Category Archives: The TVD Storefront

TVD Radar: Gang of Four, Entertainment! and Solid Gold vinyl reissues in stores 4/23

VIA PRESS RELEASE | “Gang of Four, in a way, were the great missing link that led us all down a road of austerity of sound, and discipline of method.You could be fooled into thinking they are minimalist, but these are keenly arranged tracks that trade on the currency of suspense, and the power of reduction. The lyrical layer is poetic, passionate and painfully human.Brendan Canty, Fugazi

On April 23, Matador Records will reissue two of Gang of Four’s critical early works, Entertainment! (1979) and Solid Gold (1981). Both have been remastered from the original analog tapes and will be made available on LP and CD.

Gang of Four’s debut record, Entertainment!, remains one of the most beloved and influential works of its era (or any era, really)—an unparalleled collection of songs that has left an indelible mark on generations of bands, producers, and artists. The group’s second album, Solid Gold, celebrates its 40th anniversary today. It boasts a much deeper, bass heavy sound than Entertainment! and contains the singles “Outside the Trains Don’t Run On Time” and “He’d Send In The Army.”

Entertainment! and Solid Gold are also collected in Gang of Four: 77-81, a new box set due out March 12 on LP and April 23 on CD. This stunning limited-edition box set gathers Gang of Four’s influential early work—the two aforementioned full-lengths, an exclusive singles LP, and an exclusive double LP of the never officially released Live at American Indian Center 1980. Additionally, the package includes two new badges, a C90 cassette tape compiling 26 never-before-issued outtakes, rarities and studio demos from Entertainment! and Solid Gold, and an epic 100-page, full-color hardbound book. A never before heard demo from the box set, “Elevator,” is available to listen to now.

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Graded on a Curve:
Lou Reed,
Rock n Roll Animal

Celebrating Lou Reed on what would have been his 79th birthday.

On which Mr. Lou Reed, poète maudit of Long Island and member of the most influential avant-garde rock’n’roll band to ever sell about a thousand records, picks himself up a couple of guitar whiz Detroit boys best known for playing with Alice Cooper, pushes ‘em on stage at Howard Stein’s Academy of Music in New Yawk City, and proceeds to turn some of his most beloved Loutoons into heavy metal stompers.

1974’s Rock n Roll Animal Reed must have mortified the VU faithful, but it sure won him the big youth audience. When I fell in love with it I didn’t know the Velvet Underground from Leopold Von Sacher-Masoch, and I’ll never forget the day my older brother and I happened upon a copy of 1969: The Velvet Underground Live in the cheap-o bin at the Woolworth’s in Hanover and popped it into the 8-track on the way home. Did we like it? Hell no! We were so plumb disgusted with it we stopped the car, tossed it out the window, and BACKED THE CAR OVER IT!

In so far as populist moves go Rock n Roll Animal reminds me a lot of Dylan and the Band’s Before the Flood, released the same year. Both live LPs performed the same civic function–shot a buncha sacred songs full of steroids in blatant disregard of the tender feelings of the folks who adored the originals so as to bring ‘em to the hoi polloi (like me!). Fuck subtlety and crank up the volume was the recipe, and Robert Christgau’s words about Before the Flood (“I agree a few of [these songs] will never walk again, but I treasure the sacrilege”) apply as well to Rock n Roll Animal.

Me, I always appreciate a big hard rock move, and Lou pulls this one off without even showing any armpit sweat. The album’s built on the boffo twin guitar attack of Steve Hunter and Dick Wagner, who alternately play it pretty (the legendary “Intro” to “Sweet Jane”) or go the heavyweight route (“Sweet Jane” itself). For the most part the band keeps things hammer-to-thumb simple, the exception being the epic version of “Heroin,” on which they aim for majesty (albeit a very twisted sort of majesty) and hit the nail on the noggin.

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Graded on a Curve:
Karima Walker,
Waking the Dreaming Body

The music of Tucson, AZ’s Karima Walker combines her strengths at sound design and as a songwriter, interweaving a folky sensibility that’s stark but robust with tapestries built from field recordings, drones, loops and synth tones. Her new album is quietly psychedelic, with this aura enhanced by its truly solo orientation. Sometimes sweet but more often contemplative and frequently strange, a defining characteristic of Waking the Dreaming Body is its distinctiveness. It’s out now on black or caliche clay colored vinyl, smoky grey cassette, and digital as a corelease through Orindal Records of Chicago and the Keeled Scales label of Austin. The CD begins shipping on March 10.

