Wednesday, September 30, 2015

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:


Wednesday, September 23, 2015

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: 


Wednesday, September 9, 2015

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:




Wednesday, September 2, 2015

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 50th 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.