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The Who recorded their “sell out” concept album in the fall of 1967 at around the same time Frank Zappa and the Mothers of Invention were in the studio creating We’re Only In It For The Money. Coincidence? Collusion? A general feeling among like-minded rock cognoscenti that rock musicians were getting self-righteous, self-absorbed and that after all it’s only rock’n’roll?

Back in 1987, I interviewed the young up and coming and not particularly well-known Warner Brothers recording artist Chris Isaak. Thanks to a reasonably successful recording career, an effective and consistent live show, and an unusual “reality”-type comedy series on Showtime, Isaak divides his celebrity between being a respected recording artist, and a campy “celebrity,” known in some quarters simply for being known.

With his swept-back ‘50’s hair and Eddie Cochrane-like haberdashery, Chet Baker-ish schnozz, hollow body electric guitar and especially his shiver-inducing, close-to-the-microphone intimate wail, Isaak was heralded as both a musical throwback and a “new” Roy Orbison at a time when “New Wave,” synth-based “hair bands” still dominated radio airplay.

Note: The SACD review appeared here May of 2004. A new LP, mastered by Steve Hoffman has just been issued. Hoffman used the original 15ips Pye stereo master mixes played back on a vintage (1964)vacuum tubed Ampex MX-35. Enjoy!

Always the teacher, Julian “Cannonball” Adderley commences this live set from 1959 with a backgrounder on the difference between church music and soul church music, before launching into Bobby Timmons’s “This Hear,” with the composer on piano, Adderley on alto sax, brother Nat on cornet and the rhythm section of Louis Hayes on drums and Sam Jones on bass setting up a crowd-pleasing soulful groove.