New Arrangement by Jackie DeShannon

Jackie DeShannon released nineteen studio albums between 1963 and 1978, producing two top ten American singles with “What The World Needs Now Is Love” in 1965 and “Put A Little Love In Your Heart” in 1969. Yet she never became a household name in the United States. Her most interesting claim to fame was opening for The Beatles on tour in 1964. It is as a songwriter, however, that has yielded her most enduring success as her compositions have been continually recorded by many artists down through the years.

Collector’s Choice has now reached back into her extensive catalogue to reissue four of her classic albums. New Arrangement, originally released in 1975, finds her as a fully developed pop artist. Her early work was close to folk but over the years she had transitioned more toward pop. She was now using strings and a variety of other instruments to give her music a fuller sound.

While I own a vinyl copy of this album, the remastered CD, in comparison, makes for a vastly superior listen. He voice has a much purer quality than on my old record which greatly enhances the experience. The backing instruments are also crystal clear which allows an appreciation of her songwriting expertise.

Today the most famous track is her “Bette Davis Eyes.” Her vocal has a light jazz feel to it and the honky-tonk piano adds to its flavor. Six years later Kim Carnes would take this song in a rock direction with a gritty vocal and produce one of the biggest hit singles of the rock era, remaining in the number one position on the American charts for nine weeks. It would win DeShannon the Grammy Award for song of the year in 1982.

The album contains a number of excellent tracks. “Let The Sailors Dance” is wonderful and catchy up-tempo pop. “Boat To Sail” has sophisticated lyrics and interesting tempo changes. “Queen Of The Rodeo” is a blend of pop and country with a steel guitar in support.

There are five bonus tracks, including two rare singles DeShannon released for the Columbia Label which are a nice inclusion. Four of the bonus tracks were written with pop composer extraordinaire John Bettis, which is also a treat.

It’s nice to see Jackie DeShannon receiving some long overdue respect. If you have never explored her music, New Arrangement is a good place to start. You won’t be disappointed.

Tough by John Mayall

It’s doubtful that Murray Mayall could have imagined in 1933, when his son John was born, that he would one day be appointed an Officer of the Order of the British Empire. As a guitarist he might have imagined his son becoming a musician but it is doubtful he could have conceived his progeny becoming one of the legendary rock/blues artists in music history.

John Mayall is now in his mid-seventies and over half a century into his career. His Bluesbreakers have included such luminaries as Eric Clapton, Mick Taylor, Mick Fleetwood, John McVie, Peter Green, and a host of others. His current aggregation consists of guitarist Rocky Athas, bassist Greg Rzab, drummer Jay Davenport, and keyboardist Tom Canning. Mayall continues to supply the vocals in addition to playing the harmonica, organ, and guitar.

The albums publicity states that this is his 57th studio album and I will assume that it correct. Through that vast catalogue of releases he has always kept the faith as a rock/blues fusion artist. His work in the sixties was unique and cutting edge and opened up new possibilities for future generations of musicians. In many ways he can be considered the Godfather of the British Blues.

His new release is titled Tough and while it breaks no new ground, it covers the old very well. His vocals may not be as strong as several decades ago but he can still sing the blues as well as anyone and age has added an authenticity and emotional feel to his delivery. He is still a good organist and guitarist but it is his harmonica playing that provides many of the instrumental highlights of this album. It forms the heart and soul of his music and presents the blues at their best.

Mayall only writes three of the eleven tracks but they are the strongest. “Slow Train To Nowhere” is a slow and smoky number that uses his organ as the foundation. He sings with passion about the partying and boozing of his past. “Tough Times Ahead” is another moody number with commentary about the state of the world’s economy. “That Good Old Rockin’ Blues” is a hard driving number. It sums up his life long commitment to the blues and is joyful music at its best. Just roll down the car window and turn up the volume.

There are a number of other tasty treats that are included. “Nothing To Do With Love” uses a guitar solo with his harmonica playing on top of the sound. “An Eye For An Eye” includes a Booker T type of organ sound mixed with a heavy bass line to drive the song along. “Train To My Heart” cranks up the guitar sound as Rocky Athas shows off his virtuosity as the latest in a long line of Mayall lead guitarists.

