Anyone present at either of the June 2008 Barbican performances edited here will not hesitate, yet a certain paradox might present itself to the disinterested listener. Haitink’s fastidious control and self-effacement, coupled with excellent orchestral playing, make for a fine presentation – of symphonic seriousness. But somehow it exposes Strauss’s lazy reliance on his motifs, the inherent schmalz, the ‘effects’ such as the water droplets: better placed in his Don Quixote capsized boat Variation. Somehow the Karajan Berlin or Dresden Luisi recordings mask the less attractive Straussian traits.
Like the title says, this is part of APO’s astonishing direct-to-disc series, but for me, it’s also the culmination of a decade-long plea for this label to record the R&B legend. It’s here I must declare personal involvement: I wrote the liner notes, explaining how it came about. Chad Kassem’s efforts have resulted in a delicious live session which justifies my nagging. Tate reaches down to the soles of his shoes to deliver exquisite takes of two trademark songs from his classic Verve LP, ‘Look At Granny Run Run’ and ‘Ain’t Nobody Home’, plus four others.
Less than year since Michael Jackson’s passing, armed as we are with 40 years’ worth of 20/20 hindsight, it’s hard to be objective about this, their second LP. For those – like me – who couldn’t stand their teeth-jarring precocity, beaten only in the saccharine stakes by their contemporaries, the too-clean-to-be-real Osmonds, it was simply Motown For Kids. But on reflection, this is so polished, irresistible and, it must be admitted, funky, that one must subjugate any preference for the Temps and admit that it’s as catchy as a dose of the clap in Magaluf. Most eerily, the tracks beyond the title hit sound – sophistication-wise – like they’re sung by a 35-year-old.
This LP’s rarity value alone commands attention: Topham was the Yardbirds’ founder guitarist, who had to leave the band because he was only 15. By 1969, at the age of 22, he delivered this solo LP, a long-forgotten take on the blues, far removed from the Yardbirds. Despite its Blue Horizon pedigree, it’s not of the Brit Blues school per se and is a stylistic mish-mash, more akin to Andrew Loog Oldham’s covers of the Stones’ canon, but its worth to Yardbirds hard-core is unparalleled. If you could find a mint original, you’d have to part with £100+.
Christmas in July! Here, in glorious mono – but of course – is what many regard as the greatest rock ’n’ roll Christmas LP of all time: Phil Spector’s deliriously joyful showcase for his Philles Records stable of pop maestri, from 1963. You get the Ronettes, the Crystals, Darlene Love and Bob B Soxx and the Blue Jeans, backed by one of the finest assemblies of session players ever to enter a studio: the amazing Wrecking Crew, with Leon Russell, Jack Nitzsche and Sonny Bono in its ranks. The package offers 13 Christmas pop standards, and it’s unlikely you’ll ever hear a more uplifting take of ‘White Christmas’. The Wall of Sound rules, beyond prison walls.
Interesting re-packaging of the US version of Hendrix’s debut, but not absolutely necessary if you bought this 17-track expanded release in 1997. This adds only cooler packaging and a 17-minute DVD of engineer Eddie Kramer and three now-departed figures – Hendrix’s one-time manager, Chas Chandler, and the members of the Experience, Mitch Mitchell and Noel Redding – talking about the recording sessions. But if you don’t own any Hendrix, this is the best place to start: it’s an utterly incendiary album bursting with invention, the blueprint for psychedelia, jazz-rock and so much more. An ear-opener then, a touchstone now for every guitarist since.
Like the epic blues LP, Fathers & Sons, which combined young and old, here we find three generations of rock guitarists – Jimmy Page, U2’s The Edge and Jack White – swapping tales, gigging and generally celebrating the electric guitar. Too many moments make this a must-see if you’re a fan of any or all of the performers: historical footage of Page in the early 1960s, The Edge recounting how he and his brother made an electric guitar from scratch, even winding the coils. And to see Page declining to harmonise in a rendition of ‘The Weight’ on the grounds that he ‘can’t sing’ (!) – this is one of the most captivating rock docs in years.
Sound Quality: 90%
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Although you may have seen this ‘making of’ documentary on TV, as with all the DVDs from the Classic Albums series, this features substantial amounts of added material (a TV promo, detailed studies of the instruments’ sounds, and more). When the subject is one of rock’s most intelligent practitioners, a second viewing with extras is worth every second. This chronicles the band’s third release, from 1979, which cleared any lingering mislabelling from the punk era, ‘Refugee’ and ‘Here Comes My Girl’ being enough to establish Petty’s rep. This was their first release after Shelter Records folded, with Petty in recovery mode from the aggravation.
Of all the ‘lost’ rock films, this should never have landed in the vaults. A multi-artist concert from ’64, it may be the most important ‘rockumentary’ of the era, in the Top 5 of any rock-flick list. Viewed only in fragments for 46 years, it’s now available in clean 16:9 black & white, with a mono soundtrack. What you get are magical performances from (deep breath) the Barbarians, the Beach Boys, Chuck Berry, James Brown & the Famous Flames, Marvin Gaye, Gerry & The Pacemakers, Lesley Gore, Jan and Dean, Billy J.
Highly-touted New York City duo MGMT return with a second helping of goodies, tending more towards retro-psych-pop than their singles-oriented debut. This one switches eclectically from the Van Dyke Parks-like delirium of the opening track, ‘It’s Working’, to the nuggetsy garage-pop assault of ‘Song For Dan Treacy’, to the more expansive mind-blown dream-pop approach of the epic ‘Siberian Breaks’ and the bizarre faux-baroque horrorscape of the instrumental ‘Lady Dada’s Nightmare’. Twee and wimpy, yes; but it’s also loads of fun. The band has said no singles will be released from this album but it attracted so much attention when it ‘leaked’ onto the net in advance of release that maybe it doesn’t need them.
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