The Beach Boys: Beach Boys' Party! Uncovered And Unplugged (Capitol Records/2015)

In the Autumn of 1965, Brian Wilson was composing and preparing The Beach Boys' legendary Pet Sounds album. 1965 also saw the release of two top-five charting albums (The Beach Boys Today! and Summer Days (And Summer Nights!!)) which both show Wilson's maturing as a songwriter and a producer. By the middle of the Summer Capitol had been hounding the band for a new album to release for the Holiday shopping season. However, the band didn't have anything prepared. So, Brian Wilson came up with the idea of recording an album where the band sounds like they're just hanging out at a party with their friends and just performing acoustic cover versions of some of their favorite songs. The only instruments heard are acoustic guitar, bass, tambourine and bongos.

The album contained covers by Bob Dylan, The Everly Brothers, Phil Spector and three songs by The Beatles. Plus the novelty songs "Alley Oop", "Hully Gully" & "Papa Oom Mow Mow". The band's cover of "Barbara Ann" from this album was rush released as a single by Capitol when the bands' non-album single "The Little Girl I Once Knew" stalled at #20 on Billboards single charts. Apparently, "The Little Girl I Once Knew" was taking too long a time, slowly building momentum, in becoming a hit for the label's liking.  "Barbara Ann" reached #2 on the charts. Dean Torrence of Jan & Dean sings co-lead on the track with Brian Wilson.

To add a party atmosphere to the album, the bands recorded an ambient track of just chatter, clinking of glasses and general party noises which pervades the entire album. Capitol record has just released Uncovered and Unplugged, which is the album without the backround ambient track and just the band playing and singing in the studio. The vinyl version is a beautiful reproduction of the album with labels faithful to the original mid-60's Capitol label. And the CD contains two discs of the album itself and virtually all of the outtakes as well. Including versions of "(I Can't Get No) Satisfaction", "Ticket To Ride" and "California Girls".

The album itself is unwittingly a virtual snapshot of the pre-Pet Sounds Beach Boys. How they were and never would be again.

Highly recommended for the Beach Boys connoisseur and for maybe a listen for the Beach Boys novice as well.

Here's The Video Review:



Special Thanks to Dave Rerecich of T.V. Games.

Zorro Zero & The Warlocks: A Very Special Krizmas Gift For You (Fanatical Army Records/2014)

Now this Holiday offering comes from an eccentric New York art-collective known as Zorro Zero & The Warlocks. They started out in the late 90's in a more punky vein (i.e. thirty-second guitar-based outbursts about Pathmark, V-8 and Weebles). Zorro Zero is the cult leader/lead singer. And the Warlocks are Denver Gillette and Groove Champion, who both handle the production/music end of things.

This release is a would-be traditional Christmas album, except it's creepy, tripped-out and the vocals border on satire. "Sleigh Ride" features left-field outbursts from "cult leader" Zorro Zero like "let's bang a pigeon", "All I Want For Christmas Is You", sung but Denver Gillette, sounds like Axl Rose in a karaoke bar, and "Santa Claus Is Coming To Town" is sung a tad too excitedly by Groove Champion.  There are deep shades of homo-eroticism to spare in "Christmas Wrapping" (the Waitresses cover) and "Baby It's Cold Outside". There are three tracks of banter from the band members to coax the listener even further into Holiday cheer. Kudos for the sped-up bridge in "Marshmallow World" and the crazy Nintendo-esque music in "Let It Snow".

If you can find this unusual Christmas album, by all means, pick it up.

Erasure: She Will Not Be Home For Christmas (Sire Records/1988)

Erasure's holiday offering comes from their Crackers International EP. It's basically a song that takes at the holidays as opposed to being a Christmas song, per se. It's decent little song. Musically it sounds like quintessential Erasure; bright and danceable synth-pop.  The B-Side is a version of "God Rest Ye Merry Gentleman". I'd say, avoid this and gravitate towards lowest-common denominator Erasure; the hit singles.

Payola$: Christmas Is Coming (A&M/1983)

From their third album, Hammer On A Drum, Vacouver's Payola$ released this Holiday gem in 1983. It's a mid-tempo love song filled with longing and loss, reverb on the snare and chorused guitars. It was the 80's thank you very much. It's a fine song, Holiday-themed or not. Nice, logical chord progressions in the verses. It was released on nice clear green vinyl in the US. Not too much to say other than it's not regarded as a holiday classic and it's a damned shame that it isn't.

Recommended holiday listening.

The Free Design: Resigned The Remix EP Volume 2 (Light In The Attic/2004)

The Free Design were a soft-psyche, baroque pop band from Delevan, New York (which is upstate in Cattaraugus County). They were comprised of the siblings of the Dedrick family. The band released seven albums between the years of 1967 and 1972. They only managed one charting single “Kites Are Fun” which reached 114 on Billboard's charts and 33 on the Adult Contemporary Charts. However by the mid 1990's with American baroque pop of the 60's being reevaluated, they slowly acquired a cult following of people like Belle & Sebastian, Beck and The Polyphonic Spree.

