The Grapes of Wrath "Seems Like Fate 1984–1992" 1994 (comp)***

When random selection came out with this CD I thought I knew what I was in for "aah, Irish folk rock, hadn't heard it in a while"  - obviously I had them confused with some other band, which goes to show just how useful this blog is in re-acquainting me with my record collection! These guys are Canadian, and although there is a bit of folk rock here, it's not the Celtic kind - more like the Byrds/Feelies one. Actually, the feeling I got on first listen was a welcome return to that old paisley underground sound: melodic, jangly power pop with 60's influences but modern -for the 80's- production values; albeit thankfully without the omnipresent for that period synths. I expected them to be real literary types, but apparently they chose their band name by looking at random entries in a movie encyclopedia; at the time they were neither familiar with the book nor the film. According to allmusic.com the band "formed in Kelowna, British Columbia in 1983 by brothers Chris Hooper (drums) and Tom Hooper (vocals, bass), along with Kevin Kane (vocals, guitar) and the later addition of keyboardist Vincent Jones". During their initial run (1983-1992), they recorded 4 LPs which gained them local hero status in Canada but failed to make waves internationally. This is the period anthologized in this collection. To lure in old fans who already own the original albums, the compilers often choose alternate or live mixes over the album versions. The compilation isn't chronologically arranged, but we will get to the tracks in chronological order. The only song from their debut September Bowl of Green (1985) included here is the opener, "Misunderstanding" - en excellent sample of that period's 60's revival bands, similar to Rain Parade or Three O Clock, if you know what I mean. Most reviewers bypass the debut as nonconsequential, mentioning instead Treehouse (1987) as the band's breakout LP. The hit from that album "Piece Of Mind" is presented here in a live, relatively slower, version. "Run You Down" is more upbeat, with louder drums and the band's trademark harmonies. "O Lucky Man" and "Seems Like Fate" are more reminiscent of British bands of the time (e.g. Housemartins), and "Backward Town" is presented here in a live acoustic version. The 60's influences persist on their 3rd LP Now And Again (1989); "Stay" combines melodic Byrdsian jangle folk with 80's production values, as does the more psychedelic "Do You Want To Tell Me". "What Was Going Through My Head" emulates The Beatles circa 1965, and "All The Things I Wasn't" is the band at their most pastoral. The last album of their first incarnation was These Days (1991), a generally rockier affair, as evidenced by the two biggest hits, included here in alternate versions "You May Be Right" (here in its "AOR mix"), and "I Am Here" (included both in a punchy single edit and an ill-advised "dance-oriented" 12' extended mix). Another single from that LP was the upbeat "A Fishing Tale" - this one reminded me a bit of Hüsker Dü. "I Can't Find My Home" is also from that album, although here we get a different, acoustic, mix. Of the songs that only previously appeared on single B-sides, "Down So Close" is another country-ish ballad, while "All the Time" is more upbeat. Two covers included here reveal a lot about the band's influences, these being "Let Me Roll It" (by Paul McCartney and The Wings) and "See Emily Play" (early Pink Floyd). Last -and probably least- of the tracks included in this comp is "Fid's Theme", a short, previously unreleased, instrumental from 1988. Well, I must admit this was a really good CD. Long, but pleasant listening from start to finish. I know why I had forgotten all about it, though; when I got it, 15 or more years ago, it already sounded like a relic from a bygone era. There are similar records I still love listening to, but with them I have a experiential relation; I bought them when these bands were still young and active. Some of them visited my town where I got to see them perform live, while their songs played on the radio and rock bars of my youth. Canadians of my generation who have a similar relation with Grapes of Wrath will probably rate this CD higher. To me, this is simply a collection of nice songs I won't be listening to very often because I have so much similar music to which I have a stronger personal connection. But, for sure, if you're a fan of the 80's indie/college rock scene, stuff like REM and The Replacements, The Smiths and The Smithereens, this one will not disappoint you.

