The Who "Sell Out" 1967 (orig) 1995 (reissue)****

Again, Random Selection has chosen something really special: a Who album with plenty of backstory, compelling me to write a lengthy description — if only I were paid by the word! (Or even paid at all, for that matter).  The Who Sell Out is the band's third album, a gloriously bonkers affair, unprecedented at the time, yet one that retrospectively feels like a necessary step in the evolution from the maximum R&B sound of their debut to the sophisticated theatrical rock of Tommy. When I say unprecedented, of course, I don't mean that The Who were untouched by outside influences — far from it! Despite having perfected their own distinctive hard-rock style early on, they were not above incorporating elements from the competition. The Beatles' Sgt. Pepper's Lonely Hearts Club Band seems to have been a major influence, at least in terms of structure and its whimsical, surrealistic humour. Townshend, despite having a bag of guitar tricks of his own, seems to have picked up a couple more from Jimi Hendrix. And The Beach Boys' Pet Sounds might serve as a counterpart in terms of sonic experimentation and vocal harmonies. For perhaps the first — and, I believe, last — time, The Who rely so heavily on vocal harmonies rather than Daltrey's more forceful lead vocals, and they pull it off remarkably well, although I'll admit I prefer listening to Daltrey's trademark growl. It was the era of psychedelic pop, with its exotic instrumentation and sonic experimentation, and the band embraced it all in this record. But in Britain, at least, it was also the golden age of pirate radio. At the time, the BBC was the country's only major domestic radio broadcaster, and its programming was too conservative for younger listeners. Things were made worse by needle time restrictions, which limited the amount of commercially recorded music the BBC could broadcast. These restrictions stemmed partly from agreements with the Musicians' Union, which wanted to protect employment for its members by ensuring that a substantial proportion of musical programming featured live performances rather than records.This left a gap in the broadcasting market, which was filled by pirate stations broadcasting from ships anchored just offshore from the British Isles. They gave young listeners exactly what they wanted: a steady stream of current pop hits, delivered with irreverence by DJs who spoke their language rather than uptight BBC presenters. One of those stations, Radio London, eventually succumbed to legal pressure and closed down in August 1967. The Who captured the spirit of the pirate-radio era on their next album, presenting it as a continuous broadcast complete with jingles and fake advertisements. In a move that would be unthinkable today, The Who re-created Radio London's jingles, wrote entirely new ones, and even composed full-length songs advertising products such as Coke, Heinz Baked Beans and Rotosound guitar strings. I'm particularly partial to “Odorono”, a fully fledged story song about the plight of a girl whose choice of deodorant proves disastrous for her romantic prospects (“Odorono could have saved her heart”). A shorter narrative, “Medac”, has a happier ending: the pimply youth actually uses the product, with the desired results (“face is like a baby's bottom”). The silly, exuberant “Heinz Baked Beans” sounds like something straight out of Monty Python. The shorter adverts interspersed throughout the album are often hilarious, too, and never less than catchy. The gimmick extends to the iconic album cover: Roger Daltrey luxuriates in a bathtub full of Heinz Baked Beans, while Pete Townshend applies deodorant from a ridiculously oversized container. Meanwhile, Keith Moon and John Entwistle advertise acne cream and Charles Atlas bodybuilding programmes, respectively. It's a brilliant satire of consumerism, perhaps even a comment on the commercialization of pop music — or are we reading too much into it? Maybe it's just harmless fun, as befits a band of young rockers, aged between 21 and 23 at the time. The opener, “Armenia City in the Sky,” is about as “psychedelic” as The Who would get, employing all the fashionable tricks of the era, including backwards guitar loops, horn arrangements, dense organ sounds, and trippy vocals from Roger Daltrey and John “Speedy” Keen. Who is John Keen, you ask? At the time, he was Townshend’s friend and chauffeur. Later, he’d enjoy his own 15 minutes of fame as a member of one-hit wonder Thunderclap Newman. Keen wrote the song and gave it to Townshend, but at the time, it was called “I’m an Ear Sitting in the Sky.” I know it doesn’t make any sense, but it has a certain surrealistic charm, à la Lennon’s “I Am the Walrus”. Apparently, Daltrey didn’t like it and changed the lyrics into something else that still doesn’t make much sense. "Mary Anne with the Shaky Hand" is a great pop single, with Townshend eschewing his usual power chords for a more sophisticated acoustic solo. And all that on a not-so-sophisticated lyric purportedly about a girl that was popular for giving the best handjobs! Cheeky, these boys! Another favorite from this album is “Tattoo,” another short story set to music, this time about two teenage brothers who decide to get tattoos as a way of proving their masculinity. Almost Kinks-like in its blend of humor, nostalgia, and old-school music-hall charm. But the ultimate favorite, of course, could hardly be anything other than “I Can See for Miles,” a quintessential Who single, with its thunderous drumming, layered vocals, menacing groove, and Townshend’s explosive power chords. Truth be told, the rest of the album had never made much of an impression on me. Listening to it again in its entirety, I felt as though I were hearing most of those tracks for the first time. I see now why: I've always been drawn to The Who's more aggressive teen anthems, like “Substitute” and “My Generation,” whereas The Who Sell Out is full of more mature, finely crafted songs, from the nostalgic, melodic pop of “Our Love Was” and “I Can't Reach You” to acoustic Townshend-sung ballad "Sunrise" to the psychedelia of “Relax.” The latter is a rather laid-back tune in the spirit of the Summer of Love, yet it features some wonderfully distorted, Hendrix-like psychedelic guitar. Through it all, Keith Moon is the absolute hero; his drumming is invariably forceful and imaginative, even if it's mixed a little lower than I'd like to keep it from overwhelming the songs. “Silas Stingy” is a whimsical Entwistle composition about a miser straight out of a Dickens novel, a theatrical little number complete with gothic organ, trumpet, and an almost church choir-like chorus. You have to love that about The Who: for all their unmistakable hard-rock muscle, they can also venture into such delightfully eccentric territory, with Entwistle's character-driven songs being some of the best examples. The grand finale, “Rael” is the band's second mini-rock opera, following “A Quick One” on the previous album. A complex piece built around dramatic shifts and a wealth of recurring musical motifs, it feels in retrospect like a dress rehearsal for Tommy. This 1995 CD reissue adds nine bonus tracks, along with a really nice booklet. None is essential, but all are above average. “Melancholia” is full of operatic drama, complete with Spanish-flavored vocals; “Someone’s Coming” is a pop tune spiced up with Mexican-style trumpets; and “In the Hall of the Mountain King” is a surf-prog-classical collision. The Who attack Edvard Grieg’s composition with all their might, as Keith Moon rains fire behind a barrage of horror-movie sound effects, turning this classical piece into something resembling the theme from The Munsters. The suitably aggressive “Jaguar” is an ode to the pride of the British motor industry. Rock music abounds with car songs, but given the album's advertising theme, this one could be considered another commercial — a pretty convincing one, too! After hearing it, I feel like taking a Jaguar for a spin. Then again, I'd probably want one anyway, if only I could afford it. “Girl's Eyes” is a slice of quintessential '67 psychedelic pop, sounding more like The Hollies than The Who, while “Glow Girl” is more characteristic of the band, with passages that once again foreshadow Tommy. The third “Girl” song, “Glittering Girl,” and “Early Morning Cold Taxi” are two more distinctly British pop gems. All four are finely crafted tunes that capture the spirit of the era, but they're a little too soft for my taste. In fact, the Coke jingle tacked onto the end of “Glittering Girl” rocks harder than the song itself! But who can blame The Who for going along with the spirit of the times? Even The Rolling Stones had their soft patch around then. As for the remaining tracks, “Rael 2” is little more than a coda to “Rael 1,” while the alternative version of “Mary Anne with the Shaky Hand” is noteworthy mainly for the guest appearance by American organist Al Kooper. The Who Sell Out is often hailed as a masterpiece of its era, but I wouldn't go quite that far. It's hard to stand out in a year that gave us the Beatles' Sgt. Pepper, Love's Forever Changes, Van Morrison's Astral Weeks, and excellent debuts by the Velvet Underground, Jimi Hendrix, Pink Floyd, and the Doors. Still, The Who Sell Out deserves credit for its bold concept and inventive execution, its collection of well-crafted songs, and its sonic variety. More importantly, it marks a significant step in The Who's evolution towards the ambitious concept albums that would follow.

