Led Zeppelin Reissues
Beginning with the June 3 release of deluxe editions of Led Zeppelin, Led Zeppelin II, and Led Zeppelin III, the band has launched an extensive reissue program of all nine of its studio albums in chronological order, each remastered by guitarist and producer Jimmy Page. Led Zeppelin will also open its vaults to share dozens of unheard studio and live recordings, with each album featuring a second disc of companion audio comprised entirely of unreleased music related to that album. The original albums have improved sound quality. But the real catch here, is the 2nd, bonus disc with each set. For all of you Zep diehards out there (and there are plenty), here is new material from one of the best Rock bands of all time. "The material on the companion discs presents a portal to the time of the recording of Led Zeppelin," says Page. "It is a selection of work in progress with rough mixes, backing tracks, alternate versions, and new material recorded at the time." These are essential additions to the catalogue. I’m looking forward to the rest of it.
There Are But Four Small Faces
Small Faces' first album for
Andrew Loog Oldham
’s Immediate label came in drastically different versions in England and America. Their music by this time was fully developed whilst experimental. Their previous recordings were R&B-based. The US LP is, in this case, an improvement over its British counterpart. With the delightfully trippy “Itchycoo Park” kicking it off, it’s on to a great start. The UK album came out before this immediate-to-follow biggest hit single of their career. This isn’t the only example of a US record company adjustment resulting in a superior album. “Magical Mystery Tour” looms as the best example of Capitol Records finally getting it right. A new Beatles album was cooler than that little British EP. UA did things right with The Spencer Davis group and Traffic. Albums by The Animals on MGM all were solid. There are plenty of examples. The Small Faces; Steve Marriott, Ronnie Lane, Ian McLagan and Kenney Jones were seeking unusual sounds and recording techniques. As their subsequent careers proved out, to a man, this was a confident group of seriously capable musicians. They were soon to make the indisputable classic, “Ogden’s Nut Gone Flake”, but that’s another story.“There Are But Four Small Faces” has been newly reissued in a deluxe double CD format with extensive notes and pictures (24 page booklet). It’s a the full treatment. Oh, by the way, Donovan’s “Hurdy Gurdy Man”, the first studio session by the future members of Led Zeppelin, both musically and thematically references “Green Circles”.
The Bee Gees – Life In A Tin Can
The Bee Gees’ “Life in a Tin Can”, released in January 1973, is as fine an album as that group made. But the timing was off. It fell in the cracks. Based on the group’s astronomical sales and chart success in preceding years, this album was seen as something of a failure. It sold 175,000 copies worldwide and was #1 in Hong Kong. I’d be happy with those results. Of course the Bee Gees did go on to mega-success. We all know that. So here they were at an earlier, rootsier, cooler place in time for musicians. Revisiting “Life In A Tin Can” is rewarding. It’s my favorite Bee Gees album (next to “Trafalgar”). The Bee Gees moved their base of operations from England to Los Angeles to record this very first album to bear the RSO records. They were always Robert Stigwood’s babies. Despite its comparatively low sales and poor chart performance, “Life in a Tin Can” was awarded “Album of the Year” by Record World magazine. The album is the closest to country music that this group ever got. Straight melodies with rootsy instruments. Nothing processed, synched, tuned or anything like that here. The musicians who participated on Life in a Tin Can were Jim Keltner, Sneaky Pete Kleinow, Rick Grech, Jane Getz, Tommy Morgan, Jerome Richardson, and Johnny Pate. And Barry, Robin and Maurice, those three Gibb brothers, were in as fine a voice as they’d ever shown at any time in their long careers. Of course Maurice is the ever so creative bass player and keyboard player. You know, Barry’s a pretty darn good acoustic guitar player too.The lead track, “Saw a New Morning”, contains melodic ideas that the group later revisited on “Edge of the Universe”. Four of the eight songs were written by all three brothers with the other four being Barry Gibb compositions.Robin Gibb left the sessions when his son Spencer was born a month early (September 21st).
Bobby King Music
Bobby King is a Nashville-based musician, producer and songwriter. He was born and raised in Philadelphia, Pennsylvania and began his musical career there playing guitar and bass for acts like The Soul Survivors, Essra Mohawk, Double Exposure, Canyon, and The Britton Sisters. In 1991 he moved to Nashville, Tennessee and has toured with T. Graham Brown, Tanya Tucker, John Berry, Holly Dunn and many others. He does session work as a bassist, recording engineering and mixing and has produced demos and CDs for a wide variety of artists, songwriters and publishers. Bobby is a self-described Philly Soul Fanatic! On this eclectic collection of songs, Bobby steps out from behind the control board or the session player role into the vocal booth to deliver his own solo album. Beginning with the sublime “Gypsy Road’, King takes us down the winding paths of his varying muse. Prior to this album Bobby spearheaded “The Philly Soul Tribute Project”, a CD of eleven recordings of classic tunes from the Philly Soul era reinterpreted by some of Nashville’s finest singers and musicians. King beams, "I’ve been fortunate to live in two of the greatest music cities in America.”
