Category Archives: The TVD Storefront

Demand it on Vinyl: Cream, Goodbye Tour – Live 1968 4-CD box set
in stores 2/7

VIA PRESS RELEASE | “Cream was a shambling circus of diverse personalities who happened to find that catalyst together… any one of us could have played unaccompanied for a good length of time. So you put the three of us together in front of an audience willing to dig it limitlessly, we could have gone on forever. And we did—just going for the moon every time we played.”Eric Clapton

UMe is delighted to announce the 4-CD, special edition of Cream’s Goodbye Tour Live 1968. Set for release on February 7, 2020, this sumptuous set brings together 36 tracks, including 29 making their first appearance on CD, recorded during Cream’s farewell tour of the U.S. in October 1968 and their final UK date at London’s Royal Albert Hall on November 26th of that same year. There are a total of 19 previously unreleased tracks, and a further 10 tracks from the Royal Albert Hall show, which have only ever been available on DVD. Rolling Stone magazine’s David Fricke supplies insightful liner notes, chronicling the group’s collective musical genius and their legendary final tour.

For all pre-orders, there will be free downloads made available starting today with “Sunshine Of Your Love” (Live At Oakland Coliseum Arena, California / 1968), followed by “Crossroads” (Live At The San Diego Sports Arena / 1968) on January 13, 2020.

On its original release in February 1969, Goodbye, which combined live performances from their last tour dates with a handful of studio recordings, rose to the U.K. No. 1 slot and to No. 2 on the U.S. Billboard chart. This new expanded edition comprises three U.S. concerts; Oakland Coliseum, Los Angeles Forum, San Diego Sports Arena, alongside London’s Royal Albert Hall. It captures Cream at their virtuosic best, at the end but also at the height of their career.

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TVD Radar: Doris Day, With Love vinyl reissue in stores now

VIA PRESS RELEASE | “Day is memorialized with this charming album. Les Brown Jr. painstakingly restored these easy-going, relaxed vocal tracks.”UK Express

Hindsight Records in partnership with Select-O-Hits released With Love, featuring rare recordings from the great Doris Day. Now, the timeless recordings are available on collector’s edition vinyl, a beautiful four-panel tribute to the legend. The incredibly intimate and authentic recordings from 1952 and 1953, including The Page Cavanaugh Trio, were not previously available for release and were originally created for radio broadcast use.

Doris Day was the quintessential girl next door who became one of the most successful Hollywood actresses. She started as a big band singer in the late 1930s producing such chart-toppers like “Sentimental Journey” and “My Dreams Are Getting Better All the Time.” Day’s film career launched after World War II, with key roles in Calamity Jane (1953), Love Me or Leave Me (1955), Alfred Hitchcock’s The Man Who Knew Too Much (1956) and Pillow Talk (1959) — the last of which got her Oscar-nominated for Best Actress. In her later years she devoted her time as an animal rights activist before she died at 97 May 13th in Carmel Valley Village, California.

With Love album producer John F. Forbes was enthralled when asked to participate in creating a new work to honor Doris Day’s legacy: “With over 30 years as a major label Pop / R&B music director and producer, as well as producing music for the hit Broadway musical Love Jones, I felt I had the experience and passion necessary to create the album with orchestra for Doris Day,” said Forbes.

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TVD Radar: Chris Franz, Remain in Love: Talking Heads, Tom Tom Club, Tina in stores 5/12

VIA PRESS RELEASE | The inside story of Talking Heads by their drummer and co-founder. At its core is Frantz’s romance with bassist Tina Weymouth, with whom he not only formed a life but a second band, Tom Tom Club.

One of the most iconic bands of the ‘70s and ‘80s, Talking Heads distinguished themselves from the ultra-cool Rolling Stones, the chaotic Sex Pistols, and glam rockers like David Bowie. They burst onto the scene when Frantz’s girlfriend Tina Weymouth taught herself to play bass and joined him and lead singer David Byrne, playing at CBGBs and touring Europe with the Ramones. Their hits from “Psycho Killer” to “Burning Down the House” to “Wild, Wild Life” captured the post-baby boom generation’s intense, affectless style. Their Jonathan Demme-directed concert film Stop Making Sense remains a classic. Frantz’s and Weymouth’s creativity surged with Tom Tom Club, bringing an Afro-Caribbean beat to their fresh hits like “Genius of Love.”

