If that wasn’t enough, reissue label Get On Down is releasing a previously Japan-only album of Miles Davis in concert from 1964 with an early iteration of his “second great quintet.” It was released in the US on CD in 2005, but not on vinyl. Titled simplyMiles in Tokyo, the album originally came out in 1969 on Sony/CBS and this release copies that release down to the gorgeous black and white cover art and the OBI strip (which is slightly modified to show the Get On Down catalog number and logo). The original pressing was a gatefold, I’m hoping the replicated that as well, but I have no indication one way or another. (Chris from Bull Moose hasn’t done his rundown yet. I’ll update this if he mentions it).
Sam Rivers joined Miles Davis’s quartet in April of 1964 replacing George Coleman according to the Sam Rivers sessionography. This database quotes Davis as saying he wanted to hire Wayne Shorter but Art Blakey had him tied up in the Jazz Messengers, so he hired Rivers at Tony Williams’s suggestion and took him on tour. Rivers would stay with the quintet through July 15th, which is the day after the Miles in Tokyo recording took place. Rivers would be replaced evenually with Wayne Shorter in September, which would establish the “second great quintet” which would stay in place until 1968 and recorded the albums E.S.P., Miles Smiles, Sorcerer, Nefertiti, Miles in the Sky, and Filles de Kilimanjaro.
I think the reason for Rivers’s short stint in Davis’s band is two-fold. Clearly Rivers was Davis’s second choice, and also the general opinion is that Rivers’s style on the sax didn’t mesh well with Davis’s, and this is apparent according to critics on the Miles in Tokyo album. To me the recording is notable in its frenetic pacing of the songs. I think it picks up the energy from the Lincoln Center performance, which shares a lot of the same songs, including the sped up “So What.”
Here is the track listing for Miles in Tokyo:
A Side : “If I Were A Bell”, “My Funny Valentine” B Side : “So What”, “Walkin”, “All Of You”
Helpfully, there is a YouTube video of the complete album:
Anyone familiar with the Davis catalog are likely familiar with the fact that his later years releases didn’t often correspond to the idea of an album release. When you look at the sessionography information for Miles Davis, he seemed to hit the studio whenever it suited him (or maybe when he needed money) and recorded with little regard to the idea of an album release.
The proper In A Silent Way album is two tracks, both of which were recorded on the same day. The expanded group of Miles Davis on trumpet; Wayne Shorter on soprano sax; Joe Zawinul on organ; Chick Corea and Herbie Hancock, electric piano; John McLaughlin on guitar; Dave Holland on bass and Tony Williams on drums hit CBS’s 30th Street Studio in Studio B on February 18th, 1969. The sessionography at jazzdisco.org shows that the group recorded three takes of “In A Silent Way/It’s About That Time” and two takes of “Shh/Peaceful.”
The band returned to the studio two days later on February 20th and tracked the over 26-minute “The Ghetto Walk” and “Early Minor.” According to Wikipedia’s entry on In A Silent Way, which quotes Victor Svorinich’s essay on In A Silent Way, “The Ghetto Walk” was originally considered for In A Silent Way, but was ultimately dropped in favor of “In a Silent Way/It’s About That Time.”
Those two tracks plus “Splashdown” which was tracked on November 25th, 1968 are what make up the RSD release. These tracks are notable as being the three songs on the Complete In A Silent Way box set that were previously unreleased prior. I prefer this over including multiple takes of “In A Silent Way/It’s About That Time” and “Shh/Peaceful.”
According to Svorinich’s essay, Joe Zawinul brought his composition “Shh/Peaceful” to the sessions, and it had a couple of working titles before it was settled, one was “On The Corner” which was the working title for the album at one point, and also “Mornin’ Fast Train From Memphis To Harlem” which was also a working title for the record. The Wikipedia article is a bit confused about this as it says that Davis composed “Shh/Peaceful” and Zawinul composed “In A Silent Way.” The facts of this are probably tied to how Teo Macero edited the sessions into the final recordings. This is further supported by the fact that Zawinul blamed Macero for editing the recordings and crediting Davis as the sole composer.
No matter what the details were about how the sessions were used, history has shown that In A Silent Way has become one of the most important albums in Davis’s career and is credited as the first complete foray into what would be his electric period and would pave the way for Bitches Brew.
I created a YouTube playlist of the three songs as they were included in the boxset so you can listen for yourself.
