Bob Dylan "Self Portrait" 1970**** vs. "The Bootleg Series Vol. 10: Another Self Portrait (1969–1971)" 2013(comp)****

“What is this shit?” Probably the most famous opening line for a record review, this was Greil Marcus' reaction to Dylan's Self Portrait LP. Music critics at the time treated it as an abomination, but I see it as a labor of love. We now know of his love for country, old-time folk, and crooner music — he made it evident in his long-running radio show, and even released a whole album of Sinatra covers in 2015. On that album, he opted for a smaller band; here, however, he was considerably more ambitious, covering almost all of the tracks with lush, sometimes even schmaltzy, orchestral arrangements, not unlike those Sinatra used. Back to the beginning of our story: during 1969 and 1970, in what seems like an attempt to decompress and experiment, Dylan entered the studio with a bunch of Nashville session players instead of a rock band. Rather than teaching them new songs, he looked for common ground, playing standards and contemporary hits. Some, like Paul Simon's "The Boxer", don't work at all. Gordon Lightfoot's "Early Mornin' Rain" does. He digs deep into roots music, resurrecting the Appalachian murder ballad "Little Sadie" twice, playing steamboat work songs like "Alberta" (also presented in two versions), and traditional tunes about making moonshine whiskey ("Copper Kettle") and the California gold-digging fever ("Days of '49"). "Belle Isle" is a traditional ballad of Irish origin, and "Gotta Travel On" is another old-time folk tune, initially popularized by one of Dylan's early idols, Pete Seeger. It's the kind of material Dylan tackled in his Village days, some of which he recorded for his 1961 debut. Yet he takes a completely different direction here. He used to play these songs solo, accompanying himself on guitar and harmonica. Now he's backed by some ace musicians — I especially love the piano, pedal steel and violin — and often tops it all off with intricate orchestral arrangements. The liberal use of female chorus vocals (think the Andrews Sisters) is another surprising element. It's a novel, but questionable, approach. Probably the strangest cover choice here is Rodgers and Hart's "Blue Moon". How audacious of him to tackle the Great American Songbook, songs that have been sung by some of the greatest voices in American music history! You know what, though? I like it, certainly better than Elvis' version. His singing is the smoothest we've ever heard him, without straining for notes beyond his range; the arrangement is sympathetic, and the short violin solo at the end is a bold but pleasant addition. Additionally, he treats us to professional-sounding Nashville-style renditions of the classic country songs "Take Me as I Am (Or Let Me Go)" and "I Forgot More Than You'll Ever Know", as well as the Everly Brothers' "Let It Be Me" and "Take a Message to Mary". Then there are a few blues tracks: the '40s standard "It Hurts Me Too", the impromptu jam "Woogie Boogie", and Dylan's original composition "Living the Blues". Until now, nothing sticks out, and nothing offends my sensibilities. And yes, I do know that plenty of people were offended — trust Dylan to do that. But these fans had a very narrow-minded view of American music, refusing to consider country and pre-rock'n'roll crooner music as having any value. Perversely scattered among the string-laden ballads and country tunes, Dylan also inserted some recent live recordings with The Band, made at the Isle of Wight festival in England — a momentous occasion. These include "Like a Rolling Stone", "Quinn the Eskimo (The Mighty Quinn)", "Minstrel Boy", and "She Belongs to Me". I believe this was the first time the fruits of that historic collaboration were officially released, yet people didn't pick on that. It doesn't matter that these performances don't improve on the originals; they're simply great complete reworkings of older material, with Garth Hudson's organ and Robertson's guitar at the fore. Last but not least, we have two heavily overdubbed songs, interesting and wholly un-typical of Dylan. Opener "All the Tired Horses" doesn't feature Dylan at all; it consists of two lines sung by a small female choir, repeated in a loop with lush orchestral backing. "Wigwam" has Dylan doing some wordless vocalizing backed by a mariachi-style band. It shouldn't work, but it's an infectious melody, at once nostalgic and feel-good. It was released as a single, and while it didn't crack the Top 40, it received a much better critical reception than its parent album. To summarize: yes, I get why this album received so many bad reviews at the time. It's not a masterpiece; it's overproduced, overlong, and seemingly incoherent. Importantly, it contains almost no new songs, while the public was accustomed to Dylan releasing a masterpiece of songcraft each year. But it resurrects folk classics ripe for reappraisal, features great performances by Dylan's musicians, and shows him attempting to sing in a different, more melodic manner. Removed from the zeitgeist, it makes for fine listening.