***** for Mary Anne with the Shaky Hand, I Can See for Miles

**** for Armenia City in the Sky, Odorono, Tattoo, I Can't Reach You, Relax, Silas Stingy, Rael (Parts 1 & 2), Melancholia, Jaguar, Glow Girl, Early Morning Cold Taxi

*** for Heinz Baked Beans, Our Love Was, Medac, Sunrise, Glittering Girl, Someone's Coming, In the Hall of the Mountain King, Girl's Eyes, Mary Anne with the Shaky Hand (Alternative Version)

Woodstock: Back To The Garden 50th Anniversary Collection 1969 (rec) 2019 (release)**** vs. Woodstock: Music from the original soundtrack and more 1970****

I've owned the Woodstock O.S.T. for ages, but it's not an album I return to very often, since these performances are rarely the definitive versions of the songs in question. Still, it's an essential piece of any serious rock collection. Watching the performances on video is, of course, a different matter altogether. A few days ago, I stumbled upon this compilation in the bargain bin at my neighborhood record store and decided to add it to my collection as well. This 3-CD set features selections from the mother of all Woodstock reissues: Woodstock – Back to the Garden: The Definitive 50th Anniversary Archive; a mammoth — nay, brontosaurus-sized — Grammy-winning, 38-CD box set containing the complete recordings of the music performed at the legendary Woodstock festival, August 15–18, 1969, presented in performance order. The set employs state-of-the-art audio restoration techniques to breathe new life into the original recordings, while stripping away later fixes and overdubs intended to correct performance and recording mishaps, often at the expense of authenticity and sonic fidelity. Since few of us can afford the full monty — the median sale price on Discogs tops $2000 — more compact 10-CD and 3-CD/5-LP editions were released alongside the complete set. So, time to unbox my recent purchase, see what the compilers have chosen to include, and find out how it stacks up against my old vinyl Woodstock O.S.T.

First off, The 50th Anniversary Collection contains 42 tracks, 30 of which are songs, the remainder being stage announcements and spoken interludes. Sound issues aside, its main selling point is the inclusion of performances by some—but not all—of the artists who appeared at the festival but declined to be filmed and were consequently left off the original movie soundtrack. Among them are Janis Joplin, The Band, Creedence Clearwater Revival, the Grateful Dead, and Blood, Sweat & Tears. The tracks are arranged in chronological order. The tracks are arranged in chronological order. According to eyewitness accounts, festival opener Richie Havens played for hours because technical problems delayed the arrival of the artists scheduled to follow him. The CD opens with his signature tune, “Handsome Johnny,” which I remember from the movie but which was left off the original OST. It is followed by his set closer “Freedom (Motherless Child)”, which Havens famously improvised on the spot after running out of songs in his repertoire. We continue with acoustic folk from Tim Hardin (“Reason to Believe”, not included in the OST), Arlo -son-of-Woody- Guthrie (“Coming Into Los Angeles”), and a duet by Joan Baez and the virtually unknown Jeffrey Shurtleff (“Drug Store Truck Drivin’ Man”). So far, so good—but what kind of rock festival is this, anyway? It's all acoustic folk!