Remain in Love is studded with memorable names from the era: Grace Jones, Andy Warhol, Stephen Sprouse, Lou Reed, John Cale, Richard Hell, Twyla Tharp, Brian Eno, Debbie Harry, and many more. Beautifully written with immersive vivid detail, the book moves from the rooms where the songs were made―including Providence, RI and the Chrystie Street loft Frantz, Weymouth, and Byrne shared―to the meals eaten and the clothes worn, right to the dynamics of a long and complicated working relationship with a mercurial frontman.

With the sense of place and time that characterized Patti Smith’s book Just Kids, Remain in Love is as frank and open as autobiographies from rockers Neil Young and Keith Richards.

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Graded on a Curve:
Bob Seger and the
Silver Bullet Band,
Night Moves

Through no fault of his own—or maybe it is his fault, I don’t know—Bob Seger has never gotten any respect. He’s the Rodney Dangerfield of rock, and this despite the fact that he’s written his fair share of memorable, and even great, songs. He’s always been the consummate journeyman—someone you might go to see, but without being totally psyched about it—but in the bicentennial year of 1976 he rose above his station to produce two very, very good LPs, Night Moves and Live Bullet.

The former included a couple of instant standards, while the latter made a convincing argument that seeing him live might just be a better bet than you think. I’ve liked him since I first listened to my older brother’s copy of Live Bullet way back in 1976, and I continue to have a soft spot in my heart for him, this despite the fact that he’s the force of evil who bequeathed us such awful songs as “Like a Rock,” “We’ve Got Tonight,” and the dreadful “Old Time Rock and Roll,” which to his credit he didn’t write but still recorded, which probably merits the electric chair. Why he even helped the Eagles write “Heartache Tonight,” a song that deserves to be burned at the stake.

But I forgive him, because he’s also given us such great tunes as “Get Out of Denver,” “Turn the Page,” “Beautiful Loser,” “Looking Back,” “Katmandu,” “Ramblin’ Gamblin’ Man,” “Night Moves,” and “2 + 2 = ?” And his version of “Nutbush City Limits” is almost as good as Tina Turner’s. As much a product of Detroit as the trucks he’s helped to sell via the suckass “Like a Rock,” Seger played in or founded a number of bands—the most notable being The Bob Seger System—without achieving much more than regional success before forming the Silver Bullet Band in 1974. Live Bullet finally propelled him to national stardom, and Night Moves solidified his status as a player in the big leagues.

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TVD Radar: Gary Moore, Live From London blue and orange 2-LP set in stores 1/31

VIA PRESS RELEASE | The career of Gary Moore was a jagged timeline, full of twists, turns and wild tangents. And yet, through it all, the Irishman never lost faith in the power of live music. On December 2nd, 2009—just fourteen months before his tragic death aged 58—the fabled guitarist played a special one-off club show at London’s Islington Academy. Now, 10 years later Provogue, a division of the Mascot Label Group, will be releasing this never before released recording, Live From London on January 31st, 2020.

As adolescence hit, Moore fell headlong into the blues flavors that dominate Live From London’s track listing, mostly drawing on US giants like Paul Butterfield and Brit Blues godfather John Mayall’s seminal 1966 “Beano” album with Eric Clapton, and during that same formative period, at Belfast’s tough Club Rado, an early lesson in the emotional impact of live blues came from Peter Green. Moore’s own first semi-professional steps had been with the Beat Boys and Dublin’s Skid Row, who offered an escape-route from Belfast, plus the camaraderie of the band’s chaotic frontman, Phil Lynott. Lynott was soon fired, but he remembered his old wingman when his new band, Thin Lizzy, needed a stand-in.

It was a gig in which Moore played the guitar hero role to the hilt. But despite the adulation, Moore feared Lizzy was nurturing his self-destructive streak, and left to explore the outer reaches in Jon Hiseman’s virtuoso jazz-fusion outfit, Colosseum II.