**** for Alberta #1, I Forgot More Than You'll Ever Know, Days of '49, Early Mornin' Rain, Living the Blues, Like a Rolling Stone, Gotta Travel On, Blue Moon, (Quinn the Eskimo) The Mighty Quinn, Take Me as I Am (Or Let Me Go), Take a Message to Mary, She Belongs to Me, Wigwam, Alberta #2

*** for All the Tired Horses, Let It Be Me, Little Sadie, Woogie Boogie, Belle Isle, Copper Kettle, It Hurts Me Too, Minstrel Boy

** for In Search of Little Sadie, The Boxer

Another Self Portrait isn't really an alternate version of Self Portrait so much as a selection of recordings from the broader period in which Self Portrait and New Morning emerged. Some of these recordings ended up on Self Portrait, some on New Morning, while others remained unreleased until they were unearthed for The Bootleg Series. Regarding the Self Portrait material, rather than simply offering alternate performances of songs we already know, the compilers have removed many of the overdubs, allowing us to hear the songs more or less as they emerged from the studios in Nashville (1969) and New York (1970). The effect is revealing. The traditional material now sounds more like folk songs are supposed to sound: the focus shifts from the arrangements to the performance and the words. I'm reminded of the Dylan of his Village days, though with a more relaxed, less reedy vocal and the support of first-rate session musicians. The exception is "In Search of Little Sadie", which is more theatrical, with Dylan almost ironically recounting rather than singing the lyrics. "All the Tired Horses" is reduced to its vocal core, all 70 seconds of it, while "Wigwam"'s winning melody retains its charm - though the latter is one of the occasions where the overdubs actually enhanced the song. The compilation also adds a wealth of outtakes from the sessions, mostly completed songs that were left off the original albums rather than rough demos. They generally sound little different from the material that made the records: the musicianship is exceptional and Dylan's vocals are unusually smooth. Among the highlights are the Appalachian ballad "Pretty Saro", a different version of "Alberta", Tom Paxton's "Annie's Going to Sing Her Song", and a beautiful piano-led version of Charles Badger Clark's "Spanish Is the Loving Tongue". There is also a further group of traditional songs that recalls Dylan's early folk recordings, with his vocal and harmonica once again to the fore but now supported by superior guitar and piano work. "Railroad Bill", "Thirsty Boots", "This Evening So Soon", "House Carpenter", and "Tattle O'Day" all show how naturally Dylan could inhabit this material when the arrangements get out of the way. Some tracks here predate Self Portrait: A ragged version of "Minstrel Boy" comes from the 1967 Basement Tapes sessions with The Band, while demos of "I Threw It All Away" and "Country Pie" from Nashville Skyline remind us that Dylan's flirtation with country musimusic didn't begin with Self Portrait. The latter album was less an isolated stylistic detour than one point in a continuing exploration of country, folk, and traditional American music. We also get two more live recordings from the 1970 Isle of Wight festival with The Band, "I'll Be Your Baby Tonight" and "Highway 61 Revisited". Both differ sufficiently from the original recordings to be of interest. The deluxe version of Another Self Portrait adds a third CD containing the complete concert, which should make for a compelling standalone live album in its own right. The story doesn't end with the outtakes. Dylan went almost immediately from recording these covers to New Morning, using many of the same musicians but turning his attention back to his own compositions. The difference is striking: the grander excesses of Self Portrait are largely gone, there are no sweeping orchestral arrangements, and Dylan returns to his natural voice. Interestingly, some of the alternate versions from New Morning contain overdubs that were ultimately scrapped from the finished album. The horns on the title track push it closer to soul territory, while the orchestral backing on "Sign on the Window" is actually quite sympathetic. It seems that Dylan experimented with this approach before deciding that it wasn't for him after all. An alternate version of "If Not for You", featuring piano and gypsy violin, is particularly interesting, taking this familiar song in an entirely different direction. "Time Passes Slowly" appears in two versions, with the second fuller and better realized. Another song represented by two versions is "I Went to See the Gypsy", the song rumored to be about a meeting with Elvis. The acoustic demo already sounds great, while the second version takes on a more hypnotic, almost lounge-like quality. "If Dogs Run Free" is another oddity, with an unusually long spoken-word section. The finished version has a jazzier feel, driven by piano, whereas this one is considerably simpler. A few other songs were recorded during the New Morning sessions but left off the album altogether, including the bluesy "Working on a Guru" and "Bring Me a Little Water". From 1971 come a couple of demos recorded during the sessions for Greatest Hits Vol. II. "Only a Hobo" is a song Dylan had carried with him from his early folk years; this 1971 re-recording didn't make the cut either. "When I Paint My Masterpiece" is an early version with prominent piano and alternate lyrics, offering another glimpse of a song that would continue to evolve before reaching its familiar form. Having finished the cross-examination of the two albums, I have to conclude that it wasn't quite as good an idea as I originally thought it would be. Yes, stripping the overdubs from some of the Self Portrait songs is genuinely revelatory, allowing us to hear them in a way that changes our perception of the original album. But there simply aren't enough duplicate songs for a meaningful head-to-head comparison. Another Self Portrait is better understood as a snapshot of what was going through Dylan's mind during this period - a collection of experiments, demos, outtakes, and alternate versions that offer glimpses of the directions he was considering, rather than an alternate Self Portrait. Nevertheless, as The Bootleg Series has taught us to expect, the music is of such a high caliber that it makes for a worthy standalone collection rather than merely a deep archival dive for obsessive Dylanologists.

