Thursday, August 26, 2010

The Tracks Of My Years: The Legend of DON CORNELIUS and SOUL TRAIN



Spaz waxes poetic on the iconic TV show’s history and gains a little insight from the ‘Soul Conductor’ himself!

By Stephen SPAZ Schnee

It’s 2010 and do you know where your music video and dance shows are? In an age when TRL is a distant memory and nobody can actually find any music videos on MTV anymore, it becomes painfully obvious that the music video revolution is dead, buried and deleted in TV land (although it thrives on the internet). But it wasn’t always that way…

When American Bandstand brought Rock ‘n’ Roll into American living rooms in the ‘50s, it helped to usher in one of the most exciting periods in music. From bobby-soxers to greasers, every teenager in the U.S. tuned in to view the latest dance crazes, listen to the latest hits and watch host Dick Clark introduce some of the hottest acts on the planet. While not technically a ‘music video’ show (it was more of a dance show), American Bandstand was a cultural phenomena. It spawned many copycat programs throughout the ‘50s and ‘60s, yet none of them lasted more than a season or two.

Nearly two decades later, in October of 1971, a fairly similar weekly music television show hit the airwaves which would ultimately change the playing field; that show was called Soul Train. Instead of Rock ‘n’ Roll, Soul Train featured the absolute best in Soul, Funk, and R&B, all performed by the hottest black artists on the scene. Similar in format to American Bandstand, Soul Train was an hour long program that featured dancers groovin’ to the latest hits, live and/or lip synched performances by new artists and veteran performers plus host Don Cornelius, who may not have been as suave as Dick Clarke, but he was certainly twice as cool!

Cornelius came up with the idea of the show while he was a disc jockey in Chicago. While he has always denied that the show was based on the American Bandstand format, the shows were destined to be compared, even four decades later. But the real difference was in the musical acts, many of whom performed live on Soul Train while AB’s musical guests would lip-synch to their latest recordings.

“There were certain artists that didn’t want to lip-synch”, says Don today. “If we wanted them to do the show, we had to do it the way they wanted to do it… even though it wasn’t the tradition with the dance show format. We tried things with the Barry White Orchestra, James Brown…”

From Marvin Gaye and Aretha Franklin to The Isley Brothers and Sly & The Family Stone, Soul Train was both a platform for new artists and a showcase for the veteran performer.

While many acts were initially eager to hitch a ride on Soul Train, it wasn’t that easy at first to snag some of the bigger acts.

“It took a little while for some of the major people like James Brown, Stevie Wonder, The Jackson Five and Aretha Franklin.” remembers Don. “It took awhile to get that caliber of guests. Once we started to see those artists come in, we knew that we were going to make it. Those artists in particular were the ones that started to put us on the map, so to speak.”

The show received an overwhelming response not only from Soul/Funk fans but also from those who followed Rock, Pop and Jazz. While parts of Middle America may still have been feeling racial tensions in the early ‘70s, music fans were generally color-blind. Most Top 40 stations played Soul, Pop, Rock and Country, not bothering to base airplay on skin color. Soul Train helped in knocking down those racial barriers and brought the music home, literally and figuratively.

By the time MTV premiered in August of 1981, the local and syndicated dance/music video shows suffered and began disappearing from television programming. Thankfully, Soul Train stayed on track and flourished. Since MTV didn’t showcase any of the popular black artists of the time, the Soul/Funk/R&B musician’s only real shot at television airtime was via Don and Soul Train. Even when MTV broke the color barrier in 1983 and began featuring videos from black artists, Soul Train thrived. And it continued to do so for a few decades more, coming to its final destination in 2006, thirty five years after it began its journey.

While the legend of Soul Train lives on, the actual episodes of the television show remained elusive for all but the hardcore collector/bootlegger. Now, that has changed with Time/Life’s Best Of Soul Train DVD collections. There’s a three DVD set which features amazing footage from the show’s most acclaimed era (1971-79) including performances from Stevie Wonder, Aretha Franklin, Smokey Robinson, The O’Jays, the Chi-Lites, Sly & The Family Stone, Marvin Gaye, The Jackson Five and many others. Alongside these performances, you’ll find popular segments of the show (the scramble board, commercials, etc) and plenty of the smooth coolness of host Don Cornelius. The episodes are crisp, clear and are visually stunning. In my brief conversation with the man himself, he assured me that all episodes of Soul Train look as beautiful as those featured here.