Waking the Dreaming Body is Karima Walker’s second LP, following-up Hands in Our Names from 2017, though that set was preceded by the “Take Your Time” EP of two years prior and before that, the digital EP “a good year” going way back to 2012 (please note that “Take Your Time” and her first album are both still available on vinyl, the EP as a 10-inch).

Upon reading of the disparate but by no means irreconcilable approaches that constitute Karima Walker’s sound, it might seem to a listener new to her work, as it did to me, that the woozy loops, hovering timbres, and late night breathy strum of Waking the Dreaming Body’s opening selection “Reconstellated” effectively serve up a taste of her sound in tidy microcosm.

Although the basic ingredients are all accounted for in “Reconstellated,” the sheer breadth that’s heard across Walker’s latest is what’s elusive. But it’s early yet. Reflective of her work as a whole, Waking the Dreaming Body is an achievement arrived at over time.

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TVD Radar: ECHO releases AC/DC limited edition print series by Tom Whalen

VIA PRESS RELEASE | ECHO is proud to announce the AC/DC 2021 Poster Series. This officially licensed limited-edition series will showcase some of today’s biggest and brightest visual artists, creating works inspired by the music and career of AC/DC.

First in the series is a print by artist Tom Whalen, commemorating the performance from the start of AC/DC’s Back in Black Tour, July 31, 1980 in Philadelphia, PA. Philly was the second US date on the tour and one of the first shows to feature Brian Johnson as the band’s new singer. This poster is available now.

“The brand new “Back in Black” cassette tape that I packed for our family trip to Orlando became the soundtrack of my summer of ’91. I played it over and over and over and couldn’t wait to get back home so that I could explore the rest of AC/DC’s catalog. I’ve been hooked ever since. I’m beyond grateful to being asked by ECHO to produce a poster honoring AC/DC, a band that has been a part of my life for so long.”
Tom Whalen

This 7-color screen print measures 18”x24” and will be available in these limited edition variations:
AC/DC July 31, 1980 Philadelphia, PA (Fire Edition) – 175 pcs / $55
AC/DC July 31, 1980 Philadelphia, PA (Midnight Edition) – 75 pcs / $65
AC/DC July 31, 1980 Philadelphia, PA (Fire Gold Foil Variant) – 75 pcs / $80
AC/DC July 31, 1980 Philadelphia, PA (Midnight Lava Foil Variant) – 75 pcs / $80

In the future, look for AC/DC posters in the series from artists Frank Kozik, Dirty Donny, Tom Whalen, Adam Stothard and other artists TBA.

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Graded on a Curve:
The Who,
Who’s Next

Celebrating Roger Daltrey on his 77th birthday.Ed.

Who loves The Who? Everybody loves The Who, that’s who. Six billion Chinese people love The Who. That Turkish family that walks on all fours loves The Who. Kim Jong-un loves The Who. The ape at the zoo loves The Who. Okay, I suppose there are lots of people who don’t love The Who, but I don’t understand them. Why, I would even go so far as to say there’s something terribly, terribly wrong with them.

Then again, how much do I really love The Who? I have no use for Tommy, dislike everything after 1973’s Quadrophenia, and have never really listened to their early stuff beyond what’s on the 1971 compilation Meaty Beaty Big and Bouncy. And don’t even get me started on the post-Keith Moon Who. Face Dances? Why, I have half a mind to dance on your face, Mr. Peter Dennis Blanford Townshend, for reanimating the corpse of a band that died with its heart and soul, Keith Moon.

So, unlike our friends the quadruped Ulas Family from Turkey, I suppose I’m ambivalent about The Who. But I have no mixed feelings about Who’s Next, the band’s 1971 masterpiece. From its cover of the foursome at Easington Colliery, having apparently just finished pissing on a concrete “monolith” emerging from a slag heap, to “Baba O’Riley” and “Won’t Get Fooled Again”—two of the greatest rock songs ever written—it’s a gas, especially when you toss in such odd birds as the hilarious “My Wife” and the cool and amusing “Going Mobile.” It may include some songs I flat-out dislike, but I don’t care. It’s still the best thing to come along since sliced Altamont.