By the mid 2000's all of their albums had been reissued. Along with an album of new original material - Cosmic Peekaboo – as well three EP's of remixed and “resigned”. These redesigned songs are essentially comprise a remixed tribute album of sorts with contributions from Danger Mouse, The High Llamas, Super Furry Animals, Stereolab and Belle & Sebastian. The EP I have is volume 2 (out of the the three volumes). Of the most effective and sympathetic tracks are Stereolab & The High Llamas' remix of “The Proper Ornaments” and Caribou's interpretation of “Dorian Benediction”.

All in an interesting, if diverting tribute album. If you've not heard The Free Design, by all means, check them out. The Beach Boys are the only peers to The Free Design's jazzy, complex vocal harmonies. 

Here is the video review:

Very special thanks to: Cassandra Fowler.

Stone Temple Pilots: Purple (Atlantic/1994)

The late Scott Weiland's band Stone Temple Pilots never really got much respect. After being called out for jumping on the Grunge bandwagon with their debut Core, the band changed their sound and again got little respect for that as well. Their second album Purple, is the sound of the band coming into it's own and it is this vaguely melodic, vaguely psychedelic sound it would be known from hereafter. The album peaked at number one on the Billboard Hot 100 and was something close to being the album of the Summer of 1994.

Purple in short, is a frustrating listen; the non-single album tracks could all be considered something along the lines of filer, which makes for a wildly-uneven listening experience. The singles "Vasoline", "Interstate Love Song", "Big Empty" and "Pretty Penny" give the album it's character and some much needed personality. "Interstate Love Song" is one of the band's best songs, yet "Vasoline" manages to top it. It's got cyclical riff and a simple repetitive groove. I'd like to recommend the album but I'd really just steer people towards the bands' hit singles. Thank You is STP's greatest hits album and even that omits a bunch of the bands hits. The band's self-titled 2010 comeback album may be their cost consistent effort with Weiland in the band.

Here's the video review:

Big Star: Jesus Christ 10" EP (Omnivore Records/2015)

This was a pleasant surprise. I didn't even know about this until I wandered in to a local record store and saw this item staring right back at me in the Record Store Day/Black Friday section of 10" vinyl by the counter. Apparently, this is a taster of the forthcoming Complete Third box set coming out in 2016. This is the third Big Star release on Omnivore Records in the last few years (the others being the Nothing Can Hurt Me soundtrack and Live In Memphis) and by all accounts they've done right by Big Star fans.

What's on it? It 's the album version of the now-semi-holiday classic "Jesus Christ", the demo version of "Jesus Christ" (which made it's debut on the Keep An Eye On The Sky 2009 Rhino box set). Two untitled instrumentals by Chris Bell (that were in the Nothing Can Hurt Me documentary). A demo of "Big Black Car". "Thank You Friends (TV Mix)". And "Another Time, Another Place & You"

"Another Time, Another Place & You"  is something of a holy grail amongst Big Star fans as there is still some debate as to who plays on it, when it was recorded and what it's intended purpose was. Even the songwriting credits are somewhat mysterious. It was co-written with sometime drummer Richard Rosebrough and either Chris Bell or Alex Chilton. The credits in Nothing Can Hurt Me attribute it to Bell/Rosebrough while this record credits Chilton/Rosebrough.

These songs were the some of the last that band recorded (either demos or studio cuts in 1974 for the legendary Third album, and/or the Chris Bell tracks). It's a beautiful looking blue 10" EP and it sounds beautiful as well. It comes with an mp3 download card. The cover art comes from a 1973 Ardent Records promotional Big Star poster. It's so nice that these rare tracks are finally becoming commonplace for all to obtain and are out on various releases for Big Star obsessives like myself to pick up.

If you're a Big Star fan and a vinyl connoisseur, this item is just waiting to be purchased by you.

Here's the video review:

Shoes: Black Vinyl Shoes (Sire U.K./1979)

Zion, Illinois' Shoes were influenced by the usual suspects that influenced Power Pop bands of the late 1970's; namely The Beatles, Nazz, The Who, The Raspberries, Big Star and Badfinger. Although they'd recorded three privately released albums in significantly small quantities the band commercially released their fourth album Black Vinyl Shoes. Released on their own Black Vinyl label and on US indie PVC shortly thereafter, the album was recorded in guitarist Jeff Murphy's living room on a TEAC 3340S reel to reel tape recorder.

The warm sound, low-key yet mellifluous multi-tracked harmony vocals and overall impact of the material made the entire recording industry sit up and acknowledge the fact that an album this professional sounding could be recorded at one's home and completely take place without the financial help of a major label. It was released on Sire Records in the UK in 1979 and in no time at all the band signed with Elektra in the US and went on to record albums that sounded not too different than Black Vinyl Shoes.