Titled Blue World, the album (out September 27th) is made up of recordings Coltrane’s classic quartet with Jimmy Garrison, Elvin Jones and McCoy Tyner tracked on June 24, 1964 at Rudy Van Gelder’s studio in Englewood Cliffs, NJ. These songs were tracked for Quebecois film producer Gilles Groulx to be used for his film Le chat dans le sac (“The Cat In The Bag”). The songs were mostly new recordings of songs from Coltrane’s catalog plus a new song “Blue World” (which, according to an article by NPR, was itself a variation of a previously-recorded song the pop standard “Out Of This World” by Harold Arlen-Johnny Mercer). Revisiting previous works in the studio isn’t something Coltrane had done before, or from what I can tell, since. This gives us a unique way to view the development Coltrane and band were going through by comparing previous recordings to these reinterpretations.
The first thing I did when I heard about this release was to check my faithful jazz session database at jazzdisco.org and it was missing! This has since been remedied as the details of this release came to light. According to the interview with Barbara Ulrich (who played the lead also named Barbara in the film) for the liner notes (written by Jazz scholar Ashley Kahn) of the release quoted in the NPR.org article, Groulx was a fan of John Coltrane and it was through an acquaintance that he knew Jimmy Garrison which was likely the connection to Coltrane’s involvement in the film. Groulx attended the recording session on June 24th and was handed the 37-minute 1/4″ mono tape at the end of the session. Since it wasn’t an official release and these sessions weren’t part of an album recording, they didn’t make it to the database.
“Gilles had a list of the music he wanted and later he told me when he gave the list to Coltrane, Coltrane said, ‘Okay, I can do this — I can’t do that, it’s not mine. OK I get it, I know what you want.’ Then they just started jamming and recorded for several hours. Then Rudy gave Gilles the tape and that was it. When he got back he was absolutely ecstatic. He knew exactly where he was going to use the music in the film.”
Le chat dans le sac featured an original score by John Coltrane, an African American saxophonist whose music was often associated with Black Nationalism. The film’s jazz soundtrack was dans l’air du temps [current fashion]. It echoed Louis Malle’s Ascenseur pour l’échafaud (1958) and John Cassavetes’ Shadows (1959) which featured contributions by jazzmen Miles Davis and Charles Mingus. However, the music also serves to validate the language of decolonization which Claude deploys throughout the film. Groulx’s main protagonist reads Frantz Fanon’s Les damnés de la terre, Louis E. Lomax’s La révolte noire and Parti pris. Claude, a [Quebecois separationist revolutionary] , listens to jazz as he plans his revolt. …. Coltrane’s music legitimizes Claude’s quest for emancipation in ways that Barbara cannot.
The Cinema of the Quiet Revolution: Quebec‟s Second Wave of Fiction Films and the National Film Board of Canada, 1963-1967 p 60
The Rolling Stone article says that the tape eventually made it to the National Film Board of Canada and that was how Impulse! came to get it early last year. The National Film Board of Canada was the organization that underwrote Le chat dans le sac originally. There is a funny story in the Fillon paper I quoted above about how the NFB was only interested in producing television content at the time that Gilles Groulx was working with them. Groulx agreed to shooting a TV show, and apparently gave them the Canadian theme of “snow” for this project. Instead he took the funds and shot Le chat dans le sac.
Here are the tracks on the album along with my notation of which album the original version is on. It’s interesting, if not notable, that “Naima” from Giant Steps and the two songs from Jazz (“Village Blues”, “Like Sonny”) were all recorded originally during the same sessions in 1959 and 1960. In many ways Jazz can be looked at as the outtakes from the Giant Steps sessions.
TRACKS SIDE A 1 Naima (Take 1) (4:34) originally on Giant Steps (1959) 2 Village Blues (Take 2) (3:41) originally on Jazz (recorded 1959, released 1961) 3 Blue World (6:08) 4 Village Blues (Take 1) (3:51) Jazz (1961) SIDE B 1 Village Blues (Take 3) (3:45) Jazz (1961) 2 Like Sonny (2:43) originally on Jazz (1961) 3 Traneing In (7:42) originally on John Coltrane with the Red Garland Trio (1958) 4 Naima (Take 2) (4:10) Giant Steps (1959)
Blue World has been mastered from its original mono analog tape by Kevin Reeves at Universal Music Mastering in New York. The new 180g vinyl edition’s lacquers were cut by Ron McMaster at Capitol Studios.
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.