Back story in telegraphic form: Formed in 1964 and briefly called The High Numbers… Mods vs. rockers and gratuitous guitar smashing… “My Generation” and rock opera Tommy… drummer Keith Moon drives limo into swimming pool… shirtless Roger Daltrey swings mic in great arcing loops… John Entwistle, bass genius, as great as Jack Bruce… Pete Townshend’s windmill guitar and famous boiler suit, STOP.

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Noah C. Lekas,
The TVD First Date

“My earliest vinyl memory is pulling the three volume Johnny Cash and the Tennessee Two Original Golden Hits set from the back of my Grandparent’s wooden console. One cover was white, one black and one blue, each with a different picture of Cash. Too young to read, I asked my Grandpa who it was, and he said, “That’s the man in black.” A year or so later, he passed and the records went into a box in my Grandmother’s basement.”

“I’m not a purist when it comes to formats or a collector by nature, but I do appreciate vinyl as an aesthetic, sonic and literary medium. At different times in life, each element made a profound impact on me. In the beginning, it was that picture of Johnny Cash.

A half dozen years later, punk records turned my early aesthetic intrigue into a sonic pursuit. The Midwest post-punk scene was in full tilt with all of its sub-genres and I started catching rides up to Atomic Records on E Locust St. They had it all, including copies of Milk, a music zine that along with the Shepherd Express largely sparked my early interest in music journalism. I bought a lot of records in those days, but I specifically remember grabbing a copy of the Hot Water Music “Alachua” 7” with the die-cut logo sleeve and Fugazi’s Red Medicine at Atomic.

After high school, I ended up in Montana on a hiatus from college. I spent the better part of a year waist deep in the river trying to fly fish and elbow deep in the bargain bins at Rockin Rudy’s on Higgins St. I was looking for Mississippi Sheiks, Blind Willie McTell, Earl Scruggs, Mance Lipscomb—the stuff that either hadn’t made a direct jump to CD or you could find for way less in a used record bin.

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Graded on a Curve: Ambrosia,
The Essentials

Los Angeles’ Ambrosia were that rarest of all things–a prog-yacht band. When their vessel set sail in 1975, the owner of the California Yacht Marina told reporters, “Frankly I’m concerned the SS Ambrosia will founder under the weight of its heavy progressive rock cargo. You don’t run that risk with the SS Christopher Cross.”

But Ambrosia (ingredients include mini marshmallows and a number of fruits such as pineapple, maraschino cherries, coconut, and mandarin oranges) didn’t go down with all aboard, because it ultimately off-loaded its prog rock load and tacked towards commercial waters. Granted this wasn’t too radical a departure, given Ambrosia’s prog was relatively pop friendly in the first place. No eight-part songs about the water sprites in Poseidon’s beard from these guys; you tend not to manufacture such mythical claptrap when you’re soaking in a hot tub in Southern California.

If anything, Ambrosia were the predecessors of Asia, who drastically reduced the prog quotient in search of radio play and bigger sales. While Ambrosia never came close to achieving Asia status, they did score five Top 40 hits, the best known being “Holdin’ on to Yesterday,” “Biggest Part of Me,” and “How Much I Feel.” If you worship at the altar of soft rock, you love all three and will want a copy of. 2002’s The Essentials. Its 12 songs make it the perfect compilation for all but those diehards who simply can’t imagine life without such nonentities as “Cowboy Star” and “Mama Don’t Understand,” both of which (should you happen to be such a diehard) can be found on 1997’s Anthology.

A quick rundown of the songs, the better ones first. The catchy “Biggest Part of Me” is Hall & Oates without the mustache. The airy “Holdin’ on to Yesterday” has a Pink Floyd/Alan Parsons vibe, thanks in part to David Pack’s Roger Waters-school guitar. “How Much I Feel” is watered down blue-eyed soul and perfect FM radio fodder.”Nice, Nice, Very Nice” is a Yes-lite/Steely Dan hybrid with Chicago horns on which David Pack inexplicably pretends to be a rasta living in England singing about Central Park. Recommended primarily for its weirdness quotient.