**** for Went to See the Gypsy, Pretty Saro, Alberta #3, Spanish Is the Loving Tongue, I Threw It All Away, Working on a Guru, House Carpenter, Thirsty Boots, This Evening So Soon, These Hands, If Not for You, Wallflower, I'll Be Your Baby Tonight, Highway 61 Revisited, Sign on the Window, Tattle O'Day, New Morning, Went to See the Gypsy, Time Passes Slowly #2

*** for Annie's Going to Sing Her Song, Time Passes Slowly #1, Only a Hobo, Railroad Bill, Country Pie, If Dogs Run Free, When I Paint My Masterpiece

** for Minstrel Boy

Flamin' Groovies "One Night Stand" 1986***

Last week, I was reading a piece on the Flamin’ Groovies in Mojo when I noticed a footnote at the end of the final page. Apparently, a reconstituted version of the band, led by Cyril Jordan, was touring the UK in September to celebrate the 50th anniversary of their cult classic Shake Some Action. I was pleasantly surprised to discover that the band still existed, and decided to check Songkick, hoping they might also be coming to the Netherlands. As it turned out, they were playing in nearby Utrecht just four days later, so I bought us two tickets. They were playing in a small club rather than the Tivoli hall—a suitably intimate setting for their no-frills garage rock ’n’ roll. The Groovies entertained us with some of their best songs and a handful of well-chosen covers. We danced, sang along, and had a great time. At 78, Jordan inevitably shows his age. He leaves the more difficult guitar parts to the younger guys, while, as a dentist myself, I almost felt professionally obliged to tell him that his singing might improve if he replaced a couple of missing teeth. Not that his singing or guitar playing was inadequate, mind you. But the best part of his performance was the way he led the younger musicians, and the obvious affection he still has for the songs. He had a few words to say about each one, which old fans like me lapped up, even when he sometimes sounded like somebody’s naughty grandpa. His stories were apparently designed to shock the younger members of his audience, being liberally peppered with f-words, along with tales of smoking cocaine and writing songs about venereal diseases. Well, I suppose he’s earned his bragging rights. Few people have maintained such a long career while soldiering on despite a conspicuous lack of commercial success, only to eventually earn the status of rock ’n’ roll legend. Seeing him up there, still leading the band, clearly enjoying playing these songs, reminiscing about the past and talking about his favorite bands (The Beatles and Stones, of course - who else?), it was hard not to feel that the legend tag was very much deserved. P.S. Fun fact: all three guitarists broke a string during the concert and simply carried on, still sounding fine. I guess six strings really are a bit of an excess.

This may not be the best Flamin' Groovies LP in my collection, but it was my first: I bought it at least 35 years ago. And yes, I did see that it contained re-recordings—it says so on the front cover. But it was the only one featuring all three of my favorite Groovies' grooves: "Teenage Head", "Shake Some Action", and "Slow Death", plus covers of some of beloved garage-rock standards. The Flamin' Groovies first formed in San Francisco in 1965, playing gritty and rootsy rock'n'roll from the beginning. Their major-label debut, Supersnazz (1969), failed to gain nationwide recognition, as did the two superb albums that followed it, Flamingo (1970) and Teenage Head (1971). At that point, singer Roy Loney left and the band decamped to England, recruiting new singer Chris Wilson and adopting a more power-pop direction. They recorded an abortive EP in 1972 with Dave Edmunds producing, eventually finding a cult following with Shake Some Action (1976). After Wilson's departure in 1981, the Groovies entered a period of recording inactivity until One Night Stand finally broke the spell. The reconstituted band featured original members Cyril Jordan (guitar and vocals) and George Alexander (bass), along with fellow San Franciscans and former Yanks Paul Zahl (drums) and Jack Johnson (guitar and vocals). The new lineup went into the studio for the first time for Australian indie Aim Records in 1986. Truth be told, this is unlikely to be anyone's favorite Flamin' Groovies album. People complain that the performances lack the originals' energy, and that the production is a bit flat. I see their point: '80s production techniques were rarely conducive to punchy rock'n'roll. Yet in this case the problem isn't that the record is too clean-sounding, which is the perennial complaint about '80s records. If it sounds like a rush job, I guess that's because that's exactly what it was. The title says it all: the band went into an unfamiliar studio and recorded what was essentially their live set in just one day, hence One Night Stand. They took one extra day to mix it and went back on the road. As for the performances, I find them energetic and solid rather than exceptional. Jordan's guitarwork is a definite highlight, but the vocals don't always stand up to the originals. Don't get me wrong: Cyril Jordan and Jack Johnson do a fine job of it, but Roy's swagger and menace in "Teenage Head" is just inimitable. They pull off the power-pop numbers like "Shake Some Action" and "I Can't Hide" much more convincingly. Of the songs originally recorded with Dave Edmunds at Rockfield, we get fine versions of proto-punk rocker "Slow Death" and rockabilly number "Tallahassee Lassie". Other covers include Paul Revere & the Raiders' "Kicks", two 50's rockers popularized by The Beatles ("Money" and "Slow Down"), and a suitably energetic romp through The Who's "Call Me Lightning". All very predictable. What isn't predictable, and works surprisingly well, is their cover of a then-recent alt-rock hit by local Aussie heroes Hoodoo Gurus, "Bittersweet". This album's main appeal is that it captures the Groovies in a particular moment, with a different lineup tackling a set that draws from nearly every phase of their career. It has been re-released on both CD and vinyl, sometimes with bonus tracks, alternate covers, or different titles such as Backtracks, Shake Some Action With... or Collection. Is it a worthwhile purchase, you ask? Well, as a garage-rock record in its own right, it's certainly an enjoyable listen. Those already familiar with the band will appreciate it as a snapshot of their '80s incarnation, while, for newcomers, it makes for an interesting entry point—as long as they know they're not getting the definitive versions of these songs. I say, if you come across a copy at the right price, take it home. If you like it, there's more where it came from.