However, every time he picked up a guitar in the dressing room, he immediately went to the timeless licks of the Mississippi Delta, Moore suddenly saw the path. So began 1990’s Still Got The Blues, the multi-million-selling comeback album on which the Irishman’s rebirth as an authentic bluesman was given added credibility by collaborations with A-listers like Albert King, Albert Collins, and Harrison himself.

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TVD Radar: East Village, Hotrod Hotel vinyl-only reissue in stores 1/24

VIA PRESS RELEASE | Slumberland announces deluxe vinyl-only reissue of East Village’s singles compilation, Hotrod Hotel, which is due out on January 24th. Stream two of their classic singles, “Violin” & “Cubans In The Bluefields,” below. The reissue features a heavyweight laminated jacket and full-size fold-out insert with rare band pics and liner notes by Jon Dale.

East Village are one of the great lost bands, a group whose music has only grown in stature since their premature demise in the spring of 1991. Along with other legendary bands like Big Star and The Action, who also failed to fully stamp their mark whilst active, East Village made pop music that was timeless, but out of step with the musical environment around them.

Originally named Episode Four, the band was formed in the mid-1980s by brothers Martin and Paul Kelly in the sleepy Buckinghamshire market town of Princes Risborough just forty miles to the west of London. They were soon joined by Johnny Wood (guitar/vocals) and Spencer Smith (drums) and by 1986 they had forged their brilliant, classic pop sound and recorded their first release, the “Strike Up Matches” EP, which has gone on to become one of the most sought after releases of the C86 era.

By 1987 they had renamed themselves East Village and relocated to London where they recorded two EPs for Jeff Barrett’s Sub Aqua label. The band gigged extensively through 1988 and 1989, including tours with The House Of Love and McCarthy. The 1989 collapse of Sub Aqua left the band without a label, but they recorded their debut album using money loaned by Bob Stanley, and were soon re-united with Jeff Barrett on his new Heavenly label, releasing their classic single “Circles.” Just as interest in the band was building East Village played a sold out show at the New Cross Venue in South London only to end the set by splitting up on stage.

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Stefan Alexander,
The TVD First Date

“My love of record collecting actually started back when I was 16 when my brother gave me a hard drive of MP3s to put on my iPod.”

“On that drive I found Bessie Smith and Billie Holiday, among many other legendary musicians. Somehow I learned about 78 RPM shellac records, the fragile, pre-1950s records that these artists originally released their music on. I began a quest to find more blues and jazz, going to the original source. I bought a multispeed record player off eBay and asked my grandparents and a few elderly neighbors if they had any 78s lying around. None of them were the rare ‘20s or ‘30s records I was looking for, but my small collection led to an article in our local paper.

Soon, dozens of people were calling me, offering me the boxes they’d been storing for decades in their attics or basements. Over the course of a couple of years, I accumulated over a thousand records. I did ultimately find a few by Billie Holiday, but I was also introduced to countless other musicians, many of them long forgotten. Folk, country, blues, vaudeville, big band, and all kinds of music from around the world.

The oldest records dated back to 1905. I’ve always been interested in history, especially the first half of the 20th century, but now I could actually hear it, in the same way the music was originally listened to. Some of the records I found held songs that may not exist anywhere else, so preservation was yet another motivation for my collection.

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Graded on a Curve:
Sitar Metal,
Sitar Metal

Metalheads! Forget about what the famed English poet Robert “Percy Bysshe” Plant wrote in the second line of the third stanza of his magnum opus, “Stairway to Heaven”–look to the East, from whence cometh the universe’s first ever sitar-fronted metal band!

They’re called Sitar Metal, and on their eponymous 2019 debut LP frontman and sitar virtuoso Rishabh Seen–who’s been playing the instrument since he was 5 years old–and company make like Ravi Shankar backed by Metallica.

Sitar Metal is a revelation, and the fastest way to unclog your third eye this side of Drano. Seen’s the lotus position’s answer to Jimi Hendrix, while the band behind him–bassist Tushar Khurana, guitarist Deeparshi, and drummer Damian Rodrigues–provide the heavy metal thunder.