There’s also a single disc DVD that features the best of these performances, including some sizzling work from The Isley Brothers, Gladys Knight & The Pips and many others. For the novice, this may be your best introduction into the fast-paced and funky world of Soul Train.

Because of his work with Soul Train, Don Cornelius himself has become a Pop Culture icon and his name has become synonymous with the Soul music that he helped bring to the masses. Modestly, the ‘Soul Conductor’ doesn’t quite see it that way.

“That would be presumptuous to think that on my part… but if that’s the case, I’d like that very much!”



Thanks to Don Cornelius
Special thanks to John McCormack, Maureen O'Connor, Michael Mitchell and Thomas Hemesath.

Soul Train Promo Reel from Saguaro Road on Vimeo.

Friday, August 20, 2010

SPAZ pays tribute to MICHAEL BEEN (1950-2010)


MICHAEL BEEN
1950-2010


Like most of the bands that I loved from the '80s, I stumbled across The Call by chance.  Beginning in the late '70s (and escalating in 1980), I would spend every bit of my paycheck on records. On paydays, my friends and I would head up to Aaron's Records, Rene's All Ears and whatever other L.A. record shops would suit our fancy at the time.  I would go through all the used record bins and snap up any album be a band that had a name that began with 'The'.  

So, yes, I owned hundreds and hundreds of albums and singles by bands like The Knack, The Records, The Last, The Clash, The Jam, etc.  I even went out on a limb and started buying records because of who produced it or which label it was released on. So, that's why bands like Bram Tchaikovsky, Any Trouble and other oddly named bands started filling up my records crates as well.  Yeah, music geek me.

So, in 1982, I picked up the freshly released self-titled debut album by The Call.  Expecting them to be another hook-laden Power Pop band, I was initially taken aback.  The Call were NOT a free-spirited, fun New Wave outfit: they were slightly darker (not Gothic, though, God forbid!), more introspective and played music with passion and conviction. The songs that lead vocalist Michael Been had written were a combination of Roots, Rock and Pop, but with a very unique and distinct style and sound. While I was not immediately blown away, the album had enough potential to be set aside for a few days until I could get back to it.  When I did go in for a second listen, the album clicked.  "There's A Heart Here" was the song that did it for me, although the album was filled with thought-provoking songs that literally attached themselves to the inside of my brain.  I knew that I'd follow this band for as long as they existed!  

The following year, the band released Modern Romans, an album that was not only better then their debut, it  kicked it's ass.  I remember buying it the week it came out and immediately falling in love with it.  When I made mixtapes for friends, "The Walls Came Down" was always present and accounted for.  When  we'd go out shopping, I'd always encourage them to pick up a copy (not one of them was disappointed, by the way).   Unsurprisingly, KROQ and other stations picked up on "The Walls Came Down" and it became an L.A. radio smash.  I was pleased as pie about that, to be honest.  It always feels good when a band that you have been supporting finally gets the credit they deserve.  

From then on out, I followed the band and picked up each new album as it was released.  While they didn't become as popular as they should have been, the band did have their fair share of hits including the Reconciled album (which included two of their most popular tracks, "Everywhere I Go" and "I Still Believe (Great Design)") and "Let The Day Begin", which was used as Al Gore's campaign song during the 2000 Presidential Election. 

While The Call were not an overtly political or religious band, Michael Been was a Christian and he was embraced by the CCM community. Anyone who is scared of overt religious messages in their music didn't have to worry with The Call.  Been's lyrics were down to earth and personal, yet never preachy.  He spoke from his heart, addressing issues that regular people dealt with everyday.  If you wanted to find a Christian message in The Call's music, it was there. If you weren't looking for it, the lyrics were still meaningful and moving.

When I heard that Michael Been had passed away of a heart attack on August 19th, 2010, it stopped me in my tracks.  I just went through the loss of my own mother (from cardiac arrest) six weeks earlier and I know how devastated his friends and loved ones are at this time.  My thoughts and prayers go out to them at this very difficult time.

But Michael Been lives on in his music and they way that his music touched peoples' lives.  Although I never met the man (nor did I ever see The Call live), I am one of those people. 

