Shabooh Shoobahwas Australian band INXS’s third album, and the album that brought the band worldwide attention. The huge, anthemic singles “The One Thing” (July 1982) and “Don’t Change” (October 1983) hit the charts everywhere with “The One Thing” breaking the Top 30 in the U.S. as well as being the debut video from INXS for the fledgling music video channel MTV. “To Look At You” dropped as a single in March 1983, and the final single “Black and White” came out in June the same year.
In September 1983 the US was treated to an EP of remixes of singles from Shabooh Shoobah. Titled Dekadance, it included extended dance remixes of “Black and White,” “To Look At You,” “The One Thing,” and a “new version” of “Here Comes” called “Here Comes II.” The band is credited as producing the new remixes with Mark Opitz and David Nicholas credited as the engineers, so it seems by the credits that the band was fairly hands-on with the creation of the EP. Ostensibly, it seems that the band and their label wanted to ride the wave of excitement around the album and the band. When this EP dropped, the band was already in the studio with Nile Rodgers at the Power Station in NYC working on their next album The Swing.
In Australia, there was a related 12″ release just called Dance with a similar cover which was really just a single release of the extended mix of “Black and White” along with two b-sides, “Long In Tooth” and “No Day But Sunday.”
As an aside, the band released another EP confusingly also titled Dekadance in Australia in 1985 of remixes from The Swing.
By the time Shabooh Shoobah came out, INXS had established a standard practice of using non-album b-sides on their singles and these songs usually presented a more loose and fun version of the band including jazz instrumentals usually composed by Kirk Pengilly. As a fan of the band in the 1980’s I collected every 7″ and 12″ I could find to get all of the remixes and b-sides. I even created a mixtape of all of the b-sides and remixes as well as soundtrack songs that stayed in my car. In fact, my first car still belongs to my family, and my brother found the tape recently when they were detailing it.
A5 Here Comes II – From Dekadance EP. I have always loved this re-imagining of this song. Slower, moody.
B1 Go West – B-side from the Australian “Don’t Change” single. Very stripped down with Casio rhythm track. Almost seems like a demo, Hutchence’s vocals are dry/no reverb.
B2 Phantom of the Opera – “The One Thing” b-side from July 1982. This track as presented in the RSD information, is actually spelled wrong. This is a Tim Farriss track, so the real title is a pun: “Phantim of the Opera.” A pastiche of film dialog and synths.
B3 Soul Mistake (Live from the US Festival, 1983) B4 Here Comes (Live from the US Festival, 1983) B5 Spy of Love (Live from the US Festival, 1983) B6 Old World New World (Live from the US Festival, 1983) – These last four tracks are live takes from the US Festival and haven’t been released anywhere other than the 40th Deluxe reissue. The band’s setlist at the US Festival was nine out of the ten tracks from Shabooh Shoobah.
Here are the songs missing from this release based on the 40th Deluxe:
You Never Used To Cry – From the Australian limited edition two 7″ single set for “To Look At You.” Written and performed by Tim Farriss. Also used in the Jon Cryer 1984 film No Small Affair.
Space Shuttle – B-Side from “The One Thing” Australian 12″. A kind of dark new-wave track.
This release, while good-intentioned is disappointing because it doesn’t include all of the bonus tracks from the 40th Deluxe reissue. It’s also missing the extended version of “To Look At You” from the Dekadance EP (which is also included on the 40th Deluxe). Honestly, the US Festival tracks aren’t essential on vinyl, in my opinion, and I would have rather had all of the b-sides and “To Look At You” extended remix. I’ll still pick it up since I’m a big fan of INXS.
The essential 2018 biography of American Primitive guitar legend John Fahey (1939-2001), Dance of Death :The Life of John Fahey, American Guitarist by Steve Lowenthal frames the final years of Fahey’s life as a resurgence of popularity that coincided with the rise of alternative and underground acts due to a major label feeding frenzy. Caught on their heels by the unexpected popularity of Nirvana, fringe bands like Sonic Youth, The Butthole Surfers, The Melvins, Mudhoney, The Meat Puppets and others were getting sucked up in the land grab. These bands were all talking about their influences which often included John Fahey. Thurston Moore was quoted as saying, “Fahey’s weirder tunings were a real secret influence on early Sonic Youth.” (Spin, Nov. 1994 p. 66)
In 1994, Fahey, crushed from the effects of the Epstein-Barr virus, long-term heavy drinking as well as a divorce from his third wife of 15 years, was living in fleabag hotels or missions in Salem, Oregon literally surrounded by the detritus of his life. Descriptions from those who knew him during this time mention equal piles of thrift store records which he sold for money and pizza boxes. His trusty guitar spent time in and out of hock.
The two events that reignited Fahey’s stature as an important and influential artist were a double-CD career survey put out by Rhino Records titled Return of the Repressed curated by none other than his old friend Barry Hansen (better known as Dr. Demento) and a feature article in Spin Magazine by Byron Coley titled “The Persecutions and Resurrections of Blind Joe Death.” The Spin feature paints a stereotypically eccentric and boldly opinionated Fahey who spends most of the article riding around in a car eating gas station food and visiting thrift stores to find records. This exposure manifested a deal with Geffen Records spearheaded by Coley, but negotiations broke down as Fahey decided he wasn’t interested in it. In Dance of Death, Coley is quoted, “He was able to negate that [concept], as it didn’t spring from him.”
It seemed like something that would be up his alley. He has a reputation of a little bit of mystery, a little bit of pranksterism…. He did respond well to it and that was how we first met…. [78’s] seemed like the perfect vehicle to record music with a timeless quality. The focus wasn’t on music that would sound “old timey.” The intent wasn’t to speckle it with noise and make it sound of the era. The idea was for it to sound beyond era.
Fahey’s thing was that he liked to insert these things in pawn shops and thrift stores and record stores without any context to guide anyone in terms of “is this authentic?” and the labels had been designed to look like a label that had existed from 1922 to 1938 called Perfect. So, there really wouldn’t be any clues to the real provenance of the music — maybe even after playing it you wouldn’t necessarily know.
Extended interview with Dean Blackwood for In search of blind joe death : The Saga of John Fahey (2012)
During this time Blackwood also helped improve Fahey’s quality of life by becoming a kind of manager for him– dealing with collection agencies, getting his music publishing in order to help bring in more regular payments and also get him into an apartment and out of the motel (which was comparatively much more expensive). In the interview Blackwood says, “He was a guy who didn’t pay a lot of attention to the things that plague you and me in terms of paying his bills, hygiene– you know, things like that, those little annoyances.”
Blackwood would eventually help Fahey launch Revenant Records. This partnership would gain Fahey Grammy recognition due to the use of his thesis (written in 1966 as part of his masters in folklore from UCLA) on Charley Patton used for Screamin’ and Hollerin’ the Blues: The Worlds of Charley Patton which won Grammys in 1997 for Best Historical Album, Best Boxed or Special Limited Edition Package, and Best Album Notes (source: Wikipedia). Fahey would also win his own Grammy in 2000 for his liner notes to Harry Smith’s Anthology of American Folk Music, Vol. 4.
The recordings that make the foundation of the new Drag City album Proofs & Refutations are the four that were released on the 1996 Perfect Records Double 78 RPM. The two-part “Morning” and the two-part “Evening, Not Night” recalls Fahey’s early Skip James influences. Thanks to a generous YouTube uploader, we have rips of the 78’s. I’ve made a playlist for convenience:
Here is the track listing for Proofs & Refutations:
All the Rains 5:43
F for Fake 6:58
Morning (Pt. 1) 4:13
Morning (Pt. 2) 4:30
For LMC 2 4:00
Evening, Not Night (Pt. 1) 5:19
Evening, Not Night (Pt. 2) 4:38
Untitled (w/o rain) 7:04
It’s unclear where the other tracks in the collection come from. Drag City says that the sessions are from 1995 and 1996, which suggests at least a couple of recording sessions were involved, and add that all of the tracks are considered a “session.” They mention the double 78’s, but also say that portions of this material appeared on 7″ vinyl too, though I can’t find a release with these titles.
While I was trying to find reference to the other songs on the album, I found that bleep.com had “All The Rains” for purchase and that you could listen to. Interestingly, the player will let you skip past the sample clip if you move the slider. CLICK HERE to listen/purchase “All The Rains.” This track doesn’t have any guitar in it, only Fahey’s chanting vocals with echo effect. It’s kind of a comedy piece, I think, in a sort of Spike Jones way. The chant and answer sort of get into an argument about whether the rains came down, at one point declaring “you can’t fool me!”
