The Byrds: Sanctuary IV (Sundazed Music/2002)

The Byrds are one of the most influential bands of the 1960's. They seamlessly blended British Invasion pop with folk music. Incorporating psychedelic rock and raga rock. And finally overlapping traditional American country and Bluegrass music with contemporary rock music. Sanctuary series is a four volume collection on Sundazed Music. Volume four is a collection of outtakes and alternate versions of tracks from the bands groundbreaking Sweetheart Of The Rodeo album.

Gram Parsons had joined the band in February of 1968 and immediately asserted his influence and persuading original band members Roger McGuinn and Chris Hillman toward Honky Tonk/Country music. This wasn't too difficult as Hillman and McGuinn had their roots in traditional country music. But it was virtually unheard of for a pop band to tackle this. Their Sweetheart Of The Rodeo album confused fans at the time and only reached # 77 on the charts and the classic single “You Ain't Goin' Nowhere” only reached #74. The album is now regarded as a classic and made Rolling Stone Magazine’s 500 Greatest Albums of all-time list in 2003.

Sanctuary Four collects several of the Gram Parson vocal tracks that were originally intended for the Sweetheart album. Those tracks were later released with Roger McGuinn on lead vocals as Parson was still contractually obligated to his previous contract with Columbia Records for his time with The International Submarine Band. Including “One Hundred Years From Now”, “Life In Prison” and “You Don't Miss Your Water”. Plus fantastic non album tracks “Lazy Days” and “You've Got A Reputation”.

Sundazed Music, once again, does a fantastic job on the authentic packaging and liner notes. Recommended for Byrdmaniax and Gram Parsons fans alike.  

Here'e The Video Review:

Special Thanks to doomandgloomfromthetomb.tumblr.com

(They Rule)

Brian Wilson: Pet Sounds 50th Anniversary World Tour, Northside Festival, McCarren Park, Brooklyn NY 6/12/16

The Beach Boys' Pet Sounds album is one of the most acclaimed albums of all-time. Rolling Stone Magazine has placed it at #2 in it's 500 Greatest Album Of All Time list. Paul McCartney has famously said that no one is educated musically, until they've listen to it. The late George Martin has also said that "Without Pet Sounds, Sgt. Pepper never would have happened. Pepper was an attempt to equal Pet Sounds". It basically went on to inspire an entire genre of music (Baroque Pop).  So,
to celebrate it's 50th anniversary, Brian Wilson took the road with his very adept band and Beach Boy Al Jardine and one-time Beach Boy (circa 1971-1974) Blondie Chaplin.

They headlined the Northside Festival at McCarren Park in Brooklyn this year. The band opened with a half-dozen Beach Boys classics - "California Girls, "I Get Around", "Surfer Girl" & "Don't Worry Baby" sung by Brian with his wonderfully capable band, plus "Wild Honey" and "Sail On Sailor" with Blondie on lead vocals. Then the band performed the entire Pet Sounds album in sequence. which includes the classics: "Wouldn't It Be Nice", "Sloop John B", "I Just Wasn't Made For These Times", "Caroline, No" and "God Only Knows". Plus a whimsical singalong version of "Row Row Row Your Boat" as per request of Mr. Wilson, which was a pretty hilarious highlight. 

The band closed things out with sincere readings of "Good Vibrations", "Barbara Ann", "Surfin' USA" and "Fun, Fun, Fun" - all of which produced a fantastic audience response. It should be noted just how great his band were and how authentic they sounded with obvious love and respect towards to original arrangements of the songs.

Madrid's Hinds, a garage rock combo and were touring in support of their Leave Me Alone album. They were a welcome, if small, surprise. And made for a fine opener who perhaps deserved a better response. Ex-Vampire Weekend member Rostam, backed by a string section also performed as well.

The Electric Prunes: I've Got A World Of My Own (Sundazed Music/2016)

This Record Store Day birthed a single from The Electric Prunes. The Electric Prunes are well-known for the singles “I Had Too Much To Dream Last Night” and “Get Me To The World On Time”. Both songs were recorded in 1966 and were outtakes for the band's self-titled debut album. The Hollies cover “I've Got A Way Of My Own” features Byrdsian backing harmony vocals and the jaunty “World Of Darkness” sounds like an R&B garage rock standard.

A nice and welcome release from a band that doesn't have their back-catalog exploited as much as other bands.  

Here's The Video Review:

Shadows Of Knight: I Got My Mojo Working (Sundazed Music/1996)

The Shadows Of Knight are one of the definitive American garage rock bands from the mid 60's. Their most successful chart entry was their top-ten cover of “Gloria” by Them. It contained the then-risque lyric “She comes to my room” which the Shadows Of Night replaced with “She Calls Out My Name”, which ensured airplay in all markets. Although, in many major markets the song reached #1. They also made the national top 40 charts with their cover of Bo Didley's “Oh Yeah”.

