The CHERRY Best: Strolling Through The CHERRY RED catalog, Part One

THE CHERRY BEST:

STROLLING THROUGH 

THE CHERRY RED CATALOG

PART ONE

     Anyone that knows me is fully aware that I LOVE Cherry Red Records and the myriad of labels under it's umbrella.  From the Punk classics that make up ANAGRAM RECORDS' catalog to the constant flow of great R&B/Soul/Funk reissues under the BBR banner, I have nothing but pure, unadulterated love for what they do.  Each label is run by folks that seem to share the same passion that I have for music.  I admire and envy everyone involved with all the label imprints that Cherry Red releases. Yeah, I'm a fan to say the least. 

     

Cherry Red is more than just about music distribution: it's about music education.  There are so many genres to choose from: Country, Rock, New Wave, Metal, R&B, Bossa Nova, Post Punk, Prog Rock, Jazz, Punk and any other genre you can think of.  Their releases are mostly reissues (with bonus tracks!) but they do unleash new music by veteran artists and up and coming acts alike.  

   As for me, I've been an avid collector of reissues, mostly stuff from the '70s and '80s, on labels such as Cherry Pop, Lemon, BBR, Hot Shot and others. Almost everything I have from the label were titles that I used to own the vinyl when they were first released.  But with bonus tracks and liner notes, I obviously upgraded my collection and now own them on CD.  I'm not one of those that bothers with the 'vinyl vs. CD' sound quality debate.  I think CDs sound great and Cherry Red releases are worth every hard earned penny you pay for them.

     I've decided to list some of my favorites below.  There are titles that I've written about elsewhere on this blog (check them out here) but these are releases that I may have acquired before I started blogging or maybe they are things that I finally got around to purchasing recently.  Either way, I wanted to share them in a series of posts and bring them to your attention.  I've listed them alphabetically to make it easier to read/skim through...

HAYSI FANTAYZEE

THE BEST OF 

(BATTLE HYMNS FOR CHILDREN SINGING)

Manufactured Pop groups have been around for ages. We all know about The Monkees, but it goes back much further than that.  Look at Fabian and all the teen idols in the late '50s and early '60s!  But in the '80s, bands were so colorful and outrageous that it was hard to tell the difference between an act trying to earn respect and one that was trying to make as much money as they could before they fell off the charts.  In my opinion, Haysi Fantayzee never tried to be anything more than a fun little Pop experiment that just happened to be successful.  Just like Bucks Fizz, Boney M and all the boy bands of the '90s, they were put together by a producer/songwriter who needed somebody to sing and look good in front of the camera while he pulled all the strings.  This duo were perfect for the job... and their success, albeit short-lived, has managed to survive the test of time. This is their 1982 album plus a plethora of bonus material including remixes.  It's utterly bonkers cheese... but it's the tastiest cheese imaginable! (Cherry Pop)

GEORGE McCRAE
ROCK YOUR BABY

Oh, how I love the song "Rock Your Baby"!  Here it is, nearly 40 years after it came out and I'm still absolutely crazy about that song!  It may have been a precursor to the Disco phenomenon, but that is OK by me.  I think Disco had a lot of great artists involved... from the singer on the cover to the producer behind the mixing board.  When things groove together properly, the results are stunning.  That is the case with "Rock Your Baby".  For those who don't know, the songwriters and producers behind this album were Harry Casey and Rchard Finch, who would later go on to fame and fortune as the brains behind KC & The Sunshine Band. As for the rest of the album, it follows the formula set by the title track, although there are a few variations here and there.  In a nutshell, it's fantastic!  (BBR) 

THE MOOD

THE SINGLES COLLECTION

This Synthpop trio were one of the great unsung bands of the New Romantic era.  They released a slew of singles in the UK but never an album.  There was an EP released in the U.S. entitled Passion In Dark Rooms, but that's the closest they ever got to issuing an album.  That is a total shame because they were fantastic.  The fine folks at Cherry Red compiled all of their singles onto this disc, making it the closest thing to a full-length. In fact, the first 11 tracks make up one heck of a great listen.  The remaining seven tracks are extended mixes (plus two original versions of songs from an indie release).  From start to finish, this should satisfy anyone looking for The Mood on CD plus anyone looking for some great obscure Synth/New Romantic sounds. (Cherry Pop)

     

R. STEVIE MOORE

MEET THE R. STEVIE MOORE

I've been a fan of R. Stevie Moore since the early '80s.  While I stupidly don't own everything, I can vouch for his undeniable talent.  He is often called 'eccentric' and 'weird', but I'd  prefer to use the term 'a man with a limitless musical imagination'.  He's been recording music probably longer than most of us have been alive yet he remains on the fringe of the music business.  He is respected and loved... and deservedly so.  Not everything he records is genius, but, in a way, that is what makes him a genius. He is not afraid to put himself out there and to attempt new things, musically. Often times, that is where the magic happens. There have been many compilations released of his music, and they are all worthwhile.  This one, the first of two collections that Cherry Red put out, is the one I'd recommend for anyone interested in the roots of lo-fi recordings.  Yes, almost everything here was recorded in his bedroom...  He is an artist that deserves much more than a mention in this post... and I will soon get around to one entirely devoted to him, but for now, this is a highly recommended release. (Cherry Red)