Tom Mason – Salmagundi
Gas Station Music
This is an anthology of standout tracks culled from earlier out-of-print CDs “Where Shadows Fall”, “Alchemy”, “A Pirate's Christmas” and “the Big Happy”.
For many years now, Tom Mason has released albums as a solo artist as well as numerous collaborative CD’s, including two by the Big Happy on Western Beat Records and one with Nashville’s Lower Broadway stalwarts Swampgrass. He has been featured on such compilations as “For Kate’s Sake: An Americana Christmas”, “The Other Side: Music of East Nashville”, and “Yuletide from the Other Side” and the new “East Nashville Volume 3”. Mason has played guitar for a multitude of artists. Recently, he’s been touring the US and Europe with Phil Lee, frequently plays with D.C. favorites Last Train Home, and with Supe Granda of The Ozark Mountain Daredevils. Tom is also an accomplished actor. He’s performed in the National Tour of “Ring of Fire: The Music of Johnny Cash”, and played Clarence in Nashville Shakespeare Festival’s production of “Richard III”. He has acted in regional productions, and was a guest artist at the Eugene O’Neill Theater Center’s Cabaret Conference. Also in films, Tom’s most recent role was Shams in Pouria Montazeri’s “Shams and Rumi: The Fragrance of Axis Mundi”, about the Persian poet Rumi’s mystical transformation. Other roles have included kidnappers, drug dealers, the devil, pirates, and Dolly Parton’s Dobro player in a Lifetime television movieThis “Salmagundi” CD, like Tom Mason’s career span a wide variety of enjoyable, artistic turf.
Jill Sissel – Tell The Truth
Jill Sissel has been writing and performing her acclaimed Americana music in the Nashville area for more than 20 years. In 1999, Just Plain Folks nominated her for Americana Album of the Year, and she has garnered numerous other awards and honors since. Jill has just released a soulful, evocative blues album, Tell the Truth, andUnderground Nashville caught up with her for this exclusive interview about it:
H. Lynn Kitchens – Album Of The Year
Journeyman Southern rock musician H. Lynn Kitchens grew up in Macon, GA, and taught himself to play drums, guitar and piano. At 13 he put together his first group, the Fabulous Geer Band, who played around Georgia for the next eight years. The band got signed to 3S International Records and released a regional hit, “I Need You”. After graduating from College with a degree in education, Kitchens moved to Washington, D.C., where he became a bandleader for singer Viki Ford. After that he worked as a bass player for pop singer Gary Puckett. In 1980, he moved to Nashville, where he led his own bands, such as Shameless and Cryin' Out Loud, and was a backup musician for different artists. He released his debut album, “Runnin' 'Round This Country” in 1995. In 2003 he released “Rockin' With the Goose”, a children's album. Now he’s put together his most definitive statement of his own musical tastes and directions. “Album of the Year” may not actually win that award at the Grammies, but it will more than likely be that to those nearest and dearest to Lynn. It’s his baby and it can be anyone else’s too.
Bob Dylan – Another Self Portrait
I love this album. I’ve always loved “Self Portrait”. It was considered a misfire at the time of its release. Over the years it’s come to be re-evaluated in a better light. What a smooth, enjoyable album it was. Bob had found a new peace. He was changed after that ugly motorcycle accident. These recordings are, in concept, along the same lines as all the exploration Bob did with The Band during the “Basement Tapes” period. Old folk and country songs alongside his new compositions. Suddenly doing covers is what threw reviewers and over-expectors into hissy fits. Dylan was always deeply versed in the roots of American music. Amazing, really, for one so young. He was to revisit the vintage American songbook many times in later years without as good a voice as he has here. So he just ventured out there in 1970, playing standards with guys in Nashville (including Johnny Cash), having a session or two with Beatle George, trying whatever came up. He wasn’t going to let everyone demand that he be a prophet. But he sure like to record music. By and large, it all sounded good. The players are all first class musicians who are well remembered in the histories of that era. The fidelity is master quality. What’s not to like? Dylan never sang any better, any more clearly and tuneful than he did during these years 1969 and 1970.
David Crosby – Croz
This was a good idea. For David to make another solo album with his son and newfound musical cohorts keeps things alive and interesting. It’ll probably be remembered as the last significant new studio album to come from the CSNY camp. I could be wrong…