MusicTAP

I have spent some quality times listening to Springsteen’s latest, Wrecking Ball.  After having read David Fricke’s five star review of the album, I began, once again, to fear that we’re being given a album that some will love, and others will hate.  While I despise any overflowing album recommendation by David Fricke, I am finding the latest album by Bruce Springsteen to be of notable merit.

Bruce typically never pales in the lyrical department.  I’ve never had any problem with him there.  Where I begin to falter with Bruce is that the immense power that we all know that Bruce was capable of in the early years is recognizably not there.  While that might seem a flimsy excuse to write off a lot of Springsteen’s works, I believe it isn’t.  One of the powerful aspects of Bruce is his passion and anger, his heartfelt pain.  From his dad’s work at “Factory” to the escapism of “Born To Run”; from the bleakness of “Streets of Philadelphia” to the anger of “American Skin (41 Shots)”, Bruce Springsteen has exhibited a string of genuine passionate anger that we not only heard but felt.

In much of the post Nebraska work, that anger has felt diluted.  My ideas as to the reasons for this dilution are my own and would only encourage unbalanced discussion if I were to reveal them, so I won’t.  However, it remains that I have been less than pleased with much of the music from Springsteen after Nebraska.  Although my feelings about The River are contentious, I still hear and feel the intensity in the album in much of the music contained in it.

For Wrecking Ball, I am feeling a strong resurgence of interest in what Bruce might have in that soul of his.  I’m still a little miffed that the powers that be (Bruce included) are pushing a Deluxe Edition of the new album out with two bonus tracks (and not bad ones at that) given the content and heart of the album.  But who am I but a lowly consumer with less dollars in my pocket and feeling that Bruce might be worth them for the extended version.  Still…

Wrecking Ball starts off with “We Take Care Of Our Own”, a tune that gives the right impression of the album from the the opening notes.  Bruce peppers a fair portion of the first half of the album with music that doesn’t leave a great taste.  While songs through the anthemic “Death To My Hometown” a feeling that Bruce hasn’t regained much passion although he has hopes that the contents of his lyrics might prove otherwise.  The song, “This Depression” is a gateway track, very good in its own right, leading into the brilliant second half of the album that begins with the stunning replayer, “Rocky Ground” (I have no use for “You’ve Got It”).  ”Rocky Ground” is a gem throughout its magnificent 4 minutes and 40 seconds. It is a song that I return to much of the time.  It leads into the beautiful bluesy gospel number, “Land of Hope And Dreams” that is a piece of magic leaping from the Darkness/River era.

“We Are Alive”, which finishes the standard album release, is a piece from Nebraska that sticks with you for a long, long time with its bluegrass musical style.  The two bonus tracks are unique in that they are Springsteen but in different veins.  ”Swallowed Up (In The Belly Of The Beast)” is a tune crafted after the heart of “Streets of Philadelphia”.  You can feel the anger in it because the words impact Bruce as well as the rest of us.  Without getting into a government rant, it is clear to Springsteen, as it should be to the rest of us, that the world governments, including the US, has forsaken its people for all the wrong reasons.  This song epitomizes that in a stark, almost religious intonation of a sadness that is far deeper than the blues can communicate.  It’s actually sad that the song ends when it does because there’s an involvement that you find yourself slipping into, almost hypnotic.

“American Land” is a grand Irish tune that will capture your attention.

Did Bruce Springsteen deliver the goods with this album?  I have to say that he did.  Although I could have been more appreciative had some of the early songs been excised and replaced with the final two tracks instead, Wrecking Ball, is, in a much different way than we’re accustomed to hearing Bruce Springsteen with The E Street Band, a very, very good Springsteen album.  It grows on you in a good way.  And some of the songs contained therein are classic Springsteen songs, to be forever remembered.

Is Wrecking Ball essential Springsteen?  I don’t think so, but there is no denying some of the songs are passioned a la Springsteen as we used to know him.