Only mortality is going to stop Mayall from playing the blues. Tough proves that talent and passion can win out over age every time and that is good and comforting news for those of us who have aged with him

In Search Of The Fourth Chord by Status Quo

Status Quo, or The Status Quo as they were known by in the sixties, has been cranking out the tunes for over forty years now. They are best remembered in The United States for their 1968 hit “Pictures Of Matchstick Men,” which really fit the time period well. They quickly disappeared from the music scene in The USA with only an occasional appearance and release during the next four decades.

They have remained in the public eye in their native England and Europe. They have sold in excess of one hundred million albums worldwide and placed over sixty singles on The British charts over the years in addition to twelve top five albums and four that have reached number one. Europe’s gain is America’s loss.

In Search Of The Fourth Chord is their 28th studio album. It was released in Europe in 2007, and now two years later has been issued in The United States.

Since the mid seventies Status Quo has settled into being a hard rock band and this release continues in that vein. They present no nonsense, straight ahead boogie rock ‘n’ roll. Their sound certainly fits into the hard rock mainstream and why they have not caught on somewhere along the line in The USA is beyond me. Hopefully this will be their deserved breakthrough release in this country.

I have a number of their albums in my collection and the quality of the music has been consistently excellent over the years and In Search Of The Fourth Chord upholds those standards.

“Gravy Train” and “Bad News” find them putting the guitars up front and cranking up the sound. “Alright” and “Hold Me” have a nice boogie sound that has been honed to perfection over the years. “Electric Arena” is slower than most of their material, but still maintains a heavy rock sound. The most interesting track is “I Don’t Wanna Hurt You Anymore” as it puts the piano out front and adds a harmonica to the mix which gives it a blues feel.

In Search Of The Fourth Chord is another fine release from this seminal British rock band. Their music remains fresh and hopefully they will find renewed popularity in The United States. After four decades on the road they certainly deserve it.

Ode To Billie Joe 45 by Bobbie Gentry

This was not one of my favorite singles back in the sixties. I was obviously in the minority as it topped The American charts for four weeks during June of 1967. Bobbie Gentry would win two Grammy’s for Best Female Pop Vocal and Best New Artist.

It was one of those story songs that once I heard it that was enough. I never could figure out what Billy Joe and his grilfriend threw off the Tallahatchee Bridge. Whatever it was it caused him to commit suicide. Not the most upbeat lyrics.

ROLLING STONE MAGAZINE would rank it among their 500 greatest songs of all time. Bobbie Gentry would have a good career for a few years but would eventually leave show business. “Ode To Billie Joe” remains her shining moment.

Songs From The West Coast by Elton John

A new century had dawned and Elton John was 57 years old. Songs From The West Coast was his first studio album in four years. It was another set of songs that was heavy on ballads and continued his trend of issuing adult contemporary music.

This album was a back to basics affair. At its foundation it was vocal, guitar, drums, bass, and piano. While some additional keyboards and orchestration does appear at times, they are under control and are not overwhelming as on some of his past albums.

Bernie Taupin’s lyrics had been superior to Elton’s music on the past two studio releases but here the opposite is the case. When the lyrics are good they are very good but overall they are not as consistent as in the past as the meaning of some words on several tracks are fairly obscure. The music is catchy, sophisticated, and has a lot of textures that can be explored with repeated listening.

Elton John’s albums are usually fueled by hit songs. Times had changed as the 45rpm singles that had served him so well in the past were now a part of music history. The Billboard Magazine charts and radio stations had become specialized. Radio stations would select album tracks that fit their musical style and Billboard would base their non-album charts on the number of plays that songs received.

Under this new formula Songs From The West Coast would produce three hits. “This Train Don’t Stop Here Anymore” is the album closer and is a wistful ballad about aging. He is trying to come to terms with the fact you cannot go back as age 60 was looming. “Original Sin” is another nice ballad about the experience of first love. “I Want Love” is about looking for love if just for the short term.

The most powerful track is “American Triangle.” It is an emotional tribute to a gay American college student who was murdered. It is poetic and ultimately sorrowful.

There are several other songs of note. “The Emperor’s New Clothes” is a perfect album opener. You have a piano introduction and then his voice. “The Wasteland” can best be described as rock/blues with a gospel type vocal. “Ballad Of The Boy In The Red Shoes” was another smooth flowing song.

Songs From The West Coast was another excellent effort by Elton John. It had a cohesive feel to it as the songs fit together well. It proved that he was aging well.

The Big Picture by Elton John

The Big Picture was released in September of 1997 and remains Elton John’s last top ten album in The United States to date. Approaching the forty year mark in his career, he had settled into the adult contemporary pop/rock genre. In some ways this album and the ones which would follow are interchangeable as there is a sameness to them. As such, they are not particularly adventurous but they are solid, pleasurable, and present the work of a mature artist.

Immediately noticeable is the lack of a long list of instrumentalists which is usually a good sign on an Elton John album. Here he basically uses his concert band, so there is a tightness to the sound and probably a relaxed atmosphere in the studio.

For the second album in a row Bernie Taupin delivered a stellar set of lyrics. Here he is in a storytelling mode as he deals with such topics as fame, death, love, redemption and other realistic glimpses of life.

Princess Diana died between the recording on this album and its release. The first single would be issued with a double A side. “Something About The Way You Look Tonight” would be paired with a tribute version of “Candle In The Wind,” which is not on this release. It would sell more copies than any single in British history. It would be equally successful in The United States spending fourteen weeks at the top of The Billboard Magazine pop charts. In The USA “Something About The Way You Look Tonight” would be the side that would spend over a month at the top of The Adult Contemporary Charts. It is a wonderfully poetic ballad with a superb emotional vocal by Elton.

“Live Like Horses” is a second ballad that is of the same quality as the first. Taupin’s father had passed away and this was his tribute to him. The sound is filled in nicely by the use of strings and Elton John delivers another powerful vocal that presents the lyrical imagery well.

“If The River Can Bend” has a gospel feel to it and features some nice piano work. “January” is interesting musically as it has a series of mood changes which fit the romantic theme well. “I Can’t Steer My Heart Clear Of You” is another melodic ballad that is just very smooth. “Wicked Dreams” is a little different with some very interesting and surprising lyrical twists.

If I have one criticism of this album it is that it’s a little slow paced, as eight of the twelve tracks are ballads. Still The Big Picture is a fine album that finds a modern Elton John creating very listenable music.

California Sun 45 by The Rivieras

Yes I know, the 45 looks a little beat up. That’s what 45’s were for. They were played and then played some more. I assume that I tried to peel a sticker from the label at one time in the past without much luck but this 45 year old war horse continues to survive.

The Rivieras were from South Bend, Indiana but some how released one of the better surf type songs this side of The Beach Boys and Jan & Dean.

“California Sun” is an up-tempo tune that is propelled by an organ sound. You can’t help but feel good when listening to this song. It would be the group’s only top forty hit as it would reach number five on the charts in early 1964.

The Rivieras would quickly fade from the music scene but would leave behind a wonderful relic of sun and sand.

Made In England by Elton John

Elton John returned in March of 1995 with his first true studio album in three years. He released Duets in 1993 and contributed a number of songs to The Lion King soundtrack in 1994. Made In England re-united him with lyricist Bernie Taupin and his own band. It would be representative of his output during the nineties and after the turn of the century, as it would be filled with solid songs with excellent lyrics and feature good production.

It is Taupin’s lyrics that are at the heart of this release. Song for song they form one of the better efforts in his long history. He writes about love, nostalgia, life, safety, and even throws in a little wit.

What immediately strikes you when looking at the track list is that ten of the eleven song titles consist of only one word. Only the title song is longer at three words. While this may not mean much, one can only wonder if this was planned. If it was they should have shortened the title song to just “England.”

“Believe” was issued as a single, and would continue his tradition of a hit song propelling the album’s sales. It comes close to being a power ballad as the vocals project emotion. The use of strings to fill in the sound was creative and excellent.

There were two other songs that stood above the rest. The title song is an autobiographical tune filled with catchy hooks plus a surprising and funny ending. “Belfast “ is a haunting and beautiful tribute to the city. It is a creative masterpiece as he uses traditional Irish music to fill in the background.

While the rest of the songs may not be the equal of the first three, there is not a weak one among the lot. “Please” has a sixties feel with a little rockabilly thrown in for good measure. “Man” finds him moving in a blues direction. “Pain” is the sort of nice uptempo rock that he is so good at creating. “House” may not be as good as some of his past ballads but it is still above average.

Made In England finds Elton John seemingly happy, healthy, and settled as he nears his fiftieth birthday, and the music reflects these facts. The album also has a good flow to it as the songs blend together well. Plus it is nice to hear Elton at the grand piano. All in all, this was an excellent album that still provides a pleasurable listening experience.

The Lion King Soundtrack by Elton John and Hans Zimmer

I am not big on cartoons or animated features as they are now called; the only times I will watch one is with my grandchildren. I have to say that The Lion King was okay, which is high praise on my part, but the music from the film was spectacular. Let me add that I have also seen the Broadway play which was one of the most creative performances I have ever witnessed.

While The Lion King Soundtrack is not an Elton John album in the strictest sense, it is strongly associated with him. He and lyricist Tim Rice wrote five songs, three of which were nominated for Academy Awards, ultimately winning the Oscar for “Can You Feel The Love Tonight.” It also won a Golden Globe and a Grammy for best male pop vocal. The album has passed the 22 million mark in worldwide sales.

This soundtrack cannot be reviewed without mentioning Hans Zimmer, who co-produced the album and wrote five brilliant instrumentals which fit the movie well. He too received an Oscar, his being for Best Music, Original Score.

Elton John reworked three songs from the film for inclusion on its soundtrack. “Circle Of Life” and “Can You Feel The Love Tonight” were huge hits in the United States and both songs are pop music at its best. They contain two of the smoothest vocals of his career and have joined the ranks of his signature songs.

The version of “Circle Of Life” contained in the film — performed by Carmen Twillie and Lebo M with his African Chorus — was just about the perfect movie song. It is a philosophical celebration of life. And for me, watching the movie and listening to it with my grandchildren has served to make this song of the rise and fall of generations very powerful indeed. “I Just Can’t Wait To Be King” provides a lot of fun and entertainment in just under three minutes. Elton John also provided a version of this song that captured its spirit well. “Hakuna Matata” was the third song nominated for an Oscar and features a nice vocal by Broadway veteran Nathan Lane.

The Lion King is a perfect soundtrack album. Elton’s work with Tim Rice may be different than his classic ’70’s material, but it is every bit as good. His contributions to this popular and creative release are perfect.

Duets by Elton John

I am always suspicious of duet albums by major artists. Many times they are acts of desperation for careers that are slipping away. Elton John did not fall into that category, however, as his career was in fine shape when Duets was released in November of 1993. In fact, it was a bold and creative choice on his part. It was a moderate success in the United States but became a huge seller in his native country, containing three top ten hits including a number one.

His choice of vocal partners was eclectic and unusual to say the least. Little Richard, Don Henley, Kiki Dee, Tammy Wynette, Bonnie Raitt, Leonard Cohen, George Michael, and of course RuPaul among others brought their varied vocal styles to this album with varying degrees of success. The album is cohesive but the performances are inconsistent. It does, however, keep your attention.

The whole idea may have originated from his duet on “Don’t Let The Sun Go Down On Me” with George Michael at an AIDS benefit concert in early 1991. It was recorded and released as a single with the profits going to charity, becoming a huge worldwide hit that topped the charts in both the U.S. and Great Britain. It was fairly different from the original version contained on 1974’s Caribou. With his return to the top of the charts and again squarely in the public eye you can almost hear him thinking why not more of the same. It turned out that this live performance was magical as it is one of the strongest tracks on the album.

The album, though, is a hit and miss affair. “True Love” with old partner Kiki Dee works well and reached number two in England. This tune, which was originally a hit for Bing Crosby and Grace Kelly, fit the vocal style of John and Dee well. His duet with Paul Young on the old James & Bobby Purify hit “I’m Your Puppet” is soulful and their voices blend well together. “If You Were Me” with Chris Rea is one of the smoothest tracks on the album. “Shakey Ground” with Don Henley also comes across well. Henley sounds happy and relaxed, which was quite an achievement for Elton.

Two artists are particularly difficult to blend with vocally. Little Richard is an American original. “The Power,” the longest song at over six minutes, comes close to working. It is a mid-tempo affair but I wish they would have chosen an all out rocker for their collaboration. Elton’s duet with Leonard Cohen “Born To Lose” fares less well. Cohen is just such a unique artist that there is little chemistry between them.

His pairing with country legend Tammy Wynette on “A Woman’s Needs” comes off as odd at best. Elton was an admirer of hers — he would also sing on a tribute album after her death — and this choice is heart over reason. We then come to his duet with sex god/goddess RuPaul on “Don’t Go Breaking My Heart,” which is campy with a capital C. It is one of those performances that was so bad it was mesmerizing. It was a failed single in the U.S. but went top ten in England, proving that at least for once American taste was superior.

Duets is not a great album but it was a brave one; plus it’s interesting for both good and bad reasons. It is one of those places in Elton John’s career where he took a chance and survived.