These recordings represent a kind of “lost years” for Fahey. They’re after his stint on Varrick and are before City of Refuge and Womblife and the launch of Revenant Records.
It’s kind of surprising to get a new album for John Fahey in 2023, honestly. For one thing, I figured that everything that was worth releasing had been released. The pinnacle of that effort is the early Fahey box set Your Past Comes Back to Haunt You which seemingly has every possible minute of tape that Joe Bussard recorded of Fahey in the 50’s and 60’s pre-Takoma. If nothing else, it shows that there is interest in compiling releases like this from labels like Drag City (who also has as part of their publishing division two books from Fahey). Here’s hoping we get some more archival (or archeological?) releases for Fahey!
Proofs & Refutations comes out on MP3/FLAC and on vinyl LP on September 8, 2023. You can get it from Bandcamp or from Drag City’s website (and probably other retailers). It’s available for pre-order now.
No single filmmaker captured the zeitgeist of the 1980’s better than John Hughes. His catalog of films loom large on the landscape of what we think of as 1980s culture with big blockbusters of the teen condition like “Sixteen Candles” (1984), “The Breakfast Club” (1985), “Pretty In Pink” (1986) and the immensely quotable “Ferris Bueller’s Day Off” (1986).
Hughes wasn’t the only filmmaker making movies targeted at adolescents in the 1980s, but for that run of films he certainly set the standard for what they should be– heartfelt and funny, often involving a cross section of teen culture, which ultimately allowed those of us who were teenagers at the time the ability to see ourselves in the characters– even if it was largely a whitewashed one.
Hughes was more than his teen movies, however. He got his start writing for National Lampoon, and his first big hit was “National Lampoon’s Vacation” (1983). By 1987 he stepped away from teen films with the epic road adventure starring John Candy (with whom he would create a number of films) and Steve Martin “Planes, Trains and Automobiles.” He would continue to make films through the early 1990’s before finally retiring from writing, producing and directing in 1994. Hughes passed away of a heart attack in 2009 while on a trip to New York City visiting his son James.
One constant through Hughes films was the placement of music and often the soundtrack albums were as popular as the films themselves. Like many, I found out about bands like The Psychedelic Firs (“Pretty In Pink”), New Order (“Shell Shock”), Kate Bush (“This Woman’s Work), Oingo Boingo (“Weird Science”), Simple Minds (“Don’t You (Forget About Me)”), Orchestral Manoeuvres In The Dark (“If You Leave”) from these soundtracks. One beef I always had was that the soundtrack albums didn’t have all of the songs from the film on them or sometimes the album simply didn’t exist, or focused on the score. In most cases when the soundtrack did exist, they would include the most prominent songs, and albums for the soundtracks to “The Breakfast Club,” “Pretty In Pink” and “She’s Having a Baby” are all great standalone listens.
Before record labels and rights holders got aggressive about takedowns in the early 2010’s, the collective efforts of soundtrack fans on the Internet would create comprehensive soundtracks for many films. One notable site that suffered the takedown fate was The Inferno Music Crypt, which started as a way to collect rare soundtracks to horror films which by and large may never have had a soundtrack release (these days this effort continues, and labels like the amazing Terror Vision label resuscitates lost music from bands like Tangerine Dream!). The Music Crypt complete version of the Ferris Bueller’s Day Off Soundtrack had a few iterations before landing on the final version which had 320Kbps mp3’s of all of the songs as well as samples of film dialog and even alternative versions of some of the songs as bonus tracks (his version included the vocal version of The Dream Academy’s cover of The Smiths “Please Please Please Let Me Get What I Want” for example). His version also included the Star Wars Theme (used when the parking attendants took the Ferrari for a spin), the “I Dream Of Jeanne” theme, and even parade songs: Wayne Newton’s “Danke Shoen” and The Beatles “Twist and Shout.”
So, when I heard about a massive box set of soundtrack songs from the John Hughes films titled Life Moves Pretty Fast : The John Hughes Mixtapes (out November 11th), I was really excited! Initially, the preorders were only from the UK– Demon Music Group, who produced this set, is run by the BBC, but now the compilation is available as a pre-order from Pop Market for around $142.00 as a 6-LP box set with book. There is also a CD box set which comes with a 14-track cassette and 7-inch, and a 2 LP version.
The compilation is curated by Tarquin Gotch who was Hughes’s primary music supervisor for his films. The compilation is presented as a mixtape of songs from all of the films, rather than in order of the soundtracks as a tribute to how Gotch and Hughes would collaborate on the music supervision.
“Back when we were working on these movie soundtracks, the best way to send music around the world was the cassette, by Fedex,” Gotch remembered in a statement. “We sent John cassettes of newly released music, of demos, of just finished mixes (and in return he would send VHS videos of the scenes that needed music).”
Presenting the songs this way makes the compilation more listenable, since Hughes had a tendency of jumping around stylistically as the scene demanded, plus even at 74 songs, this is far from comprehensive. Some films are only represented by one song, for example. The Breakfast Club is represented only by “Don’t You (Forget About Me)” (though arguably the most famous song from the film), Lindsay Buckingham’s “Holiday Road” makes an appearance representing all of the various “Vacation” films (also a song that is sort of hard to find since Buckingham never seems to include it in any releases), Pop Will Eat Itself shows up for “The Great Outdoors” (an unmemorable soundtrack, honestly, and seemingly a way to pay licensing to “Elwood J. Blues” (aka Dan Akroyd) with no less than 5 songs (none of which are here).
What this compilation seems to try to do is walk the line between appeasing died-in-the-wool fans of the soundtracks of these films and also presenting a compilation of songs that general fans of the films would enjoy. In that regard, I think they might have gotten it right– particularly when you look at the 2 LP version. Clocking in at 25 tracks, it represents pretty much only the “big” songs from these soundtracks and is kind of a greatest hits of these. Most people would only be interested in getting this version, I expect.
The 6 LP/4 CD version is clearly targeted at the fans who already have the original soundtracks and want to get some of the songs that were skipped due to album length or licensing. If you already have The Breakfast Club, Pretty In Pink, Some Kind of Wonderful, and Weird Science you won’t feel gipped here. Most of the songs on these soundtrack albums aren’t here.
Interestingly, we pretty much get all of the “missing” Ferris Bueller’s Day Off Soundtrack in this collection. There was never an album release for this, though in 2016, LaLaLand Records put one together (still missing some tracks due to licensing), and it includes the Ira Newborn score which is pretty nice. We don’t get the parade “Danke Shoen/Twist And Shout” on Life Move Pretty Fast, and that’s likely due to licensing. Having “Beat City” by the Flowerpot Men, “Love Missile F-111” by Sigue Sigue Sputnik and “March of the Swivelheads” by The Beat (The English Beat in the U.S.) as well as “Oh Yeah” by Yello really captures this soundtrack’s big moments.
Life Moves Pretty Fast also makes up for the ridiculous attempt at a soundtrack album in 1984 for Sixteen Candles. The original release was an EP clocking in at around 16 minutes. In some regards, it was pretty much a way to prop up the brilliant “If You Were Here” by The Thompson Twins. We get 11 songs on this box set, which includes the aforementioned “If You Were Here,” but also includes some of the really on-point tracks from the wedding preparation, the Peter Gunn theme and “True” by Spandau Ballet. All we’re missing is the Stray Cats cover of “16 Candles, the Annie Golden track and “Geek Boogie” which was a song created for the film by Ira Newborn (a signature track that really should have been on here).
Quite a bit of the soundtrack to “She’s Having A Baby” is included here, both new songs and songs from the album. The key songs from the soundtrack album proper make it here, though sadly leaves off the awesome XTC song “Happy Families.” But, where it really hits are the “classic” songs that propped the film up, but weren’t licensed for the album: Marvin Gaye’s “How Sweet It Is (To Be Loved By You),” Boston’s “More Than A Feeling,” and the use of “Music For A Found Harmonium” by Penguin Cafe Orchestra (which HAD to influence its inclusion in the post-dance scene in Napoleon Dynamite). The funny addition is the cover of the Gene Krupa track “Drummin’ Man” by Topper Headon, who was the original drummer for The Clash.