Musically the band has the crunch of the Dwight Twilley Band, the vocal harmonies of The Raspberries, the melodic punch of fellow Illinois bands Pezband and Off Broadway. Shoes' vocal harmonies and hooks seem to just roll off very naturally. Lyrically, Black Vinyl Shoes seems to be preoccupied with the politics and dynamics of romantic relationships. The songs can be pretty dark yet they never come off as such on the surface. There's a certain saminess to the material on this album (as there are on most Shoes albums). However, generally speaking, if you like Shoes sound, approach and material, you won't have a problem with this.

Here's the video review:

The Fleshtones: Speed Connection: Live In Paris 85 & Speed Connection II: The Final Chapter (IRS Records/1985)

New York's The Fleshtones are one of the longest-running CBGB's era bands. They've continued for the last 39 years (since 1976) without a single year of inactivity. Their blend of freakbeat soulful garage rock has always resonated with live audiences throughout the world. In 1980 they signed with Miles Copeland's legendary I.R.S. Records. They released two magnificent studio albums (Roman Gods and Hexbreaker), two EP's (Up Front and American Beat '84), about a dozen American and European singles and two live albums; Speed Connection: Live In Paris 85 and Speed Connection II: The Final Chapter(Live In Paris 85).

The album was recorded live at The Gibus Club, Paris, France on March 7, 1985. The band were booked to play nine shows at the club over a two-week span, in two segments (March 5–9 and March 13–16). The band had recorded the first show (March 5, 1985) and - at the urging of the French division of I.R.S. Records' vice-president (and original Police guitarist) Henri Padovani - subsequently rush-released it to sell at the venue during their two-week stay. The record was titled Speed Connection: Live In Paris 85 (ILP 26412) and was only released in France. The cover art was by famous French illustrator Serge Clerc. However the band was unhappy with the record as lead singer Peter Zaremba had a severe case of laryngitis the night that show was recorded.

The band owed the American I.R.S. Records one more record to fulfill their contractual obligations. In September 1985 the label released Speed Connection II - The Final Chapter (Live In Paris 85) - a recording of their third night (3/7/85) at the Gibus Club. "Return to the Haunted House" was actually a studio recording with canned applause taken from the live album Rock Will Never Die by Michael Schenker Group. The same recording also later appeared (minus the canned applause) on the Angry Years 84-86 compilation album on Impossible Records in 1993. The cover artwork was by organist and lead singer Peter Zaremba. Both albums were produced by ex-Strangelove Richarard Gottehrer of “I Want Candy Fame, who had also produced albums by The Go-Go's & Blondie.

The album contained many cover versions of songs by other artists. "Trouble" and "Haunted House" by The Kingsmen, "Wind Out" by R.E.M., "La La La La Reprise" by The Blendells, "When the Night Falls" by The Eyes, "Twelve Months Later" by The Sheep (who were actually The Strangeloves under a pseudonym) and "Hide & Seek" by Bunker Hill. 

In critical terms, Speed Connection really only hints at what a Fleshtones show was like in the 1980's (as sadly the horn section hasn't really been a fixture of live shows since the mid 90's). Peter Zaremba's laryngitis is only partially to blame for the lack of success of the record. A comparatively limp recording is basically what mars the proceedings. Speed Connection II is far and away the superior of the two recordings. Although both albums have nearly identical tracklistings, everything sounds slightly better on SC:II and Zaremba's voice is in fine, wild form. The band is tight as it generally always was at the time (and still is for that matter). R.E.M.'s Peter Buck makes a special guest appearance on two songs on guitar and the horn section sounds nice and appropriately sloppy. The album received uniformly excellent reviews at the time of its' September 1985 release but the label did literally nothing to promote it.

I'm wondering if this is the best starting place for a Fleshtones novice to start looking into what the band sounded like in the 1980's. This is possibly the best representation of the band's live prowess. As it has a loose, sloppy and sweaty soundtrack to a mid 80's party appeal.

Here's The Video Review:

Special Thanks: Joe Bonomo & No Such Thing As Was, Maxwell Max, Robert Barry Francos and Zorro Zero & The Warlocks.

Blur: Think Tank (Parlophone/2003)

Blur's 2003 album Think Tank was both a personal landmark for it's experimentation as it was a sad, disappointing finale to the band's first part of it's career. It made over a dozen best-album of the year lists yet, it's a far cry from what makes people connect with Blur. Their blend of diverse guitar-based Britpop is as inventive-sounding now as it was popular in the UK then. Guitarist Graham Coxon was fired during the recording of the album and only appears on the sad, but beautiful “Battery In Your Leg”. The album does suffer as a result of his absence.