**** for Misunderstanding, I Am Here (7" Edit), Peace of Mind (Live), You May Be Right (AOR Mix), Do You Want To Tell Me, Stay, All the Things I Wasn't, O Lucky Man

*** for Backward Town (Acoustic), A Fishing Tale (Single Edit), All the Time, Run You Down, Fid's Theme, Was Going Through My Head, Let Me Roll It, See Emily Play, I Can't Find My Home,Down So Close, I Am Here (12" Extended Mix), Seems Like Fate

Andwellas Dream "Love And Poetry" 1969(rec) 2009(reissue)***

This is a very sought-after album from 1969. Released in the UK by CBS Records, it initially fell through the cracks just as many others had at the time; the amount of psychedelic pop records released between 1967 and 1970 in the UK was just too large to be consumed by the public, but many of them were reappraised in time, which led to them becoming coveted collectors' items at first, and then to get re-released. This specific CD reissue by Sunbeam Records adds contemporary singles and a couple of modern recordings (2008) by the band's singer/guitarist/organist David Lewis, who has also overseen this reissue. The band, which originally hailed from Northern Ireland, was previously called The Method and at one point counted Gary Moore among its members. By 1968, however, they had changed their name and moved to London, releasing this LP. Lewis wrote all the songs, sang and played guitar and keyboard, aided by Nigel Smith (bass) and Gordon Barton (drums) as well as guest Bob Downes on flute and various exotic instruments. Opener "The Days Grew Longer For Love" is a nice acid-folk piece that gets progressively louder with steady drumming and an electric guitar crescendo near the end. "Sunday" is a Yardbirds/Hendrix-like rocker, followed by a pastoral piece with flute and chimes called "Lost A Number, Found A King". "Man Without a Name" and "Clockwork Man" are Dylan influenced, and "Cocaine" is atmospheric blues with groovy organ a la Stevie Winwood. Another organ filled tune, "Andwella" sounds like a lighter Atomic Rooster or Uriah Heep, while "Midday Sun" is a laidback hippie ballad. The album proper stops here, but this reissue adds all four sides of the band's singles: the earthier blues rock "Mrs. Man" b/w "Mr. Sunshine", orchestral pop "Every Little Minute" and atmospheric jazz "Michael FitzHenry". The new songs "Paradise Isle" and "Miles Away From My Baby" don't really belong here as the're closer to Celtic Soul than psychedelia, but it's pretty good, Van Morrison-like stuff. The band released two more LP's under the shortened Andwella moniker. I haven't heard them yet, but Love & Poetry alone has secured them a place in the pantheon of 60's psychedelic heroes anyway. The playing is amazing, and the compositions are varied and accomplished - impressively so, considering Lewis was still in his late teens. The colorful cover is also quite nice, and very much into the zeitgeist of the late 60's. If it's one of your favorite periods too, you'll probably also love this CD.

**** for The Days Grew Longer For Love, Sunday, Cocaine, Andwella, Midday Sun, Mrs. Man (45 A-side)

*** for Lost A Number, Found A King, Man Without A Name, Clockwork Man, Shades Of Grey, High On A Mountain, Take My Road, Felix, Goodbye, Mr. Sunshine (45 B-side), Every Little Minute (45 A-side), Michael FitzHenry (45 B-side), Take My Road (Alt. Mix), Man Without A Name (Alt. Mix), Paradise Isle (2008), Miles Away From My Baby (2008)

AC/DC "For Those About To Rock" 1981***

I believe this is the 4th AC/DC album I present in this blog, which is somewhat disproportionate seeing that as of this moment I've presented less than 10% of my collection. Normally this is the kind of music I prefer to listen to on vinyl, but that's mostly for aesthetic reasons; these recent remasters sound really good on my (average quality) stereo. The packaging contains a nice booklet, and the embossed canon on the cover is another fine touch, but why would the company glue a huge sticker on the front of a digipack CD case? It took up roughly 20% of its surface, and when I tried to remove it to get the cover photographed - well, you can see for yourself:

