Just when you start to think that Rhino is the only company that knows how to do the box set thing, along comes ABKCO Records with their entry in the definitive statement sweepstakes. In this case the statement in question is in regard to the classic live Rolling Stones album Get Yer Ya-Ya’s Out from 1969.
Exactly how do you build a big fancy box set out of a single disc live album from 40 years ago? Well you start by remastering the original tracks. Then you dig up five previously unreleased tracks from the Madison Square Garden shows that didn’t make the original cut, and make them your second audio disc. The sets by the show’s stellar opening acts, B.B. King, and Ike and Tina Turner, have never been released before, so you make those Disc Three.
You’ll need a DVD, so grab that footage from the Maysles brothers (who also made the tour documentary Gimme Shelter), which includes full-length versions of the five newly released Stones tracks, and some behind the scenes stuff. The songs are great, but the opportunity to see Mr. Watts interact with the donkey with whom he’d eventually share the album’s cover is priceless, and the footage of Jimi Hendrix and Janis Joplin backstage at the Garden is touching. Less than a year later they would both be gone. Watching the Stones and the Dead in a parking lot in San Francisco waiting for the helicopters that would take them to Altamont is simply chilling. Finally, you’ll need a book, and ABKCO have filled their 56-pager with an essay from tour photographer Ethan Russell, and the original Rolling Stone album review by the great Lester Bangs. In between all the words, publish some interesting photos, including one of the album’s original cover. (more…)
I am certain that when Frank Sinatra was a child, he must have gazed at the Manhattan skyline just across the Hudson River. If you’ve ever been to Hoboken, you know that the big city appears to be so close that you can almost reach out and touch the buildings. It’s a place where a young man can dream big dreams. When Sinatra was old enough, he made his escape. For him, and for countless others, “The Apple,” as he called it, became the center of the world.
The esteemed reissue masters at Rhino have chosen to commemorate this love affair between a singer and a city with a new five-disc package called, appropriately, Sinatra: New York. Four of the discs are audio CDs featuring Sinatra concerts from a variety of New York City venues. The earliest performance, on Disc One, was recorded at Manhattan Center in 1955 at an event celebrating the 20th anniversary of the Tommy Dorsey band, a group which Sinatra had famously been part of in the 1940s. Sinatra does three songs with Dorsey and the band for the occasion. The remainder of the disc was recorded at the United Nations in September, 1963. It was U.N. Staff Day, and Sinatra performed accompanied only by pianist Skitch Henderson. Among the songs that day were “I Have Dreamed,” and “My Heart Stood Still,” from the Concert Sinatra album which had been released earlier that year.
Frank Sinatra was only 55 years old when he called it quits in 1971. Somewhat predictably, he returned two years later with Ol’ Blue Eyes Is Back, and a year after that he went on tour to benefit Variety Clubs International, a children’s charity. One of the stops on that tour was at Carnegie Hall on April 8, 1974. There, Sinatra not only sang classics like “I’ve Got You Under My Skin” and “Come Fly With Me,” but dug into his then-new album for splendid versions of “There Used To Be A Ballpark” and “You Will Be My Music.” I was reminded again of Sinatra’s wonderful practice of naming the songwriters of each song that he sang. It was an endearing gesture of respect from the singer to the artists who provided his material. (more…)
Wolfgang’s Vault is one of the Internet’s greatest treasures for music lovers. The site hosts thousands of concerts that are available for free streaming, as well as vintage memorabilia that includes t-shirts, posters, photographs, tickets, and other items of interest. Thus far, only a limited number of the shows in the Concert Vault have been available for download. That’s about to change tomorrow. Last week, I had a chance to speak with Wolfgang’s Vault President and Chief Operating Officer Eric Johnson from his office in San Francisco.
Let’s start with a bit of the history of Wolfgang’s Vault. How did it come into being?
Wolfgang’s Vault began in 2003 with the acquisition of the Bill Graham archives. Bill’s real name was Wolfgang Grajonca. That’s how the site got its name. Our founder, Bill Sagan, originally acquired these assets from Clear Channel as they were spinning off Live Nation. The Bill Graham archives contained the collection of what he had amassed over his 30-year career in the music business, and then ten years after he died. Bill Graham was one of the early inventors of the rock concert, and in this archive was posters, tickets, handbills, you name it, from classic shows and classic venues like the Fillmore East, the Fillmore West, Winterland, Graham’s Day on the Green shows. There were also audio and video recordings of some of these legendary bands like the Grateful Dead, Santana, Janis Joplin, Jefferson Airplane, Creedence, the Who. It was just a who’s who list of what was out there.