The singles were “Out Of Time”,“Crazy Beat” and “Good Song”. “Out Of Time” is one of the band's best ballads and it remains the lone long from the album that the band still regularly performs live. “Crazy Beat” is a Fatboy Slim-produced song and sounds like a stab at writing something along the lines of “Song 2”, but doesn’t really register. “Good Song” is in fact a good song. It has a sweet, poignant melody and is a stand-out on the album. A good amount of the album are murky, low-key grooves that work some of the time (namely on “Ambulance” and “On The Way To The Club”. There are some throwaways (“We've Got A File On You” and “Jets”) and some worthwhile moments (“Sweet Song” and “Battery In Your Leg”).

Think Tank is not a great starting place to discover who Blur is (that would be Best Of Blur, The Great Escape and Modern Life Is Rubbish). And lead singer Damon Albarn and bassist Alex James have since someone disowned the album. However it is an interesting experimental album that does work at least some of the time.

Here's the video review:

Special Thanks: Rebecca Parker.

The Damned: The Black Album (IRS Records/1980)

The Black Album is fourth album by The Damned. Released by Chiswick Records in October of 1980 (just in time for Halloween), it was a double album set that obviously references The Beatles' White Album. However when it was released by their US label I.R.S. Records it was trimmed down to just a single disc. Which is fine because what was omitted (a side of live versions of past hits) and a seventeen-minute composition (“Curtain Call”) are both on the skippable side. 

The album contains a few Damned classics “Wait For The Blackout”, “Hit Or Miss”, “Dr. Jeckle & Mr Hyde” and the stand-out “Drinking About My Baby”.Musically there's a subtle change in direction from the full-throttle punk rock of their first few albums. There are elements of jangle pop, power pop and goth rock. Some of the songs aren't that successful, while others certainly are. It's definitely one of the Damned's last great albums and worthy of at least a listen or three.

Here is the video review:

Social Distortion: Demo '81 7" EP (Bootleg/2011)

Social Distortion is one of few bands from the late 70's/early 80's Los Angeles punk scene that is still actively releasing new music and touring. Their debut album Mommy's Little Monster and their early compilation album Mainliner (Wreckage From The Past) are two of my favorite albums punk rock albums to come out of Los Angeles. Both of those are jam-packed with riff-driven emotionally-alive material. Lead singer and guitarist Mike Ness's sneering vocals have always resonated with me.

So it should come as no surprise that I really like this bootleg 7" EP artlessly titled Demo '81. It features material to later appear on early compilation albums Hell Comes To Your House  and Someone Got Their Head Kicked In. In fact, it's basically the recordings that later appeared legitimately on the Mainliner (Wreckage From The Past) compilation in 33 1/3 RPM on a seven-inch single. The sound quality is fairly good and I'd highly recommended fans of this band's early material so seek it out. My personal favorites are "Moral Threat", "All The Answers" and their blazing cover of The Rolling Stones' "Under My Thumb"(which later appeared as the B-Side to their "1945" single).

Here's The Video Review:

The Time: Ice Cream Castle (Warner Brothers/1984)

Minneapolis' The Time are known to the layman for their appearances in the films Purple Rain and Jay & Silent Bob Strike Back. They are also known for their two top forty hits “Jungle Love” and “The Bird”. They are also a tight r&b combo that have released four albums are still touring to this day. Ice Cream Castle is their third album which was released in tandem with Prince & The Revolution's Purple Rain and the Apollonia 6 self-titled album in the Summer of 1984.

While an enjoyable album, the album only has six songs. Three of which are basically, for all intents and purposes, filler. The three non-filler songs (“Jungle Love”, “The Bird” and “Ice Cream Castles”) were all released as singles and are all excellent 80's R&B dance tracks. All tracks except for “The Bird” were basically performed by Prince, all by his lonesome. Multi-tracking all the instruments, himself, with a few select contributions from members of The Time. All of the other Time albums (The Time, What Time Is It? And Pandemonium) are far better albums, but this one has the well-known hits.

Here's the video review:

Roxy Music: Manifesto (Atco/Polydor/1979)

On Roxy Music's sixth album Manifesto – their first album since 1976's live Viva album and their first studio album since 1975's Siren, the band has refined their sound. The rough, more-experimental edges have been smoothed-over and Bryan Ferry's lyrical concerns are now a smidge more direct. They actually sounds more like the bands that would later emulate them (Duran Duran, Japan, the entire new romantic movement) on this album. The songwriting is slightly more inconsistent than on previous releases, however there are also more subtleties as well to be enjoyed. Manifesto boasts three excellent singles; the lamenting “Dance Away”, the resigned “Angel Eyes” and arty new-wavey “Trash”.

The album tracks “My Little Girl”, “Still Falls The Rain”, “Spin Me Round” and the title track are all fine additions to the Roxy Music catalog. Guitarist Phil Manzanera and saxophonist Andy MacKay are given a few moments here and there, but this is definitely the first Roxy Music album where Bryan Ferry leads the band as his own. By no means a bad album, Roxy Music made far better albums than this. Half of this album is great, half of it is not. Not a great starting place (for that I'd recommend Country Life, Avalon and For Your Pleasure) but not bad once you've heard their best work either.