Thank you, Michael!

Your pal,
Stephen SPAZ Schnee












An EXCLUSIVE interview with CHRISSIE HYNDE and JP JONES



Hi, Fidelity!

JP, Chrissie and The Fairground Boys are coming to town

An EXCLUSIVE Interview with Chrissie Hynde and JP Jones

By Stephen SPAZ Schnee


If you are even remotely interested in Rock music’s history over the past few decades, you’re already familiar with Chrissie Hynde. As leader of The Pretenders, she’s had her fair share of hits dating back three decades. There’s also hit collaborations with UB40 and Moodswings that introduced her unique and glorious voice to new audiences. Hynde is not just a music icon, she’s a role model for hundreds (if not thousands) of self-reliant successful female rockers that have followed in her wake. She may not have been the first female rocker, but she continues to inspire and influence legions of fans, male and female.

Since The Pretenders’ 2008 album, Breaking Up The Concrete, was released, a lot has happened in Chrissie’s world. It all started when she met JP Jones, a talented Welsh singer/songwriter, in a London bar. JP recognized her, started up a conversation and the next thing they knew, they were involved as a couple, in and out of the spotlight. Although JP was born the same year The Pretenders released their debut single, the age difference meant nothing to them.

If there are two constants in life that should never be measured by age or time, they are love and music. And both of them are here in great abundance on Chrissie and JP’s debut collaboration, the glorious and timeless musical love letter called Fidelity! Now that she has a strong musical foil to work off of again, Chrissie has not sounded this fresh and invigorated since 1984’s Learning To Crawl. In fact, this might be the best full length she’s put her name on since Pretenders II and that is saying a lot.

While JP Jones may not be a household name yet, his talents shine bright on Fidelity!, sometimes overshadowing Hynde’s undeniable talents. Most of the time, though, they compliment each other splendidly. On Fidelity!, Chrissie graciously takes second billing in the band’s name and splits the spotlight with JP throughout the album. If there is one dominant force on this platter, it is their chemistry. With guitars in hand, this Rock ‘n’ Roll couple have created a passionate musical child that they have named Fidelity!

I was able to catch up with Chrissie and JP and discuss a bit about the album and their music in general…


SPAZ: How did you two meet?
CHRISSIE HYNDE: Drunk in a London bar.

SPAZ: Instead of just having JP open for a Pretenders tour or maybe collaborating on a song or two, what inspired you to form a full fledged band?
CH: We wrote a bunch of songs inspired by each other which had nothing to do with our previous music endeavors.

SPAZ: When writing the songs for Fidelity!, were you wanting to write songs that were different from your full-time careers?
CH: We had no idea we were writing an album at the time. The songs were just pouring out of us. They weren't planned so there was no musical style decisions made.

SPAZ: Is there a certain commonality between your songwriting styles that you each fed off of or did you have to purposely change the way you worked for the good of the whole project?
CH: No. We both love melody, hooks and choruses and are pretty traditional really. We both feel that songs need to come from a very personal place, from the heart. We are on the same page with everything.

SPAZ: There are so many different styles integrated into your sound (Pop, Gospel, Folk, Country, Rock ‘n’ Roll). Did you purposely try to touch on all of these influences, or was it all done by instinct?
CH: Completely by instinct. We have different musical backgrounds and tastes and constantly surprise each other with (things) the other one hadn't thought of, hence the album sounding so diverse.

SPAZ: Press for the band compares JP’s voice to “Ian Dury swallowing sandpaper”, yet there is so much more emotion in his delivery than that description will lead people to believe. Do you think that Dury comparison is a fair assessment?
CH: A fair comparison but one which only touches on a small part of JP's uniquely versatile voice. I think he is still discovering how much variety he has. His voice and delivery amazes me every time he steps up to the microphone.

SPAZ: Chrissie’s voice is one of the most distinctive in Rock ‘n’ Roll. JP, do you ever have any of those “Christ, I’m in a band with THE Chrissie Hynde!” moments?
JP JONES: Yes. Every day! I think Chrissie's voice is the most distinctive voice on radio. Every time you hear her sing, you know exactly who it is and it melts my heart.