 

The only "rock" band to perform on the first day was Sweetwater, a group now all but forgotten, whose performance was omitted from both the film and this collection. Day Two proceedings kick off with Country Joe McDonald delivering his anti-war message through the satirical “I-Feel-Like-I’m-Fixin’-To-Die Rag.” This is one of those rare cases in which the Woodstock performance became the definitive version of a song. Country Joe gets the audience involved in his now-legendary call-and-response routine: “Gimme an F! Gimme a U! Gimme a C! Gimme a K! What's that spell?” He gets an estimated 300,000 to 400,000 people shouting “Fuck!” in unison, again and again, before launching into his musical fuck-you to the political and military establishment. Santana go out next, and their apearence here is a historic moment: having released their debut less than 2 weeks prior to the festival, the band was virtually unknown outside of the Bay Area but their explosive mix of Latin Rock sweeps the vast crowd off their feet. Of the two tracks ("Jingo" and "Soul Sacrifice") only the second is included in the OST.  John Sebastian was not scheduled to appear in the festival, but he entertained the spectators during a long break, with a solo acoustic performance. A version of his former band's “Darling Be Home Soon” is included in the 50th Anniversary Collection. Canned Heat follow with an electrifying blues rock set. We get "Going Up the Country" and an elongated version of "On the Road Again", of which only the former apears in the OST. Disc two opens with a marathon 20-minute workout by The Grateful Dead ("Dark Star"), followed by two tracks by Creedence Clearwater Revival. John Fogerty was unsatisfied by his performance and initially denied the inclusion of his songs in the movie and soundtrack. Listening to “Bad Moon Rising” and “I Put a Spell on You”, it's difficult to see what irked him so much. Santana are up next, and their appearance is a historic moment. Having released their debut album less than two weeks before the festival, the band were virtually unknown outside the Bay Area. Woodstock changed all that: their explosive fusion of Latin rhythms and rock makes a powerful impression on the vast crowd. Of the two tracks featured here, “Jingo” and “Soul Sacrifice,” only the latter made it onto the original movie O.S.T. John Sebastian wasn't scheduled to perform at Woodstock, but he stepped in to entertain the crowd during a lengthy break, delivering a solo acoustic set.

   

The 50th Anniversary Collection includes his rendition of “Darling Be Home Soon,” a song originally recorded by his former band, the Lovin' Spoonful. Canned Heat follow with an electrifying set of blues-rock. We get “Going Up the Country” and an extended workout on “On the Road Again,” although only the former was included on the original O.S.T. Disc Two opens with a marathon, 20-minute rendition of “Dark Star” by the Grateful Dead, followed by two tracks from Creedence Clearwater Revival. John Fogerty was so dissatisfied with the band's performance that he initially refused to allow their songs to be included in the film and soundtrack. Listening to “Bad Moon Rising” and “I Put a Spell on You,” it's hard to see what bothered him so much. Janis Joplin's performance was likewise considered subpar by her own standards at the time. The story goes that she was too drunk and exhausted after a ten-hour wait to deliver her best, finally taking the stage after 2 a.m. But listening to this set, I'd say that's a misconception: her singing is soulful and powerful, and the Kozmic Blues Band provides equally impressive backing. I guess even on her off night, Joplin was head and shoulders above 99.9% of the competition. Speaking of soul, here come Sly And The Family Stone delivering a high energy soul rock meddley “Dance to the Music / Music Lover / I Want to Take You Higher” driving the crowd into a frenzy, singing and dancing along with the band. Many consider their set to be the absolute highlight of the entire festival. The Who hated just about everything about the Woodstock experience, but they were at the peak of their powers at the time, and it shows. As they played the “See Me, Feel Me” section of "We're Not Gonna Take It" from Tommy, the sun rose over the festival grounds, creating a magical moment captured on film and preserved on both albums presented here. They brought their set to a suitably destructive close by smashing their instruments during “My Generation,” a performance included in the 50th Anniversary Collection. Jefferson Airplane were the last band scheduled to play on Saturday night, but by the time they took the stage, it was already Sunday morning. Their set was ragged, with lengthy psychedelic jams, and Grace Slick was not in the best of vocal form, although her stage presence remained as electrifying as ever. Nevertheless, the two tracks featured here, “Somebody to Love” and “Volunteers,” are both concise and energetic. Then-unknown Joe Cocker kicks off the festival's third day proper. His rendition of the Beatles' “With a Little Help from My Friends” is one of the film's highlights and an indispensable inclusion on both albums under review. Ten Years After's Alvin Lee delivers a masterclass in speed and dexterity with his guitar work on “I'm Going Home.” Both tracks appear on both albums, but the next two are exclusive to the 50th Anniversary Collection: The Band's “The Weight” and Blood, Sweat & Tears' fine jazz-soul take on “Spinning Wheel”. Crosby, Stills & Nash take the stage in the early hours of Monday morning. It's only their second live performance together, and Stephen Stills admits they're “scared shitless.” Their harmonies shine on the acoustic “Suite: Judy Blue Eyes,” but the electric portion of the set is even more impressive, with Neil Young joining them for “Sea of Madness” and “Wooden Ships”. The Butterfield Blues Band's “Love March” is an extended, horn-driven jam, while the album closes with Sha Na Na's rockabilly revival of “At the Hop.” And yes, you read that right: no Jimi Hendrix, no “The Star-Spangled Banner.” The most iconic moment of the Woodstock film is inexplicably missing.