TERRY, BLAIR AND ANOUCHKA
ULTRA MODERN NURSERY RHYMES

Terry Hall was already known as the 'two album wonder'.  He fronted The Specials for two albums then went off and did the same for Fun Boy Three (featuring Lynval and Neville from The Specials as well).  Then, after two albums, he left FB3 and formed The Colourfield.  Guess how many albums they put out before he split with The Colourfield?  Yep, two.  But he broke his streak with this sole 1989 album that he recorded with Blair Booth and Anouchka Groce. While he was known as the most miserable man in Pop music, Terry Hall had (and still has) a wickedly funny sense of humor.  This sprightly, fun album didn't set the charts on fire like his previous bands, but it is just as worthy of anything that he's been involved with.  This is the full album with two bonus tracks including their fantastic cover of "Love Will Keep Us Together". By the way, Cherry Red has also reissued the first FB3 album and both albums by The Colourfield, all with bonus tracks. (Cherry Red)

An EXCLUSIVE Interview with RODRIGUEZ!

Only Good For Conversation:

An EXCLUSIVE Interview with

RODGRIGUEZ!

By Stephen SPAZ Schnee

     If patience is a virtue, then Sixto Diaz Rodriguez should be applying for sainthood right about now. Over four decades since the release of his 1970 debut album, Cold Fact, Rodriguez (professionally known by his last name only) is more popular than he has been at any point in his career. Not only has Cold Fact and it’s 1971 follow-up, Coming From Reality, been lovingly reissued by Light In The Attic Records, there’s even an award-winning documentary, Searching For Sugar Man, that is currently making the rounds and bringing audiences to their feet. But it wasn’t always that way…

     Rodriguez was discovered in the late ‘60s while playing a gig in Detroit. A 1967 single appeared on the Impact label, but it would take another three years for an album to appear. Cold Fact was an album that mixed social awareness, politics, Folk Music and Psychedelia, sounding not unlike a mixture of Donovan and Dylan during their heyday. Unfortunately, the album didn’t fare well in the states commercially. He went back into the studio and recorded his second album, which met the same fate as his debut. After the failure of both albums, Rodriguez’s musical career seemed to be over. Or was it…

     Cold Fact was released in South Africa in 1971 and was a huge hit. The album ended up going platinum. In Australia, the album met with even bigger success, selling 5X platinum! Oddly enough, Rodriguez was completely unaware of his enormous popularity in those countries. It wasn’t until decades later that he realized that his music had a profound effect on so many people in these countries.

     But in South Africa, even though Rodriguez was one of the most popular cult artists around, his fans knew nothing about him. Rumors began circulating that he had committed suicide on stage during one of his performances. From a self-inflicted gunshot wound to lighting himself on fire, the rumors grew more elaborate as time moved on. They myth and the mystery that surrounded Rodriguez fueled his popularity even more.

     In the ‘90s, a South African fan, Stephen ‘Sugar’ Segerman, began a search for any information on Rodriguez. Journalist Craig Bartholomew-Strydom became involved, as did Alec McCrindle, who helped Segerman set up a website in 1997. Budding Swedish filmmaker Malik Bendjelloul became intrigued and decided to document the search for the enigmatic singer/songwriter. What they all discovered changed the lives of everyone involved…

     The award-winning documentary Searching For Sugar Man details the Malik’s search for the truth in regards to the artist and his supposed suicide. Thankfully, Rodriguez was alive and well and was about to finally receive the accolades he so richly deserved. With rave reviews, awards galore and a buzz across the internet louder than feedback at a Motorhead concert, Searching For Sugar Man is not only an artistic triumph, it is also a successful one.

     Stephen SPAZ Schnee was able to catch up with Rodriguez, and discuss the film, his musical career and his belated (and well-deserved) success…

SPAZ: It’s been over 40 years since the release of your debut album. Light In The Attic has reissued your two albums to great acclaim and now, there’s a well received documentary that focuses on your career. How are you feeling about the film right now?

RODRIGUEZ: Malik Bendjelloul, the film-maker, it’s his first film. It was chosen out of like 4000 entries at the Sundance festival. It’s a masterpiece. He does narration, he does animation in this film and, in regards to South Africa, he brings up issues of Apartheid… It’s certainly a creative thing he’s done. He’s been working on it for five years now. At Sundance, he got the Audience Award for Documentary and the Special Jury Prize. It got standing ovations at six screenings! Like I said, it was his first film. Malik and Camilla (Skagerstrom, cinematographer) were the ones that did it. They had worked on it awhile before I even got involved. He did great. He is deserving of all the accolades.

SPAZ: Is it kind of surreal for you to be the subject of this critically adored film?