SPAZ: JP is a relatively new voice on the music scene, commercially. Chrissie, do you feel pride in introducing his talents to the public at large?
CH: I'm thrilled beyond words to introduce him to a new public. I feel its my chance to redeem myself for any previous crimes against rock I may have committed.

SPAZ: Both of you are strong singer/songwriters and performers in your own right. Is it difficult to share the spotlight with someone else?
CH: Not at all. It’s a joy to be able to look at each other on stage and sing these songs to each other every night. Our voices are so different. One male, one female. But people tell us how well our voices blend together. Its almost like one voice completes the other.

SPAZ: Both of you sound invigorated by this collaboration. Are you happy with the way it turned out?
CH: I think its the best stuff I have ever done and its come like a bolt out of the blue. Makes me feel like I am just starting.
JP: Its the most honest and most rocking music I have made. I feel like I have found myself with Chrissie.

SPAZ: You’ve avoided all the trappings of ‘modern’ production (i.e.: auto-tune) and created a timeless sounding album. Was this your intention?
CH: Yes it was. We recorded it as live and raw as possible. It’s not about perfection. It’s about personality.

SPAZ: Do you see JP, Chrissie & The Fairground Boys as a one-off, part-time or full-time project?
CH: We're living and breathing this. We have a lot more music in us together. If we had the time we'd go in and record another album tomorrow. But first things first......

SPAZ: What’s next for JP and Chrissie?
CH: LA for West Coast acoustic shows with Lucinda Williams and a show at The Grammy Museum. Then the rest of The Fairground Boys will join us in early/mid September for a full national tour of the States.

SPAZ: What do you have currently spinning on your CD and DVD players?
JP: Kate Bush, Bon Iver, Peter Gabriel.
CH: Moby Grape, American Bang, and a little known English artist, Kunt And The Gang. Would like to hear what music Viggo Mortenson, Paddy Consadine and Johnny Depp are making.


Thanks to Chrissie Hynde and JP Jones.
Special thanks to Michelle Gayhart, Kevin Farrell and Paul Reitz

Monday, August 16, 2010

DAVID BOWIE/Station To Station: Special and Deluxe Editions available September 28th, 2010!

DAVID BOWIE

STATION TO STATION

SPECIAL & DELUXE EDITIONS

9.28.10

Hollywood, California – Virgin/EMI is pleased to announce September 28 as the North American release date for David Bowie’s hugely influential 1976 album, Station To Station, in two expanded packages: a 3CD Special Edition and a limited edition 5CD, DVD (Audio) and three 180gram vinyl LP Deluxe Edition. Both new editions include the original album, remastered from the analogue master, and the much-bootlegged, but previously unreleased concert favorite, Live Nassau Coliseum ’76, as well as new liner notes by Cameron Crowe.

The 3CD Special Edition features the remastered original studio album on disc one, plus Live Nassau Coliseum ’76 on discs two and three. Packaged in a lift-top box, the set also includes a 16-page booklet and three David Bowie postcards.

The Deluxe Edition is the ultimate experience, featuring extensive additional content:

A 24-page booklet, including NEVER SEEN BEFORE photos

CD: Station To Station – RCA CD Master

Double CD: Live Nassau Coliseum ’76

CD: 5-track Singles Versions EP including a previously unreleased version of Station To Station, and for first time on CD, Word On A Wing

3 x 12” heavyweight vinyl

DVD Audio

6 panel folded poster
Replica Backstage pass, 97 x 67 mm, fabric with adhesive back
Replica Biog, A4-size
Replica Ticket on art paper matt
3x10x8” press shots
Replica Fan club folder
Replica Fan Club Membership card, 60 x 90 mm
Fan club certificate, 195 x 255 mm, 4/0clr, 200 gsm art paper matt
2 small Collectors cards
2 A4-size photo prints
Replica 4-page biography
2 x badges

Plus, it’s all housed in a foam-packed box, 325x325x50mm.

Friday, August 13, 2010

An EXCLUSIVE interview with BRIAN WILSON!






By Stephen SPAZ Schnee

Sometimes, you wake up and expect your day to be as unexciting and humdrum as the last. But then two simple words can suddenly break up the monotony of your existence and allow the sun to shine again. Those two words for me were: BRIAN WILSON. Yes, as in ‘songwriting legend’ Brian Wilson!