The original soundtrack album to Planes, Trains and Automobiles seems to lose any sort of cohesion from both not including some key songs from the film itself, and the fact that the songs don’t really fit together. Steve Earle’s cover of “Six Days on the Road” is fantastic, and really the only reason to have ever bought it (I had it on cassette…). Don’t even get me started with “I Can Take Anything” by E.T.A. which is a club track with samples from the film (sort of like “Batdance” from Batman I suppose). This, thankfully isn’t included on Life Moves Pretty Fast, but we get both Steve Earle songs: “Six Days on the Road” from the album as well as “Continental Trailways Blues.” Yello is back with “Lost Again” which originally appeared on their 1983 album Gotta Say Yes To Another Excess. To me it seems that by 1987, the soundtracks to the Hughes films had moved from being the leading edge of New Wave tastes, but that was probably also a symptom of Hughes moving from teen films. In that regard, this box set and album smartly leans heavily on those earlier films.
As someone who has been a big fan of the music in John Hughes’s films, this box set is a welcome release, and certainly a tribute like this has been long overdue. Since I already have some of these original soundtracks in my collection, this is a great companion to those (and I realize I need to get some of those on LP).
Click here to order the 6 LP red vinyl box from Pop Market (currently about $142 with free shipping)
Click here to order the 4 CD, 7″ and cassette box from Pop Market (currently about $120 with free shipping)
Click here to order the 2 LP black vinyl version from Pop Market (currently at $53.79 with free shipping)
Below is the tracklist for the 6 LP box set. I’ve added in bold the film the songs appeared in, and put an asterisk next to the songs that were on the original soundtrack albums.
Side A: Kajagoogoo – Kajagoogoo (Instrumental) – Sixteen Candles * Simple Minds – Don’t You (Forget About Me) – Breakfast Club * Orchestral Manoeuvres In The Dark – If You Leave – Pretty In Pink * Oingo Boingo – Weird Science – Weird Science * Furniture – Brilliant Mind – Some Kind of Wonderful * Dave Wakeling – She’s Having a Baby – She’s Having A Baby
Side B: The Flowerpot Men – Beat City – Ferris Bueller’s Day Off * The Psychedelic Furs – Pretty in Pink – Pretty In Pink * Flesh for Lulu – I Go Crazy – Some Kind of Wonderful * Dr. Calculus – Full of Love – She’s Having A Baby * Lick the Tins – Can’t Help Falling in Love – Some Kind of Wonderful * Steve Earle & The Dukes – Six Days on the Road (Album Version) – Planes, Trains and Automobiles
Side C: * Kirsty MacColl – You Just Haven’t Earned It Yet Baby (Soundtrack Version) – She’s Having A Baby * Suzanne Vega & Joe Jackson – Left of Center – Pretty In Pink * Pete Shelley – Do Anything (Soundtrack Version) – Some Kind of Wonderful * Carmel – It’s All in the Game – She’s Having A Baby * The Dream Academy – Power to Believe (Instrumental) – Planes, Trains and Automobiles * Kate Bush – This Woman’s Work – She’s Having A Baby
Side D: The Beat – March of the Swivelheads (Rotating Heads – Dub Version) – Ferris Bueller’s Day Off Nick Heyward – When It Started to Begin – Sixteen Candles Orchestral Manoeuvres in the Dark – Tesla Girls – Weird Science Big Audio Dynamite – BAD – Ferris Bueller’s Day Off * Killing Joke – Eighties – Weird Science The Specials – Little Bitch – Sixteen Candles
Side E: * Gene Loves Jezebel – Desire (Come and Get It) (US Club Mix) – She’s Having A Baby Flesh for Lulu – Slide – Uncle Buck * Love and Rockets – Haunted When the Minutes Drag – She’s Having A Baby Sigue Sigue Sputnik – Love Missile F1-11 (Ultraviolence Mix) – Ferris Bueller’s Day Off * Lords of the New Church – Method to My Madness – Weird Science
Side F: * The Jesus and Mary Chain – The Hardest Walk (Single Version) – Some Kind of Wonderful * Echo & the Bunnymen – Bring on the Dancing Horses – Pretty In Pink General Public – Tenderness – Weird Science The Blue Room – I’m Afraid – Ferris Bueller’s Day Off * Belouis Some – Round, Round – Pretty In Pink * Thompson Twins – If You Were Here – Sixteen Candles The Dream Academy – Please, Please, Please Let Me Get What I Want (Instrumental) – Ferris Bueller’s Day Off
Side G: Yello – Oh Yeah – Ferris Bueller’s Day Off * Book of Love – Modigliani (Lost in Your Eyes) – Planes, Trains and Automobiles Otis Redding – Try a Little Tenderness – Pretty In Pink * Patti Smith – Gloria: In Excelsis Deo – Sixteen Candles * Westworld – Ba-Na-Na-Bam-Boo – Planes, Trains and Automobiles Divinyls – Ring Me Up – Sixteen Candles Topper Headon – Drummin’ Man – She’s Having A Baby
Side H: Billy Idol – Catch My Fall – Some Kind of Wonderful The Association – Cherish – Pretty In Pink Penguin Cafe Orchestra – Music for a Found Harmonium – She’s Having A Baby Zapp – Radio People – Ferris Bueller’s Day Off * The Blue Room – Cry Like This – Some Kind of Wonderful
Side I: Ray Charles – Mess Around – Planes, Trains and Automobiles Joe Turner – Lipstick, Powder and Paint – Uncle Buck Darlene Love – (Today I Met) The Boy I’m Gonna Marry – Sixteen Candles Marvin Gaye – How Sweet It Is (To Be Loved By You) – She’s Having A Baby Perry Como with Mitchell Ayres and His Orchestra and the Ray Charles Singers – Juke Box Baby – Uncle Buck The Chordettes – Mr. Sandman – Uncle Buck Ray Anthony and His Orchestra – The Peter Gunn Theme – Sixteen Candles
Side J: * Lindsey Buckingham – Holiday Road – National Lampoon’s Vacation * Emmylou Harris – Back in Baby’s Arms – Planes, Trains and Automobiles Hugh Harris – Rhythm of Life – Uncle Buck Spandau Ballet – True – Sixteen Candles Propaganda – Abuse – Here – Some Kind of Wonderful The Dream Academy – The Edge of Forever – Ferris Bueller’s Day Off
Side K: Yello – Lost Again (Album Version) – Planes, Trains and Automobiles * Bryan Ferry – Crazy Love – She’s Having A Baby The Rave-Ups – Positively Lost Me – Pretty In Pink Los Lobos – Don’t Worry Baby – Weird Science Steve Earle – Continental Trailways Blues (Album Version) – Planes, Trains and Automobiles The Revillos – Rev Up! – Sixteen Candles
Side L: Boston – More Than a Feeling – She’s Having A Baby * Balaam and the Angel – I’ll Show You Something Special – Planes, Trains and Automobiles The Rave-Ups – Rave Up / Shut Up – Pretty In Pink * Pop Will Eat Itself – Beaver Patrol – The Great Outdoors The Vapors – Turning Japanese – Sixteen Candles * Silicon Teens – Red River Rock – Planes, Trains and Automobiles
The national awareness of Athens, Georgia as a vibrant art and music scene in the 80’s was largely accomplished due to a plucky, quirky and loose 1986 documentary film by director Tony Gayton titled “Athens, GA: Inside/Out” and its associated soundtrack on I.R.S. Records, which at the time was R.E.M.’s label.
In many ways, the film happened at the right time: R.E.M.’s Document, their last and biggest album on I.R.S. Records would come out in Fall of 1987 and blow up with “The One I Love.” Fans like me who were hungry for everything related to R.E.M. ran out to pick up the VHS tape of the film and the soundtrack to hear and see the two R.E.M. tracks performed in the Seney-Stovall Chapel: acoustic versions of “Swan Swan H” from Lifes Rich Pageant and a cover of an Everly Brothers classic re-titled “(All I Have To Do Is) Dream.”
A side note: the legend of R.E.M. includes the fact that they lived in an abandoned church and their first concert was in this same church. Until today, I assumed that the performance in the film was in that church, but they really lived in St. Mary’s Episcopal Church, which was demolished in 1990 by developers. The steeple still stands today as a landmark to R.E.M.