***** for The "Fish" Cheer / I-Feel-Like-I'm-Fixin'-To-Die Rag (Country Joe McDonald), Jingo (Santana)

**** for Handsome Johnny (Richie Havens), Coming Into Los Angeles (Arlo Guthrie), Soul Sacrifice (Santana), Going Up The Country (Canned Heat), Dark Star (The Grateful Dead), Bad Moon Rising (Creedence Clearwater Revival), I Put A Spell On You (Creedence Clearwater Revival), Kozmic Blues (Janis Joplin), Piece Of My Heart (Janis Joplin), Dance To The Music/ I Want To Take You Higher (Sly & The Family Stone), We're Not Gonna Take It (The Who), Somebody To Love (Jefferson Airplane), With A Little Help From My Friends (Joe Cocker), I'm Going Home (Ten Years After), Spinning Wheel (Blood, Sweat And Tears), Sea Of Madness (Crosby, Stills, Nash & Young), Wooden Ships (Crosby, Stills, Nash & Young)

*** for Freedom (Richie Havens), Reason To Believe (Tim Hardin), Drug Store Truck Drivin' Man (Joan Baez With Jeffrey Shurtleff), Darling Be Home Soon (John Sebastian), On The Road Again (Canned Heat), My Generation (The Who), Volunteers (Jefferson Airplane), The Weight (The Band), Suite: Judy Blue Eyes (Crosby, Stills, Nash & Young), Love March (The Paul Butterfield Blues Band), At The Hop (Sha Na Na)

As mentioned earlier, the original Woodstock O.S.T. has reportedly undergone a number of alterations, most notably the replacement of “Sea of Madness” with an entirely different live performance. The Sly and the Family Stone medley is considerably shortened, while other tracks, including those by Arlo Guthrie and Joe Cocker, feature overdubs. None of this is necessarily a bad thing; soundtrack albums often differ from what we hear in the film itself. The original O.S.T. remains a terrific listen, even if it doesn't always faithfully document how the performances actually sounded at Woodstock. It is also secquenced for better flow rather than chronologically. About three quarters of the album is repeated from the 50th Anniversary Collection. There are, nevertheless, some tracks not included on it. These include two songs by John Sebastian "I Had a Dream" and "Rainbows All Over Your Blues". From Country Joe & The Fish we get the funky "Rock And Soul Music" (the band played on the 3rd day, while their singer played a solo set on the 2nd) while Joan Baez's protest folk "Joe Hill" is another showcase for the clear crystal of her voice. Which brings us to the festival's stunning finale: Jimi Hendrix was scheduled to close the proceedings on Sunday night, but delays pushed his performance into Monday morning. By the time he finally took the stage, around 9 a.m. on August 18, much of the crowd had already left. Backed by his newly formed band, Gypsy Sun & Rainbows, Hendrix delivered a two-hour set that culminated in his now-iconic rendition of “The Star-Spangled Banner” — a cultural milestone that reclaimed the national anthem for the freaks and hippies. The collection itself closes with a noisy, distorted rendition of “Purple Haze”. Both albums include spoken-word excerpts that are essential to conveying the atmosphere of the festival. In this respect, I'd give the edge to the movie OST, despite its numerous and significant omissions. In purely musical terms, however, Back to the Garden: 50th Anniversary Collection had been coming out on top—until its baffling omission of Jimi Hendrix's set. Leaving out the festival's most iconic performance is a serious misstep. I can't, in all honesty, recommend it. Get the movie OST, it is the classic Woodstock experience. Or, if you can afford it, the more expansive 10-CD edition.

 

 ***** for The 'Fish' Cheer (Country Joe McDonald), Star Spangled Banner (Jimi Hendrix)

**** for I Had A Dream (John B. Sebastian), Freedom (Richie Havens), Rock & Soul Music (Country Joe & The Fish), Coming Into Los Angeles (Arlo Guthrie), Sea Of Madness (Crosby, Stills, Nash & Young), Wooden Ships (Crosby, Stills, Nash & Young), We're Not Gonna Take It (The Who), With A Little Help From My Friends (Joe Cocker), Soul Sacrifice (Santana), I'm Going Home (Ten Years After, Medley: Dance To The Music/Music Lover/I Want To Take You Higher (Sly & The Family Stone), Purple Haze & Instrumental Solo (Jimi Hendrix)

*** for Going Up The Country (Canned Heat), At The Hop (Sha-Na-Na), Drug Store Truck Drivin' Man (Joan Baez), Joe Hill (Joan Baez), Suite: Judy Blue Eyes (Crosby, Stills & Nash), Volunteers (Jefferson Airplane), Rainbows All Over Your Blues (John B Sebastian), Love March (The Butterfield Blues Band)

Hank Williams III "Ghost to a Ghost****/Gutter Town**" 2011

Would you buy a CD just because the singer is the grandson of a legend? Do you think that's what I did? Well, yes, I might not have picked up this album if not for Hank Williams' name on the cover. Because apart from the music, there's also a nice story tied to this album. You see, his dad, Hank Jr., had started out by copying Hank Sr.'s style as a surefire road to success, only developing his own personal style later in his career. But Hank 3 was the complete opposite: he started by playing in punk and metal bands, collaborating with members of bands like Pantera and Eyehategod. Then, when he was still in his early 20s, he was informed that some time ago he had fathered a son, and was now due to pay child support. Playing live drums in underground punk and metal bands wasn't going to cut it, so he decided to capitalize on his name and knock on the door of the country music industry. He wouldn't even have to sing: put a cowboy hat on his head, and he's the spitting image of his legendary grandfather—enough to give any true country music fan the chills. Nashville's Curb Records signed him on the spot. But Hank 3 didn't sell out; instead, he came up with his own idiosyncratic brand of outlaw country with a punk-rock attitude. But the 15 years he spent recording for Curb Records meant a constant struggle between the artist trying to defend his vision and the label trying to rein in his anti-conformist attitude. When he finally freed himself from his contract, his creativity was unleashed: he put out four albums simultaneously, each in a different style. Two of them were bundled together as Ghost to a Ghost/Gutter Town. Ghost To A Ghost is the more “mainstream” of the two, a rock-infused outlaw country affair built around standard country instrumentation, with banjo and fiddle up front. Its lyrics revel in hard livin’ — drinkin’ whiskey, shooting guns, drivin’ trucks, chasing casual sex, the whole mythology. At times, he even sounds like ol’ Hank Sr., though I can’t picture Senior singing “I’m lookin’ all around / tryin’ to find me a girl / Who wants-to-fuck!” (“Don’t Ya Wanna”). Then again, I can’t imagine any country fan remaining indifferent to this infectious tune, with its party fiddle, accordion, and Southern rock guitar solos. "Gutter Town" and “Outlaw Convention” are similarly upbeat classic country, while “Day By Day” gallops along with a Southern rock feel. “Ridin’ The Wave,” meanwhile, hurtles toward metal and punk territory, albeit with banjo and other traditional country instruments in tow. “Ray Lawrence Jr.,” featuring the eponymous singer, strips things back to rough-hewn acoustic country, before two haunted ballads, “The Devils Movin’ In” and “Time To Die,” the latter featuring mournful violin. Perhaps sensing that things are getting