So, anyway, Brian was going to be promoting his Reimagines Gershwin release (Disney/Pearl) and I jumped at the chance to throw some questions together for this once-in-a-lifetime interview opportunity. This was Brian Wilson, after all. Living legend. A Gershwin for our generation.

If you haven’t heard anything from Reimagines Gershwin, then my suggestion is to immediately throw this mini masterpiece in your CD player and crank it as loud as possible. As you would guess from the title, the album finds Wilson approaching the music of George and Ira Gershwin with a fresh perspective, complete with those gorgeous harmonies that Brian is so famous for. On this release, he embraces the music that influenced him, and returns the favor by ‘reimagining’ these lovely classics, creating both an absolute gorgeous Brian Wilson album and a perfect homage to the music that moved him. In turn, Brian reintroduces Gershwin to a whole new generation of music fans who may not have really bothered to listen before (“Gershwin? That’s SO grandma and grandpa!”)

The real treats on Reimagines Gershwin are two songs that Brian wrote after listening to over 100 unreleased Gershwin demos. “Nothing But Love” is a wonderful uptempo track that will be considered one of the finest tracks he’s written in 20+ years. But the absolutely gorgeous “The Like In I Love You” is certainly one of the finest songs he’s written in his long and well-documented career. The great rearrangements of Gershwin tunes are utterly fantastic, but “The Like In I Love You” is worth the price of admission alone. Man, this is a song to cherish each and every day!

I was able to catch up with Brian as he was promoting Reimagines Gershwin on the East Coast. While I had prepared to ask him 457 questions about life, love and music, I felt that I should stick with the topic at hand, so I whittled my list down to the handful listed here.

SPAZ: What inspired the Reimagines Gershwin project?
BRIAN WILSON: We had always sort of kicked around the idea of doing something with Gershwin songs. When we signed with Disney, we talked about it and then we just ran with it.

SPAZ: Was it easier or more difficult to approach and reinterpret these songs than it normally is to arrange a batch of new self-penned tunes?
BW: It was more of a challenge to me because I wanted to do it justice for George and Ira. I wanted them to have been proud of this album.

SPAZ: You’ve been working with a band of great musicians. How did they feel about this project when you first put the idea forth?
BW: The band thought it was a fantastic idea because they all love Gershwin music as much as I do.

SPAZ: The album has a beautiful flow to it. Before you commenced recording, was there a pre-conceived idea on the tracklist or did you put it all together after the tracks were recorded?
BW: A bit of both. Part was preconceived but we recorded all of the tracks before we figured out the lay out of the album.

SPAZ: You listened to hundreds of Gershwin piano demos and created two wonderful tracks from that experience. What was it like listening to these unreleased melodies from a musical legend?
BW: I was thrilled beyond belief that I was able to get in touch with George Gershwin through his music. What a wonderful experience

SPAZ: At the end of the day, are you hoping that this project will introduce (or re-introduce) the brilliance of Gershwin to your Rock ‘n’ Roll fan base?
BW: I think it’s a wonderful way to bring Gershwin music to a younger generation. Young people need to know this music.

SPAZ: When thinking back to the first times you heard these Gershwin songs, were you enchanted by the melodies, the lyrics or the original arrangements?
BW: I was enchanted by all three!!

SPAZ: Is it flattering to know that you are often mentioned in the same breath as other songwriting legends like Gershwin?
BW: It’s a thrill to hear that, of course!

SPAZ: Are there any plans in the future to work your magic on other classics from legendary songwriters?
BW: I’m not sure. Don’t know how you top Gershwin

SPAZ: What’s next for Brian Wilson?
BW: I’m looking to do something with the Disney catalog. Classic Disney songs.

SPAZ: What do you currently have spinning on your CD player?
BW: Oldies but goodies, of course!


Thanks to Brian Wilson

Special thanks to Monica Chamberlin, Betty Cruse, Thuy Ngo and Craig Swedin

Friday, August 6, 2010

APPLE RECORDS/Best Of, catalog reissues and more... Available October 26th, 2010!