Seen’s a fourth-generation sitar player, and I can only wonder what his great-grandfather would have made of Sitar Metal–as an embodiment of Shiva the Destroyer, most likely. Its songs stop and start, proceed at a gallop, segue into meditative mode, and explode into enthralling climaxes; Seen often starts them off in solo mode, and it’s a shock to the chakras when the band comes storm-trooping in.

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TVD Radar: Big Star,
#1 Record and Radio City 180-gram vinyl reissues in stores 1/24

VIA PRESS RELEASE | Craft Recordings is excited to reissue Big Star’s acclaimed first two albums on 180-gram vinyl. Set for a January 24th release date and available for pre-order now, #1 Record and Radio City feature all-analog mastering by Jeff Powell at Memphis’ Take Out Vinyl, and also manufactured locally—in Big Star’s hometown—at Memphis Record Pressing.

Though they both failed to strike commercial success at the time of their releases, 1972’s #1 Record and 1974’s Radio City are now considered to be milestones in the history of rock by critics and musicians alike. Heavily influenced by the British Invasion, yet markedly original—with their jangly pop, driving guitars, sweet harmonies, and wistful melancholia—Big Star offered a distinctly new sound when they first emerged in the early ‘70s, and are counted among the founders of power pop—a genre which wouldn’t truly take off until later in the decade. Nevertheless, Big Star would become an underground favorite, influencing some the biggest alt-rock artists of the ’80s, ’90s and beyond, including R.E.M., Teenage Fanclub, Wilco, and The Replacements (who famously penned the song “Alex Chilton” as an ode to the band’s frontman).

The Memphis band was formed in 1971 by singer/songwriters Alex Chilton (1950-2010) and Chris Bell (1951-1978), drummer Jody Stephens (b. 1952) and bassist Andy Hummel (1951-2010). Chilton and Bell drew on the Lennon/McCartney style of collaborative songwriting for their aptly titled debut, #1 Record. Working with Ardent Records’ founder and engineer John Fry, Chilton laid down guitar and vocal tracks—often in one take, while Bell added polish with overdubs and harmonies to songs like “The Ballad of El Goodo,” “Thirteen,” and “In The Street.” #1 Record was released to wide critical acclaim, yet distribution issues severely limited the album’s availability in stores. It would sell fewer than 10,000 copies.

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Graded on a Curve: Mattias Uneback,
Voyage Beneath the Sea

As the second decade of the 21st century winds to a close and for a handful of perfectly sound reasons, Exotica music isn’t exactly a thriving contemporary concern. However, the form has persevered as a point of historical interest, with a select few even able to conjure up fresh material that’s inextricably inspired by the style’s moods and climes. Right now, it’s doubtful anybody’s doing it better than sharp-dressing Swede Mattias Uneback; he’s had substantial time to hone his skills as part of The Test Pilots and more germane to the genre in Ìxtahuele, but with Voyage Beneath the Sea, he’s debuting as a leader, and per the title, the LP is an underwater delight. It’s out now on Subliminal Sounds.

When I say that Exotica has persevered historically into the present, I’m thinking specifically of the Numero Group label’s Technicolor Paradise: Rhum Rhapsodies & Other Exotic Delights, a multi-disc various artist retrospective deep dive into the style from last year, and additionally Subliminal Sounds’ own Pacific Paradise, which threw a spotlight onto the work of a single artist, the obscure bandleader Paul Page.

The emphasis on blissful states of being and temperate locales elevates those releases to a standard far above that of the associated genre of Cocktail Lounge. Thankfully, this extends to the Exotica impulse as manifested in the recent past by Ìxtahuele (the band’s last album Call of the Islands came out in 2016) and in the here and now by Uneback.

While surely conscious of the imagery and atmosphere that surrounds Exotica, with Voyage Beneath the Sea’s sleeve design radiating like an album rescued from a box moldering in a corner of a dimly lit antique shop (a look it shares with Page’s collection), Uneback is considerably more than some dude sporting a thrift store ascot and guzzling from a pitcher of poorly mixed martinis.