The always reliable reissue label Sundazed Music issued an alternate version of “I Got My Mojo Working” which was recorded at a 1966 session at Chess Records. It's a lively, raucous recording and a fine addition to their released output. The more interesting side here however is the B-Side. It's a promotional advertisement for Fairmount Potato Chips that was released on a Flexi Disc on Auravision Records in 1967. It is the band introducing themselves and then launching into bluesy proto-punk song about a “Potato Chip”. It's worth the price of record alone.

For fans of Garage Rock. Recommended.  

Here's The Video Review:

The Seeds: Night Time Girl (Norton Records/2014)

The Seeds were allegedly the best live band from Los Angeles in the 1960's, so it's a mystery why their label would want them to record a “live” album in the studio and then overdub crowd noise over the results. In April of 1968 the band recorded the album at Western Recorders and would be released as Raw & Alive: The Seeds In Concert At Merlin's Music Box. In 2014 the UK label Big Beat Records released the album without the dubbed audience noise plus another earlier attempt at a full-length live-in-the studio affair, on a two-disc set simply called Raw & Alive.

The wonderful Norton Records released a 7” vinyl teaser from the album. “Night Time Girl” starts off with what sounds like an early synthesizer but it's probably just an over-modulated keyboard. The song sounds like The Stooges meets The Doors, which isn't so surprising. You can hear how Sky Saxon's vocal prowess influenced Iggy Pop on the B-Side “Gypsy Plays The Drums”. These may be my favorite recordings by The Seeds.

If you're a fan of proto-punk, garage rock or rock and roll in general this most very highly recommended.   

Here's the video review:

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.

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.

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:

The Seeds: Bad Part Of Town/Wish Me Up/Love In A Summer Basket/Did He Die (Sundazed Music/2013)

Los Angeles, California's The Seeds were a unique 60's band. They influenced bands in the genres of acid rock, garage rock, psychedelia and protopunk. They had a few hit singles in “Pushin' Too Hard”, “Can't Seem To Make You Mine” and “Mr. Farmer”. They're only now finally getting vinyl releases of the retro/revisionist variety. Sundazed Music has released such an item on Record Store Day of 2013. It's a double-seven-inch release of the bands two MGM singles. Recorded as a short-lived quintet at the end of the bands in 1970, the sound is similar to what the band had done on the GNP 
Crescendo label from 1965-1969.

“Love In A Summer Basket” and “Wish Me Up” are blissed-out would-be Summer Of Love concoctions that employ flutes, lazy guitars and Daryl Hooper's keyboards. “Bad Part Of Town” and “Did He Die” sound like early tracks by The Stooges. The latter of which retains an intensity not commonly associated with the late 60's/early 70's. I only wish this line-up had recorded more as than what's been made available (once again after having been out of print basically since their release).

Very highly-recommended!

Here's the video review: 

Chocolate Watch Band: In The Midnight Hour 7" Single (Sundazed Music/2012)

San Jose, California's The Chocolate Watch Band were one of the few bands from the 1960's that punk rockers held in high-esteem. They appeared in the 60's exploitation films Riot On The Sunset Strip and The Love-Ins. The band are comparable to the Syndicate Of Sound, The Electric Prunes and The Standells, only the Chocolate Watch Band were simultaneously more psychedelic and slightly harder-sounding than those bands. Their unique blend of Garage Rock and Psychedelia is just one reason why they still get tons of airplay on Little Steven's Underground Garage.

Released on Record Store Day 2012 on Sundazed Music, this single is a nice coup for fans of the band. Both “In The Midnight Hour” and “Psychedelic Trip” were produced by Ed Cobb and Engineered by Richard Polodor and are outtakes from the bands No Way Out album. I personally highly recommend seeking out The Chocolate Watch Band. This single is just a small taster that I'd suggest to anyone who like 60's Garage Rock and or 60's Psychedelia.

Here's the video review:

Thanks to: Sundazed Music, Jeff Jarema.

The Monkees: Selections From The Headquarters Sessions (Rhino/2012)

Aside from being known for their classic hit singles “I'm A Believer”, “Last Train To Clarksville” and “Daydream Believer”, the Monkees also had some notoriety for not being the actual musicians who played on the records. The Monkees was conceived by Bob Rafelson and Bert Schnieder as an American television show equivalent of The Beatles. Half of the Monkees were actors and the other half were musicians. As a need to promote The Monkees name, the band needed to tour - which necessitated the need for all four Monkees to learn their respective instruments. So for the Summer of 1967 the band toured the U.S.. For the first two Monkees albums studio musicians were used on all recordings except vocally.

However for the third album, Headquarters, the band played nearly all the instruments themselves. In 2000 Rhino released The Headquarters Sessions, an 84-track 3-CD set on their boutique Rhino Handmade label. Selections From The Headquarters Sessions is a vinyl-only condensation of that and is an eight-song mini album consisting of highlights from the recording sessions. “All Of Your Toys” which the band had earmarked as their third single was marred by problems involving the publishing and their producer Don Kirschner. The song is presented here in it's original mono version. Also appearing in its' mono version is the original version of Mike Nesmith's “The Girl I Knew Somewhere”. An alternate version (with an unused tag) of the single “Randy Scouse Git” is another highlight. Rounding things out are a few acoustic demos from Mike Nesmith the backing track for “No Time” and a solo Peter Tork banjo performance of the traditional “Cripple Creek”.