As someone growing up in a very small midwestern town in the 1980’s, I had very limited access to underground non-Top 40 music. I didn’t even have MTV! So, the soundtrack and filmed performances in “Athens, Ga : Inside/Out” were eye-opening experiences! In many ways this soundtrack defined the music I would follow for many years. As a compilation, the songs and bands are all over the map: soon-to-be radio darlings R.E.M., twitchy frenetic post punk of Pylon (who recently got their much-deserved recognition in a boxset I covered here.), the instrumental workings of Love Tractor (the use of “Fun To Be Happy” as the opening music was brilliant and set the tone for the film), moody guitar rock of “Dreams So Real” (whose major label debut Rough Night in Jericho disappointingly made them sound like The BoDeans and not like the moody and beautiful “Golden”), The B-52’s were included in the film, but not the soundtrack, the hardcore punk of Bar-B-Q Killers, the hyper retro two-piece rockabilly of The Flat Duo Jets (who are obvious influences on The White Stripes). The thoughts of these bands playing bars and stages in Athens was breathtaking, and my friends and I all wanted to make a trip there. (It’s still on my bucket list of places to visit)
Out of all of those bands on the soundtrack, the ones that really stood out for me (and are favorites to this day) were Pylon, Love Tractor and Squalls. Squalls had two songs on the soundtrack, their big hit (such as it was) “Na Nanana” and “Elephant Radio.” Both of these songs were on their debut self-released EP from 1984, and by 1986, when this film came out, they were regarded as one of the bands who deserved to make it to the national spotlight. The Squalls mix of epic harmonies and melodies combined with smart and sometimes progressive rhythms to me makes them a shoo in for a band that could follow in the footsteps of bands like Talking Heads and Adrian Belew.
The Squalls were signed to R.E.M. manager Jefferson Holt‘s label Dog Gone Records, and released two albums there before the band hung it up in 1989.
On August 19th, the band is releasing a compilation of live recordings made over five dates made at the legendary Athens, GA bar The 40-Watt Club between 1983 and 1985 (predating the performances in the film). These performances were recorded by 40-Watt soundman T. Patton Biddle. Titled Live from the 40 Watt, the songs span the EP and the two albums and are a great representation of the band’s body of work. Here is the tracklist, with my notes of performance date and what album the songs come from. I’ve also provided links to the tracks that have been released for streaming.
Bride Of Frankenstein (8/2/1985) from No Time and “Crickets” 7″
The striking thing about this compilation is how much unreleased music is included! I exchanged messages with Bob Hay, the principle songwriter in Squalls whether this release was indicative of the live sets from this pre-Dog Gone era of the band, or whether he was attempting to get these unreleased songs released formally. He said:
It’s kind of both. On “LIVE” I wanted to include every song that was released on vinyl before 1986. (8 songs – the EP and the single.) and also rescue from the sands of time a bunch of songs that were staples of our live shows in those days and a few that we played only a few times but are too good to be forgotten. We were primarily a live dance band and played live for almost three years before we set foot in a studio.
Facebook chat 7/10/22
The idea of a band packing bars playing all original songs seems foreign, if not kind of quaint these days. Bob sent me a scan of the show calendar for The 40-Watt Club from February, 1986: the month that they filmed the performances for Athens, GA: Inside/Out. I commented about the incredible lineup of bands that were playing that month– (not to mention all of the bands who were in the film)– Alex Chilton played a Thursday night show, The Georgia Satellites and the Del Fuegos (who would share a tour with Tom Petty the next year), Giant Sand, and Jason and the Scorchers played a three night stand. Bob replied, “I tell you, it was something during that time.”
In addition to capturing a wildly creative time for Squalls, Live from the 40-Watt also is a reminder that Athens was (and still is) a very special place where bands were drawn to be more free creatively and where audiences were excited to hear new music. The recordings show a band wide-eyed and excited to bring their art to the world.
Live From The 40-Watt will be released on August, 19th, 2020 and will be available on beautiful 2 LP blue vinyl, CD or digital. Click here to order from Strolling Bones records site, or you can order it from Bandcamp.
We’re treated to yet another “lost” album from the jazz archives, this time from the extensive Blue Note Records archives. On April 24th Blue Note will be releasing an originally rejected release titled Just Coolin’ from a March 8, 1959 session recorded at Rudy Van Gelder’s studio in Hackensack, NJ. This session was dropped due to the fact that four of the six tracks recorded overlapped with At The Jazz Corner of the World (not to be confused with the 1960 2 LP Meet Me At The Jazz Corner of the World with Wayne Shorter) album recorded by Alfred Lion at Birdland in NYC just over a month later on April 15th, 1959. Split over two volumes, the first was released in 1959, and the second in 1960.
Drummer Art Blakey’s legendary Jazz Messengers band had a lot of lineup changes during its 35 year run. The period from 1958-1964 is generally regarded as the most notable run for the band. Blakey pulled together a band of Philly natives: Lee Morgan (trumpet), Benny Golson (tenor sax), Bobby Timmons (piano), and Jymie Merritt (bass). This is the band that Blakey had on his Blue Note Records debut Moanin’ (Blue Note 4003), recorded in October of 1958 and released in January of 1959. Following the sessions for Moanin’, the band hit the road for an extensive tour of Europe producing the live albums 1958 – Jazz Olympia (on Fontana) and Art Blakey et les Jazz-Messengers au club St. Germain (on French RCA) among other later releases (mostly unofficial) that came out in the 1970’s to capitalize on Blakey’s departure from releasing albums as changing tastes in modern music turned away from his music.
Ultimately, the replacement of Mobley with Wayne Shorter resulted in two of my favorite albums in the Jazz Messenger catalog: the 1961 release A Night In Tunisia, and the very-underappreciated (in my opinion) 1962 album Mosaic.
Mobley spent a brief stint in Miles Davis’s band as a replacement for the departed John Coltrane starting in 1961. But that pairing never really resulted in the partnership that Davis was missing with Coltrane. He appears on the studio album Someday My Prince Will Come (which somewhat awkwardly also features Coltrane) and two live albums : Friday and Saturday Nights Miles Davis In Person at the Blackhawk, San Francisco and Miles Davis at Carnegie Hall.
Just Coolin’ is an album that documents a brief interval in the changing lineups of The Jazz Messengers, but an important one nonetheless. Hank Mobley wrote three of the songs for the album, and they also appear on Jazz Corner of the World: “Hipsippy Blues,” “M&M,” and “Just Coolin’.” The early reviews suggest that the studio takes lack the energy and possibly the polish of the live versions, but the inclusion of two previously unheard songs pique the interest of fans and present a kind of “what if” scenario with Mobley had he been able to continue with the band.
The first track we get to hear is the previously unheard Bobby Timmons composition “Quick Trick.”
Here is the track listing for Just Coolin’ with YouTube links to the four versions from At TheJazz Corner of the World fso you can get an idea of what the other songs will sound like.
News of a new Hiss Golden Messenger release was nestled discretely in a new interview with frontman M.C. Taylor in The Atlantic today. The article mentioned that he’s also working on a new album, keeping up with the nearly-yearly release schedule he’s been maintaining. The article is a nice snapshot of where he is these days, balancing the demands of home life and working musician. The article provides a quick history of Taylor’s career, which is probably new information for many who are only familiar with his recent releases.
This blog started around the time of his previous band The Court & Spark’s last release Hearts in 2006. In fact, I think my review of it might have been the first or second review I did. Just over a year later the band called it quits and Taylor and Scott Hirsch started working on the nascent version of Hiss Golden Messenger. At the time I was exchanging messages on MySpace with Taylor and he sent me rough mixes for what would be the first studio release Country Hai East Cotton. The article in the Atlantic describes it as “[not] bad, just listless.” When I was still in regular communication with Taylor, I used to suggest that he resurrect those songs live, but it was clear he was drawing a line in the sand of his catalog. His 2010 release Bad Debt represented a reboot of his songwriting. He’s quoted in the article: “I had to figure out how to sing a song that I meant, that I could carry around every night for months or years. I didn’t have that when I was in my late teens. I sure as shit didn’t have it in my 20s,” he says. “When I made Bad Debt it felt like I wrote the book of my life. I had never had that feeling creating music before.”