The first commercial multi-artist compilation in Apple’s history set for release on October 26th, 2010

The Radha Krishna Temple added to historic release of original apple albums from 1968 to 1973: Remastered CDs and Apple’s first digital downloads due October 26th, 2010


London, England – August 5, 2010 - The dazzling range of music originally issued by Apple Records between 1968 and 1973, which is now the subject of an unprecedented multi-album worldwide campaign starting October 26th – including remastered CDs (with bonus material revealed for the first time below) and Apple’s first digital downloads – will now be augmented by two additional titles: Come and Get It: The Best Of Apple Records, the first commercially issued multi-artist compilation in the label’s history; and The Radha Krishna Temple, the self-titled album of devotional music produced by George Harrison.

Come and Get It: The Best Of Apple Records, a 21-track compilation of singles, ranging from the folk-rooted tunes of Mary Hopkin and James Taylor, and the energetic rock of Badfinger (also The Iveys) and Jackie Lomax, to the deep soul of Doris Troy and Billy Preston, will also be released in the physical and digital marketplace on October 26th, 2010.

Come and Get It displays Apple’s vibrant years of musical experimentation in full flower, from bona fide hit singles to the cult classics of the catalogue, as represented by brass band The Black Dyke Mills Band, Cajun collective The Sundown Playboys, and more. Hot Chocolate (as ‘The Hot Chocolate Band’) makes an appearance, as does Ronnie Spector, Bill Elliot & The Elastic Oz Band, Chris Hodge, Brute Force, and others.

Launched by The Beatles in 1968, Apple served as the new outlet for their own recordings as well as the music of an eclectic roster of artists who were all personally brought to the label by The Beatles (individually and/or collectively). In the revolutionary spirit of the times, Apple’s utopian artist-orientated mission celebrated diversity in a friendly creative environment. The result was a rainbow spectrum of music, from folk, rock and soul to The Modern Jazz Quartet and the work of contemporary British classical composer John Tavener.

As Apple Corps Ltd. and EMI Music prepare for the upcoming 17 album CD and digital download release, it is a reminder that the introduction of an artist on The Beatles' record label was avidly followed by fans across the universe – then and now. Each of the albums has been digitally remastered at EMI's Abbey Road Studios in London by the same dedicated team of engineers behind The Beatles' recent remastered catalogue releases of 2009.



Details of Come And Get It and each original album along with newly announced bonus material are as follows:



 
1 Those Were The Days / Mary Hopkin
2 Carolina In My Mind / James Taylor
3 Maybe Tomorrow / The Iveys
4 Thingumybob / The Black Dyke Mills Band
5 King Of Fuh / Brute Force
6 Sour Milk Sea / Jackie Lomax
7 Goodbye / Mary Hopkin
8 That's The Way God Planned It / Billy Preston
9 New Day / Jackie Lomax
10 Golden Slumbers-Carry That Weight / Trash
11 Give Peace A Chance / Hot Chocolate Band
12 Come And Get It / Badfinger
13 Ain't That Cute / Doris Troy
14 My Sweet Lord / Billy Preston
15 Try Some Buy Some / Ronnie Spector
16 Govinda / Radha Krishna Temple
17 We're On Our Way / Chris Hodge
18 Saturday Nite Special / The Sundown Playboys
19 God Save Us / Bill Elliot & The Elastic Oz Band
20 Sweet Music / Lon & Derrek van Eaton
21 Day After Day / Badfinger



The Digitally Remastered reissues (each including bonus material):

JAMES TAYLOR (1968) by James Taylor
James Taylor’s debut album, recorded in 1968, includes two of his best loved songs, ‘Something In The Way She Moves’ and ‘Carolina In My Mind’. Both are familiar to millions from the 1976 versions that open his 11 x Platinum Greatest Hits, but were first recorded for Apple Records in 1968. Here are the original recordings, alongside 10 equally strong others, made in London with a little help from top musicians and some baroque English strings.

MAGIC CHRISTIAN MUSIC (1970) by Badfinger
Magic Christian Music is a sweet, colorful pop album packed full of early gems from the songwriting powerhouse that began as The Iveys and later became Badfinger. Also featuring the worldwide smash hit 'Come And Get It', written and produced by Paul McCartney for the 1969 Peter Sellers / Ringo Starr movie The Magic Christian.