**** for Call Me Lightning, Shake Some Action, Slow Death, Teenage Head, Slow Down

*** for  Kicks, Bittersweet, I Can't Hide, Money, Tallahassee Lassie 

Franck Carducci "The Answer" 2019***

I had never before heard of Franck (sic) Carducci until a couple of visting friends from England persuaded me to accompany them to one of his concerts at nearby Poppodium Boerderij in Zoetermeer. They promised me a great show, and he certainly delivered: he's quite a character, in his fancy velvet jacket, top hat, and double necked guitar. He's ably complemented by his partner Mary, who contributes vocals, guitar, dancing, and the impressive ability to play the theremin using her whole body; the rest of the band are also quite profficient both as musicians and entertainers. Originally French, Carducci apparently now lives in the Netherlands, although I'm not aware of him performing here very often. After the show we hung around for a while with the band and support act Joe Payne (formerly of The Enid), and bought some CDs and DVDs, one of which was The Answer.

I can't remember whether they played any other tracks from this one, but the first couple of them were among the highlights of the night: "(Love Is) The Answer" is a 70's style acoustic based prog rocker featuring tremendous Rick Wakeman-like keyboard solos. These are curtailed in the CD bonus radio cut version; if you're even a bit of a proghead you'll certainly want to go for "the full monty". "Slave to Rock 'n' Roll" is another kind of song entirely, a hard rock anthem that reminds me of Rainbow - albeit of the short-lived Graham Bonnett era. "Superstar" is a duet with Mary that, at 12,5 minutes, manages to incorporate many different ideas in true prog fashion. It features some tasteful synth and rousing guitar, but feels a bit disjointed and overlong for my taste. "The After Effect" is heavier and more exciting, somewhat reminiscent of Dream Theater. Only 10 minutes, this one. "The Game of Life" is a nice little ballad - I especially like the piano that drives the piece and trumpet at the background. But I do have a nagging sense that Franck is attempting to sing a text that wasn't written with a melody in mind, which makes his vocal sound a bit awkward. "Asylum" is the last of the long tracks (11+ minutes). The first half is bluesy hard rock reminiscent of Bad Company or David Coverdale; the second half is once again a patchwork, with a soft ballad excerpt followed by some awesome Hammond-based jazz rock and drum and guitar solos, before returning to the bluesy hard rock - this time I want to say Thin Lizzy? "On the Road to Nowhere", a live bonus track, is a country-ish acoustic song with nice harmonies. Now that I think of it, they probably played that one at De Boerderij too, it just didn't make as much an impression to me as the first couple of tracks on this CD. It's followed by another ballad with a nice synth intro ("Beautiful Night"), while the CD closes with two more bonus tracks, the radio cuts of "(Love Is) The Answer" and "Slave to Rock 'n' Roll". In this incarnation, both songs sound like radio hits from the late 70's - early 80's. Too bad we don't live in the age of FM radio but in that of youtube and Spotify; I guess Franck was born a few years too late for rock'n'roll stardom.

**** for (Love Is) The Answer, Slave to Rock 'n' Roll, The After Effect, (Love Is) The Answer (radio-cut), Slave to Rock 'n' Roll (radio-cut)

*** for Superstar, The Game of Life, Asylum 

** for On the Road to Nowhere, Beautiful Night 

The B52s "With the Wild Crowd! Live in Athens, GA" 2011****

I recently saw The B-52's live at TivoliVredenburg in Utrecht. When I heard they were coming, I instantly knew it would be an unmissable occasion. I couldn't remember the band ever performing anywhere near me, and there was good reason for that: this was only their third performance in the Netherlands in the past 45 years. As for Athens, Greece, where I lived until 2009, these Athenians from Georgia never set foot in their Old World namesake—at least not to perform. The show was a resounding success. Any concerns that age might have slowed them down disappeared immediately. From the opening notes of Planet Claire to the raucous closing Rock Lobster, it was an exuberant, high-energy performance full of infectious party spirit and the wonderfully offbeat humour that has always set them apart.