Release Date: March 6, 2012
Website

Matt Rowe 

As I expected, (although I feared the worst), Mercury Records (US) WILL release the UK assembled Thin Lizzy Deluxe Editions of Nightlife (1974), and Fighting (1975).  Both CD and DD versions of these classic mid-’70s albums are slated for May 1.

In addition to these prized Thin Lizzy Deluxe Edition reissues, Mercury Records will also release a DVD featuring Thin Lizzy named Live At The National Stadium.  The DVD is planned for the release date of May 15.

Interscope Records plan the release of Criminal Heavens by alternative band, We Are Serenades, scheduling for April 17.

Fuel Records will release The Very Best of Skip James on May 8.

To join the release of Living In The Material World featuring George Harrison (expected on May 1 on DVD, BD), Hip-O Records will release a CD edition called Early Takes, Volume One, which will see the same release date as Living In The Material World.  This album is planned for LP and CD.

Island Records will release the Original Soundtrack of Marley featuring Bob Marley on April 17 on both CD and LP.

Rounder Records have an upcoming, as yet untitled, album from Allen Toussaint arriving, planned for release on June 26.

Hollywood Records will release The End of Control by Cherri Bomb on May 15.

We all have this one little musical secret way down deep.  It’s one that we generally won’t tell anyone  but a close friend.  It’s one that we don’t listen to until we’re by ourselves.  I’m talking about the album…or artist…or band…or song, that we are too embarrassed to say that we not only like casually, but we actually love.

I actually have a whole parade of these.  However, there is one that I’ve kinda learned to not say anything about (and I feel real bad about this) because everyone’s pre-conceived notions of this previously unmentioned (unmentionable?) artist isn’t very helpful.  BUT.  This particular artist tried real hard to break from his deeply entrenched pop background and found it impossible.

I’m talking about David Cassidy.  After his Bell Records years as a solo artist hopped up on highly energized residual fame stemming from his years with The Partridge Family, David Cassidy made some very good RCA Records releases that include his excellent Home Is Where the Heart Is (1976).  It came after a pretty good The Higher They Climb (1975), which contained a fine cover of “I Write The Songs” (a version I like best topping even Barry Manilow’s charting single), among other good songs.  It preceded an impossible to find album, also released in 1976, Gettin’ It In The Street.  Gettin’ It In The Street contained a collaboration with Mick Ronson (which excited me to no end).  I hunted and searched but found that the album was released, instead, in Germany and Japan.  Bummer (for me).

Regardless of the only three allowed attempts at a shot away from the teenybopper pop image he had attached to his name, his RCA Records years left him with a satisfying selection of songs that I’ve revered throughout the years.  When CDs arrived, I made it a point to add those to my collection.  When I began to revisit vinyl again, I made sure my sights were set for those RCA issues (found them except for Gettin’ It In the Street).

While I have other albums and artists that I completely enjoy, David Cassidy seems to bring the most raised eyebrows.  But they’re wrong.  David Cassidy on his RCA trio of albums shone like the pop/rock artist he tried to develop into.  It seems that not too many agreed with me.  A shame.  Those albums were – and still are – superb.  They get regular rotations in my house.

Your turn.  Which are your favorite “embarrassments”?  I know that seems like a harsh description but sadly, it’s appropriate.

Besides, we’re close friends.  Aren’t we?

Fans of the ’60s beat generation singer-songwriter, Donovan will be pleased to know that Legacy Recordings plans a 2CD, 36-song retrospective The Essential Donovan series title on April 17.  This set will contain US/UK song charters and sweeten the collection with four tracks previously unreleased on any CD collection in the US.

On April 14, this legendary poet of psychedelia will be inducted into the Rock and Roll Hall of Fame.  This set helps to celebrate this event with familiar tracks from his Hickory Records (Pye Records in the UK) and Epic recording years.  Many of the tracks were recorded in mono and are collected here in that version.