NO DICE (1970) by Badfinger
The first album with guitarist and singer-songwriter Joey Molland, No Dice is a watershed collection of power pop that bridges the band's commercial instincts with the classic, no-frills rock that became their trademark. Includes the Top 10 single, 'No Matter What', and the original version of the Ivor Novello and Grammy Award winning ‘Without You’, made famous by Harry Nilsson, and later Mariah Carey.

STRAIGHT UP (1972) by Badfinger
Long considered to be the group's finest album, Straight Up is a glorious collection of strong melodies, insightful lyrics and deep emotion. Produced in part by George Harrison and containing the U.S. hit, 'Baby Blue', plus the worldwide smash 'Day After Day' — featuring George and the group's Pete Ham joining forces on the superb synchronized slide guitar solo.

ASS (1974) by Badfinger
Joey Molland assumes half the songwriting on this, the group's heaviest and most serious album. Ass is solid gold Badfinger. It was partly recorded at the then state-of-the-art Apple Studios at 3 Savile Row, London, and contains the group's valedictory 'Apple Of My Eye', written by Pete Ham. The album was produced by Badfinger with Chris Thomas.

POST CARD (1968) by Mary Hopkin
Mary Hopkin's debut is a treasury of popular song. Produced by Paul McCartney and featuring numbers from Donovan, Harry Nilsson and, in rare songwriting mode, George Martin; plus classics from the Gershwins and Irving Berlin. Mary's pure, folk-inspired vocals make for a beguiling, dreamy album. Although not included on the original UK LP, Mary’s global smash hit ‘Those Were The Days’ is now the staple track on Post Card.

EARTH SONG / OCEAN SONG (1971) by Mary Hopkin
Issued in 1971, this is Mary Hopkin's coming-of-age collection, packed with socially-conscious, lyrically-aware anthems from the cream of the era's folk protagonists: Ralph McTell, Gallagher & Lyle, Tom Paxton, Cat Stevens, Harvey Andrews and the relatively unknown Liz Thorsen who wrote the collection’s title songs, ‘Earth Song’ and ‘Ocean Song’. Mary defines her art on this album, co-ordinated by legendary producer and Mary's husband-to-be at the time, Tony Visconti.

THAT’S THE WAY GOD PLANNED IT (1969) by Billy Preston
Billy Preston’s debut album for Apple Records was his vocal album debut too. Before this Billy was renowned merely as a wizard instrumentalist. Here, his impassioned vocals help create one of the best soul records of the 1960s. Produced by George Harrison, That’s The Way… expands Billy’s palette of gospel and R&B to embrace rock elements brought in by A-list players Keith Richards, Ginger Baker and Eric Clapton.

ENCOURAGING WORDS (1970) by Billy Preston
Encouraging Words is steeped in exemplary playing and songwriting… and pure funky soul. Produced by George Harrison and Billy together, it is packed with originals and inspired covers, including 'My Sweet Lord' and 'All Things (Must) Pass' — donated by George before he released them himself — and a unique Harrison-Preston songwriting collaboration, the gospel hymn 'Sing One For The Lord'. This is Billy on the launch pad just before he rocketed to U.S. No.2 success with 'Outta Space' for A&M Records.

DORIS TROY (1970) by Doris Troy
The self-titled Apple album from the legendary Doris Troy, nicknamed ‘Mama Soul’ by her British fans, is an exciting union of R&B, gospel and rock. It showcases four little-known songs that Doris co-wrote with George Harrison, two of which also credit Stephen Stills and Ringo Starr. Other guests include Billy Preston, Peter Frampton and Eric Clapton.

IS THIS WHAT YOU WANT? (1968) by Jackie Lomax
Yes! This is a cracking album of powerful late-Sixties rock and blue-eyed soul originals by Liverpool vocalist Jackie Lomax. Among the many highlights is the one cover, George Harrison's otherwise unavailable 'White Album'-era song 'Sour Milk Sea', given to Jackie and featuring guest players including George, Paul McCartney, Ringo Starr, Keith Richards and Eric Clapton.

UNDER THE JASMIN TREE (1968) & SPACE (1969) by the Modern Jazz Quartet (a 2-on-1 CD)
Two albums of high-class improvisational bebop recorded by Atlantic Records legends the MJQ while on secondment to Apple. With their unique line-up of piano, vibes, bass and drums, the Quartet brought old-style tuxedo excellence and cool organic jazz to the Apple catalogue.