too serious, he follows up with “Troopers Hollar,” a raucous number featuring his dog Trooper hollering on lead vocals. “Cunt Of A Bitch” is a questionable affair mixing punk, country, and hip-hop, but the album saves its best for last. The title track, “Ghost To A Ghost,” pairs cinematic strings with a tango-like rhythm and Tom Waits’ unmistakable growl. Even Trooper’s barks blend into the arrangement, helping shape a highly idiosyncratic, dramatic near-masterpiece. The second CD, Gutter Town, is by far the more experimental of the two, with several tracks peppered with sound effects, from croaking frogs and howlin’ dogs to out-of-tune organs and other assorted noises, like the soundtrack of a horror movie set in the Deep South. There are rewards to be found amid the chaos, though: a handful of boisterous zydeco numbers give Hank 3 a chance to try his hand at Cajun French (“Gutter Stomp,” “Musha’s,” “Dyin’ Day”), while a trio of raw, underproduced country tunes (“I Promised,” “Move Them Songs,” “I’ll Be Gone”) offer a more traditional counterpoint. There’s also a bizarre sea shanty featuring Les Claypool of Primus ("With The Ship"). Once again, the highlight is a Tom Waits collaboration: “Fadin’ Moon” is a Louisiana-inspired number whose earthy instrumentation and theatrical fiddle lend it a wonderfully offbeat character. All in all, Ghost To A Ghost/Gutter Town finds Hank 3 at his most uninhibited. The first disc delivers his trademark Hellbilly sound in all its glory, pitting honky-tonk and outlaw country against metal-inflected aggression. It's hardly commercial fare, but fans of outlaw country and alternative rock should find plenty to enjoy, even if traditionalists who worship at the altar of his legendary grandfather are likely to recoil. Gutter Town, meanwhile, ventures into territory no country label would have allowed him to explore, wandering through the shadowy, swamp-soaked corners of his musical imagination. It would probably have been too weird to enjoy on its own, but paired with the more accessible first disc, it completes a gloriously unruly portrait of an artist who was never going to fit anyone else's idea of country music.

 **** for Gutter Town, Day By Day, Ridin' The Wave, Don't Ya Wanna, Time To Die, The Devils Movin' In, Outlaw Convention, Ghost To A Ghost

*** for Ray Lawrence Jr. Cunt Of A Bitch, Gutter Stomp, Musha's, Dyin Day, I'll Be Gone, Fadin' Moon

** for Troopers Hollar, The Dirt Road, I Promised, Chord Of The Organ, Move Them Songs, The Low Line, Thunderpain, I'll Save My Tears, With The Ship

* for Goin To Gutter Town, The Dream Of Before, Troopers Chaos, Chaos Queen, The Round, It's Goin Down

The Blues Project featuring Al Kooper And Steve Katz "Pop History Vol.20" 1966-1972 (rec) 1972 (comp)****

The Blues Project’s Live At The Cafe Au Go Go was among my first 50 or 60 LPs, bought in the late ’80s. At the time, I had a girlfriend whose brother had a nice collection of ’60s psychedelia, and she would smuggle his records over for me to listen to and make mixtapes from. I liked this one so much that, rather than just tape it, I went out and bought it. It stayed in my collection for many years, until it fell victim to the Great Vinyl Purge. I bought myself a CD compilation called Anthology which contained (almost) the whole album, so the LP went the way of the other duplicates: as per my usual method, I sold the vinyl and kept the CD. Smart move, right? (Not). Years later, I came across this double LP for a nice price. It had some of my favorites, but—crucially—it also contained a number of tracks by later incarnations of the group that weren’t included on Anthology. Just the opportunity I needed to rectify my mistake and add some Blues Project to my vinyl collection.