Here's the video review:

Van Halen: Diver Down (Warner Brothers/1982)

After the game-changing monster that was their self-titled debut album, Van Halen took a few years to successfully become a household name with 1984. In between they released their most-consistent and most-loved albums. 1982's Diver Down is far and away Van Halen's most diverse album offering. It contains five cover versions, three instrumentals and four proper, original Van Halen songs. On paper it kind of sounds like a half-arsed affair, however the results are excellent. The band sounds phenomenal and David Lee Roth is well-accounted for. Michael Anthony and Eddie Van Halen's backing vocals are wonderful and all over the place on Diver Down.

The album came to be when, at David Lee Roth's suggestion they cover “Oh Pretty Woman” and release it as a stand-alone single. They did, and it became a surprise hit. Subsequently, Warner Brothers pressured them to record a full-album to capitalize on this and quickly. The album reached #3 on Billboard's Hot 200 and had six songs to chart in the Mainstream Rock charts as well.

“Little Guitars”, “The Full Bug”, “Hang 'Em High” and the understated single “Secrets” are the best songs on the album. “Big Bad Bill (Is Sweet William Now)” is a nice showcase for Roth but it's the Van Halen brother's father Jan Van Halen who steals the show on clarinet. The David Lee Roth-directed music video for “(Oh) Pretty Woman” managed to be one of the very first banned videos on MTV. And “Dancing In The Street” became an unlikely staple of classic rock radio for many years.

I personally like the album very much and I'd recommend to anyone who hasn't yet heard this overlooked album in Van Halen's album cannon.  

Here's the video review:

The Flamin' Groovies: The Flamin' Groovies Now (Sire Records/1978)

The Flamin' Groovies started their career in the late 60's as a San Francisco-based bluesy garage rock band. They released four albums in this guise with lead singer Roy A. Loney fronting the band. After Loney left the band in mid 70's, Chris Wilson joined the band as lead singer and rhythm guitarist and they moved to England and teamed up with guitarist/producer Dave Edmunds and released three albums of Rickenbacker-driven jangley late 60's power pop. 

The second of these Flamin' Groovies Now is a very satisfying listen. The guitars sound wonderful and the band sounds great. Of the originals “All I Wanted”, “Don't Put Me On” - which has a simply amazing coda - and “Between The Lines” are the greatest of the batch. The band tackles The Beatles, The Rolling Stones, Cliff Richard, The Byrds and Paul Revere And The Raiders with varying degrees of success. Only the Stones covers seem a bit off. I personally love the album and think it's well-worth hearing (as are the other two albums that form a late 70's Power Pop trilogy – Shake Some Action and Jumpin' In The Night). As is their 1971 classic album  Teenage Head.

Here's The Video Review: 

Redd Kross: Three Ten-Inch EP's (1993, 1993, 1994).

2,500 Redd Kross Fans Can't Be Wrong (Sympathy For The Record Industry/1993)

Lady In The Front Row (This Way Up/1993)

Visionary (This Way Up/1994)

After the commercial failure of Third Eye to turn Redd Kross into a houshold name, the band left Atlantic Records and released a few UK-only indie singles. Super Sunny Christmas was released in late 1991 in Australia on Inspid Vinyl, Trance was released in the Spring of 1992 on Seminal Twang in the UK and Switchblade Sister was released in Summer of 1993 on This Way Up Records in the UK and in Canada. 

Sympathy For The Record Industry collected various tracks from those releases for the six-song ten-inch” vinyl release of 2,500 Redd Kross Fans Can’t Be Wrong (a spoof on Elvis Presley's 50 Million Elvis Fans Can't Be Wrong). Highlights include the early 70's glammy “Switchblade Sister” (which should have appeared on their then-new album Phaseshifter), the glam/grunge rave-up“Trance” and its' B-Side “Byrds & Fleas” co-written bv Jeff McDonald and future-wife and Go-Go Charlotte Caffey.

Next we have the Lady In The Front Row ten-inch single from 1993 on This Way Up Records. The title track appeared on their Phaseshifter album and is a slice power pop perfection. A re-recording of “Standing In Front Of Poseur” from their self-titled 1980 debut EP. Also are a cover of The Kinks' “Fancy” and PJ Harvey's “Oh My Lover”.

Lastly we have the Visionary single from 1994 (also on This Way Up). The title track, again from Phaseshifter has a metaly riff and has big harmony vocals from the McDonald brothers. The B-sides are cover of The Beatles “It Won't Be Long” as performed by Queen and a live acoustic version of “Visionary”.

These are nice little unique starting places for the uninitiated, granted there are better places to investigate as to who Redd Kross are. However for the vinyl fanatic these three ten-inches (the only three released by the band) are fine additions to any power-pop, proto-grunge, glam pop fans collection. Or just check out Neurotica, Researching The Blues or Third Eye.