The four bonus inclusions include ”The Land Of Doesn’t Have To Be,” (1966) previously unissued in the U.S. as an early mono version; ”Sunny Goodge Street” (an early song first heard on his second LP, Fairytale); “Sand And Foam” (from the Mellow Yellow repertoire), both recorded November 17, 1967 at the Anaheim Convention Center; and ”Hey Gyp (Dig The Slowness),” the song he first wrote with his ramblin’ friend Gypsy Dave in 1965, updated eight years later on the CBS/Japan-only release, Live In Japan – Spring Tour 1973.

The track-list for this new set (with new liner notes) are as follows:

THE ESSENTIAL DONOVAN

DISC ONE:

1.  Catch The Wind (mono single version, 1965, Hickory) Hot 100 #23 (A)
2.  Colours (mono single, 1965) Hot 100 #61 (B)
3.  Summer Day Reflection Song (mono single, 1965) (B)
4.  Universal Soldier (mono single, 1965) Hot 100 #53 (B)
5.  You’re Gonna Need Somebody On Your Bond (mono single, 1965) (A)
6.  Turquoise (mono single, 1965, Hickory) (C)
7.  Sunshine Superman (extended version, 1966) Hot 100 #1 (D)
8.  The Trip (single version, 1966) (D)
9.  Legend Of A Girl Child Linda (D)
10.  Season Of The Witch (D)
11.  Ferris Wheel (D)
12.  Mellow Yellow (mono single, 1966) Hot 100 #2 (E)
13.  Young Girl Blues (mono) (E)
14.  Museum (mono) (E)
15.  Hampstead Incident (mono) (E)
16.  Sunny South Kensington (mono single, 1966) (E)
17.  The Land Of Doesn’t Have To Be (early version, mono, 1966) previously unissued in the U.S.
18.  Epistle To Dippy (single, 1967) Hot 100 #19 (J)

DISC TWO:
1.  There Is A Mountain (single, 1967) Hot 100 #11
2.  Wear Your Love Like Heaven  (single, 1967) Hot 100 #23 (F) and (H)
3.  Sun (F) and (H)
4.  Isle Of Islay (G) and (H)
5.  Sunny Goodge Street (recorded: November 17, 1967 at the Anaheim Convention Center, previously unissued on CD in the U.S.)
6.  Sand And Foam (recorded: November 17, 1967 at the Anaheim Convention Center, previously unissued on CD in the U.S.)
7.  Jennifer Juniper (single, 1968) Hot 100 #26 (I)
8.  Hurdy Gurdy Man (single, 1968) Hot 100 #5 (I)
9.  Get Thy Bearings (I)
10.  Lalena (single, 1968) Hot 100 #33 (J)
11.  To Susan On The West Coast Waiting (single, 1969) Hot 100 #35 (K)
12.  Atlantis (single, 1969) Hot 100 #7 (K)
13.  Goo Goo Barabajagal (Love Is Hot) [with the Jeff Beck Group] (single, 1969) Hot 100 #36 (K)
14.  Happiness Runs (K)
15.  Riki Tiki Tavi (single, 1970) Hot 100 #55 (L)
16.  Celia Of The Seals (single, 1971) Hot 100 #84 (M)
17.  I Like You (single, 1973) Hot 100 #66 (N)
18.  Hey Gyp (Dig The Slowness) (O) previously unissued in the U.S.

Album index:
(A) – from album Catch The Wind (Hickory LPM 123, released 1965)
(B) – from album Fairytale (Hickory LPM 127, released 1965)
(C) – from album The Real Donovan (Hickory LPM 135, released 1966)
(D) – from Sunshine Superman (Epic BN 26217, released 1966)
(E) – from Mellow Yellow (Epic LN 24239, released 1966)
(F) – from Wear Your Love Like Heaven (Epic BN 26349, released 1967)
(G) – from For Little Ones (Epic BN 26350, released 1967)
(H) – from A Gift From A Flower To A Garden (Epic B2N 171, released 1967)
(I) – from The Hurdy Gurdy Man (Epic BN 26420, released 1968)
(J) – from Donovan’s Greatest Hits (Epic BN 26439, released 1969)
(K) – from Barabajagal (Epic BN 26481, released 1969)
(L) – from Open Road (Epic E 30125, released 1970)
(M) – from H.M.S. Donovan (Dawn 3009, released 1971)
(N) – from Cosmic Wheels (Epic KE 32156, released 1973)
(O) – from Live In Japan – Spring Tour 1973 (Epic Japan ECPM 25, released 1973)