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TVD Radar: Marshall Crenshaw, Miracle of Science reissue in stores 1/17, kicks off vinyl reissue series

VIA PRESS RELEASE | “I love it that phonograph records are popular again,” enthuses Marshall Crenshaw. “They were consigned to oblivion by the music business back when I was recording for Razor & Tie, but now they’re back!”

The artist recently regained ownership of the five acclaimed albums he released on the Razor & Tie label between 1994 and 2003, and plans to issue revised editions of those efforts, on vinyl and on all digital platforms, beginning with his 1996 release Miracle of Science, due on January 17, 2020 on Crenshaw’s own Shiny-Tone label (distributed through Megaforce). Ultimately, the new reissue series will encompass three much-loved studio albums—Miracle of Science, 1999’s #447 and 2003’s What’s in the Bag?—plus 1994’s live My Truck Is My Home and 1998’s early demos collection The 9 Volt Years. Each album will include two newly recorded, previously unreleased tracks, which will appear on a bonus 7″ single on the vinyl editions and as bonus tracks on the CD and digital versions.

Miracle of Science was a turning point for me,” Crenshaw recalls. “I had voluntarily taken myself out of the major-label world. ADAT machines had just come out, so I bought a couple of those and a few other pieces of gear, and now suddenly I could make records at home if I felt like it. That took me back to my roots, you might say; I did about half the album at home by myself. And the other people that played on the record, I still get such a huge kick out of hearing what they did, particularly on the tracks that I recorded at Alex the Great studios in Nashville. There’s a lot of spirit in the music, a lot of fire. The playing is loose and wild—a much different approach from what you hear on my major-label records, and a real breakthrough, for my money.

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Graded on a Curve:
J. Graves,

On the debut album by Portland, OR’s J. Graves, it’s Jessa Graves who writes the songs, sings them and plays the guitar, while the bass is handled by Barret Stolte and the drums by Dave Yeager. J. Graves is indeed a band, though the choice of moniker drives home the namesake’s input and sheer commitment. The style can be accurately tagged as a post-Riot Grrl state of affairs, but with strength of songwriting and emotional range that validates the comparisons to Sleater-Kinney and Yeah Yeah Yeahs. Another way of putting it is that Marathon isn’t always raging; far from it actually, but the LP is consistently heartfelt, which brings us back to the matter of commitment. The album, self-released, is out now.

Jessa Graves’ story includes a prior outfit, Hellokopter, who worked hard and made progress and just at the brink of a major breakthrough and reward, fell apart as bands often do. If a not uncommon occurrence, the fallout from this situation can still be devastating to those involved, which is exactly what happened with Graves; the result was that she didn’t play, write songs or sing for three years.

But in 2016 she wrote “Leap Year,” which after three more years is one of Marathon’s ten selections. The trajectory from that initial song to this finished album wasn’t easy, however. There were serious health issues in 2017, with the chest x-ray adorning the record’s cover deriving from that very situation. Those difficulties necessitated major life changes, as she quit smoking and in 2018, ran a marathon.

Hence the record’s title, though there is a deeper significance; in an article in the Portland-focused website Vortex, Graves described the completion of this album as her second marathon. And there is an additional layered meaning, as the same article refers to the video she made for the record’s Kickstarter where she observed how the x-ray showed her insides and then added that “my music is everything that is inside of me.”

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TVD Live Shots: John 5 and The Creatures with Reverend Jack and Jared James Nichols at Voltage Lounge, 11/22

PHILADELPHIA, PA | Philadelphia’s Voltage Lounge is a shoebox of a club tucked away in an old industrial area north of Chinatown and Old City.  On November 22, we packed it in, nearly filled to the literal rafters, to see guitarist John 5 with his band The Creatures (Ian Ross on bass and Logan Miles Nix on drums),  Kentucky’s Reverend Jack, and Wisconsin’s Jared James Nichols were along for support and it was one hell of a good time.

Where do I begin? John 5 may be most well-known as a member of Rob Zombie’s band and he’s also played with Marilyn Manson.  Because of this, I had thought of him primarily as a metal guitarist; however, that is not accurate.  A glance at the guitar stand on stage should have been my clue as it included a banjo and not just one but two (!) mandolins. Throughout the night the songs veered from metal to country to even a little funk. John 5 is delightfully versatile and talented; he cannot be lumped into a single category.

It’s such a treat to watch especially since he does it all with a great sense of fun. The cramped stage played home to several flatscreens that played bits from horror films and classic monster movies, and John 5 himself takes the stage in full face makeup and mad scientist costume. I love a good freakshow (see my affection for bands like Avatar and guitarist Buckethead) and John 5 delivers. It seems a bit incongruent to hear a country influenced song like “Cactus Flower,” from his latest release Invasion, while seeing Godzilla march across the TV screens, but it worked.  It all works.

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TVD Radar: Laura
Nyro, More Than A New Discovery violet vinyl reissue in stores, 1/10

VIA PRESS RELEASE | Seldom has the title of a debut album been more apt than the one that graced Laura Nyro’s 1967 release, More Than a New Discovery.

This was not the mere first foray of a budding talent. Instead, More Than a New Discovery introduced a fully-realized, remarkably mature (at the age of 19) singer-songwriter whose singular fusion of pop, jazz, R&B, soul, Broadway, and folk sounds created some of the most beloved songs in modern popular music. Now, Real Gone Music and Second Disc Records are proud to reissue, for the first time ever on vinyl (and in homage to Laura’s favorite color), More Than a New Discovery in a limited violet vinyl edition limited to 1250 copies. Which, ordinarily, would be news enough!

But there’s more to the story. First of all, More Than a New Discovery, originally released on Verve Folkways in 1967, premiered the songs that Barbra Streisand, Blood Sweat and Tears, and The 5th Dimension would all take up the charts, including “Stoney End,” “And When I Die,” “Blowin’ Away,” and perhaps the most famous song Nyro ever wrote, “Wedding Bell Blues.”

But both the Verve Forecast and, later, Columbia labels reissued this record as The First Songs with new artwork, a different song order and added reverb. This limited edition restores the original cover art and album sequence, and, even better, offers the incredibly rare, dedicated mono mix according to Felix Cavaliere of The Rascals, Laura’s preferred mode of audio reproduction’ from the very first version of the album as remastered from the original tapes by Vic Anesini at Battery Studios, with lacquer cutting by Clint Holley at Well Made Music. And, we have added an insert featuring photos and notes by The Second Disc’s Joe Marchese that place the record in context of Nyro’s remarkable career.

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Graded on a Curve:
Burt Bacharach,
Reach Out

Burt Bacharach is an evil man. Oh, I know the King of Smooth is a musical legend, and has undergone a renaissance of late–he’s collaborated with the likes of Elvis Costello, Adele, and Sheryl Crow, and even performed at the Glastonbury Festival in 2015. Bacharach chic is the order of the day, and who am I to question the likes of Elvis Costello?

But Bacharach–with the help of my own mother no less–laid waste to my tender years. She liked to pop the 8-track version of this instrumental 1967 monstrosity into its slot in the living room stereo and go about her housework. No skin off the asses of we kids, you’d think; we were safely out of its blast zone, pledging allegiance to the flag.

Unfortunately, there were those days when we were home with the flu, chicken pox, malaria, necrotizing fasciitis, or traumatic limb amputation. And while we lay helplessly supine on the living room sofa mom would sadistically play it over and over again, torturing us like involuntary participants in a sinister medical experiment. Like General George S. Patton she viewed all forms of physical or mental illness as malingering, and considered Reach Out a harsh but appropriate punishment. And it worked; one day of nonstop listening and we would hasten back to school, rickets, appendicitis, or bubonic plague notwithstanding.

We all know these songs; they stick with you like bubblegum beneath an elementary school desk. They’re part of our collective unconscious, imprinted in our DNA, and we’re destined to carry them across the River Styx into the underworld. Many of them were written in collaboration with co-conspirator and fellow traveler Hal David and sung by Dionne Warwick, and it’s the Warwick versions we all love. Is there anyone who doesn’t know her sublimely soulless versions of “Alfie,” “I Say a Little Prayer,” “Reach Out for Me,” “Walk on By,” and “Do You Know the Way to San Jose?” by heart?

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