So, this is where the new boxset from Merge Records Devotion: Songs About Rivers and Spirits and Children starts. Due out 11/2, it is a gorgeously appointed package with the three main Hiss Golden Messenger releases that were released on the Paradise of Bachelors label (Bad Debt (2010), Poor Moon (2011), and Haw (2013)) plus a collection of rarities called Virgo Fool. The three albums have been out of print for a while and are now remastered for this box set and will be offered also as regular releases in the Merge catalog with new similarly-themed cover art. Here is what Merge says about the box:
“Individually numbered in a one-time pressing of 2,200 of each format, the four-album set is housed in a beautiful cloth-wrapped slipcase with three-color foil detailing and includes an exclusive foldout poster. Each CD is packaged with liner notes and complete lyrics inside a mini-gatefold wallet with a debossed cover. Each LP, pressed on black vinyl, includes a two-sided insert with liner notes and full lyrics plus a download card, all inside a heavyweight jacket with a debossed cover.”
For the ardent HGM collectors among us, the chance to get the rarities on one LP is worth the price of admission– it is only available in physical format in the box sets. Here is the track list for Virgo Fool along with where the tracks came from:
1. Rock Holy – From the Merge Records 25th Anniversary 7-inch box set Or Thousands of Prizes
2. Black Country Woman – Led Zeppelin cover from the Mojo Magazine compilation Mojo Presents Physical Graffiti Redrawn
3. Joyce & Joel – previously unreleased, but “Joyce & Joel Martin” are credited as being the house where “Brother Do You Know the Road” was recorded.
4. Lion/Lamb – Not sure if this will be the same version, but this song was included on the Root Work, Live on WFMU LP.
5. Father Sky – From the 2012 compilation of outtakes called Lord, I Love The Rain.
6. Issa – Haw outtake included in the digital only Glad EP. We’re missing the other original song “Roll River Roll” from that collection.
7. Back to the River Again – previously unreleased
8. Tell Everyone – Ronnie Lane cover from Lord, I Love The Rain.
9. Karen’s Blues – from Lord, I Love The Rain
10. The Revenant – Michael Hurley cover from Lord, I Love The Rain
11. Hard Promises – previously unreleased
Not one to give it all away, we’re missing a few rarities that maybe we’ll see collected in the future:
“Shiloh Town” : a Tim Hardin cover that was included on a split 7″ with Moviola. RSD 2012 limited to 200.
“Fennario” : a Michael Chapman cover which was included in the tribute album Oh Michael, Look What You’ve Done: Friends Play Michael Chapman. Was also included in the Glad digital EP.
“Brown Eyed Women” from the Day of the Dead Grateful Dead tribute.
“Lion of Judah” : a cover of Clive’s Original Band song. Included on the Glad digital EP.
“The Beast and Dragon, Adored” : Spoon cover from the digital only Or Thousands of Prizes covers collection.
“My Cousin’s King” – Elephant Micah cover from the shared split 7″
“I Wish I Had Not Said That” (JJ Cale cover), “Still Life Blues” (Elephant Micah cover), “Smoke Rings” (David Wiffen cover) from the Three-Lobed Recordings split LP with Michael Chapman as part of their Parallelogram series of collaborative releases.
The big news from the Tom Petty camp is the announcement of a new 60-track career retrospective called Tom Petty: An American Treasure. It comes in three physical formats, one is a 4 CD version that includes an 84-page hardcover book (available only through tompetty.com) there is also a 4 CD version without the hardcover book. Additionally, there is a 6-LP version of it that doesn’t include the hardcover book, which comes out on Black Friday Record Store Day on 11/23, coincidentally (though likely not– it is probably an “RSD First” release, which means it is a regular release, and not limited to RSD).
The box set has a mixture of album tracks, outtakes and alternative versions and live tracks. In some ways this box set is the sequel to the 1995 Playback box set which focused on studio songs, outtakes, unreleased and b-sides. This set mixes in some live tracks like the 2009 The Live Anthology did. An American Treasure is a fairly complimentary addition to those collections.
With the assistance of posts on Steve Hoffman Forums and Mudcrutch Farm Tom Petty forums, I started taking a look at what is on this box in greater detail. There is some disappointment from folks due to the 18 album tracks and the bit of overlap with the Playback boxset and tracks that were available on Highway Companion bonus downloads. That said, there is a treasure trove of new stuff here. The album tracks are kind of deeper tracks from albums that haven’t been focused on before. And– surprise– no “Free Fallin'”!
Here is a breakdown (so to speak) of the new tracks on here. This is the full track list, so I’ve included the album tracks, but didn’t provide any commentary on those. I also provide some thoughts about possible future archive releases.
Surrender (Previously unreleased track from Tom Petty and the Heartbreakers sessions—1976) – The first place we heard this song in any form was on 2000 release Anthology: Through the Years. The version on this compilation was a new recording of the song created specifically for this release (and was the last studio recording of Howie Epstein before his death, according to Wikipedia). In 2009 we got a version on The Live Anthology as a live performance from June 11, 1983 from Irvine Meadows. In 2010 a studio version of this song was added to the Deluxe Edition reissue of Damn The Torpedoes. We don’t know yet whether the version here is the same version that was included on that reissue, since Damn The Torpedoes was, according to Wikipedia, recorded between 1978 and 1979.
Listen To Her Heart (Live at Capitol Studios, Hollywood, CA—November 11, 1977) Anything That’s Rock ‘N’ Roll (Live at Capitol Studios, Hollywood, CA—November 11, 1977)
These two tracks came from a radio broadcast on KWST FM 106 in Los Angeles. This recording has been floating around as a widely-traded bootleg.
When The Time Comes (Album track from You’re Gonna Get It!—May 2, 1978) You’re Gonna Get It (Alternate version featuring strings from You’re Gonna Get It! sessions—1978) Unheard version from what I can tell.
Radio Promotion Spot (1977)
Rockin’ Around (With You) (Album track from Tom Petty and the Heartbreakers —November 9, 1976)
Fooled Again (I Don’t Like It) (Alternate version from Tom Petty and the Heartbreakers—1976)
Breakdown (Live at Capitol Studios, Hollywood, CA—November 11, 1977) See above.
The Wild One, Forever (Album track from Tom Petty and the Heartbreakers—November 9, 1976)
No Second Thoughts (Album track from You’re Gonna Get It!—May 2, 1978)
Here Comes My Girl (Alternate version from Damn The Torpedoes sessions—1979) Not on the Deluxe Edition of Damn The Torpedoes!
What Are You Doing In My Life (Alternate version from Damn The Torpedoes sessions—1979) Not on the Deluxe Edition of Damn The Torpedoes!
Louisiana Rain (Alternate version from Damn The Torpedoes sessions—1979) Not on the Deluxe Edition of Damn The Torpedoes!
Lost In Your Eyes (Previously unreleased single from Mudcrutch sessions—1974) On the 1995 Playback box set, we got a few Mudcrutch sessions tracks (“On The Street”, “Depot Street”, “Cry To Me”, “Don’t Do Me Like That”, “I Can’t Fight It”) but this is a new one. There is a bootleg that collects all of the Mudcrutch sessions from 1974 and 1975 which doesn’t include the Playback tracks, but does include this (other Mudcrutch songs that haven’t seen official release: “Another Lonely Night, “Don’t It Get Weird”, “You’re Driving me Crazy”, “She’s A Screamer”, “Parade of Loons”, “Makin’ Some Noise”, “You Don’t Care”, “Don’t Bring me Down”, “Save Me”, “Don’t Make It Any Easier”, “Long way From Home”, “Once Upon a Time Somewhere”, “Country Girls Run Dry”)
Keep A Little Soul (Previously unreleased track from Long After Dark sessions—1982) The first single from this box set, and is the download you get for the pre-order.
Even The Losers (Live at Rochester Community War Memorial, Rochester, NY—1989) No songs from this show are on The Live Anthology, so this is an unheard track.
Keeping Me Alive (Previously unreleased track from Long After Dark sessions—1982) A version of this song is on Playback. Is this a different take?
Don’t Treat Me Like A Stranger (B-side to UK single of “I Won’t Back Down”—April, 1989) Not part of the b-sides on Playback.
The Apartment Song (Demo recording (with Stevie Nicks)—1984) From Playback.
