn’t Start the Fire,” “I Go to Extremes,” “River of Dreams”), the box set provides a good opportunity to revisit equally worthy deep cuts. Here are some examples: “Sleeping with the Television On” (1980’s rock/new wave-leaning Glass Houses); the quiet harmonica-laced, Burt Bacharach/Hal David-styled ballad “Leave a Tender Moment Alone” (1983’s excellent tribute to early-to-mid ‘60s pop music An Innocent Man); jazzy rave up “Big Man on Mulberry Street” and the quirky Cyndi Lauper duet “Code of Silence” (1986’s The Bridge); “When in Rome” and the romantic, future Garth Brook chart-topper “Shameless” (1989’s Storm Front); the charming “Lullabye” (1993’s River of Dreams).
Another main attraction is the debut appearance of Live from Long Island, an exciting 21-song, December ’82 concert that originally aired on HBO and is among only a handful of Joel shows to ever be professionally filmed and recorded. The 3LP set is highlighted by an intense “Stiletto,” the intimate “Always a Woman,” and a totally rocking five-song final segment. 2001’s Fantasies & Delusions, an interesting double album of Joel classical compositions performed by pianist Hyung-ki Joo, also makes its vinyl debut here.
The Who - Who’s Next/Lifehouse (Universal Music Recordings)
Backstory: Frequently ranked toward the top tier of music magazines’ “all-time best albums” lists, The Who’s fifth studio release from 1971 was its most successful in America. The songs “Baba O’Riley,” “Behind Blue Eyes,” “Bargain,” “Going Mobile,” and “Won’t Get Fooled Again” all became staples on progressive rock radio (and later, the AOR format), with the latter making the top 20 on the pop charts.
What’s inside: The super deluxe 10CD/Blu-ray audio edition of the Who’s Next/Lifehouse box set is for true Who aficionados. There are 155 tracks (89 previously unreleased) and 57 new remixes. Regular Who engineer Jon Astley remastered the songs from the original tapes, while Steven Wilson oversaw Dolby Atmos and 5.1 surround mixes of the original album and 14 additional tracks on the Blu-ray. Everything packs a mighty punch.
Other items include a 100-page hardback book, 172-page Life House graphic novel, two gig posters, two concert programs, four buttons and a band photo with printed autographs. Over the course of the box set, singer/songwriter/guitarist/Pete Townshend’s prescient futuristic vision from the scuttled Life House project that initially began in 1969 as the follow-up to Tommy and morphed into Who’s Next is put into clearer focus.
For the uninitiated, hearing Townshend sing the demos that Roger Daltrey would eventually take over vocal verses on is a real treat – especially “Bargain,” “Behind Blue Eyes,” “Pure and Easy” (with extra verses and music), a leisurely “Won’t Get Fooled Again” aided by handclaps. Surprisingly, the 13-minute instrumental “Baba O’Riley” doesn’t get tiresome. A pair of 1971 concert recordings from London’s Young Vic and the San Francisco Civic Auditorium find The Who is fine, explosive form.
Also available in 2CD, 1LP configurations.
Devo – 50 Years of De-Evolution (Rhino)
Backstory: Influential, innovative, and unique, Devo was alternative music long before the term became commonplace. Early support from David Bowie, Iggy Pop, and Neil Young, helped the Akron, Ohio quintet secure a major label deal and debut album Q: Are We Not Men? A: We Are Devo! arrived in 1978. “Whip It” (and its popular video that pre-dated MTV) went to the top 20 on the pop chart and saw the band transition from early art-punk to new wave and electronic music with ease.
What’s inside: 50 Years of De-Evolution comes in a cool 4LP (clear) deluxe limited-edition slipcase set (exclusively through rhino.com), with 50 remastered hits and rarities, an album artwork lithograph, air freshener, paper energy dome, and a 28-page book. The song selections span Devo’s entire career, including such college/modern rock radio and dance club hits as “Freedom of Choice, “Girl U Want,” “Beautiful World,” “Peek-A-Boo,” “That’s Good,” “Through Being Cool,” “Working in the Coal Mine” and “Post Post-Modern Man.”
Also available in black 2LP, 2CD and digital configurations.