Here's The Video Review:

The Beach Boys: The Smile Sessions (Capitol Records/2011)

By 1966 Brian Wilson was, creatively speaking, the king of the pop world. As leader and producer of The Beach Boys he'd been responsible for dozens of hit singles and albums. He'd also produced and written several singles for other artists as well. In three years he'd basically spearheaded an entire industry with selling California and it's appeal to the entire world. 1966 saw the release of The Beach Boys' Pet Sounds, an album that was inspired by Rubber Soul and in turn was single-handedly responsible for inspiring The Beatles to make Sgt. Pepper's Lonely Hearts Club Band.

Originally intended for release in January of 1967, Smile was to be the next progression in pop music. A continuation of the modular songwriting that began with the “Good Vibrations” single. It had a loose thematic concept as an American travelogue from starting as Plymouth Rock and ending in Hawaii (with references to Imperialism, expansion, Industrial revolution, Manifest Destiny and the Great Chicago Fire). It also touches on The Elements (air, fire, Earth and water) as well. However, due to Brian Wilson's excessive substance abuse, paranoia and his creative partner, Van Dyke Parks walking away from the project, Smile was never completed. In fact, it's basically become a common view that Brian Wilson may have been simply overwhelmed with all of the fragments that were recorded for the segments of the pieces. And in his ambitions he basically envisioned the future of digital editing.

An over-simplified version of Smile was released in late Summer of 1967 as Smiley Smile. Songs from what would have been on the finished album did see release in various forms over the years, including on Smiley Smile. “Cabbinessence” and “Our Prayer” were released on the 20/20 album in 1969. "Cool Cool Water" later appeared on Sunflower in 1970. The “Mama Says” segment from “Vege-Tables” was released on Wild Honey in 1967 and “Surf's Up” served as the title track to their critically-acclaimed 1971 album.

The failure of Smile to materialize in its' intended form caused Brian Wilson to retreat from the public eye for many years and serving to ultimately further deepen his mental health problems. Wilson re-recorded the Smile album and tour in support of it in 2004 with his excellent solo band. The 50^th anniversary of The Beach Boys in 2011/2012 was the perfect occasion to finally release the original Smile recordings as The Smile Sessions on Halloween 2011.

The Smile Sessions box set included one double vinyl album (which comes with the original booklet as it was originally produced in 1966), two vinyl seven-inch singles, five CD's, and a sixty-page book. The CDs are one disc of the album as it has now been envisioned/revisioned and four CDs of session highlights. It's easily one of the most reverend box sets to be released specifically with it's fans in mind.

In 1966 album sleeves and booklets were produced way in advance as Smile was on the most highly anticipated releases in Capitol Records history. The artwork has been properly restored as well the mid-60's labels. Not one UPC barcode to be found on the item anywhere. The singles are beautifully reproduced as well, using the original “Heroes & Villains” picture sleeve as well as more of Smile artist Frank Holmes artwork for “Vege-tables”. You can also purchase the vinyl album as a standalone-purchase.

I'd recommend this release for anyone to hear as it's such an important slice of 1960's recording history that almost neverwas.

Here's The Video Review:

Special Thanks to Patricia Marson.

Van Dyke Parks: Song Cycle (Rhino Records/2013)

Van Dyke Parks is something of an enigma who has worn many hats in his long career. He has worked with The Beach Boys on their legendary Smile album and co-wrote "Sail On Sailor". He did the arrangements on Disney's The Jungle Book. He was the head of  Warner Brother's audio/video department in the 1970's. He was taught by Aaron Copland and sang for Albert Einstein in German as a child. He's recorded with The Byrds in the late 60's. He gave Buffalo Springfield it's name. He was a child actor and appeared in several films and television shows, including a neighbor of Ralph & Alice on The Honeymooners.

He's also released a few solo albums. The most notable of these was his debut album, Song Cycle. Song Cycle was originally released on Warner Brothers in 1968, and was recorded with a budget of $35,000 dollars making it the most expensive album at the time of its' release. It is an assemblage of various styles of American music. Ranging from old-timey American Ragtime and showtunes, traditional bluegrass, orchestrated suites all in an esoteric, psychedelic late 60's baroque pop art context. It's simultaneously backwards-looking and progressive. The songs are somewhat seamless and flow better than most albums of this sort IMHO. For starters, there are never any discernible lulls that seem to plague a good majority of so-called experimental pop music. Something is always taking place, and it's that very thing about it - which is wonderful - that may be off-putting some. I love Van Dyke Parks and love the album too.

This release was a limited edition 180-gram mono-pressing of 2,500 copies celebrating it's 45th anniversary. It was released by Rhino on Record Store Day of 2013 and it's basically a flawless release.

Here's the video review:

The Rip Chords: Sting Ray 7" (Sundazed Music/2006)

The Rip Chords were southern California surf pop band that were signed to Columbia Records. They released two unsuccessful doo-wop influenced singles (“Here I Stand” & Gone”). Columbia Record producers Terry Melcher and Bruce Johnston - also of the surf pop combo Bruce & Terry - came in shortly thereafter and took over the lead vocal duties. The band then had huge hit singles with “Hey Little Cobra” and “Three Window Coupe”. The band released two albums and subsequently had one more charting single with “One Piece Topless Bathing Suit” before calling it a day in 1965.