Concert Intro (Live introduction by Kareem Abdul-Jabbar, The Forum, Inglewood, CA—June 28, 1981) King’s Road (Live at The Forum, Inglewood, CA—June 28, 1981) Clear The Aisles (Live concert announcement by Tom Petty, The Forum, Inglewood, CA—June 28, 1981) A Woman In Love (It’s Not Me) (Live at The Forum, Inglewood, CA—June 28, 1981)
In 1981 during the Hard Promises tour, Tom Petty & The Heartbreakers played a three-night run at The Forum in Inglewood, CA: June 28-30th. Tracks from this run have appeared before. The two duet tracks with Stevie Nicks on the live album Pack Up The Plantation: Live (“Insider” and “Needles and Pins”) were from one of those nights (I haven’t found setlists for those shows yet). The Live Anthology has a bunch of songs from those nights:
“Ladies and Gentlemen…”, “Nightwatchman.” (June 30, 1981)
“A Thing About You” (June 28, 1981)
“Breakdown” (June 30, 1981)
“A Woman In Love (It’s Not Me)” (June 29, 1981)
“The Waiting” (June 28, 1981)
“Good, Good Lovin'” (June 30, 1981)
“I Need To Know” (June 29, 1981)
In my opinion, at the risk of redundancy, they could do a Grateful Dead style boxset encompassing all three nights, since clearly they have very high quality recordings of those nights.
Straight Into Darkness (Alternate version from The Record Plant, Hollywood, CA—May 5, 1982) A version we haven’t heard.
You Can Still Change Your Mind (Album track from Hard Promises—May 5, 1981)
Rebels (Alternate version from Southern Accents sessions—1985) As someone on the Mudcrutch board observed, the sessions for Southern Accents were “problematic” and Petty broke his hand punching a wall during them in frustration. Maybe this will be a very different version of “Rebels” due to all of the recording they did trying to get the album completed.
Deliver Me (Alternate version from Long After Dark sessions—1982) This is a new outtake we haven’t heard.
Alright For Now (Album track from Full Moon Fever—April 24, 1989)
The Damage You’ve Done (Alternate version from Let Me Up (I’ve Had Enough) sessions—1987) Another new version we’ve not heard.
The Best Of Everything (Alternate version from Southern Accents sessions—March 26, 1985)
Walkin’ From The Fire (Previously unreleased track from Southern Accents sessions—March 1, 1984) New version.
King Of The Hill (Early take (with Roger McGuinn)—November 23, 1987) – Interesting inclusion. Petty co-wrote this with Roger McGuinn for his Back From Rio album.
I Won’t Back Down (Live at The Fillmore, San Francisco, CA—February 4, 1997) Tom Petty performed an epic 20-night sold out run from January 10th to February 7th, 1997 at The Fillmore in San Francisco. This was the 20th anniversary of the band. We also have some songs on The Live Anthology from this run:
“Diddy Wah Diddy” (2/1/97)
“I Want You Back Again” (2/7/97)
“Friend of the Devil” (2/7/97)
“Jammin’ Me” (2/7/97)
“County Farm” (2/4/97)
Similarly to the run of shows at The Fillmore in 1981, we could get a boxset of these shows. That would be pretty amazing.
While we’re talking about it, they did another residency at The Fillmore in 1999, from March 7th to the 16th. The nights of the 15th and 16th created the High Grass Dogs : Live at The Fillmore film.
Gainesville (Previously unreleased track from Echo sessions—February 12, 1998) Too new to be included in Playback— but I’m looking forward to hearing other tracks from the under-appreciated album.
You And I Will Meet Again (Album track from Into The Great Wide Open—July 2, 1991)
Into The Great Wide Open (Live at Oakland-Alameda County Coliseum Arena—November 24, 1991)
No 1991 tour songs at all on The Live Anthology.
Two Gunslingers (Live at The Beacon Theatre, New York, NY—May 25, 2013) This is the same version that was on the Highway Companions fanclub download Live 2013 and on the Kiss My Amps Vol. 2 Record Store Day vinyl release.
Lonesome Dave (Previously unreleased track from Wildflowers sessions—July 23, 1993) To Find A Friend (Album track from Wildflowers—November 1, 1994) Crawling Back To You (Album track from Wildflowers—November 1, 1994) Wake Up Time (Previously unreleased track from early Wildflowers sessions—August 12, 1992) Grew Up Fast (Album track from Songs and Music from “She’s the One”—August 6, 1996)
Oh boy. The hopeful amongst the Tom Petty faithful are now looking at 2019 as the 25th anniversary of Wildflowers to get the expanded version with “All The Rest.” So, now we have what is likely some of the tracks that would have been included in the promised expanded edition of Wildflowers here in this box set. I just hope Wildflowers: All The Rest comes out before I die.
I Don’t Belong (Previously unreleased track from Echo sessions—December 3, 1998) More cool unheard stuff from Echo. Accused Of Love (Album track from Echo—April 13, 1999) Lonesome Sundown (Album track from Echo—April 13, 1999)
Don’t Fade On Me (Previously unreleased track from Wildflowers—sessions—April 20, 1994) See above.
You And Me (Clubhouse version—November 9, 2007) This is a song from The Last DJ. The Clubhouse is the Heartbreakers rehearsal and gear storage space. I’m sure there’s lots of interesting recordings from The Clubhouse we haven’t heard.
Have Love Will Travel (Album track from The Last DJ—October 8, 2002) Money Becomes King (Album track from The Last DJ—October 8, 2002)
Bus To Tampa Bay (Previously unreleased track from Hypnotic Eye sessions—August 11, 2011) Oooh. Hypnotic Eye outtakes!!
Saving Grace (Live at Malibu Performing Arts Center, Malibu, CA—June 16, 2006) The 2006 tour was a strong one– it also generated the “Live From Gatorville” show and they played Bonnaroo.
Down South (Album track from Highway Companion—July 25, 2006)
Southern Accents (Live at Stephen C. O’Connell Center, Gainesville, FL—September 21, 2006) Insider Live (with Stevie Nicks at O’Connell Center, Gainesville, FL—September 21, 2006)
“Live From Gatorville” or “One 30th Anniversary Concert from Gainesville, FL” which was a pay-per-view (I think) and then the bonus DVD included with the “Runnin’ Down A Dream” documentary. These songs are from this. We got a bunch of songs from this show on The Live Anthology: “I’m A Man”, “Mary Jane’s Last Dance”, “Southern Accents” (so this is repeated here)
Two Men Talking (Previously unreleased track from Hypnotic Eye sessions—November 16, 2012) Fault Lines (Album track from Hypnotic Eye—July 29, 2014) Sins Of My Youth (Early take from Hypnotic Eye sessions—November 12, 2012)
Cool to hear more from the Hypnotic Eye sessions.
Good Enough (Alternate version from Mojo sessions—2012) Something Good Coming (Album track from Mojo—July 15, 2010)
I would have thought that there would be more alternate and outtakes from Mojo, since it seemed like they were jamming more. Nevertheless, it will be cool to hear something from those sessions.
Save Your Water (Album track from Mudcrutch 2—May 20, 2016)
Like A Diamond (Alternate version from The Last DJ sessions—2002)
Hungry No More (Live at House of Blues, Boston, MA—June 15, 2016) This was previously released on the Highway Companion club download The Very Best Performances of the 2016 Mudcrutch Tour live Mudcrutch compilation.
An American Treasure seems like a really thought out tribute to Tom Petty, even though it’s kind of a mixed bag. The inclusion of album tracks and other tracks that have been released elsewhere makes it not exactly a perfect collection for die-hard fans of Petty. The album tracks it does have, don’t include any hits, so it’s not really for the casual fan either. For a Tom Petty completist like me, it’s one to add to the collection, even if it is kind of a compromise.
On March 6, 1963, jazz sax legend John Coltrane brought his quartet with McCoy Tyner on piano, Jimmy Garrison on bass and Elvin Jones on drums to Rudy Van Gelder’s studios in Englewood Cliffs, NJ to record a session. The group was in the middle of a two-week engagement at Birdland in New York City and getting ready to record the John Coltrane and Johnny Hartman album on the 7th. Apparently, the band came into the studio on the 6th with the intention to record an album, as the sessions show they recorded multiple takes of some songs as they refined the tracks. These sessions are now packaged with the help of Coltrane’s son Ravi and will be released in a single album release of selected takes and a two album deluxe release with additional takes as Both Directions At Once: The Lost Album on June 29th.
For some unknown reason these sessions never produced an album. The press release from Impulse! says, “The other non-original composition on the album is “Vilia,” from Franz Lehár’s operetta “The Merry Widow”. The soprano version on the Deluxe Edition is the only track from this session to have been previously released.” The Deluxe Edition also gives us no less than four studio takes of “Impressions” which would make its first official catalog release in 1963 on Coltrane’s second album on Impulse! of the same title as a live version from The Village Vanguard in 1961. During these March 6th sessions “Impressions” was called “Untitled Original Composition” but in fact, these are newer arrangements of the “Impressions” takes from June 20th, 1962. From the 1962 sessions, Take 2 was released on the 2001 Impulse! CD The Very Best of John Coltrane. Strangely, the version on Amazon has a totally different track listing than the one that matches the catalog number on discogs and doesn’t list that take of “Impressions” on it. But, the cover art pictured does show it.