To prepare for the concert, I had put on this DVD I had laying around the house. It is actually a DVD/CD box set - I've certainly listened to the CD a few times in the last decade, but this may well have been the first time I watched the rhe entire concert. Apart from the inclusion of several songs from their then-new Funplex album (2008), it came remarkably close to the show I experienced myself. True, these songs have been dropped from the setlist in the meantime, but they don't weigh down the performance at all. "Pump"'s infectious riff, for once, makes for an excellent concert opener - it's no "Planet Claire" but it comes close. The rest ("Ultraviolet", "Funplex", "Love In The Year 3000", "Hot Corner") are all highly energetic dance-oriented tunes featuring zany lyrics, Fred's manic shouted declarations, and the glorious harmonies of Kate Pierson and Cindy Wilson. At their weakest they may remind you of The Spice Girls, but at their best they're like Martha and the Vandellas fronting Talking Heads. Still, the newer material is really the potatoes here; the meat is the run of classics from the late '70s and early '80s, particularly their self-titled debut (1979) and Wild Planet (1980). Every one of them is performed superbly. The live band trades the angular post-punk edge of the early records for a fuller, warmer, and more organic sound. Purists may find the arrangements a little too polished, and some will inevitably miss Ricky Wilson's singular guitar playing. Yet Keith Strickland, who took over guitar duties following Ricky's tragic AIDS-related death in 1985, proves himself a more conventional but by no means inferior guitarist. He nails the surf-inspired riffs while adding tasteful fills that flesh out the band's sound. "Mesopotamia" (orig. 1982)  is reminiscent of The Talking Heads' funky new wave, while the songs from Cosmic Thing (1989) are best suited to the band's live configuration: warmer and sunnier, with the ladies' soulful vocals gaining the upper hand from Fred's more abrasive half-singing half-talking style. "Roam" is one of the highlights, but the band keep the best for last: perfect party tune "Love Shack" is delivered with gusto, driven by an irresistibly funky bass groove. For years I couldn't make out what the response was to Fred's immortal question "Your... what??" Now I know, and so does everyone in the audience who shout out in unison "Tin! Roof! Rusted!". The concert climaxes with two of the band's earliest, best, and weirdest, tunes: "Planet Claire" and "Rock Lobster". Can't think of a better ending, really. A 76-minute (90 minutes for the DVD, which includes 3 more tracks) relentless non-stop party; if there's any downside, it's the lack of any significant variation in tempo - basically, the band hits top gear from the get go, and never ease up. The DVD itself is just a professionally shot straightforward document of the performance. It's enjoyable to watch the band playing to an adoring hometown audience, some sporting very eccentric costumes. The surround sound is clean and immersive, although not especially revelatory, while the stereo mix is equally effective at conveying the atmosphere of a live concert. Despite the polished arrangements, enough rough edges remain to preserve the feel of a genuine live performance rather than a studio reconstruction of the event. The result is both an excellent introduction for newcomers and a rewarding live document for longtime fans. More than anything, it captures the B52's in their natural element, proving they remain one of rock's greatest party bands.

***** for Planet Claire, Rock Lobster

**** for Pump, Private Idaho, Mesopotamia, Give Me Back My Man, Roam, 52 Girls, Party Out Of Bounds, Cosmic Thing, Love Shack

*** for Ultraviolet, Funplex, Whammy Kiss, Love In The Year 3000, Hot Corner, Wig

Ian Gillan "Gillan's Inn" 2006***

This time, Random Selection turned up something rare: the only Hybrid (DualDisc) CD/DVD release in my collection of (give or take) 7500 titles. Truth be told, very few albums were ever released on DualDisc. Less than 200 titles, spanning all musical genres, appeared between 2004 and 2006 before the format was ultimately abandoned. Today, dual CD/DVD editions come in the guise of box sets containing one or two audio CDs paired with a DVD or Blu-ray that may contain a variety of audio mixes, video content, or other extras. A DualDisc release, however, combined both formats on a single disc with two reflective surfaces: one side functioned as a standard CD, while the other contained the DVD content. Obviously, CD players could only read the CD side, while DVD/Blu-ray players would play whichever side was facing up. If at all - because that was apparently the problem with DualDisc: compatibility with CD/DVD players was not guaranteed; the disc's thickness means it was prone to get jammed or scratched when pushed in the slots of slot CD-players, multi disc CD changers, or car stereos. Also, while the DVD side was guaranteed to play on most DVD players, the CD side was not. I'm not sure how frequent these compatibility problems actually were: Both sides played perfectly on my BluRay player, laptop DVD, and former car stereo (R.I.P: why oh why did they abolish CD players from modern car entertainment systems? Now whenever I want to listen to one of my CDs on the road I need to rip it on MP3 and copy it to a USB flash disk or to my phone to play via android auto. Such a nuisance!)