While I was listening to A Musical History (a previously released Box set featuring The Band), I began to think about the side projects that some band members in any band recorded to satisfy an itch.  Often, those solo albums weren’t meant (I don’t think) to feature material that their band could have made excellent use of.  Rather, the solo projects were a valve to release personal style that would often not vent well with the band they were in.

In particular, I was thinking about the solo albums of Robbie Robertson.  Not long ago, he released How To Become Clairvoyant (2011).  The album was a stunning achievement.  Of course, that album (or any of his) did not occur during his period with The Band, which shifts this conversation slightly away from for a bit.

For the sake of what I’m attempting to discuss here, I’ll use Ronnie Wood, the guys of YES, the members of The Moody Blues, KISS, and others who followed a similar vein as an example.

Ronnie Wood recorded some of his excellent side projects while a member of The Rolling Stones.  He started his solo albums after the demise of The Faces beginning with I’ve Got My Own Album To Do in 1974.  (In case you didn’t know, the title of that album was arrived at because Rod Stewart was increasingly becoming distracted during Faces recording sessions, at one time saying that he “got his own album to do”.)  Still, while a member of The Rolling Stones, Ron engaged himself in a manner to direct his interests into albums of self-expression.

The Moody Blues, YES, and KISS (to name just a few that come quickly to mind) recorded simultaneous solo releases by the members of the named bands in order to vent their musical interests.  Some of them were quite good.  And, like many of them, some of those solo albums extended after the demise of a band, or preceded a band (like Ronnie Wood).  Often , they left a lasting impression.

My purpose for this conversation is to ask what side projects were you fond of?  Which artist do you feel left behind quite a legacy of solo efforts even as they maintained their place in a popular band (The Moody Blues; Ronnie Wood)?

I am quite fond of the Ronnie Wood collection, which was quite deserving of an earlier Anthology package.  I was not as fond of the four KISS side project releases but I realize that I’m in a minority there.  The YES solo projects were all quite well put together.  In fact, Jon Anderson continues with them even now.  I loved Chris Squire’s album, Steve Howe’s album, and Anderson’s work.

There are so many.  I want to hear which solo projects that you love from talented performers.  So many to choose from.  If you’re feeling especially talkative, discuss their catalogs. I’ll join in.

New West Records will release an LP version of Live From Austin Texas featuring the guitar genius of Roy Buchanan from an Austin City Limits set on April 10.

Warner Brothers plan the re-release of One Hot Minute (1995) by Red Hot Chili Peppers in a special edition, red-vinyl LP planned for May 15.

Roadrunner Records will release The Secrets To Life from At The Skylines.  This Rock title is scheduled for CD release on May 8.

Accept returns with a new album, Stalingrad, scheduled for April 10 via Nuclear Blast America.

JR Adventures will release Driving Towards the Daylight from Joe Bonamassa on May 22.

Columbia and Legacy Recordings will release The Pearl Sessions, a special edition release of Pearl by Janis Joplin on April 17.

Atlantic Records will release Star of Love by Crystal Fighters scheduling for April 24.

Atlantic Records have scheduled the LP release of The Strange Case Of… by Halestorm for May 1.  The band’s new album will be officially releasing on April 10 on CD (PA and Edited), a Deluxe CD Edition, and DD.

Frontiers Records plan a 2CD Deluxe Edition of Damage Control by noted vocalist, Jeff Scott Soto