As you can see from this sample, the Pop History series, released in Germany in the early ’70s, isn’t exactly the most aesthetically pleasing thing around, but it remains a good way to get your hands on some really good—and sometimes rare—music, in the form of budget-priced double-LP compilations housed in gatefold sleeves. But, like they say, it’s what’s in the grooves that matters, so let’s take a look at what’s here. First off, we have three tracks from my old favorite, Live At The Cafe Au Go Go (1966). These include the fiery garage rock of “I Want To Be Your Driver,” the marathon blues workout of “Two Trains Running,” and the acoustic folk ballad “Catch The Wind”—one example of each of the styles represented on the album, although I would have liked to hear more of the rockers from that LP. From the critically acclaimed Projections (1966), we get one of the band’s true signature tracks, “I Can’t Keep From Cryin’ Sometimes.” Written by Al Kooper, this classic blends moody Greenwich Village folk-blues with an intense, escalating psychedelic midsection. “Wake Me, Shake Me” is a ferocious, gospel-infused blues-rocker, with a rousing chorus and uplifting Hammond organ. On the instrumental “The Flute Thing,” it’s Andy Kulberg’s jazz flute that steals the show—this marks the first, but certainly not the last, time the band flirted with prog. “Steve’s Song,” written and sung by Steve Katz, is a baroque flavored piece, featuring gentle acoustic guitar and flute. “Violets of Dawn” is a folk-rock cover of a song by Greenwich Village mainstay Eric Andersen. In 1967, after playing at the historic Monterey Pop Festival, the original iteration of the band split, as Al Kooper and Steve Katz left to form Blood, Sweat & Tears. Live at Town Hall (1967) was cobbled together from live tapes and studio outtakes. Neither of the two tracks included here was recorded live: “Fly Away” is a folk-rock number, while “No Time Like the Right Time” is a psych-pop tune. Both songs are mid-tempo, show commercial potential and pop appeal, and feature strong vocal harmonies. Two more songs here come from the same era, and were released as standalone singles: "When There's Smoke, There's Fire" is punchy pop-rock track and "Mojo Hannah" a gritty, funk-laden rhythm and blues track. By the time of Planned Obsolescence (1968) the remaining members had essentially morphed into the band Seatrain, but the album was released under The Blues Project name to fulfill their recording contract. “Dakota Recollection” is a 12-minute excursion into prog-jam territory, featuring some great flute and violin playing. “Niartaes Hornpipe” is a quirky instrumental folk piece, while “Calypso” is a nostalgic ballad with baroque influences. Only “Endless Sleep,” a moody cover of Jody Reynolds’ rockabilly classic, partly justifies the “Blues” prefix, as by this point the band had moved deep into prog-folk territory. A reformed version of the band, featuring original guitarist Danny Kalb and drummer Roy Blumenfeld, released a couple of albums in the early ’70s. “If You Got to Make a Fool of Someone,” from Lazarus (1971), is a great prog-soul (is that a legitimate subgenre?) gem, while “Cheryl’s Going Home,” from the eponymous Blues Project (1972), is a garage-folk piece that wouldn’t sound out of place on Projections. All in all, this may be a collection of great—and some merely good—songs, but it’s far from an ideal introduction to the band. The two overlong pieces weigh it down, while the track order makes little sense: it’s neither chronological nor arranged to group similar songs together and create a better flow. Or is that deliberate, to show off the band’s versatility? In any case, despite my objections to the track selection and flow, I feel obliged to award Pop History Vol. 20 four stars, solely on the strength of the quality of the individual tracks.

***** for I Want To Be Your Driver, I Can't Keep From Cryin' Sometimes

**** for Steve's Song, Wake Me Shake Me, Violets Of Dawn, The Flute Thing, Fly Away, No Time Like The Right Time, Niartaes Hornpipe, Calypso, If You Got To Make A Fool Of Someone, Cheryl's Going Home, Mojo Hannah

*** for Two Trains Running, Catch The Wind, Dakota Recollection, Endless Sleep, When There's Smoke There's Fire

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