But enough about the format—what about the content? The idea behind this release was to celebrate Ian Gillan's 40-year recording career by revisiting some of his classic songs with an all-star band. It sounds like the sort of project a rock star might undertake at the twilight of his career: revisiting former glories for the nth time because there's nothing new left to say. Which makes it all the more remarkable that, twenty years later, aged 80, Ian Gillan continues to front the latest incarnation of Deep Purple (Mark IX, by my count), playing sold-out arena tours and regularly releasing new music. Their most recent album, Splat just came out, and is garnering 4-star reviews. All DP members can be heard here, on multiple tracks: Ian Paice on drums, Roger Glover on bass, Steve Morse on guitar, and Don Airy and Jon Lord on keyboards. Despite DP being such a large part of Gillan's career, only four of their songs are revisited on Gillan's Inn. The perennial hit "Smoke on the Water" seems to resist all attempts at reinvention. Despite the addition of violin and extra percussion, and the use of two keyboardists—Jon Lord and his successor Don Airey—it still sounds like the same tired old warhorse. One nice feature on the DVD is the option to listen to alternate versions of the song featuring different guest soloists: Steve Morse, Jeff Healey, Joe Satriani, or Michael Lee Jackson. Lord also returns on "Demon's Eye", and it's a pleasure to hear him revisit the song. Jeff Healey's bluesy guitar work provides the main point of departure from the original version, but otherwise the arrangement stays close to its roots. A dizzying version of "Speed King" with Joe Satriani takes us back to that period of the band when the virtuoso guitarist temporarily replaced Ritchie Blackmore. The final Deep Purple track included here is the bluesy ballad "When a Blind Man Cries". Originally relegated to the B-side of a single, it was later included in Machine Head reissues and became a live staple after Blackmore's departure. Jeff Healey's expressive guitar playing and Jon Lord's Hammond B3 accentuate the song's blues credentials, while Gillan delivers one of the most soulful performances of his career. The result is quite possibly the definitive version of the song. Gillan's short-lived Black Sabbath period is acknowledged in a fine new version of "Trashed" featuring Tony Iommi on guitar. To me, these songs were all a little too familiar. While I enjoyed hearing the new interpretations, I ultimately found them somewhat superfluous. Most of the remaining tracks, on the other hand, were new to me and therefore much more interesting. The opening speedball "Unchain Your Brain", featuring Joe Satriani, is a particular highlight. Originally released on 1980's Glory Road, it matches the frantic energy of "Speed King" and sets the tone for the album in spectacular fashion. "No Laughing in Heaven" (from 1981's Future Shock) benefits from some fine playing by Gillan's DP colleagues, but I dislike his manic sing-speaking style on this track. Even his trademark high-pitched shrieks are wasted on what I consider a rather weak composition. "Men of War" (from Double Trouble, 1982) fares much better. Featuring blistering guitar work from Steve Morse, it alternates effectively between softer passages and explosive sections driven by Gillan's unrestrained vocals. "Bluesy Blue Sea" (from 1982's Magic) sounds like an update of the classic NWOBHM style. Not surprisingly, original Gillan guitarist Janick Gers—who also appears here—would later become a permanent member of Iron Maiden. Moving forward chronologically, "Loving on Borrowed Time" (from 1990's Naked Thunder) is a textbook power ballad in the grand 1980s tradition, featuring co-writer Steve Morris and former Scorpions guitarist Uli Jon Roth on guitar. "Hang Me Out to Dry" (from Toolbox, 1991) combines soulful vocals, a catchy main riff, and excellent solos from Joe Satriani. Yet it ultimately it leaves me unimpressed; I simply don't find the underlying composition strong enough. 1997's Dreamcatcher is one of Gillan's more obscure albums, which is probably why he chose to resurrect not one but two songs from it. "Day Late and a Dollar Short" is a fine hard rocker featuring guest vocals from Ronnie James Dio. I can't help thinking that a duet between two of hard rock's greatest singers ought to be more impressive than it is; instead of the singers it's Uli Jon Roth on guitar that steals the show. "Sugarplum", meanwhile, is an enjoyable blues-rocker built around a catchy riff and a relaxed groove. It certainly deserved a second chance to find an audience, so it's just as well that Gillan decided to re-record it here. "No Worries" is a solid, workmanlike blues-rocker that even finds room for a few harmonica solos. It is the only new composition on the album, co-written with Michael Lee Jackson, who also plays guitar on most of the tracks. While agreeable enough, it lacks the spark needed to stand out among the album's stronger moments. The CD closes with a touch of nostalgia: a respectable country-rock cover of Bob Dylan's "I'll Be Your Baby Tonight", performed as a duet with Def Leppard's Joe Elliott. The song was part of Episode Six's live repertoire back in Gillan's pre-Purple days, making it a fitting choice to bring the album to a close. A few words about the DVD extras before wrapping up the review. These include a 5.1 surround-sound mix, a short making-of documentary, a couple of live videos featuring the rarely seen Deep Purple lineup with Joe Satriani on guitar, photo galleries, lyrics, track-by-track commentary, and a bonus song: a new cover of the R&B classic "Can I Get a Witness", which Gillan used to perform with his beat group The Javelins in the mid-60s. All in all, the album succeeds as a celebration of Ian Gillan's musical career up to that point. It's an enjoyable listen, packed with strong performances and some pleasantly left-field song choices, particularly from Gillan's solo years. Twenty years later, I can't help wondering whether it's time for a second volume. Maybe it's even time to finally bury the hatchet and revisit some of Gillan's and Deep Purple's later material with Ritchie Blackmore as a guest guitarist. Now that would be something worth hearing. Come on, gentlemen— let bygones be bygones, we're not getting any younger!