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TVD Radar: The Podcast with Evan Toth, Episode 25: Jim Keller

PHOTO: JIMMY FONTAINE | The path to success for most successful people in the entertainment business—or any business for that matter—is rarely a straight one.

Life is full of unexpected twists and turns, but it’s all about keeping one’s cool and choosing directions that make sense, even if there is a bit of risk involved. Jim Keller knows he didn’t just wake up one morning to become the longtime manager for Philip Glass who is one of America’s most celebrated composers and a Kennedy Center Honors recipient who was presented with the U.S. National Medal of the Arts by President Obama. It was a certain sequence of events that got Jim there.

Keller, of course, is a musician. You’ve all heard Tommy Tutone’s “867-5309/Jenny” blasting from car radios and being played by bar bands, and so has Jim Keller; and he loves it! Except, in his case, he happens to be co-writer and performer of that song and was in Tommy Tutone! After releasing that power pop classic, Keller continued to make music under his own name, on and off through the years, but now he is back with a brand new album produced by the great Mitchell Froom. The record is called By No Means and features Keller’s direct, infectious music that can cut so sweetly you don’t even recognize that you’ve been wounded.

Join me and Jim on this episode of Radar as we talk about the twists, turns, and many lives of his career, seeing the music industry from both sides of the stage, and the production and splendid songwriting that went into his new album, By No Means.

Evan Toth is a songwriter, professional musician, educator, radio host, avid record collector and hi-fi aficionado. Toth hosts and produces The Sharp Notes each Saturday evening at 6pm and TVD Radar on Sundays at 5AM on WFDU, 89.1 FM. Follow him at the usual social media places and visit his website.

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TVD Radar: Bob Mould, Distortion: 2008–2019 7LP box set in stores 4/16

VIA PRESS RELEASE | On April 16th, 2021, Demon Music Group will continue their year-long Bob Mould reissue campaign with Distortion: 2008-2019, the third of four vinyl boxsets chronicling the solo career of the legendary American musician.

It follows hot on the heels of October’s 8 LP Distortion: 1989-1995 box set, which took in Mould’s early solo outings as well as his records with the much-beloved Sugar, January’s 9LP Distortion: 1996-2007 box set continuing through the next steps in Mould’s solo career and his outings as LoudBomb and Blowoff, and the 24CD Distortion: 1989-2019 box, which covers the entirety of his post-Hüsker Dü output.

Distortion: 2008-2019 follows Mould through a number of standout records that include some of his most celebrated work—collected here are District Line (2008), Life and Times (2009), Silver Age (2012), Beauty & Ruin (2014), Patch the Sky (2016) and Sunshine Rock (2019), as well as a bonus disc Distortion Plus: 2008-2019, which features Mould’s collaborations with Foo Fighters and Butch Walker plus the 2019 single “I Don’t Mind.” It comes pressed on clear vinyl with an etched B-side.

As with the previously released box sets in the Distortion collection, each album in the set has been mastered by Jeff Lipton and Maria Rice at Peerless Mastering in Boston and is presented with brand new artwork designed by illustrator Simon Marchner and pressed on 140g clear vinyl with unique splatter effects. The box set includes a 28-page companion booklet featuring liner notes by journalist Keith Cameron; contributions from J Mascis and Shirley Manson; lyrics and memorabilia.

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TVD Radar: The Who, The Who Sell Out
Super Deluxe Editions
in stores 4/23

VIA PRESS RELEASE | Initially released in December 1967 and described latterly by Rolling Stone as “The Who’s finest album,” The Who Sell Out reflected a remarkable year in popular culture. As well as being forever immortalized as the moment when the counterculture and the “Love Generation” became a global phenomenon and “pop” began metamorphosing into “rock.”

The new Super Deluxe Edition of The Who Sell Out features 112 tracks, 46 of which are unreleased, an 80-page, hard-back, full-color book, including rare period photos, memorabilia, track-by-track annotation and new sleeve notes by Pete Townshend with comments from the likes of Pete Drummond (Radio London DJ), Richard Evans (designer) and more.

The Super Deluxe package also includes nine posters & inserts, including replicas of 20” x 30” original Adrian George album poster, a gig poster from The City Hall, Newcastle, a Saville Theatre show 8-page program, a business card for the Bag o’ Nails club, Kingly Street, a Who fan club photo of group, a flyer for Bath Pavilion concerts including The Who, a crack-back bumper sticker for Wonderful Radio London, Keith Moon’s Speakeasy Club membership card and a Who Fan Club newsletter.

As a taster for the set an EP of Pete Townshend’s previously unreleased demos has today been released on all streaming services including “Pictures Of Lily” (New remix, previously unreleased) “Kids! Do You Want Kids?” (AKA “Do You Want Kids, Kids?”) (Previously unreleased) & “Odorono” (Previously unreleased).

The Who Sell Out was originally planned by Pete Townshend and the band’s managers Kit Lambert and Chris Stamp, as a loose concept album including jingles and commercials linking the songs stylised as a pirate radio broadcast. This concept was born out of necessity as their label and management wanted a new album and Townshend felt that he didn’t have enough songs. The ground-breaking original plan for Sell Out was to sell advertising space on the album but instead the band opted for writing their own jingles paying tribute to pirate radio stations and to parody an increasingly consumerist society.

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Emma Webb,
The TVD First Date

“When I think of vinyl I think about being a young kid, and going through my parents’ record collection. I’d look through them for hours, taking in the artwork and images. I’d take the records out the sleeves and would love dropping the needle.”

“The sound of vinyl is still so raw and nostalgic to me. My dad’s collection was a lot of classic stuff; The Who, Queen, The Beatles. I have such a love of The Who because of those records. My mum’s collection was stuff like Joni Mitchell, Simon and Garfunkel, Neil Diamond. I love Joni Mitchell and adore Paul Simon’s Graceland so a lot of that music has totally rubbed off on me.

Records feel like more than just a way to share music. They feel much more special than a tape or CD, so I keep my current collection in tip top condition. Between my partner and I we have really vintage original records handed down from our parents, plus classic albums like Fleetwood Mac’s Rumours, Carole King’s Tapestry, Pink Floyd’s The Wall and Dark Side of The Moon, Queen’s Night at The Opera and a bunch of Paul Simon singles (I need to add Graceland to the collection ASAP!)

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Graded on a Curve:
Jeff Beck,
Blow by Blow

A couple of weeks back I got into a big tussle with some Facebook friends for saying Jeff Beck didn’t impress me and I didn’t much care for anything he’d ever done. I was lying. Some of Beck’s Yardbirds stuff is great, and 1969’s Beck-Ola is a tremendous album and showcase of Beck’s whiz-bang guitar playing.

Exhibits A and B in my case against Jeff Beck are his twin forays into jazz fusion, 1975’s Blow by Blow and 1976’s Wired, both of which strike me as surgically sterile demonstrations of instrumental prowess for its own sake. I’ve searched Blow by Blow high and low for an ounce of soul, but its like that ounce of weed I lost my sophomore year in college. I looked everywhere, but I never found it.

Beck is a guitar player’s wet dream, but where’s the feeling? I wouldn’t go so far as The Village Voice’s Robert Christgau, who wrote upon Blow by Blow’s release that Beck “has absolutely nothing to say.” My gripe with Beck is that what he has to say he says in a cold-blooded language clinically detached from any emotion I can recognize. Beck isn’t a man–he’s a master class guitar workshop.

Unlike your best jazz artists, Beck takes no risks on Blow by Blow. And he’s anything but alone. Virtually all jazz fusion artists (the Mahavishnu Orchestra being a notable exception) play it safe, either because they lack the requisite jazz chops or they’re trying to peddle records to a listening public that finds the real thing too challenging. (See Albert Ayler = Zero Album Sales Formula.) Nothing wrong with making a buck, mind you, but in our day and age great “serious” musicians rarely produce “great art” by playing to the cheap seats.

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TVD Radar: Can,
Live In Stuttgart 1975
3LP in stores 5/28

VIA PRESS RELEASE | “Their live performances sound like an epic story we are being told—a novel, with differing chapters, changing moods, weather, seasons and exotic landscapes.”Alan Warner

Mute and Spoon Records are proud to announce the first in a series of long-awaited live album releases. Can: Live in Stuttgart 1975 is out May 28 on vinyl, CD, and digital platforms. If you think you knew Can, even after all the albums and through recently discovered material such as the legendary Lost Tapes, you’ll still find masses to surprise you here. This music is never the same river twice. In five parts, Can: Live in Stuttgart 1975 demonstrates an important and formidable element of the Can story—their live performance.

The Can Live series has taken the best of the bootlegged recordings and—overseen by founding member Irmin Schmidt and producer / engineer Rene Tinner—run them through the wringer of 21st century technology to bring you these vital historical documents in the best quality versions possible.

Founded in the late ‘60s and disbanded just over a decade later, Can’s unprecedented and bold marriage of hypnotic grooves and avant-garde instrumental textures has made them one of the most important and innovative of all time. These albums reveal a totally different perspective to the band. You may hear familiar themes, riffs and motifs popping up and rippling through these jams, but they are often fleetingly recognized faces in a swirling crowd.

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TVD Radar: The Lyrics: 1956 to the Present
by Paul McCartney in stores 11/2

VIA PRESS RELEASE | “More often than I can count, I’ve been asked if I would write an autobiography, but the time has never been right. The one thing I’ve always managed to do, whether at home or on the road, is to write new songs. I know that some people, when they get to a certain age, like to go to a diary to recall day-to-day events from the past, but I have no such notebooks. What I do have are my songs, hundreds of them, which I’ve learned serve much the same purpose. And these songs span my entire life.”
Paul McCartney, The Lyrics

In this extraordinary book, with unparalleled candour, Paul McCartney recounts his life and art through the prism of 154 songs from all stages of his career—from his earliest boyhood compositions through the legendary decade of The Beatles, to Wings and his solo albums to the present. Arranged alphabetically to provide a kaleidoscopic rather than chronological account, it establishes definitive texts of the songs’ lyrics for the first time and describes the circumstances in which they were written, the people and places that inspired them, and what he thinks of them now. Presented with this is a treasure trove of material from McCartney’s personal archive—drafts, letters, photographs—never seen before, which make this also a unique visual record of one of the greatest songwriters of all time.

We learn intimately about the man, the creative process, the working out of melodies, the moments of inspiration. The voice and personality of Paul McCartney sings off every page. There has never been a book about a great musician like it.

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Graded on a Curve: George Harrison,
All Things Must Pass

Celebrating George Harrison on what would have been his 78th birthday.Ed.

I have been guilty of saying mean things about George Harrison in the past, most of them having to do with the lugubrious and often wimpy tenor of the ex-Beatles solo work. But I am here today, dear members of the committee, to recant. I’ve been listening to 1970’s sprawling All Things Must Pass, and while it has its share of doleful bummers, what strikes me about it now is how hard it rocks.

The most anonymous Beatle could cook when he felt like it, and on All Things Must Pass he frequently felt like it, as did co-guitarists Eric Clapton and Dave Mason, and when all is said and done I’m forced to agree with critic Mikal Gilmore, who called All Things Must Pass “the finest solo work any ex-Beatle ever produced.”

The studio sessions were a clusterfuck, with superstars being dragooned left and right. The line-up included the players who would soon form Derek and the Dominos as well as the members of Badfinger, to say nothing of folks like Ringo Starr, Billy Preston, Ginger Baker, and Gary Wright. Why, even Phil Collins played on one track.

There was also extensive overdubbing, and while the production duties were formally in the hands of the mercurial Phil Spector, Harrison has said Spector required 18 cherry brandies just to BEGIN work, leaving poor George to handle much of the production himself. In addition, Harrison’s mother was dying, and he was nurturing a burgeoning heroin addiction.

Let me make it clear from the start; I’m not much for “My Sweet Lord,” the song the LP is probably best known for, nor am I wild about its companion piece, “Help Me Lord.” LP opener “I’d Have You Anytime,” which was co-written by Harrison and Bob Dylan, does nothing for me, nor do the run of the mill “Run of the Mill,” the milquetoast “I Live for You,” and the “I need love” sentimentality of “I Dig Love.”

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