Bill Graham was one of the first to present certain artists. On the site you can get Elton John playing his first show on the west coast. It’s just an amazing, awesome raw show. In addition to that, we’ve acquired another dozen or so archives that include different collections of both memorabilia, vintage posters and photography, and recordings. So we have the recordings of the King Biscuit Flower Hour, Silver Eagle Cross Country, which is the country version of King Biscuit, the Ash Grove, which was a club that was open in L.A. from 1958-1973 with just amazing early folk and delta blues performers, and the Newport Festivals. It’s just a huge array of music spanning 50-plus years, and about 20 different genres of music. (more…)
Can you remember 1992? I certainly can, and what I remember is that trash TV — and to some extent, even the mainstream media — was filled with stories about Kurt Cobain and his bride, Courtney Love. They had been married in Hawaii in February of that year, and already there were lurid tales of addiction, arrest, and marital discord. In the midst of it all a daughter, Frances Bean Cobain, was born in August.
A lot of the stories questioned Cobain’s “health,” by which they meant drug addiction, but there were also rumors that Nirvana might be breaking up. It didn’t help things when the band decided not to undertake another U.S. tour to promote their major label debut, Nevermind, instead opting for select dates here and there. The reason given at the time was “exhaustion,” and everyone knew, or thought they knew, what that meant.
The band’s answer to all the rumors came at England’s legendary Reading Festival on August 30, 1992. Nirvana had played Reading the previous year, but at that time, they were halfway down the bill. When they returned in 1992, it was as the headliners. That night Nirvana played what Kerrang magazine called one #1 of the “100 Gigs That Shook the World,” and Nirvana fans voted the show “Nirvana’s #1 Greatest Moment” in a NME poll. (more…)
I have to admit that I was hesitant to make Rickie Lee Jones’ Pirates the subject of this week’s Cratedigger. The weather has been gloomy here in New Jersey all week, the Yankees dropped the first game of the World Series to Philadelphia, and my finances are in the sewer. Since Pirates is perhaps the most heartbreaking album I’ve ever encountered, I was afraid listening to it again would throw me into an even deeper funk. Despite the sorrow, when pressed, I will tell you that Pirates is one of the best albums ever made, and it is easily ensconced in my personal Top Five, where it has resided since its release in July, 1981.
Rickie Lee Jones burst on the scene with her eponymous debut, and it’s massive hit single, “Chuck E.’s In Love,” in 1979. She was part of a bohemian L.A. crowd that included the aforementioned Chuck E. Weiss and singer/songwriter Tom Waits, with whom Jones was in a relationship. The songs on her second album, Pirates, are largely a wistful reflection on her time with Waits, following their breakup. “We Belong Together,” “A Lucky Guy,” and the title track all refer to her relationship with him, and “Living It Up” and “Traces of the Western Slopes” (written with new boyfriend Sal Bernardi) are peopled with characters from the bohemian milieu that they moved in. The most devastating heartbreak of all, however, comes in the song “Skeletons,” based on the true story of a young man who was killed by the Los Angeles police in a case of mistaken identity as he was driving his wife to the hospital to give birth. (more…)
So, friends, here we are again to determine whether you need to purchase the latest entry in Island’s U2 remastering series. First a question; what kind of U2 fan are you? Casual or committed? If it’s the latter, you probably need to read further only to enjoy the beautiful prose. You’re going to buy this. Hell, you were probably at the store on Tuesday morning to grab the first copy. It’s the casual fan who needs to make a decision. I’ll try to help you out.
In March, 1984, U2 gathered at Slane Castle in Ireland to begin recording their fourth studio album. The sessions marked their first collaboration with producers Brian Eno and Daniel Lanois. Together, they would create one of the most unique and recognizable sounds in the history of rock and roll. The Unforgettable Fire (Island Records) is the album that marked the beginning of U2’s rocket ride to the top of the world. Propelled by the massive hit “Pride (In the Name of Love),” the band approached the peak of their anthemic glory, a destination at which they would arrive with their next album, The Joshua Tree.
The music will be familiar to most people. In addition to “Pride,” “Bad,” “A Sort of Homecoming,” and the title track have entered the public consciousness over the years. Yes, the remastering, guided by the Edge, does make a difference. There’s a newfound clarity to the recordings, and more separation between the instruments. Larry Mullen’s drumming has been brought to the forefront, and seems more crisp and powerful. The Edge’s guitar chimes more brightly, and Bono may be at his most passionate here. (more…)
I can’t tell you now where I’ve been now darlin’
There are hawks inside my head
And every smile and every good thing
Are picked at until they’re dead
I love you was all she said
That’s all she said
First he fills in the foreground. I imagine Matthew Ryan sitting in a dimly lit room with a guitar, or at the piano. He scribbles, in pencil, into his songwriting notebook, filling it with stories of the lost and brokenhearted, the dreamers and the damned. Then he picks out a melody that perfectly expresses the yearnings of his characters, who more often than not seem to be some part of himself. The song written, he opens his sonic palette to create a backdrop for his painting. A distorted guitar here, a driving electro-beat or ominous synth pad there. Foreground and backdrop blend into a seamless whole.