**** for Unchain Your Brain, Bluesy Blue Sea, Day Late and a Dollar Short, Men of War, When a Blind Man Cries, Trashed, Demon's Eye, Speed King

*** for Hang Me Out to Dry, No Worries, Sugar Plum, Smoke on the Water, Loving On Borrowed Time, I'll Be Your Baby Tonight***

** for No Laughing in Heaven

Caravan "Cunning Stunts" 1975****

So this isn't really a random-selection review. I chose this album because I was recently in Canterbury on a short side trip from London. It's a beautiful medieval city, with a river running through it and plenty of excellent taverns and pubs. It's lively, too, thanks no doubt to the student population of the University of Kent. I noticed that many pubs hosted live music, mostly on Fridays and Saturdays, although we also caught a few bands on a Sunday at what is probably the town's most rock'n'roll bar, The Lady Luck. Usually, a visit to a new town is a chance for me to map out the local record-store situation for this blog. In this case, I was unlucky, as two of the four record stores (Canterbury Rock and Vinylstore Jr.) were closed on Sundays and Mondays—the very days of my visit. The third was a local branch of the HMV chain: rather large, with new vinyl and CDs, T shirts, books, and other items. A wide variety of books were on offer "2 for £9", also many LPs "3 for £66". Another shop, called Sounds, is situated at the main town road (9 St Peter's St) it sells mostly 2nd hand LPs (£10-30,a few offers for £5) as well as a few CDs and singles. They had an interesting selection of soul, jazz, and some dance 12', but I was more interestedvin buying something by one of the highly rated bands from the Canterbury scene. In this case, nothing caught my fancy. So, upon my return, I pulled out a bunch of CDs and LPs from this subgenre already in my collection and gave them another listen.

Caravan's Cunning Stunts stood out because of its Hipgnosis cover and its title. The band clearly intended a famous spoonerism, hoping that listeners would, amusingly and embarrassingly, mispronounce the title as "Stunning Cunts". For readers unfamiliar with the term, a spoonerism is a speech error in which consonants or syllables are inadvertently swapped between words, often producing a comic effect. The phenomenon is named after a certain William Archibald Spooner, an Oxford don and priest who was reputed to make such verbal slips. Discovering this sent me down an etymological rabbit hole. Where, I wondered, does the Greek equivalent, sardam, come from? As luck would have it, the answer involves a strikingly similar story: An actor named Madras was prone to the same kind of verbal mix-ups, prompting the public to immortalize his slips with an anagram of his name. Probably not the claim to fame he imagined when he went into show business. Back to the Canterbury scene: most people trace its beginnings to a mid-1960s group called The Wilde Flowers. Although their sound was not too different from that of other beat bands of the era, many of the members were more intellectually inclined, with a strong interest in jazz and a penchant for complex arrangements. These traits, combined with a distinctly British sense of whimsy, became the defining characteristics of what would later be known as the Canterbury scene. Of the two groups that emerged from the breakup of The Wilde Flowers, Soft Machine was the more adventurous and jazz-oriented, while Caravan leaned toward a more accessible, pop-focused sound. Some (i.e. prog purists) might argue that on Cunning Stunts is even a little too commercial, but I don't think anything essential was lost in the process. Opener "The Show of Our Lives" is a pleasant piece of orchestral soft rock, featuring well-played guitar solos and exquisite vocal harmonies reminiscent of Yes and perhaps even The Beatles. "Stuck in a Hole" is a short, upbeat tune highlighted by a Stevie Wonder-ish organ or Moog synthesizer solo. "Lover" is a heavily orchestrated ballad in the vein of the Moody Blues, or perhaps those solo Lennon tracks lavishly produced by Phil Spector. It segues into "No Backstage Pass", a beautiful and melodic song that recalls the soft psychedelia of Caravan's classic Land of Grey and Pink era. Hastings delivers a fine vocal performance, supported by tasteful violin work and a slightly heavier bass presence than on earlier albums. Bassist Mike Wedgwood takes over the lead vocals on the even funkier "Welcome the Day". Although it sounds nothing like classic Caravan, it remains one of my favourite tracks on the album: radio-friendly, soulful, and featuring excellent keyboard–violin interplay. Prog fans may dislike it, but side two offers plenty to satisfy their tastes. "Dabsong Conshirto" is one of those indulgent 18-minute song suites that progheads love so much. While it begins as another accessible soft-rock number—again probably featuring Wedgwood on lead vocals—it gradually develops into an extended Canterbury-style jazz-prog workout, showcasing superb violin, flute, keyboard, and ensemble playing. The musicianship throughout is consistently impressive. The album closes with the brief, humorous ragtime-style instrumental coda "The Fear and Loathing in Tollington Park". All in all, Cunning Stunts may not be Caravan's definitive statement, nor is it the most representative album of the Canterbury scene— I doubt that a typical Canterbury scene album exists, seeing as the term encompasses a remarkably diverse range of musical approaches. Nevertheless, it remains a highly enjoyable slice of mid-1970s progressive rock: melodic, expertly performed, and certainly considerably better than its middling reputation might suggest.