But, the very exciting songs on this release are the brand new original compositions which only have working titles: the descriptively titled “Slow Blues” and two tracks identified only by their matrix numbers, “Untitled Original 11383 (Take 1)” and “Untitled Original 11386 (Take 1).”
The press release from Impulse! said the original master tapes had been destroyed because “Van Gelder wasn’t one for clutter.” Sax legend in his own right and labelmate on Impulse!, Sonny Rollins, pens the liner notes for this release. His Official Facebook page gives a slightly different take on the fate of the tapes saying, “The master tape left in the studio was lost, and it’s likely it was destroyed in the early 70s when the label, Impulse!, was trying to reduce storage fees.”
The tape that was used for this release was a copy on 1/4″ tape that producer Bob Thiele gave to Coltrane to take home. The New York Times reports that the tapes were recently discovered by the family of John Coltrane’s first wife Juanita Naima Coltrane.
According to a poster on Urban75.net, these tapes were part of a collection of tapes the family tried to auction off in 2005, but was blocked by Verve/Universal because they contained recordings that were recorded for Impulse! and as such weren’t owned by Coltrane. Musicologist and jazz historian Barry Kernfield had been hired to catalog the tapes for the auction by the auction house Guernsey’s who was doing a MASSIVE jazz auction including historical artifacts. An article Kernfield posted to his website details the effort:
In September 2004 the New York City auction house Guernsey’s asked me to serve as a historical consultant, cataloguer, and writer in preparation for its first jazz auction, to be held February 20, 2005, at the new jazz venue at Lincoln Center. The auction embraced materials from the estates of John Coltrane, Charlie Parker, Thelonious Monk, Benny Goodman, Eric Dolphy, and Gerry Mulligan, as well as items from Louis Armstrong in the possession of his manager Oscar Cohen (who became president of Associated Booking Corporation following Joe Glaser’s death in 1969), and various images and a trumpet from a living musician, Clark Terry.
Early in December 2004, as Guernsey’s head Arlan Ettinger related it to me, Naima Coltrane’s daughter Saida* (also known as Antonia Andrews) and Saida’s brother Jamail Dennis were delivering paper items to the auction house: musical manuscripts in John Coltrane’s own hand; a letter from Bill Evans to John Coltrane just after Evans quit Miles Davis’s sextet; a postcard from Wayne Shorter, in Marseilles, to Mr. and Mrs. J. Coltrane (“Europe is a drag. I mean really. Just another gig and a place to practise and/or rehearse.”); Shorter’s hand-drawn portrait of Davis; and so forth. At this point, Jamail said to Arlan, “Oh, we have some tapes. Would you be interested in them?” “TAPES?!,” replied Arlan.
During the last three weeks of 2004 I had the unbelievable privilege of identifying and cataloguing the contents of digital copies of 35 reel-to-reel tapes, the contents of which proved to be mainly unreleased recordings by John Coltrane for Impulse! Records at Rudy Van Gelder’s studio in Englewood Cliffs, New Jersey, from 1962 to 1964. I submitted my essay to Guernsey’s the evening of January 2, 2005. Coincidentally the following morning Guernsey’s phoned to report that attorneys for the Impulse! label had just threatened a lawsuit if the reels were not withdrawn from the auction. This was done, and accordingly the essay that appears below was withdrawn from the auction catalogue.
His following list of the archive includes the session from 1963 that makes up Both Directions At Once, but also other interesting outtakes that we hope will also see the light of day. He lists recordings including “perfect 10-inch stereo copies of the master tapes of all six takes (four complete and two fragments) of the presumed lost sextet version of the first movement of A Love Supreme.” The presumed lost full sessions that produced the aforementioned John Coltrane and Johnny Hartman album (and without, apparently, the echo that was added to the original release), and lots of alternate takes of other Coltrane originals and rehearsals he taped at home. I’m guessing that the material for the 2015 “Super Deluxe Edition” of A Love Supreme came from this trove of tapes.
This release is for very good reason very exciting. The recordings capture Coltrane’s Quartet reaching the peak of their powers less than two years before his signature epic A Love Supreme. Looking over the details and listening to the track that is available now, it’s in my opinion a more complete release than the hodgepodge that the Impressions album was and while not as essential as his landmark releases, one that belongs in a collection, I think.
The deluxe vinyl version is really nice, with die cut jackets which expose the photos on the inner sleeves.
Here is a nice review from one of my favorite vinyl video blogs, Vinyl Rewind:
Which is good news for the many fans in Iowa who have been following his career. He wrapped up 2017 with a couple of shows: one at the Mill in November with a lineup that included new sidemen Matthew Bernemann on drums and Randal Davis on guitar in addition to original 90’s Backsliders band member Marty Christensen on bass. A late December show at The Octopus in Cedar Falls replaced Bernemann with longtime drummer Steve Hayes. These were both amazing shows with Bo in excellent form and clearly really enjoying himself.
Bo is playing with different band lineups and he also pulled in some deeper catalog songs for those shows, and it will be interesting to see if they stay in. It’s been a long time since I’ve heard songs like “On The Range” (from 1988’s Either Way). These have been the first shows that Bo has brought out the songs from his 2016 album Wildwood Calling. These instrumental tracks have been used to open the sets and do a fantastic job of adding some mood and atmospherics to the show.
2017 to me felt like a transition year in many ways– personally, politically, culturally and certainly musically. For me personally 2017 will represent the year that my wife and I made the biggest steps away from 2011 when I was unemployed for eight months following a 13-year run in IT middle management. We bought a house after renting for over six years– the house hunt was a crazy one with lots of ups and downs. But we found a house that we love and it ends up being kind of perfect for being a place our grandson can come hang out and listen to records with Papa.
2017 was another year in a troubling pattern of musician deaths. The biggest of these is the unexpected passing of Tom Petty which for me was as big a loss as Prince was in 2016. I discovered Petty in 1986 with the release of Southern Accents. Although I had heard the big singles on the radio up to that, Southern Accents was released when I was searching for music that spoke to me. In that regard I look at Tom Petty as being “my Beatles.” The Beatles were a big part of my musical rearing, but they were already broken up by the time I started striking out on my own musical tastes. Petty was someone whose career set a benchmark for everyone who made guitar driven rootsy rock and roll. Petty continues to be something I can put on at any time and never tire of listening to. I was fortunate to be able to see him during his 40th Anniversary tour this summer in Des Moines and it was kind of full-circle as I was there with my dad and my brothers– just about 30 years after the first Tom Petty concert we saw in Chicago.
As far as new notable albums for 2017, I’m kind of out in left field again. My other writing gig as album reviewer for Little Village Magazine ends up determining what I listen to the most at any given time as I crash-listen to new Iowa-based or related albums and that is reflected again in my list. That said, these are all really strong releases that hold up against the deluge of new major releases. Albums that others are including in their lists that I probably need to give at least a cursory listen to include the new Foo Fighters album Concrete and Gold, Queens of the Stone Age’s Villains, Jason Isbell and the 400 Unit’s The Nashville Sound, Kendrick Lamar’s DAMN. Some releases that nearly made the list were the new National album, the new Fleet Foxes album, and the new War on Drugs.
Here’s my Top 20 for 2017 (In no particular order):
Beth Bombara – Map & No Direction – Beth Bombara has been cranking out really solid albums for a while now. She’s a gifted songwriter and musician and her releases are always really strong. With her 2017 album, she has taken her spin on folk, Americana and rock and turned the “rock” knob up a bit putting out a record that is up there with the best releases Sheryl Crow put out. Bombara is kicking off 2018 with her first tour of Europe which will give her more deserved exposure.
Pieta Brown – Postcards – Brown’s latest album is a collection of “musical postcards” which are made up of collaborations with folks like Calexico, Mark Knopfler, The Pines and David Lindley. The resulting album still sounds like a Pieta Brown album which is always a good thing. You can read my interview with Brown for Little Village Magazine here.
