A collection of songs mostly written by fellow-Canadians is kind of a thin album concept in my book. Frank's Come Fly With Me-now there was a concept album! And Lang hasn't exactly chosen adventurously-you can probably name them all without having read the credits. Can it be that there are no obscure Canadian singer/writers worthy of our attention?
Neil Young and Crazy Horse is either one of your life's great musical pleasures, or you just can't take the slop. Me? Beginning with Everybody Knows This is Nowhere I have eaten it up. If you haven't liked the combo before, this sprawling, loose-fitting “concept” album isn't likely to pull the trigger for you. Critical reaction was decidedly mixed, but who cares what critics think? Myself included.
The door to the Velvel Records reception area opened a good dozen times while I awaited Ray Davies' arrival. There was a constant stream of FedEx and UPS delivery men, visitors, and Velvel workers. Each time it opened it could have been for Davies, but I knew it wasn't, though the door opened toward where I was seated, blocking my view of the entrant.
With a click of the knob and a rush of air, the door opened one particular time and I knew immediately it was Raymond Douglas Davies' entrance. I would have bet a hundred bucks and I would have collected. What told me? The panache with which the door flew open? The “vibe?” I don't know. I just knew it was Ray, and it was.
Compilation engineered by Mike Konopka at Toy Specialists
Mastered by Bob Ludwig at Gateway Mastering
Konk/Velvel 63467-79719-2 (HDCD)
Music: 10
Sound: 9
Having gotten the madness and betrayal of the music business at least partly out of his system on Lola Versus Powerman and the Moneygoround, The Kinks' final Pye/Reprise release, Ray Davies returned to what he'd begun back in 1968 on The Kinks Are the Village Green Preservation Society, the group's most beloved, though far from best-selling, album. Steeped in nostalgia for a Britain that was rapidly disappearing, ...Village Green looked back at an idealized past that may never have existed, but which Davies wanted to preserve - at least in song.
Back in 1998 KOCH licensed both the RCA and Arista Kinks catalogs from BMG. Ray Davies supervised and approved the transfer from two-track analog masters, which was accomplished using an Ampex ATR102 directly feeding a Pacific Microsonics Model One A/D converter running at 88.2k/24 bit PCM (bonus tracks were sourced from Ray's DAT tapes). The files were sent to Bob Ludwig's Gateway Mastering for final mastering, including HDCD encoding.
Wow! Leave it to Sundazed to pull off the ultimate Christmas gift for Byrdmaniax-not that any of them will wait until then to devour this quintuple 45rpm box set. All of these A and B sides were originally conceived of as the “next” Byrds single, but for one reason or another, were shelved. Now Sundazed has resurrected them with fabulous sound and impeccable, sumptuous packaging.
This 1978 set, featuring cornetist/arranger Bill Berry, backed by some of L.A.'s top jazz musicians, offers a time capsule into a not too distant past when both Pablo and Concord Records documented a still vital recording and gigging Southern California jazz scene that I'm not sure still exists. Players include many familiar jazz veterans such as Lew Tabackin (tenor sax/flutes), Bill Watrous (trombone), Dave Frishberg (piano), Monty Budwig (bass), and Frankie Capp (drums).
This bio produced by the Spanish Eforfilms is essential viewing for any Nat King Cole fan. There's plenty of great Nat footage, but more importantly, an intelligent script a that looks at all facets of Nat's life, including the tension between Nat the jazz pianist and Nat the pop crooner. Also key was the difficult racial environment in which Cole, among others, was forced to suffer.
There are complete musical performances, including Cole with Ella and a hilarious duet with Sammy Davis, Jr., with Sammy doing a perfect Nat impression, much to the “King”'s delight. Unfortunately I was unable to view the bonus footage, because the bar code on the jacket was placed over where the disc sits and when the distribution company punched the promo hole, it put a hole in the disc. Even without the bonus footage, this is worth having. Other bios in the series include Billie Holiday and Lena Horne, with a Frank Sinatra disc due soon.
Also for Nat fans: Nat "King" Cole Soundies and Telescriptions (idem Home Video IDVD1017NT), a 72 minute DVD compilation of Cole performances from various venues. Mostly black and white with lo-fi sound, it's Nat's look that will mesmerize, and the music's so good, the bad sound will not interfere
Usually an aggressive Irish folkie with a penchant for some mad strumming, Mr. Bloom delivers a real snoozer on this 9 song set. If it puts you to sleep Bloom will be happy, for that is his intent.
Englishman Dolby hit double paydirt with a catchy synth-novelty song and an accompanying video just as the pop-synth and music video/ MTV phenomena broke. However, “She Blinded Me With Science” was not his first song, nor does it really reflect what the guy's about. His first album, The Golden Age of Wireless (Harvest ST-12203), was originally issued without “She Blinded Me…”. When the song and video became popular, the album was reconfigured and reissued. Dolby was an instant celeb, and faded just as quickly, though his album Aliens Ate My Buick (EMI Manhattan E-148075) remains a cult fave for both music and sound. Come to think of it The Flat Earth was pretty good as well.