From Universal/Virgin Records: “Following on from the phenomenal success of the RSD 2018 white vinyl edition of David Sylvian’s album from 1999, we now present the album on 180 gram black vinyl for the first time. Now expanded with the addition of four non-album tracks, “The Scent of Magnolia”, “Albuquerque (Dobro #6)”, “Cover Me With Flowers” and “Aparna and Nimisha ( Dobro #5)”. The artwork differs from the RSD edition and features a photograph by David’s ex-partner Ingrid, plus some rare photographs by Anton Corbijn.”
I’ll admit that I’ve been occasionally searching the internet to see if Universal would do a regular reissue of one of my favorite David Sylvian albums Dead Bees on A Cake since they did the UK/Australia/Canadian Record Store Day reissue, that I reported on HERE. In a Steve Hoffman forum discussion about the RSD release someone said that there was going to be a black vinyl version of it coming, so rather than bid on the eBay auctions which are running up over US$100, I just kept hopefully waiting. People were reporting bad pressings of the white vinyl version, too.
Yesterday a few places mentioned the release, including a post from Sylvian’s Facebook page:
Some people complained about the original artwork which was a picture of Sylvian and then-wife Ingrid Chavez. It’s a shot similar to the back cover on this release. I’m not sure why they are not using the original artwork.
Like the RSD pressing (which was limited to 1000) the expanded edition takes the release to 2 LP’s by adding four non-album tracks: “The Scent of Magnolia”, “Albuquerque ( Dobro #6 )”, “Cover Me With Flowers” and “Aparna and Nimisha ( Dobro #5 )”. All four of these tracks were included on the 2000 compilation Everything and Nothing. “The Scent of Magnolia” was the single released with that compilation and is one of my favorite songs from this period and is really completes this album. The “Dobro” tracks feature guitar work from Bill Frisell.
There is also a PledgeMusic Page for it, so you can pre-order the release now for $28.50, but the shipping from the UK to the US is $12.00. When I used PledgeMusic to order the new Calexico, at least I could justify the postage due to the fact that I was getting the unique City Slang pressing (which was signed, too) that had a bonus 12″ with extra songs. This will be a big enough release that I should be able to wait for the always awesome ImportCDs.com to carry it, and if they put it on their eBay site, then the shipping is free.
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:
This year’s Record Store Day list seems to have a lot more interesting releases than previous years– or at least more things I’d consider picking up. One release that is coming out for Record Store Day, but unfortunately not in the U.S. is the (at least for me) long-awaited reissue of David Sylvian‘s 1999 sequel to 1987’s Secrets of the Beehive (another favorite of mine). Dead Bees on a Cake was a return to solo for Sylvian after 12 years of collaborations with the likes of Robert Fripp in Sylvian/Fripp (which was kind of a successor to their collaboration on Return to Earth), two albums with Can’s Holger Czukay, and the abortive quasi-reunion of Sylvian’s first band Japan as Rain Tree Crow.
Dead Bees was recorded while Sylvian was living in Minneapolis with his then-wife Ingrid Chavez (who is pictured on the new reissue album artwork) and echoes the very personal and intimate songwriting that he had for Secrets. A beautiful and sprawling work, it collects pretty much every style of music he had dabbled in leading up to it and introduced some new Eastern spiritual themes not previously represented on his albums. In some ways this is the last album that would feature more conventional song writing from Sylvian. The releases that followed have been a lot more experimental in nature. While I enjoy those releases from him, Dead Bees On A Cake is the album I’ll always go back to because I identify with these songs more.
The UK RSD reissue of Dead Bees On A Cake has brand new cover art using photos from Anton Corbijn and designed by Chris Bigg of v23 fame. Bigg and Vaughan Oliver were the groundbreaking graphic design house for a lot of albums– primarily identified with 4AD records, but they also did the cover art for Secrets of the Beehive. Pressed in complimentary white, the reissue represents the first vinyl version of this album, and expands it to 2 LP’s by adding four non-album tracks: “The Scent of Magnolia”, “Albuquerque ( Dobro #6 )”, “Cover Me With Flowers” and “Aparna and Nimisha ( Dobro #5 )”. All four of these tracks were included on the 2000 compilation Everything and Nothing. “The Scent of Magnolia” was the single released with that compilation and is one of my favorite songs from this period and is really completes this album. The “Dobro” tracks feature guitar work from Bill Frisell.
Here is what Sylvian said about the reissue on Facebook:
It’s a bummer that we’re not getting this release in the U.S., so I’ll just have to see if I can get one of these for a deal.
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.