Charlie Parr – Dog – Dog is Charlie Parr‘s second release for Red House Records and he’s continuing the full band trend for releases. Dog doesn’t have Phil Cook and friends behind him like Stumpjumper did, but the album still has the same energy and blistering slide guitar and picking we’ve come to expect from Parr.
Crystal City – Bartenderly – Iowa City’s Crystal City is primarily the duo of Dave Helmer and Sam Drella who stylistically occupy an intersection somewhere between John Prine and Paul Westerberg. Their latest album Bartenderly is a celebratory salvo of headbuzz rock for the bruised blue collar. You can read my review for Little Village Magazine here.
Deer Tick – Deer Tick 1 & 2 – This couple of albums from Deer Tick is as close to a #1 as I’m willing to commit to on this list. Aside from John McCauley’s stint in the supergroup of Middle Brother with Taylor Goldsmith of Dawes and Matt Vasquez of Delta Spirit I really hadn’t listened to any Deer Tick until this two LP release this year. The band took a four-year hiatus while the members did things like start families. They came back together and pulled a Use-Your-Illusion two album release this year. The band says that these are not to be considered as one release, but really it would be tough choice to only buy one of them. The band said that they were always kind of two bands: an acoustic folk band or an electric rock band. So, this is what we got, an acoustic album in Vol 1 and a rock album in Vol 2. These records are both full of brilliant songs– no filler (unlike the Guns ‘n’ Roses pair mentioned earlier).
SUSTO – & I’m Fine Today – SUSTO is a “friend of Codfish Hollow” band that’s played there a few times and I managed to catch them during the first GARP Festival in 2016 and was really impressed. They played a few songs from this album, so I was interested in hearing it when it came out this year. & I’m Fine Today is an album that slides around stylistically with ease and comfort making this album musically more interesting than their previous releases to me. This album was on a very regular rotation for me in 2017 and one that I never get tired of spinning. The song that rips me up every time I listen to it is what I consider to be the spiritual successor to “Smalltown Boy” by Bronski Beat : “Gay In The South.” Brilliant song.
Hiss Golden Messenger – Hallelujah Anyhow – If you’ve been following my Year End posts, it shouldn’t be surprising to see this album on here, since M.C. Taylor has been a favorite of mine since before he launched Hiss Golden Messenger. His partnership with Merge Records and with Phil and Brad Cook (formerly of Megafaun) has created a music juggernaut: touring nearly incessantly and creating four albums in three years of head-nodding rhythm and groove albums which draw inspiration from the golden era of Van the Man and The Dead. Releasing Hallelujah Anyhow so soon on the heels of the double album Heart Like A Levee and Vestapol is counter-intuitive based on the typical album release/tour/album release cycle. Taylor said that when he and manager Brad Cook were talking about wanting to release an album right away, they thought it felt good to do it and Merge was amenable to the idea, and certainly it was the right time because this album fires on all cylinders.
Game Theory – Supercalifragile – Prior to his unexpected passing in 2013, Scott Miller of Game Theory and The Loud Family was working on a new album of collaborations. To be titled Supercalifragile, it was going to be the first album of songs under the Game Theory moniker since the 1988 album Two Steps from the Middle Ages (itself was reissued in 2017 as part of the massive Omnivore Records reissue campaign). Miller’s wife Kristine took the mantle of finishing the album by taking the notes and her memories of what he had planned and called in friends, former bandmembers and collaborators in to finish the album. The songs were in varying degrees of completeness: some had demo recordings Miller had created, some just notes. The resulting album is bittersweet: equal parts official posthumous release and tribute to the fallen songwriter. I find it to be a fitting closure. You can read my post on this site here.
Grateful Dead – Cornell 5/8/77 – When the Grateful Dead archivist David Lemieux announced that Cornell 77 was going to be released as a Dead Archives official release, I was really excited (as many were). Cornell was one of the first full Dead tapes I ever heard and was really amazed by how good it sounded– both performance and recording itself. I had pretty much been avoiding Dead tapes due to how much of a mixed bag they were. As luck would have it, one of the early peer-to-peer trading networks (pre-dimeadozen) had the full cache of the Betty Boards tapes, which included the legendary 5/8/77 show. These were early rips of the reel-to-reels done by a close-knit group of Dead fans who bought the contents of the storage facility that she’d let lapse. Eventually the Dead pulled electronic trading of soundboards, but I had the show I cared about downloaded. I managed to snag one of the 5 LP box sets of which 7700 were pressed used on eBay. It had a crumpled box corner, but the contents were in fantastic shape. They did a fantastic job of cleaning up this recording and somehow even fixing the first missing couple of minutes. The bootleg that circulated had spliced in part of an audience recording which created a really annoying transition. The box has has re-energized my interest in the Dead, and I’ve added some LPs to my vinyl collection and I’ll continue to do that, I’m sure.
Ryan Adams – Prisoner B-Sides – 2017 brought the newest album from Ryan Adams titled Prisoner. It was his third release since his signing to Blue Note Records, and second album of original work (his full-album cover of Taylor Swift’s 1989 was also on Blue Note). In many ways Prisoner was kind of self-titled part 2. Most of the songs to me seemed like outtakes from Ryan Adams. Pretty good, but ultimately just more of the same 80’s influenced power pop mixed his trademarked Americana. For me, Adams is most interesting when he’s experimenting, and to that end, the massive 17-track collection of “B-Sides” from Prisoner is far more satisfying a listen. He still brings on the Smiths-influence here, but I just like the songs more. The B-Sides were released as a box set of 7-inch singles (that I should consider picking up at some point) and digital download. I’d love to see the 17 tracks released as a 2 LP (hint, hint Blue Note).
Loess – Pocosin – 2017 brought the glorious reunion of Clay Emerson and Ian Pullman as Loess. Their particular spin on electronic music comes from the Boards of Canada and early Autechre diced up and distorted ambient influence. I have loved everything that Loess has put out and Pocosin was an exciting addition for me this year. You can read my article about the release here.
Gloom Balloon – Drying the Eyes of the Goddess of Gloom, Underneath the Stars and the Moon – Gloom Balloon is the moniker for Des Moines producer/artist/label head Patrick Tape Fleming. This album ends up being kind of the sonic brother from another mother of Christoper The Conquered’s album I’ve Given Up on Rock and Roll. I love this record– it sits somewhere around The Flaming Lips and ELO for experimentation and bombast at times. My review for Little Village is a good place to start reading about what I think.
Har-di-Har — we will will you – Julie and Andrew Thoreen released their first full length album as Har-di-Har in 2017. They used to live in Cedar Falls, but relocated to St. Paul a few years ago. we will will you is an album that captures a marriage in a precarious state of doubt. The resulting album is a compellingly personal album featuring their signature vocal harmonies and spiderwebby chord and percussion infrastructure.
The Pines – Pasture II – The Pines returned with a second EP of covers. This time we get covers of a Bo Ramsey and a Pieta Brown tune. Read my review for Little Village here.
TIRES – LP1 – Phil Young is in a whole bunch of bands in and around Des Moines including The Wheelers. His instrumental side project TIRES put out their debut album in early 2017. It comes from the same “emergency rock” post rock space as bands like Trans Am and Cougar and I dig it a lot. The vinyl has a hand-screened cover, which is really cool. Here is my review for Little Village.
Colleen – Vol. 1 – Cedar Rapids synthpop duo Colleen put out their debut EP in 2017. Reminds me of Polica or Portishead. They have a new EP already recorded and should come out pretty soon. Read my review for Little Village Magazine.
NAOMI – Good Riddance to Bad Rubbish – Iowa band NAOMI is named after its lead singer and cranks out “snarky pop rock” which is as apt a description of the proceedings as any. A fun, anthemic guitar driven album that picks up where Avril Lavigne and No Doubt left off in the early oughts. Check my review for Little Village here.
Ryne Doughty – Date Night – Ryne Doughty has been crafting is particular singer-songwriter folk for a few years. I happened to catch him opening for The Pines at CSPS a while ago. He openly admits to worshiping at the temple of Greg Brown and that influence is obvious, but he’s got his own style and really we don’t have enough of the storytelling songwriters around. Read my review of Date Night for Little Village.
The Dawn – Wooly – The Dawn are the jam band ambassadors for the Quad Cities. Their latest album Wooly is the first for Cartouche Records and, I think is a bit of a departure for them. Wooly draws more R&B influences– specifically Prince into the mix which makes this album my favorite of their catalog to date. Here is my review for Little Village.