**** for The Show of Our Lives, Stuck in a Hole, No Backstage Pass, Welcome the Day, Dabsong Conshirto

*** for Lover, The Fear and Loathing in Tollington Park

Buzzcocks "Singles Going Steady" 1977-1979(rec) 1979(comp)*****

Over the last year, I've been lucky enough to catch some punk legends I loved as a teenager—and still do, for that matter. Last summer, it was The Undertones, The Damned, and the Sex Pistols. True, the Pistols without Johnny Rotten are a far cry from the original experience, but the new guy—I believe his name is Frank Carter—was enthusiastic and clearly determined to give the audience a good time. Let's face it: would you rather have a frontman who dives into the crowd and leads the audience in a chorus like a football chant, or a standoffish, sarcastic one? ("Ever get the feeling you've been cheated? Ha ha.") Then, last March, it was the Buzzcocks' turn at Haarlem's Patronaat. I would have loved to see them with original frontman Pete Shelley, but unfortunately we lost him some seven years ago. Rather than hiring a soundalike, guitarist Steve Diggle took over vocal duties as well. His voice is harsher, which—combined with the band's high-energy playing—resulted in a noisier, punkier sound than the Buzzcocks had in their prime. His voice was a much better fit for the band's newer, more classic rock-oriented material. We enjoyed that too, even though most of the audience had come to hear the classic 70's punk-pop singles. When we returned home, I went looking for my copy of Singles Going Steady. In my youth, I had played the vinyl to death; later, I bought the CD edition, which included a handful of bonus tracks, though none I remember with much fondness. Imagine my surprise when I couldn't find either. During the Great Vinyl Purge, plenty of albums that I also owned on CD found their way to second-hand shops, but where had the CD gone? Never mind—I just had to have this album, so I went online and ordered the 45th Anniversary vinyl edition through my local record store. After a month, they admitted defeat and refunded my money. In the end, I visited the shop in person and picked up the standard Domino reissue instead: the same remastering, but on plain black vinyl, with none of the bells and whistles. It still comes with a nice booklet and is mastered at half speed for improved sound quality. Audiophile punk—Who knew it would ever come to this?

The story of the Buzzcocks actually begins with the Sex Pistols. In February 1976, Bolton students Howard Devoto and Pete Shelley read the first description of a Sex Pistols gig in the music press, and felt they had to witness the band first hand. They travelled to London to catch them live, and immediately decided they'd form a band. They managed to persuade the Pistols to come to Manchester for a historic concert. Hardly anyone attended, but many of those who did went on to form bands themselves - and those include Joy Division, New Order, the Smiths, the Fall, Magazine, and, of course, the Buzzcocks. After an independently released EP, Devoto left to form Magazine, prompting Pete Shelley to step into the vocalist role and Steve Diggle to take over on guitar. The band's first single, "Orgasm Addict", was an ode to teenage compulsive masturbation. The influence of the Sex Pistols is evident, both in its sound and its provocative subject matter. The Buzzcocks would soon outgrow their mentors and forge a distinctive style of their own, one that traded sarcasm for romance and combined the melodic instincts of the Beatles with the speed and power of the Ramones. Singles Going Steady was originally conceived as an introduction to the band for the American market and was initially released only in the United States. Side One collects the A-sides of the band's first eight singles in chronological order, while Side Two gathers the corresponding B-sides. The result is one of the strongest singles compilations of the punk era. Every track on Side One is a punk-pop gem. Shelley's lyrics focus on difficult relationships, romantic frustration and unrequited love, while the music's relentless energy is balanced by his high-pitched, tremulous voice, which lends the songs an unexpected vulnerability. Their arguably greatest song, "Ever Fallen in Love (With Someone You Shouldn't've Fallen in Love With)?", perfectly blends sharp guitars, heartache and an unforgettable chorus. As was often the case with Shelley, the lyrics avoid specifying the gender of the object of affection, making the song more easily relateable. Morrissey would later use much the same trick with the Smiths. The emotional confusion and longing at the song's heart may be universal, but the title made even more sense to me when I later learned that Shelley was bisexual. Side One closes with "Harmony in My Head", another highlight. Written and sung by Diggle, it pairs an infectious melody with a slightly heavier, more stomping rhythm and soaring guitars. If Side Two, comprising the band's B-sides, is a little lighter on killer hooks, it makes up for it with a more adventurous sound. From the rude punk blast of "Oh Shit!" to "Something's Gone Wrong Again" and its (Stooges-inspired?) insistent one-note piano riff, to the relatively bright punk-pop of "Lipstick" and "Noise Annoys", the band displays a far greater stylistic range than the exquisitely crafted A-sides might suggest. They become even more experimental on the six-and-a-half-minute kraut-funk marathon "Why Can't I Touch It?", while "Autonomy" points towards a darker post-punk future, sounding closer to Magazine or Gang of Four than to the Ramones. Now, listening to the album again confirms my feeling that I needed to add this LP to my collection again, as soon as possible. Compilations are often afforded less importance than proper studio albums, but this is one of the exceptions. More than a collection of radio-friendly singles, it distils everything that made the Buzzcocks unique: punk's urgency tempered by vulnerability, youthful romantic confusion transformed into perfect pop songs, unforgettable melodies, and even a sense of experimentation for which the band is not always associated with. Seeing the Steve Diggle-led version of the band earlier this year made me realize that, in the space of just a few short years, the Buzzcocks built a remarkable songbook. Diggle is a very different singer from Pete Shelley, yet the songs lose none of their power in his hands. Partly because he clearly believes in them, but mainly because they are such brilliantly crafted pieces of songwriting. More than simply the distillation of the band's essence, Singles Going Steady is one of a dozen or so punk albums that no rock collection should be without.

***** for What Do I Get?, I Don't Mind, Love You More, Ever Fallen In Love?, Harmony In My Head, Noise Annoys, Something's Gone Wrong Again

**** for Orgasm Addict, Promises, Everybody's Happy Nowadays, What Ever Happened To?, Autonomy, Just Lust, Lipstick, Why Can't I Touch It?

*** for Oh Shit!