Dear Lover (Dear Future Collective) is Matthew Ryan’s 12th album, and his first to be self-recorded. Nine of the ten tracks were recorded at his home studio in Nashville. The album was inspired by events in the spring of this year. “In short, last winter I found myself in an emergency room with someone I love. It seemed too soon. I guess it always is. But it started my head spinning around these songs once everything turned out alright,” according to the artist. “It’s a collection dedicated to saying the things between lovers that often go unsaid,” he continues. (more…)
I’m tempted to call Gov’t Mule one of my guilty pleasures. The thing is, there is really nothing to feel guilty about. Their last album, High and Mighty (2006), was my favorite hard rock album of that year, and the new one, By a Thread (Evil Teen Records), is likely to hold the same position this year. While it’s true that I don’t listen to a lot of this kind of music, I know what’s good when I hear it. It comes down to my long-held belief that no matter what genre music may belong to, it all comes down to the songs. These songs, written for the most part of band leader Warren Haynes, occasionally in collaboration with other band members, are expertly crafted, and played with passion and conviction.
Haynes, who has a day job as lead guitarist in the Allman Brothers Band, is one of the best old school rock and roll guitar players working these days, and he’s ably assisted by drummer Matt Abts and keyboardist/rhythm guitar player Danny Louis. For this album, the band welcomes Jorgen Carlsson, the first permanent bass player they’ve had since the death of founding member Allen Woody in 2000. The sound they make blends ’60s and ’70s power trio influences. I hear a lot of Bridge of Sighs-era Robin Trower in their music, and that was an era I liked very much. It’s particularly evident on the song “Monday Mourning Meltdown.” There’s also requisite but right southern rock, biker-bar blues, and even some psychedelia in the mix on the extended jam “Inside Outside Woman Blues #3.” What really sets Gov’t Mule apart, though, is that they bring more melody to the table than most bands in the hard rock arena. They demonstrate this capability on songs like “Forevermore” and “Frozen Fear.”
Haynes is determined to keep Gov’t Mule moving forward, though he admits that for this album they were finally ready to take a look back at their past, which they weren’t comfortable doing in the wake of Woody’s death. None of the songs were written until they got to Willie Nelson’s Pedernales Studio in the Texas hill country to record By a Thread. That can put a lot of pressure on a band, but in this case it worked out very well. This is another very strong effort from one of America’s hardest working bands.
E Street Band saxophone player Clarence Clemons, known the world over as the “Big Man,” has written a new book with his friend Don Reo. As the subtitle, “Real Life & Tall Tales,” suggests, the book is a wildly entertaining blend of autobiography and a substantial amount of myth. You can read Pete Chianca’s review for Popdose here. The mythmaking comes via tall tales that Clarence calls “Legends.” Whether he’s riding big waves with Oprah, playing pool in Havana with Fidel Castro, or hanging out with Bruce Springsteen in a remote area of Hawaii, it’s clear that Clarence Clemons has led an extraordinary life. I had a chance to speak with him on the telephone last week.
Hi, Clarence. Are you there?
I’m here. I didn’t do it. I’m innocent. (laughs)
Are you on the road today?
I’m in Philadelphia. We have two more shows here, then I’ll go back to New York. (more…)
To paraphrase an old adage: those who can, do, and those who can’t, write. For the last couple of years now, you’ve been good enough to come to our site every Friday and download all the really cool tracks that we’ve selected for the week’s Mixtape. This week we thought we’d change things up a bit. The fact is, a number of Popdose writers are musicians themselves; they can not only write — they can do, too. So we put out a call for songs from our writers, and got a a nice response, and a whole lot of great tunes. The talent level was a surprise even to us. (more…)
Just when you start to think that Rhino is the only company that knows how to do the box set thing, along comes ABKCO Records with their entry in the definitive statement sweepstakes. In this case the statement in question is in regard to the classic live Rolling Stones album Get Yer Ya-Ya’s Out from 1969.
I have to admit that I was hesitant to make Rickie Lee Jones’ 
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I can’t tell you now where I’ve been now darlin’
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