THE WHALE (1970) & CELTIC REQUIEM (1971) by John Tavener (a 2-on-1 CD)
Sir John Tavener was knighted by The Queen in 2000 for his services to music, and he remains one of Britain’s most popular classical composers. Back in the late Sixties, John Tavener was championed by John & Yoko, and befriended by Ringo Starr. Apple's recordings of The Whale, his avant-garde oratorio, and Celtic Requiem, written for soprano, orchestra and children’s choir, were his first ever full-length releases, and remain extraordinary examples of British contemporary classical music.

RADHA KRISHNA TEMPLE (1971) by the Radha Krishna Temple (London)
The latest addition to the 2010 Reissue campaign is The Radha Krishna Temple album, which was recorded by the London chapter of the International Society for Krishna Consciousness and was produced by George Harrison. The album is a collection of devotional chants and prayers to Krishna (another name for God) and to the movement’s own divinely-inspired spiritual masters. It spawned two Top 30 UK singles, ‘Hare Krishna Mantra’ (No. 12) and ‘Govinda’ (No. 23), and said George: “It was the greatest fun of all, really, to see Krishna on Top Of The Pops”. Krishna Consciousness can be defined as a “process of plain living and high thinking” that leads to spiritual knowledge, self-realization, as well as the greater goal of peace and happiness in the wider world.


NEWS FLASH! ELI "PAPERBOY" REED releases one of the finest albums of 2010!






So, you've already been hearing the buzz about this album, right?  Well, all I can tell you right now folks is that this album is BETTER than you can possibly imagine!  I'll have a real honest to goodness review for you but wanted to kick y'all in the rear and remind you that this is a fab album that is calling out your name and begging you to take it home and cuddle with it!  Man, this kid is pure dynamite!

And when have I ever let you down?  Huh?  Well, OK, so the Spice Girls may not have become the next Rolling Stones like I predicted.... and I was wrong when I said that the Flock Of Seagulls hairstyle would be all the rage in 2010.....and I was a little premature in saying that Justin Bieber's 2nd release was going to be better than Abbey Road.... but that's all in the past.  Eli PAPERBOY Reed is the now, baby!  So dig!

Eli Paperboy Reed, 'Come and Get It' -- Video of the Day

YAZ/Reconnected Live (Double CD) Available Sept. 28th, 2010!


YAZ

RECONNECTED LIVE

9.28.10


"I hear you're buying a synthesizer and an arpeggiator, and are throwing your computer out the window because you want to make something real. You want to make a Yaz record." – “Losing My Edge,” LCD Soundsystem

RECONNECTED LIVE documents one of pop’s most anticipated tours: in the summer of 2008 Vince Clarke & Alison Moyet (AKA Yazoo, or Yaz as they are known in the U.S.) reunited for the first time in over 25 years. The Times raved: “Clarke has unobtrusively retooled the band’s music for the digital age, making their vintage 1980s synthesizer ditties sound crisp, fluid and timeless” while The Guardian noted, “Yazoo’s first tour in 26 years finds the chemistry behind their smash hits unchanged.”

RECONNECTED LIVE, produced by Yaz, recorded by Martin Hildred and mixed by Vince Clarke features classic tracks from Yaz’s albums Upstairs At Eric’s and You And Me Both; including 'Only You', 'Don’t Go' and 'Situation' plus tracks performed live for the first time ever, such as 'Nobody’s Diary'.

The joyous, unlikely coming together of Vince Clarke, who had just left Depeche Mode, and Alison Moyet lasted for only 2 albums, performing just 24 concerts worldwide, but left an unforgettable mark on pop. Yaz released Upstairs At Erics in July 1982, parting ways 12 months later upon release of their second album You And Me Both, which reached #1 in the UK.

Speaking prior to the Reconnected tour, Vince Clarke said: "It's been really good going back to these songs after such a long while. Many of them have never been played live. I'm looking forward to performing them with Alison for all the fans who've enjoyed our music through the years but never had a chance to see Yazoo in concert"

Alison Moyet explained: "Playing this material live is not about revision for me, it is about finishing something we started – writing, recording, performing. Three parts of a whole. A salmon cycle. It’s like going home.”

Watch Vince Clarke & Alison Moyet’s pre-show ritual before they played NYC HERE