At the time of its release, For Those About to Rock was a huge success, both critically (Rolling Stone magazine declared it their best album, so far) and commercially (their first LP to reach No.1 in the US). Nevertheless, I believe this is less because of this album's qualities, and more because of those that preceded it: Highway To Hell (1979) and Back In Black (1980) won them legions of new fans eagerly awaiting for the follow-up. Indeed, its initial record sales slowed down; it's now the 8th best-selling album by the band, with the two lead positions taken by the aforementioned masterpieces. At first glance For Those About to Rock seemed to fulfill expectations, as it is cut from the same cloth with its mighty predecessors: Using the same producer (Mutt Lange) guarantees sonic continuity, the Young brothers' riffs and solos are distinctive as ever, Phil Rudd's savage drum beating too. Brian Johnson is certainly no Bon Scott, but his shrill vocal didn't bother anyone when he was handling superior material as he did with Black In Black. Unfortunately though, from here on out the songwriting gets weaker. Tunes with catchy hooks and uplifting riffs like "Put the Finger on You" and "Let's Get It Up" are betrayed by embarrassingly bad lyrics/titles. "Evil Walks and "C.O.D." are good fun, but aren't they a tad too similar? And isn't the intro of the former recycled from "Hell's Bells?" "Inject The Venom" is another of the highlights, but falls into the easy trap of hitting on a good title/chorus and repeating it endlessly - one of AC/DC's calling cards. Few details offer an occasional detour (e.g."Night of the Long Knives" Aerosmith-like riff), but in general this is mostly generic AC/DC. A lot of it could have been the work of any of their imitators; "Snowballed" and "Breaking the Rules" especially sound like someone trying to copy a dish by guessing the recipe based on its appearance. It's no wonder that the title song is the only one here that's earned a permanent place in the band's live repertoire: with its Who-like intro, anthemic chorus, and cannon-firing sound effects, it's one of their more memorable compositions. All in all, For Those About To Rock is a slightly above average Brian Johnson-era AC/DC album: typically those may have one stone cold classic if you're lucky (in this case the title track), and two or three good tunes that are nevertheless too reminiscent of older hits. The rest is usually filler. Good fun, certainly - but not nearly as enjoyable as one of their concerts. That's where this lineup really shines, I hope they can keep it up a while longer!

***** for For Those About to Rock (We Salute You)

**** for Put the Finger on You, Inject the Venom, Evil Walks, C.O.D.

*** for Let's Get It Up, Night of the Long Knives, Spellbound

** for Snowballed, Breaking the Rules

Bob Dylan "The Real Royal Albert Hall 1966 Concert" (2016)**** vs."The Bootleg Series Vol. 4: Bob Dylan Live 1966, The "Royal Albert Hall" Concert" (1998)*****

Today (I'm writing on a Tuesday) I was free from work and had nothing planned for the day, so I started getting random records out to play. My eye fell on this double Bob Dylan LP entitled The Real Royal Albert Hall 1966 Concert. Of course I had listened to it a few times when I bought it, then put it aside; it sounded pretty good to me, but I was overly familiar with the songs, both from the studio versions and from the other live album recorded during the same tour: The Bootleg Series Vol. 4: Bob Dylan Live 1966, The "Royal Albert Hall" Concert (note the quotation marks). The story of the latter one is a huge part of Dylan's mythology, and so well-known it feels unnecessary to recount it again - yet, just like with well-worn jokes, there's always a first time one hears something, and this may be yours. Here's the story in a nutshell: a few short years into his career, Dylan had become the unwilling poster boy of protest folk. Resenting this, he strove for artistic freedom by abandoning political lyrics and going electric. The live unveiling of this new direction happened in July 1965 at the high profile Newport Folk Festival; after a short acoustic introduction, Dylan brought onstage The Paul Butterfield Blues Band for an electric set that shocked the conservative audience to their core. According to legend, veteran folkie Pete Seeger cut the electrical wires with an axe to stop Dylan from corrupting the audience's sensitive ears with his musical onslaught. This detail, which had been reported in press and endlessly repeated throughout the years, is untrue; yet it does convey the reaction of the folk establishment: Seeger has admitted to feeling offended by the sheer volume of the music, at the time the loudest anyone had experienced at a festival, and frustrated that the lyrics were impossible to hear. The latter has of course become a permanent fixture of Bob Dylan concerts; the few times I saw him perform I only got to recognize which tune was playing when he was already halfway through the song. Anyway, the controversy followed Dylan throughout his 1965-1966 tour. During this tour Dylan would play two sets, an acoustic one reminiscent of the "old" folkie, and a loud electric one, backed by rockers The Hawks, soon to be renamed The Band. Audiences politely applauded during the acoustic set, but had diverse reactions to the electric one: as word had gotten out, some fans came to the concerts not only to hear their old favorites but also to boo him for abandoning traditional folk and protest music. A few of the concerts were recorded, and the electric part of one of them came out in bootleg form around 1970. According to many, myself included, this is the ultimate Bob Dylan live album, yet it wasn't officially released until 1998 in the cader of the Bob Dylan Bootleg Series project. It was recorded at Manchester Trade Hall on May 17, but the bootleg was erroneously entitled Royal Albert Hall. Since it was already known thusly, the company also used "Royal Albert Hall" -albeit in quotes- for the official release title. Aside from the band's spirited playing (Robertson's electrifying guitar fills in particular) and the fact one gets carried away by the youthful enthusiasm and conviction (Dylan had just turned 25, Robertson was 23) the album is famous for an exchange between Dylan and an audience member: between songs, a punter shouts at Dylan "Judas!" This is greeted by the audience with laughter and applause - to which the singer replies "I don't believe you... You are a liar." and then turns to his guitarist with the following instruction "Play fucking loud!" as the band launches into a tremendous performance of "Like A Rolling Stone". This here is a piece of rock history captured on tape - it alone would be worth the price of admission, but of course what we have here is much more: an amazing document of Dylan live in his prime. And don't let the whole back story about him going electric distract you from listening to the acoustic disc, either: containing solo performances of hits ("She Belongs To Me", "It's all over now, Baby Blue", "Mr. Tambourine Man") and marathon song-poems ("Visions of Johanna", "Desolation row") this is the quintessential folk troubadour experience - just voice, acoustic guitar and harmonica.  