This release is limited pressing of 2,000 on red vinyl that was issued for Record Store Day 2012 on Rhino Records. It is basically for Monkees fans who can't get enough Monkees vinyl and as such a nice collection for them. 

Here's The Video Review:

The Box Tops: Soul Deep: The Best Of (Simply Vinyl/1999)

Memphis Tennessee’s The Box Tops were one of the greatest Blue-eyed soul bands of the 1960's. The band had a soulful pop sound that rested alongside bands like The Rascals, Mitch Ryder & The Detroit Wheels and The Righteous Brother quite comfortably. In addition to such fine hits as “The Letter”, “Neon Rainbow” & “Cry Like A Baby”, the band was also responsible for producing one of the largest cult artists of the modern rock era in Alex Chilton. Chilton joined the band at age 16 and shortly thereafter recorded “The Letter” which went to #1 and was the bands biggest selling single. The band released four albums and twelve singles (10 of which were in  Billboard 's Top-100) before disbanding in early 1970.

Soul Deep: The Best Of The Box Tops is the definitive Box Tops compilation album. Originally released in the US in 1996 on Arista and the UK in 1999 on the Simply Vinyl label. The record contains all ten of the bands' charting singles including the  cover of  Bob Dylan's "I Shall Be Released”, the ode to prostitution “Sweet Cream Ladies Forward March”, the big production of “I Met Her In Church” and the Mark James-penned “Turn On A Dream”. The album also contains four of the seven Chilton compositions the band recorded. “I Must Be The Devil” is a legitimate blues-excursion.“Together” is a perfectly hazy late 60's confection. “I See Only Sunshine” is the lone song that possibly hints to the writing Alex would do with Chris Bell on Big Star's Number One Record.

Perhaps overstated is how vastly different Alex Chlton's voice sounds after he left the Box Tops. He went from the growling old-man vocals “The Letter” which he recorded at age 16 with The Box Tops to the sweet harmony-laden vocals of “Thirteen” when he was 20 with Big Star. Chilton has said he was just copying the direction of Box Tops producer Dan Penn and found his own true voice after spending a year in with the folk-set in New York City in 1970.

The only real compliant is the absence of the final two singles the band released before Chilton left the band. Those are Randy Newman's “Let Me Go” (which appeared in the motion picture The Pursuit Of Happiness) and the Wayne Carson Thompson song “King's Highway”. Both are fine singles and easily could've replaced average album-fare such as “Happy Times”, “Fields Of Clover” or “She Shot A Hole In My Soul”.

 Recommended for Big Star fans looking for a starting point in finding out where Alex Chilton got his start. And truth be told The Box Tops are a fairly easy band to enjoy. Chilton himself professed to preferring the Box Tops to Big Star in the 1990's. The material is well-produced and holds up as well made 60's pop.

Here's The Video Review:

Thanks to: The Box Tops.

The Byrds: Sanctuary III (Sundazed Music/2001)

It might be easy to forget now, but behind The Beatles, The Rolling Stones & The Beach Boys - The Byrds were quite possibly the most popular and influential band of the 1960s. They ushered in folk rock, raga rock, acid rock and country rock all with equal creative success. Sundazed Music has released all of their albums in both stereo and mono along with a line of revisionist alternate releases as well. They've released a series of four albums of all unreleased and alternate versions of tracks on vinyl. Sanctuary III is the third of these releases and it contains tracks from the Ballad Of Easy Rider from 1969 and their Untitled album from 1970. The band are in their country rock period here and are just starting to sound comfortable as such.

This version of the Byrds included bassist John York and drummer Gene Parsons. The Untitled tracks feature Skip Battin on bass. The best tracks here are a cover of The Pentangle's "Way Behind The Sun", a version of "Mae Jean Goes To Hollywood" written by a then-unknown songwriter by the name of Jackson Browne, a longer version of "Ballad Of Easy Rider" that features virtuoso guitarist Clarence White and an alternate version of Bob Dylan's "It's All Over Now Baby Blue". The band made a tradition of covering one Dylan song on each album. And I daresay their version of "Baby Blue" is the very best of these.

 There are also a few interesting instrumentals ("Build It Up" and "White's Lightening Parts I & II") which make for a nice showcase for the late, great Clarence White and his B-Bender Telecaster. The majority of the Sanctuary tracks have all appeared as bonus tracks on the respective album's CD reissues for which they were recorded for. However here the tracks have a nice unified cohesive whole, instead of appearing as also-rans after each album's original tracks. If you are a fan of the Byrds and are looking for a nice vinyl series in which to invest, by all means pick up the four records on 180 Gram vinyl on Sundazed Music that make up Sanctuary series.


Here's The Video Review:

Special Thanks: Sundazed Music.