The always reliable Sundazed Music later reissued the bands two albums and a best of compilation that also contained a few unreleased items. Sundazed also released a single on colored vinyl on yellow wax.

“Sting Ray” is a boogie woogie rock and roll song that references The Beach Boys “Little Deuce Coupe”. “Red Hot Roadster” is a song that appeared in the motion picture A Swingin' Summer, that the band actually appeared in and the band performed said song. “Shut Down” is the a cover of the Beach Boys classic and appeared on the the Hey Little Cobra And Other Hits album. Terry Melcher went on to produce The Byrds and Paul Revere And The Raiders. Bruce Johnston joined the Beach Boys in the Spring of 1965 and is in the band to the day. And a touring version of The Rip Chords still tours the oldies circuit.

Highly recommended for fans of The Beach Boys and 60's Surf Pop. 

Here's the video review:

David Marks & The Marksmen: The Sheriff Of Noddingham 7" (Sundazed Music/2003)

David Marks was the rhythm guitarist with The Beach Boys from February of 1962 until October of 1963. He co-signed the band's contract with Capitol Records along with Mike Love and the Wilson brothers and was on the bands first four albums (Surfin' Safari, Surfin' USA, Surfer Girl and Little Deuce Coupe). He ultimately left the band left over a financial dispute between his parents and Murray Wilson. He was technically a legal full-time member of the band until late 1967.

David Marks later rejoined The Beach Boys in 1995, first appearing on Baywatch with the band. Then on the Beach Boys Salute NASCAR 1998 compilation. And later appearing on the bands 2012 reunion album That's Why God Made The Radio and subsequent 50^th Anniversary World Tour.

Soon after leaving the band Marks formed The Marksmen in 1963 and released a few singles on A&M Records and Warner Brothers before disbanding in 1965. The complete Marksmen recordings were finally compiled in 2008 on the Quiver Records compilation album The Ultimate Collector's Edition 1963-1965.

Sundazed Music released this beautiful little single in 2003 of two of the stand-out tracks by The Marksmen (“The Sheriff Of Noddingham” b/w “Kustom Kar Show”). “Noddingham” is a classic surf instrumental rave-up with plenty of wet, reverby guitar ala Dick Dale, while “Kar Show” is an endearingly goofy songwith backing-vocals and handclaps by The Honeys (which featured Brian Wilson's future wife Marilyn Rovell).

Highly recommended for fans of The Beach Boys and Surf Rock.

Here's The Video Review:

The Sunrays: Our Leader (Sundazed Music/2014)

The Sunrays were a mid 60's Sunshine Pop/Surf Pop band from southern California. They were managed by Murray Wilson, father of Brian, Dennis & Carl Wilson of The Beach Boys. Murray took up the role of as band manager after being fired by The Beach Boys for being deemed intolerable to work with. Murray also served as The Sunrays producer and got them signed to Capitol Records subsidiary, Tower Records in 1964. The band had hit singles with “I Live For The Sun”, “Andrea” and “Still” before disbanding 1967.

This single, which was released on Record Store Day of 2014, is comprised of “Our Leader”, which was a recording dedicated to Murray Wilson by the band and given to him on Christmas of 1965. It's a heart-felt token of appreciation to an individual whose reputation has been tarnished over the years.

“Won't You Tell Me” is a song that was composed by Murray Wilson and band leader Rick Henn to record, four years after the band's break-up. Recorded by the Wrecking Crew and some creative input and backing vocals from Dennis Wilson, it's something of a mini Sunshine/Baroque Pop classic.

The song was overdubbed with vocals from both Brian and Carl Wilson also in 1971. This version appears on the Beach Boys bootlegs Get The Boot and All This Is That.

Sundazed works its' usual magic and the vinyl is of the usual high-standards. It's nice yellow vinyl pressing and comes with four-pages of insightful and historical annotation from Rick Henn.

Very Highly Recommended for fans of The Beach Boys, Baroque Pop and Sunshine Pop of the 1960's.

Here's the video review:

I.R.S. Mini-Albums (IR7700 Series): The Humans: Play / Payola$: Introducing (IRS Records/1980)

I.R.S. Records (International Record Syndicate) was formed by Miles Copeland in 1979. With distribution from A&M records, it was the most successful independent label (although its ties with A&M conflicts the notion that it's an "indie") of the 1980's. Nonetheless, it brought The Go-Go's, R.E.M., The Cramps and The Fleshtones to the general public at large (and responsible for distributing albums by The Buzzcocks, The English Beat and The Stranglers to a U.S. audience).