RODRIGUEZ: The climax of the film takes place in ’98. We’ve been touring since then and I’ve had a lot of experiences since that time. But this film thing… it’s a different medium. It’s the meeting of film and music. The film is distributed by Sony Pictures Classics and they are really behind it. We got picked up, which is another thing: Malik didn’t know that was going to happen, which is quite something for him. And since I’m the subject of it (laughs), I’m a lucky guy. I’m really fortunate that it’s happened at this pace. I really appreciate it.

SPAZ: Both Cold Facts and Coming From Reality are highly unique albums that have remained timeless, both musically and lyrically. What were your influences when making the albums, both musically and otherwise?

RODRIGUEZ: The guitar is essential in music ensemble. The guitar itself has changed. You can do more with it now. I follow that instrument. So, whoever is doing anything on guitar… the Blues guys. And I mean I listen to the ‘40s, the ‘50s, the ‘60s, the ‘70s, the ‘80s, the ‘90s, the ‘00s, the ‘10s (laughs). I take in any kind of musical influence. We all have that capacity, we all listen a lot. And in Detroit, we hear a lot of stations. It’s like urban influences as opposed to rural influences. Classical and Jazz are kind of the same because there’s more instrumentation. But I follow more vocal and guitar, songwriters…. That vein of popular music. I listen to a lot of stuff… just like everyone. Just following the guitar, the chord changes of The Beatles, the different vocal expressions of Dylan… Each decade has had its own showpieces.

SPAZ: Your lyrics are most often personal and political, addressing issues that are still relevant. Are you pleased that your songs still resonate with listeners today? That’s quite an accomplishment…

RODRIGUEZ: The issues of the late ‘60s and ‘70s, if you look at those placards at demonstrations, they are pretty much the same kind of stuff. They are saying ‘Jobs! Jobs! Jobs!’, you know, they want work… the same kind of social issues. Now, we’ve become more aware through the internet and through (smart) phones. These issues haven’t gone away. I think that tazers are another word for cattle prods. It’s kind of punishment before the crime, you know? I think that they could use better judgment and that it can be fixed. I describe myself as a ‘politico musico’. I do the music and I love that, but, really, there are other issues that haunt us as well. In the same way, through technology, I have become a better known musician, and who would have thought, you know? Another part of it is that it opens up another area of music. I think most commercials have music in the background. Music is everywhere now.

SPAZ: Musically, you have been called Folk, Psychedelic, World Music, pop and Rock. Listening back, how do you feel about your two albums today?

RODRIGUEZ: I had great production. Steve Rowland (producer of Coming From Reality), he used full violin section, cellos, violas… He used a lot of different approaches to the material. The quality has had longevity and it has proven itself.

SPAZ: “Sugar Man” is your most well-known song. Can you tell us a little about the song’s origins?

RODRIGUEZ: “Sugar Man” is almost like a prayer, you know? That’s all that that is. It’s a tune with words. I describe ‘Sugar Man” as a descriptive song, not a prescriptive song. When I play to an audience, I can explain things. It makes it much easier if someone has a question. I’m accessible to my audience when I’m out on stage. When they call out and talk to me, I talk back to them. (laughs) It’s a great time because it’s live performance. Any questions, I try to clear up.

SPAZ: While your albums are musically focused, there’s also an adventurous feel to the recordings. Did the sessions end up the way you envisioned it, or did you have to make compromises along the way?

RODRIGUEZ: I think that’s down to the producer. I’m the musician and vocalist. They say we should add this or that. When we play up there live, it changes.

SPAZ: How do you feel about the internet and the effect it has had on you and your music?

RODRIGUEZ: It’s a global thing now. You don’t have to worry about the domestic market as much. I’ve been down to Australia four times, South Africa four times, Wales, London… To be a successful Rock ‘n’ Roll musician, you need to be able to handle disappointment, rejection, criticism…. If you get that break, you better ride it out. I’m lucky. I’ve had resurgence through Light In The Attic and now through this film.

SPAZ: Apart from your two initial albums, there was a live release as well. Before Light In The Attic’s official reissues, there were other titles by you on the market…

RODRIGUEZ: There are other things, but some of them I wasn’t conscience of. I really don’t know much about those.

SPAZ: So, there’s no unreleased third album? There have been rumors…

RODRIGUEZ: No, and I think that should be clarified. I think people should know that. I am currently working on new stuff, but there’s no third album.

SPAZ: What’s next for Rodriguez?

RODRIGUEZ: We’re going to have movie more screenings and we’ll be tagging along with the film.

SPAZ: What are you listening to these days?

RODRIGUEZ: I listen to NPR a lot. And we’ve got some great stations in Detroit.

Thanks to Sixto Diaz Rodriguez

Special thanks to Josh at Light In The Attic

COLD FACT

COMING FROM REALITY

An EXCLUSIVE interview with BRIAN WILSON!

Rhapsody In Brian

An exclusive Interview with BRIAN WILSON

BRIAN WILSON REIMAGINES GERSHWIN

Available 8.17.10

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