RETROSPECTIVES
The Beatles - 1962-1966 “The Red Album”; 1967-1970 “The Blue Album” (Apple Corps Ltd./Capitol/Universal Music Enterprises)
Backstory: The big news about 1962-1966 (The Red Album) and 1967-1970 (The Blue Album) is the inclusion of “Now and Then,” the final Beatles song, on the latter retrospective. Originally an unfinished John Lennon solo home demo from 1977, the song was briefly worked on by the surviving three Beatles in ’95 for the Anthology series but set aside due to poor sound quality and other issues. Director Peter Jackson’s sound isolating technology developed for his 2021 The Beatles: Get Back documentary was used to astonishing effect on “Now and Then.” Paul McCartney and Ringo Starr added vocals and instrumentation to what Lennon and Harrison had previously done.
What’s inside: Both collections are now expanded, with 12 more songs on The Red Album and 9 more on The Blue Album. Several tracks have new true stereo or Dolby Atmos mixes by Giles Martin and Sam Okell, with assistance from the Jackson/WingNut Films audio de-mixing technology.
The songs sound fresher than ever, with more depth. For example, Lennon’s exhale while singing “Girl” makes it seem like he’s in the room with you. All the instruments on “Strawberry Fields Forever” sound sharper in the new mix. “I Am the Walrus” – prompting much chatter online from hardcore Beatles fans lately – has a slightly different midsection and outro. Various sonic elements pop out amid “Magical Mystery Tour.” Even if you have other Beatles compilations, the Red and Blue are worth the money. Each edition also has new essays by journalist and author John Harris.
Available in various CD, LP, and digital configurations.
The Kinks – The Journey, Part 2 (BMG)
What’s inside: Cleverly divided into thematic sections, this anthology covers Kinks songs from 1965-75 with a sampling of concept albums The Kinks are the Village Green Preservation Society, Preservation Act 1, Preservation Act 2, Soap Opera, and other releases. The 2CD, 34-track and 2LP, 27-track editions include U.S./U.K. hits, album tracks, single B-sides, five new Ray Davies mixes (three previously unreleased live New Victoria Theatre versions), and liner notes with photos, and track-by-track recollections by members Ray Davies, Dave Davies, and Mick Avory. The gatefold 2LP sports a color archival photo. Highlights include “’Til the End of the Day,” “David Watts,” “A Well-Respected Man,” “Sunny Afternoon,” “Dedicated Follower of Fashion” and “20th Century Man.” Now guys: how about a reunion?
Also available digitally.
CONCERTS
David Bowie – Ziggy Stardust and The Spiders from Mars: The Motion Picture Soundtrack – 50th Anniversary Edition (Rhino/Parlophone)
Backstory: The final Ziggy Stardust and The Spiders from Mars performance was filmed at London’s Hammersmith Odeon by renowned filmmaker D.A. Pennebaker (Monterey Pop, Bob Dylan - Don't Look Back, Depeche Mode - 101) in July 1973.
A year later, ABC-TV broadcast a shortened cut, but it wasn’t until 1983 that the full 90-minute, 35mm film premiered theatrically worldwide alongside the soundtrack. Although the 2003 DVD reissue was an audio/visual improvement, there was still an overall dusky sheen and slightly better than average sound mix.
What’s inside: Pennebaker’s son Frazer and his team oversaw the new 50th Anniversary Edition - available in gold 2LP, gold 2CD, gold 2CD+Blu-ray - and it is a definite leap in quality. Frequent Bowie producer Tony Visconti did new stereo and 5.1 surround sound mixes. Frazer Pennebaker says in the accompanying booklet that scratches, dust specks and “occasional hairs in the gate of my father’s hand built 16mm camera” were removed and “the new 4K scan’s vibrant colors within the sharpness of the deep blacks has made it a brand-new film.” Indeed. The booklet also contains concert photos and a ’02 recollection from the original director.
An exciting 2023 edition selling point is the reinstated footage of Jeff Beck’s encore appearances on the thunderous “Jean Genie” (plus a Beatles’ “Love Me Do” snippet) and Chuck Berry’s “Round & Round.” The late veteran guitarist previously refused to authorize its inclusion. His talk box action and interplay with guitarist Mick Ronson are wonders to see and hear.
