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: