The Two Of Us by Marilyn McCoo and Billy Davis Jr.

The Two of Us, released in 1977 by the husband and wife duo of Marilyn McCoo and Billy Davis Jr. was their second studio album.

The duo was at the height of their popularity. Their first album, I Hope We Get to Love in Time, was certified gold for sales and received a Grammy Award. A single from the album, “You Don’t Have to Be a Star,” topped the Billboard Hot 100. This led to a 1977 CBS summer variety series appropriately called The Marilyn McCoo & Billy Davis Jr. Show. Their follow-up album, The Two of Us, has now been re-issued by Real Gone Music in an expanded version.

The couple will always be associated with The 5th Dimension, for whom they were the lead singers on many of their hits. Songs such as “Up, Up and Away,” “Stoned Soul Picnic,” “Wedding Bell Blues,” “One Less Bell to Answer,” and “Aquarius/Let the Sunshine In” were some of the best and most successful songs of the late 1960s and early 1970s.

The Two of Us may not have the highs of their debut but is consistently good as it presents their brand of smooth pop and R&B well. Their voices are a good example of opposites attracting, as McCoo’s is just about pure pop, while Davis’ has a soulful feel to it. Together they play off of one another to create a sound somewhat different sound from that of The 5th Dimension.

They are a little better when in an upbeat mode. “Look What You’ve Done to My Heart” and “My Very Special Feeling” have some pep and allow their voices to intertwine and shine. Ballads such as “Wonderful,” “My Reason to Be Is You,” and the title track put the focus more on their individual voices.

The four bonus tracks were all part of single releases and never included on any album until now. The songs “I’m So Glad I Found You” and “There’s Got to Be a Happy Ending” were alternate B-sides to the single “I Hope We Get to Love in Time” and are interesting for their autobiographical nature. The final two tracks, “Three Steps from True Love” and “Light a Candle,” formed a rare Davis solo single and are different from the rest of the album in that his voice has a gritty nature, which is more apparent when not surrounded by other voices.

Marilyn McCoo and Billy Davis Jr. continue to perform and tour together and The Two of Us remains emblematic of their style and sound. They did not change pop music but their brand of smooth pop and soul made it a bit more enjoyable.

George Thorogood and the Destroyers (CD Reissue) by George Thorogood and the Destroyers

If you want some in-your-face hard rock/blues, then this reissue of George Thorogood and the Destroyers’ first album is for you. He had recorded a number of songs during 1974 but they were not released until 1979, after he had become commercially successful, so this self-titled album, released in 1977, was his official debut. The 2013 reissue has a new, remastered sound via Rounder Records.

The album consists of eight classic blues covers and two original compositions. Thorogood will never be mistaken for a traditional blues artist. He has a rock and roll heart and brings it to the music. He is also the type of guitar player that you will either like or hate. He is not a great or sophisticated technician but gets by on energy and passion. Think of him and his backing musicians as an excellent bar band that made good. The music may not be the way Robert Johnson, John Lee Hooker, or Elmore James intended but it is raucous and always fun.

While he has added and subtracted some additional musicians along the way, drummer Jeff Simon and bassist Bill Blough back him on the album, with only a second guitarist in places, and they remain with him today.

He is an artist who gained and has retained much of his popularity by constantly touring. In 1980 he embarked on a 50/50 tour, which meant performing in all 50 states in 50 days.

He is usually at his best when playing up-tempo and at times frenetic rock and blues. Earl Hooker’s “You Got to Lose,” Elmore James’ “Madison Blues,” and especially Bo Diddley’s “Ride on Josephine” all benefit from this approach. That is followed by the John Lee Hooker story song “One Bourbon, One Scotch, One Beer,” which still receives radio airplay today.

Less successful are his slower tunes, which tend to expose his limitations. Robert Johnson’s “Kind Hearted Woman” sounds forced and the Elmore James tune, “Can’t Stop Lovin’” never attains the energy level of the faster tracks.

His own compositions tend to be replicas of his blues covers. While not original in concept or execution, “Homesick Boy” and “Delaware Slide” present Thorogood for what he is, which is a competent, spirited, and at times forceful rock and blues guitarist.

George Thorogood and The Destroyers did not change the course of American blues or rock and roll but it made them a bit more enjoyable. It is an album for the beer hall or smoky night club.

Mulligan Meets Monk by Thelonious Monk and Gerry Mulligan

Pianist Thelonious Monk and baritone saxophonist Gerry Mulligan came together in 1957 to record Mulligan Meets Monk. That album has now been reissued as a part of the ongoing Original Jazz Classics Remasters Series.

Throughout jazz history, musicians have constantly played with one another in the studio and on stage. What was unique about the Monk-Mulligan union was how different they were in temperament, cultural background, and approach to music. The result may not have been one of the best jazz albums ever produced but it certainly was one of the more interesting.

Monk was one of the signature musicians and pianists in jazz history. His use of dissonant notes and odd rhythms helped him build the structures of his compositions. He was most comfortable alone or in a small group setting. He always had a mysterious quality about him and is considered one of the leading proponents of the bebop movement.

Mulligan was more melodic and was very comfortable in larger groups and even orchestral settings. He was associated with the cool jazz movement and during the mid-1950s was at the height of his popularity. What they had in common was a genuine friendship, plus the talent as two of the better musicians in jazz history. This allowed them to overcome the musical tensions that permeate some of the tracks. There are four alternate takes that were not a part of the original album.

“Straight No Chaser” is a classic Thelonious Monk composition. The bonus track is take one and finds Mulligan very tentative as he explores the composition but there is no Monk solo whatsoever. It is take three that was originally issued and at a minute and a half longer, it contains a Monk solo that plays off Mulligan’s. Similarly, the first two takes of “I Mean You” are somewhat frenetic and rushed. The fourth released take is more leisurely as they trade relaxed solos.

Throughout the album it is usually Mulligan who tries to adjust and allow Monk room to play. Many times the tension is in the waiting for Monk to jump in at the right time. The music was recorded as a quartet with bassist Wilbur Ware and drummer Shadow Wilson, which was also in Monk’s comfort zone.

As with all the releases in the series, the sound has been remastered and is excellent considering the state of recording equipment in 1957. The original liner notes and an extended essay of the music are also included.

Mulligan Meets Monk was a leap of faith for the two musicians and remains so for the listener. It is not the best music they ever recorded but it is guaranteed to keep your attention.

Get A Job 45 by The Silhouettes

“Get A Job” by The Silhouettes is one of those songs that will always be associated with 1950s rock and roll.

The Silhouettes were a Philadelphia Do-wop group originally formed as the Gospel Tornadoes. They consisted of lead singer William Horton, tenor Richard Lewis, baritone Earl Beal, and bass Raymond Edwards.

“Get A Job” reached number two on Best Sellers In Stores Chart and number three on Most Played By DJ’s Chart. But on Feb. 24, 1958, it topped the Hot 100 for a two week run. It has since been a staple of oldies radio.

Made In California by The Beach Boys

It has been quite a busy couple of years for the Beach Boys. There was a new studio album, a successful 50th anniversary tour, and a live CD and DVD chronicling that tour. Now they have dropped the big one. MADE IN CALIFORNIA is six CD’s, 174 songs, and 473 minutes of music that includes 60 previously unreleased tracks. Everything comes in a high school type year book and also features recollections from the band members, classic artwork, archival photos, and inscriptions from Brian Wilson, Mike Love, Al Jardine, Bruce Johnston, and David Marks. It is musical nirvana for any fan of the band.

The sound of the set is phenomenal and brings many of the older tracks into the 21st century. While some of the material is limited by their original recording process, overall the clarity does not get much better.

The first four plus discs are in chronological order. This means that rarities and unreleased tracks are mixed in with many of their well-known hits. An example of this release is the first disc, which begins with a home recording of “Surfin,’” followed by “Surfin’’ with session introduction, a demo of “Their Hearts Were Full Of Spring,” and the original mono long version of “Surfin’ Safari.” And so begins the journey of The Beach Boys, which continues with almost eight hours of music.

Some of the highlights include Dennis Wilson’s lead vocal on a live “Help Me Rhonda,” a true stereo version of “Do It Again,” a Blondie Chaplin vocal on “Wild Honey,” plus the previously unreleased “Goin’ To The Beach,” “California Feelin,’” “Soul Searchin,’” “You’ve Lost That Lovin’ Feeling,” and “You’re Still A Mystery To Me.”

The live tracks run the gamut from all periods of their career. Live performances making their debut are “Runway” (1965), “Friends” (1968), “Little Bird” (1968), “Sail On Sailor” with the lead vocal by Carl Wilson (1995), and acoustic versions of “This Whole World” and “Slip On Through (1993). Of particular note is the re-discovery of the 1964 BBC live in the studio sessions, which include “Wendy,” “When I Grow Up (To Be A Man),” and “Hushabye.”

MADE IN CALIFORNIA is a rare big set that is worth the price. It traces the journey of The Beach Boys through a half century of their career and is a journey worth taking with them. It is an essential listening experience not only for fans of the band but for anyone still seeking the eternal summer.

Hits Back by The Clash

Joe Strummer may be long gone but The Clash live on, or more appropriately put, rage on. That said, A lot of Clash has just been released. There is a five studio album set on vinyl and CD, a massive 12-disc box set, which gathers together all of the bands studio work, three discs of demos, all non-album singles and B sides, rarities, and a DVD of videos, and the two-disc Hits Back, which is also available on colored vinyl. It is a virtual cornucopia love feast for any hard core fan of the band.

If you would like an introduction or taste of their music, then Hits Back is the place to start. It features 32 of the bands well-known tracks. The track list is sequenced according to their legendary Brixton Fairdeal show from 1982. While this sequencing may appeal to Clash aficionados, for the uninitiated, it will not matter. In fact, while the track list may work on stage, in this format there is a dis-connect as the songs tend to jump to different periods of their career.

What we are left with is the individual tracks that stand on their own and that they do well. The music of The Clash may be dated a bit, as it was a reaction to the disco era and instrumental excess of the time, but it also remains some of the most passionate and powerful of its era. The 32 tracks are a fitting tribute to that legacy.

The Clash caught the first wave of the punk movement but they had the ability to move their sound more toward the mainstream while retaining punk’s energy and anti-establishment elements. “Should I Stay Or Should I Go,” “Rock The Casbah,” and “Train In Vain” all became hits in the United States. They were just the tip of the iceberg however, as “Police On My Back,” “Bankrobber,” “Somebody Got Murdered,” “Ghetto Defendant,” and “Armagideon Time” were quick shots of anger directed at the world around them. It was rock music that opened up new avenues outside the accepted norms and changed the course of rock music.

The sound has been remastered and there is a short but informative booklet that contains a history of the band.

Hits Back may not have the consistently of their studio albums but is a fine introduction to their music. And remember to play it loud.

Gettin’ Together/Real Girl 45 by Tommy James and The Shondells

It is hard to believe that it has been almost 50 years since Tommy James and The Shondells had their series of hit singles during the mid-1960s. “Gettin’ Together” is a many times forgotten release. Released during the late summer of 1967, it reached number 18 on the Billboard Hot 100.

Their sound was beginning to change from the simple pop of “Hanky Panky” and “Say I Am.” 1967 would also produce such hits as “I Think We’re Alone Now” and “Mirage” setting the stage for 1968s and 1969s “Crimson & Clover,” “Mony Mony,” and “Crystal Blue Persuasion.”

Their career would begin to wind down as the decade ended. They were one of those bands who made the bad decision of turning down an invitation to play at Woodstock.

Elvis At Stax (Deluxe 3-CD Version) by Elvis Presley

 

Elvis may be long gone but his music just keeps on coming in various incarnations and combinations. The latest release is the 3-CD box set, Elvis at Stax, the “Deluxe Edition.”

While all the material has been available in various forms and on multiple albums, the concept for this release is solid. Gather together the tracks from the last major studio recording sessions of his career, which took place at Stax Studios in Memphis, add in a number of outtakes, put them in some semblance of order, select a number of archival pictures, put together a booklet that provides a history of the sessions, and you have a cogent look at a specific period in the career of Elvis Presley.

The 1970s were a hit-and-miss period for Elvis. His studio albums were somewhat haphazard affairs of hastily recorded songs of the day. Some worked and some did not. Many of his live albums repeated the same songs over and over again. The one constant during this period was his single releases. They were polished, well recorded, found Elvis engaged, and were consistently excellent. The tracks issued as singles from his various Stax sessions are the highlights of the release.

Included in the set are rocking versions of “Promised Land” and “Raised on Rock,” country hits “Take Good Care of Her,” “It’s Midnight,” “If You Talk in Your Sleep,” “Help Me,” and the pop songs “My Boy” and “Thinking About You.” They prove that even as his health and enthusiasm were beginning to decline, he could still produce extremely good music when motivated.

The album tracks are a different matter. Most of them were issued on the albums Good Times, Raised on Rock/For Ol’ Times Sake, and Promised Land. While there may be a good performance here and there, the albums are not among the best of his career and many of the songs demonstrate why.

There are almost two discs worth of alternate takes. There is always the somewhat interesting question of why such takes as number four of “Your Love’s Been a Long Time Coming” and take nine of “Girl of Mine” were selected over others, but so be it.

The sound is good but limited somewhat by the Stax Recording Studio’s equipment of the day. It still had an eight track system rather than 16, which had become fairly common. On the positive side, Elvis always surrounded himself with the best session musicians available. Guitarist James Burton and drummer Ronnie Tutt were part of his touring band and they were joined by such artists as bassist Donald Dunn, drummer Alan Jackson, vocalist Kathy Westmoreland, and the ever present J.D. Sumner & The Stamps, among others.

Elvis at Stax [Deluxe Edition] is not the place to introduce yourself to the music of Elvis Presley. It is a release for the fan who wants everything or the collector who wants to dig a little deeper into his legacy with this snapshot of his time spent at Stax.

Celebrates 50 Years Of Music by Tom Rush

 

The Beach Boys and Rolling Stones were not the only artists to recently celebrate their golden anniversaries. The career of Tom Rush began in 1962 when he was a student in the Boston area. He celebrated his 50th anniversary in fine style with a concert at Boston Symphony Hall, December 28, 2012. A number of longtime friends were along for the ride, including Jonathan Edwards, David Bromberg, Dom Flemons, and Trevor Veitch. A chronicle of that evening will be released August 13, 2013 as a 13-song CD and 16-track DVD.

Today Tom Rush falls into the singer-songwriter category, but during the 1960s he was an important part of the of the folk music revivalist movement. In addition to his own songwriting skills, he has always had an ear for a good song. He covered tunes by Jackson Browne, Joni Mitchell, and James Taylor before they received mainstream commercial success.

While his solo performance of “Child’s Song” is emblematic of his style and much of his career, here he is accompanied by a full band that fills in and expands his sound without distracting from the music’s original intent. Guitarists Bromberg and Veitch, mandolin player Robin Batteau, saxophonist Joe Mennonna, background vocalist and harp player Edwards, pianist David Buskin, bassist Paul Guzzone, percussionist Marshal Rosenberg, and an array of other background vocalists fill the stage with sound, textures, and people.

He presents a number of songs that span his career. A calm rendition of “No Regrets/Rockport Sunday,” the complete band approach of “Wasn’t That a Mighty Storm,” and a laid-back cover of Joni Mitchell’s “Urge for Going” are highlights.

He has always had an affinity for the blues. His cover of Bo Diddley’s “Who Do You Love” was one of his defining performances and here it returns in a rocking version. Likewise, Sleepy Joe Estes’ “Drop Down Mama” is given the same treatment.

Rush is a master storyteller, whether they be his own words or someone else’s. These stories permeate the performances and leave a lasting impression of his importance in the stream of American music.

His supporting cast steps forward a number of times to occupy the spotlight. David Bromberg gives a sparse performance of “Statesboro Blues,” accompanied only by his acoustic guitar and Dom Flemons’ harp. There is the beauty of Robin Batteau’s “Lancelot’s Song,” the fun of David Buskin’s “Jews Don’t Camp,” plus Jonathan Edwards and ensemble’s “Get Together” and solo “My Love Will Keep.” In the same vein, Dom Flemons involves the whole group on “Your Baby Ain’t Sweet Like Mine” and solos on “My Little Lady.”

Tom Rush celebrated his anniversary with friends. I would have liked a little more Rush, but it was an appropriate way for him to honor his life’s journey in music. Hopefully Celebrates 50 Years of Music will only be a pause as he looks ahead.