Other highlights: Ronno’s scintillating playing amid “Moonage Daydream,” “Suffragette City” and “Hang onto Yourself” as well as Bowie’s riveting vocals on ‘Space Oddity,” “Changes” and the closing “Rock ‘n’ Roll Suicide.” He does multiple costume changes and Ringo Starr even makes a brief backstage footage cameo!
Fleetwood Mac - Rumours Live (Rhino/Warner Bros.)
Backstory: Released in early 1977, Rumours continued to prove that the Fleetwood Mac lineup with Stevie Nicks and Lindsey Buckingham was a force to be reckoned with.
What’s inside: The exceptional, previously unreleased Rumours Live, available on CD, LP and digital, was recorded at the Los Angeles Forum in August ’77. It features all but two tracks off the rock band’s 11th studio album (among the top 10 best-selling titles of all time with more than 30 million copies sold).
For fans, there are several goosebump-inducing moments in the nearly 90-minute set, such as Buckingham’s sizzling guitar solo at the end of “Go Your Own Way,” the jubilant shuffle “Second Hand News,” keyboardist/singer Christine McVie’s tender “Songbird,” Nicks’ gritty tour-de-force vocal delivery on a frantic “Rhiannon” with alternate lyrics, and the subtle “Landslide,” which she introduces by saying, “City of Angels – with love, this is for you.”
Jimi Hendrix Experience - Live at the Hollywood Bowl: Aug. 18, 1967 (Legacy)
Backstory: Los Angeles concertgoers expecting a pleasant summer night of folk/pop at the Hollywood Bowl got a surprising jolt of abrasive, psychedelic-tinged rock music beforehand when Jimi Hendrix Experience served as the opening act for The Mamas & The Papas. That fiery nine-song set was performed in front of a sold-out audience less than a week before JHE’s debut album Are You Experienced arrived. Surprisingly, the show never turned up on a bootleg or had an official release – until now.
What’s inside: Eddie Kramer, Hendrix’s longtime recording engineer, restored the two-track audio. Live at the Hollywood Bowl: Aug. 18, 1967, is available on CD, 150-gram audiophile grade, individually numbered vinyl (U.S. pressings), and digitally. The liner notes feature several previously unseen concert and backstage photos by Henry Diltz and others. The band opens with a cover of The Beatles’ “Sgt. Pepper’s Lonely Hearts Club Band” and Hendrix does a wicked guitar solo. Everything gets more intense with tunes by bluesmen Howlin’ Wolf and Muddy Waters (an 8-minute-long “Catfish Blues”) and their own “Foxey Lady,” “Purple Haze” and “Fire.” At one point, Hendrix calls their slow-burn closing take on The Troggs’ “Wild Thing” an anthem and implores people to put their hands over their hearts in reverence to rock ‘n’ roll.
BOOKS
“Pink Floyd and The Dark Side of The Moon: 50 Years” by Martin Popoff (Motorbooks/Quarto Group)
What’s inside: Earlier this year, the landmark rock album received a splashy anniversary reissue. This slipcased coffee table book makes for a worthy companion. Popoff expertly delves into the songs’ lyrics and instruments, with chapters revolving around founder Syd Barrett, the Abbey Road recording sessions (techniques used, the role of engineer Alan Parsons), the artwork and packaging designed by Hipgnosis with Storm Thorgerson (and a side trip into the company’s other clients such as AC/DC, Led Zeppelin, Genesis, etc.), the Dark Side of the Moon tours, and Pink Floyd’s subsequent albums before and after Roger Waters’ departure.
The author also writes about the various band members, session players, prog rock, the “Live at Pompeii” concert and film, Waters’ writing style, collectibles, and awards. A short discography, tour dates, photos of gig posters, advertisements and rare memorabilia round out the contents. A handy index is located at the end.
“Talking To My Angels” by Melissa Etheridge (Harper Wave)
What’s inside: The award-winning singer/songwriter/activist follows up her 2001 New York Times bestselling memoir “The Truth Is…,” with a revealing look at her life after a cancer battle, divorces, a spiritual awakening, the tragic death of her son to opioid addiction and more. Talking To My Angels” is a brisk read, where Etheridge quotes several of her song lyrics and tells how they related to her personally, opens up about childhood abuse, dealing with a distant mother, navigating the spotlight as a high-profile LGBTQ music performer and dealing with the COVID-19 lockdown with grace and candor.