As for The Real Royal Albert Hall 1966 Concert, this came out on the semi-centennial anniversary of the concerts. As I said, I just listened to both albums back to back, track for track. It's extraordinary, how similar they sound: recorded with the same musicians within a few days from each other, they follow the same arrangements and identical setlist - deriving mostly from the three landmark albums Dylan had recently recorded, all in a space of 18 months (Bringing It All Back Home, Highway 61 Revisited and Blonde On Blonde). Which isn't to say that the performances are identical; seeing as Dylan wasn't a conventionally qualified vocalist, he probably couldn't sing a tune the same way twice if he tried. They're just very similar and -IMO- equivalent with each other. Don't expect me to get into details like in-between song banter, or which concert has a better guitar or harmonica solo here or there. I do have a slight preference for the London acoustic set and Manchester electric one, but in truth they are both fantastic in terms of performance and sound quality. I guess that, for everyone but the biggest fans, The "Royal Albert Hall" Concert (in quotes) is essential because of the history it caries, while The Real Royal Albert Hall 1966 Concert is, however good, similar enough to be superfluous. I for one am very happy to have the former on CD (it is ridiculously rare on vinyl) and the latter on double vinyl; in this way I can choose which one to play depending on whether I feel like getting up to change sides or not. I just can't believe it took me this long to sit down for a combined listen.

P.S. Away from home, I re-listened to some tracks from the Manchester concert on Spotify to check something before posting, and guess what I discovered? The notorious Judas incident has been edited out of the Spotify version of the album. Could they have been so offended by Dylan using the F_ word? Hard to believe, when other singers (not to mention rappers) on the platform use much coarser language. This is another reason why streaming sucks, people! Vinyl or CD, that's the way to go!

The "Royal Albert Hall" Concert:

***** for It's all over now, Baby Blue, Desolation row, Just like a woman, Tell me Momma, I don't believe you (She acts like we never have met), Baby let me follow you down, Leopard-skin pill-box hat, Ballad of a thin man, Like a rolling stone

**** for She belongs to me, 4th time around, Visions of Johanna, Mr. Tambourine Man, Just like Tom Thumb's blues, One too many mornings

The Real Royal Albert Hall 1966 Concert:

***** for 4th time around, It's all over now Baby Blue, Desolation row, Just like a woman, Mr. Tambourine Man, Baby let me follow you down, Leopard-skin pill-box hat, Ballad of a thin man, Like a rolling stone

**** for She belongs to me, Visions of Johanna, Tell me Momma, I don't believe you (She acts like we never have met), One too many mornings

*** for Just like Tom Thumb's blues