I.R.S. could sometimes be a little gimmicky to offset their impressive innovations. One such little gimmick, for want of a better word, was their 33 & 1/3 7" Mini-Album series (the 7700 Series). That's an EP to the rest of us. It lasted for all of two records: Play by The Humans and Introducing by Payola$ both released in 1980.

 The Humans were a Surf-y New Wave band from Santa Cruz, California. They'd played together previously in the surf band Eddie & The Showman, who had released singles in the 1960's. Play (7700) is a fine little four-song album (an EP in all but name). "I Live In The City" is a fantastic New Wave relic that vocally recalls Wall Of Voodoo and even The Dead Milkmen (or vice versa). The title track and the cover of "Pipeline" are well-worth hearing as well.

Payola$ were a Vancouver, BC band that featured producer Bob Rock (Areosmith, Motley Crue. Metallica) and had the hit "Eyes Of A Stranger", that was in the Valley Girl movie & soundtrack.
Introducing Payola$ (7701) is a pretty fine release. The lone stand-out track is "Jukebox", which is better than it has any business being. It's excellent. It was also re-recorded for their debut album In A Place Like This.

Very nice little collectables and true anomalies from I.R.S. Records. If you love New Wave (as I do), fetch these up.

Here's the video review:

Goo Goo Dolls: Hold Me Up (Metal Blade/Fun After All/1990)

Goo Goo Dolls are most famous for their hits "Name", "Iris" and "Slide". However, several years before all of these name-making hits, the band were a ratty, bratty, thrashy punk band. They'd first released Goo Goo Dolls (Mercenary/1987) and Jed (Metal Blade/1989), but really hit their stride on their third album, the first to be distributed by Warner Brothers, Hold Me Up. It was on this album that guitarist Johnny Rzeznik (aka Johnny Goo), sings lead on four (and co-lead on "Hey") of the songs on the album. Bassist Robby Takac (aka Robby Goo) was the lead lead singer on the band's first two albums (okay, Johnny sang two of the songs on Jed), however, Johnny undeniably assumed the role of front man/lead singer by the time of the band's fifth album (and multiple-platinum release) A Boy Named Goo. 

I first discovered this band in late 1990 with the video/single for "There You Are" on MTV's 120 Minutes. I saw the band live before I'd heard the album, and was completely blown-away. The album did not disappoint when I did in fact hear it. The influence of The Replacements, Cheap Trick, Hüsker Dü and The Ramones are evident throughout the album. The singles, "There You Are" and "Just The Way You Are" are highlights. The two covers (Prince's "I Could Never Take The Place Of Your Man" and The Plimsouls' "A Million Miles Away") are exceptionally rocking. Takac is responsible for a few of the albums' exceptional tracks; the intense Ramonesesque opener "Laughing", the amphetamine-rockabilly of "Out Of The Red" and minor-key-yet-optimistic "So Outta Line". The stalker song "Hey" could be a contender for best song on the album. The instrumental "Kevin's Song" is oddly the album's centerpiece and is kind of wonderful. The mid-tempo "You Know What I Mean" and the acoustic (the bands first acoustic song, a taste of the future) "Two Days In February" both appeared on the Freddy's Dead: The Final Nightmare soundtrack- as did the non-album single "I'm Awake Now".


If you think you know the Goo Goo Dolls and haven't heard this (or their early work), I highly suggest giving it a serious listen. It still holds up (no pun intended) as a great pop/punk album.
Great, tight playing and very fine material. Also Superstar Car Wash (the album that followed Hold Me Up) is definitely work a listen.

Here's the video review:

Special thanks to: Stephen Gersztoff.

Fear: The Record (Kicked In The Throat/2004)

Fear were part of the original Los Angeles, California's punk scene in the late 1970's. Part sincerity and part tongue-in-cheek, Fear were what you'd call “humorously offensive”. With cartoonishly homophobic, misogynistic and misanthropic lyrics, they were what one might describe as being an acquired taste. I remember Trouser Press Record Guide liking singer Lee Ving's vocals to a drunken baseball fan bellowing from the bleachers. Fear had their most widespread exposure in 1981. First in the Penelope Spheeris' classic The Decline Of Western Civilization motion picture and on the Halloween episode of Saturday Night Live in which, as per mega-fan John Belushi, the band played a mini-set (which is worthy of an episode itself).

Nonetheless Fear's debut album The Record is easily something of a classic and one of the best-recorded debut albums from the entire LA late '70's punk scene. The playing is technically very skillful and well-above average in terms of your standard up-start punk band. “Camarillo” has a difficult time signature, “Getting The Brush” is darkly imaginative and “New York's Alright If You Like Saxophones” is kind of hilarious. “I Don't Care About You”, “Let's Have A War” and a re-recording of the 1978 single “I Love Livin' In The City” are bonafide punk anthems in the classic-sense.

Initially released in 1982 on Slash records, this issue is the 2004 Kicked In The Throat release and features their 1982 Holiday single “Fuck Christmas” as a bonus track.

Highly recommended for any and all fans of punk rock. 

Here's the video review: