Category Archives: The TVD Storefront

TVD Radar: Richard
Hell and the Voidoids, Destiny Street Remixed and Destiny Street Complete in stores 1/22

VIA PRESS RELEASE | Destiny Street was the follow-up album to one of the greatest punk albums of all time, 1977’s Blank Generation. The album was originally recorded in 1981 and released in 1982, but not to Richard Hell’s satisfaction. As he says in his new liner notes to Destiny Street Remixed, “The final mix was a morass of trebly multi-guitar blare.”

Now, for the 40th anniversary of its creation, the album is at last presented improved the way Richard Hell has long hoped and intended: “The sound of a little combo playing real gone rock and roll.” The resultant Destiny Street Complete, due out via 2-CD set and Digital, is set for January 22, 2021 release on Omnivore Recordings. Omnivore will also release a vinyl version of the new Destiny Street Remixed set for the same date.

Richard Hell co-founded his first band, the Neon Boys, with Tom Verlaine in 1973. That band became Television. When Hell left Television in 1975, he formed, with Johnny Thunders and Jerry Nolan, both formerly of the New York Dolls, the Heartbreakers. After another year, Richard departed the Heartbreakers and created Richard Hell & the Voidoids, which, along with other CBGB bands of the era, such as the Ramones and Patti Smith, formed the template for punk, the effects of which are still being felt.

Apart from Hell on vocals and bass, the original Voidoids comprised Robert Quine (guitar), Ivan Julian (guitar), and Marc Bell (drums). The Destiny Street-era band retained Quine, but otherwise the backing lineup became Naux (Juan Maciel) on guitar and Fred Maher on drums.

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TVD Radar: Doin’ My Drugs documentary to debut On-Demand 12/1

VIA PRESS RELEASE | In his directorial debut filmmaker Tyler Q Rosen offers a revealing and inspiring documentary about how a man and his guitar can be the beginning of change for an entire nation, one person at a time.

Doin’ My Drugs is a profound and personal look at the extraordinary life of musician Thomas Muchimba Buttenschøn as he uses music in an effort to wipe out AIDS in his native Zambia and beyond. Born in Zambia in 1985 to a Zambian mother and Danish father, Buttenschøn was diagnosed HIV positive as an infant. After emigrating to Denmark with his family for treatment, Thomas lost both of his parents to AIDs at the age of nine and became deathly ill himself at 13. Upon regaining his health after beginning antiretroviral (ARV) treatment, he threw himself into music, and at 20, became a Danish pop star.

After marrying and fathering two sons, Thomas reconnected with family in Zambia, and was shocked to discover that the country remains trapped in a senseless HIV/AIDS epidemic. While he is able to live a full and healthy life with the virus, a staggering 13% of Zambians who are infected with HIV remain untreated because of the social stigma attached to the virus, and the resulting reluctance to get tested, despite the availability of free treatment from their government. Determined to make a difference, Thomas has dedicated his life to using his music and his own story to raise awareness about HIV and treatment in Zambia. Teaming with an extraordinary group of Zambian musicians, Thomas embarks on a crusade to wipe HIV and AIDS in Zambia, and throughout Africa.

The film is executive produced by longtime HIV/AIDS activist Jake Glaser of The Elizabeth Glaser Pediatric AIDS Foundation. EGPAF seeks to end global pediatric HIV/AIDS through prevention and treatment programs, research, and advocacy. Released by Freestyle Digital Media, the film distribution division of Byron Allen’s Entertainment Studios.

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TVD Radar: Mary J. Blige, My Life 2LP and 3LP sets in stores 11/20

VIA PRESS RELEASE | UMe’s Urban Legends, the label imprint and cross-platform initiative devoted to the curation and celebration of over three decades of urban catalog music and culture, and Soul In The Horn, an innovative digital movement that seeks to bridge cultural gaps by bringing together a diverse cross-section of creative talents, have teamed up to create an extraordinary one-of-a-kind 3-D experience for ardent Mary J. Blige fans that celebrates the November 29 anniversary of My Life, one of the most critically acclaimed and important R&B albums of all time.

Over the past few days, 500 randomly selected superfans from her newsletter and website, ages 21+, received an invitation to dive into a dynamic online environment full of rare content via mobile or desktop that mirrors virtual reality. Custom-built so fans can interact with one another as well as with digital concierges designed to guide them on-demand throughout the journey, UMe’s Urban Legends and Soul In The Horn provide VIP access to My Life music, performances, visuals and more.

Mary J. Blige, the legendary singer-songwriter, actress, philanthropist and honorary Queen of Hip-Hop Soul, will re-release her acclaimed 1994 sophomore album, My Life, on November 20 via Geffen/UMe. The album will be released in three physical forms: a 2CD, a standard weight black double vinyl, and a triple vinyl edition in translucent blue with a lenticular cover, including bonus tracks featuring LL Cool J, and Smif ‘N Wessun. The 3LP edition will also be available digitally which will also feature commentary by Mary J. Blige on the original album tracks. From her No. 57 hit “You Bring Me Joy” to her No. 22 version of Rose Royce’s 1976 soul classic “I’m Going Down,” My Life was one of Blige’s most creatively vital works to date.

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Graded on a Curve:
Gene Clark,
No Other

Celebrating Gene Clark who would have been 76 this week.Ed.

Talk about your impeccable resumes. Not only was Gene Clark a founding member of jangle rock pioneers The Byrds, he was also half of alt-country band Dillard & Clark and a great solo artist to boot. But not even this list of accomplishments could win Clark’s 1974 album No Other—which he considered his masterpiece—an audience. To be blunt, No Other was a flop, mainly because Asylum Records declined to promote the LP, both because they didn’t see any hits on it and because they were appalled by the time and cost it took to produce the record, which featured such notables as Chris Hillman, Jesse Ed Davis, Danny Kortchmar, Russ Kunkel, and Butch Trucks. Indeed, by 1976 Asylum had deleted No Other from its catalogue altogether.

It even took the critics a long while to realize that No Other—a lush, lovely, and even visionary work—was worth every dime and hour spent to make it. Clark—a psychedelic kinda guy who hung out with the likes of Dennis Hopper and David Carradine—was said to have ceased feeding his head when he composed the songs on No Other, but they’re spiritually deep nonetheless. They’re also disparate in terms of influence: this was no pure country rock LP, but an agglomeration of folk, country, rock, gospel, even R&B and funk. And to think it was initially intended to be a double LP, until Asylum head honcho David Geffen blanched at the $100,000 the project had already cost.

As I noted above, No Other has a deeply spiritual feel to it—it possesses the gravity of a work only possible by an artist who has opened his head and journeyed to the 5th Dimension, ultimately emerging wiser as he returned to our far more prosaic world. Which may sound like hippie bullshit, and may even be hippie bullshit, but I buy it, Clark’s fascination with Carlos Castaneda, Theosophy, and all. Far more ornate than his three previous solo records, due in part to his pairing with “spare no cost” producer Thomas Jefferson Kaye, No Other features lush and unusual arrangements; backup vocals from the likes of Clydie King, Claudia Lennear, Shirley Matthew, and Vanetta Fields, amongst others; and lots of overdubs.

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Me Nd Adam,
The TVD First Date

“We grew up in Austin, a music-obsessed town where respect for vinyl runs deep.”

“Austin is home to one of the most iconic record stores in the world, Waterloo Records, which is where we each bought our first album. I think Vince’s was Kiss’s Double Platinum—he doesn’t like people to forget that—and mine was Willie Nelson’s Stardust, a Texas classic.

We love vinyl. Our forthcoming debut, American Drip Part 1, is available exclusively on vinyl and via your preferred streaming service.”

“When I was 22, my girlfriend’s sister moved into a fixer-upper where the previous tenants had left all of their collections behind.”

“One of those collections was thousands of records, including some of the greatest orchestral and operatic pieces (think Stravinsky and Beethoven) recorded by the greatest symphonic orchestras in some of the most iconic locations, including the Taj Mahal and Sistine Chapel.

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Graded on a Curve:
Nine from Mute Records

Formed in 1978 by Daniel Miller, Mute Records has prospered in the decades since and continues flourishing right up to the present, as is made clear by the 2020 releases reviewed below by Daniel Avery, Apparat, Nicolas Bougaïeff, HAAi, Pole, and Cabaret Voltaire. With the exception of the digital-only material by Apparat, everything is available on vinyl and CD, and it’s all out now, except for Shadow of Fear by Cabaret Voltaire, which arrives on November 20.

Daniel Avery made his initial splash back in 2013 with his full-length debut Drone Logic, but more recently, as in earlier this year, he issued Illusion of Time, a collab with Alessandro Cortini (he of Nine Inch Nails). Love + Light is described as a surprise release on Mute/Phantasy in the US and Canada and on Phantasy alone throughout the rest of the world. No longer a surprise: the digital has been out since June, but the CD and vinyl have belatedly shipped earlier in November.

While Illusion of Time is notable for the absence of rhythm, Love + Light is drenched in club-thump underscoring its maker’s beginnings in techno. Some might wonder if Avery’s backsliding, but it’s really more a case of his undiminished interest in the style. I’ll add that the record effectively branches out, and right away with a slice of ambient in “London Island.” He also ratchets up the racket in “Searing Light, Forward Motion.”  Note that the vinyl offers 12 tracks and the full release features 14 for a total just a smidge over one hour, as Avery’s individual selections are largely concise. B+

Apparat, aka Berlin-based electronic musician Sascha Ring, has also moved away from dancefloor-ready techno, heading toward the ambient but more recently soundtrack works as documented in an aptly named series of digital releases. The first, Soundtracks: Capri-Revolution, was review in TVD’s New in Stores column on May 1. We consider the subsequent three here.

Soundtracks: Stay Still, recorded for a German feature directed by Elisa Mishto, came out in May, and it blends hovering, glistening ambience with melodic touches, but with the synth-poppish “BK LULU,” complete with gal vocals, dropped roughly in the middle. Released in June, Soundtracks: Dämonen provides the music for a theatrical play by Sebastian Hartmann adapting Dostoevsky’s Demons, with an emphasis on chamber strings (at times heavily bowed, very nice), a little spare pluck-strum, and even some cathedral-style organ.

But it’s not like he lost touch with his electronic side. The same is true of Soundtracks: Equals Sessions, which was issued in July as the final entry in the series, featuring work from Ring and Dustin O´Halloran for the 2015 feature by Drake Doremus. As a dystopian sci-fi romance starring Kristen Stewart, Equals the film is a higher-profile and bigger-budget affair than either Stay Still and Dämonen, a reality that’s absorbable as Equals Sessions plays, though there is stylistic unity, including some churchy keyboard and some singing (guy vocals this time out). B+/ A-/ A-

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TVD Radar: Newport Folk Festival releases
A Change Is Gonna Come, 2LP in stores early 2021

VIA PRESS RELEASE | Featuring Jon Batiste, Mavis Staples, Leon Bridges, Gary Clark Jr, Valerie June, Brandi Carlile, Maggie Rogers, Rachael Price, Chris Thile, Bermuda Triangle and the Preservation Hall Jazz Band backed up by The Dap-Kings.

Recorded during the finale of the 2018 Newport Folk Festival, A Change Is Gonna Come was a once-in-a-lifetime collaboration between some of our very dear friends. Featuring Jon Batiste, Mavis Staples, Leon Bridges, Gary Clark Jr, Valerie June, Brandi Carlile, Maggie Rogers, Rachael Price, Chris Thile, Bermuda Triangle and the Preservation Hall Jazz Band backed up by the inimitable Dap-Kings.

A Change Is Gonna Come is being issued as a limited edition 2-record set pressed at RTI on premium 180-gram vinyl and housed in a genuine old style tip-on gatefold jacket. Limited to 1,000 hand-numbered copies, each pre-order comes with an immediate free digital download of the recording. Vinyl will ship in early 2021. Fans can pre-order the album here today. Proceeds will support Newport Festivals Foundation’s ongoing initiatives to support musicians in need and music programs across the country.

“In the Spring of 2018, I was in the famed Studio A of Electric Lady Studios watching Jon Batiste and The Dap-Kings blow the minds of those fortunate to attend one of our first live Newport Festivals Fundraisers. Immediately afterward, sitting with Jon in the control room digesting what we all had just experienced, we both knew this needed to be witnessed by more than just a handful of lucky souls,” says Newport Festivals Executive Producer Jay Sweet. “And so the idea was born to close the 2018 Newport Folk Festival with a set we called ‘A Change Is Going to Come,’ a celebration of the festival’s storied history with the civil rights movement.”

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TVD Radar: The Offspring, Conspiracy
of One
20th anniversary color vinyl reissue in stores 12/11

VIA PRESS RELEASE | To commemorate its 20th anniversary, Conspiracy of One, the sixth album by punk rock trailblazers the Offspring, will once again be available on vinyl—the first time since its release in 2000. On December 11, Round Hill Records/UMe will release a deluxe version of Conspiracy of One pressed to yellow and red splatter vinyl, which includes spot gloss on the cover and a custom turntable slipmat featuring the Offspring’s flaming skull silhouette logo. A non-deluxe, limited-edition canary yellow vinyl variant will be available on uDiscover & The Sound of Vinyl. A standard black vinyl version will be released in early 2021.

All editions will feature the bonus track “Huck It.” The anthemic, sub-three-minute blast was featured on their 2000 VHS/DVD Huck It and used to soundtrack various skateboard stunts, including longtime Offspring drummer Ron Welty doing a successful board-to-board leap over two of his bandmates. “Huck It” will be released as a stand-alone digital single on November 13. A lyric video featuring footage from the Huck It VHS/DVD will also be released on November 13. In addition, the official videos for Conspiracy’s first two singles—”Original Prankster” and “Want You Bad”—will be available on the Offspring’s Official YouTube channel in newly remastered HD.

Conspiracy of One, the first Offspring album of the 21st Century, was the fourth album from the game-changing punk group to be certified Platinum, a feat completed only a month after its release on November 14, 2000. The album is best known for its lead single, “Original Prankster,” a song that broke the Billboard Top 100 and hit Number 2 on the U.S. Alternative Airplay charts. The song and its mischievous video by director Dave Meyers included a funky sample from War’s “Low Rider” and a cameo from hip-hop legend Redman. The album’s follow-up single, “Want You Bad,” could be heard in the film American Pie 2 and the video game Crazy Taxi 3: High Roller.

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Graded on a Curve: Jethro Tull,
Stand Up

Celebrating Jethro Tull guitarist Martin Barre on his 74th birthday.

Sometimes you amaze yourself. Or perhaps I should say stupefy, dumbfound, perplex, befuddle, mystify, outrage, and downright disgust yourself. Such was the case when I recently ran over a “little person” in an abortive attempt to pass the D.C. driver’s test. I never saw him; in my defense, he was a very little little person. More like a half-little person. And such was also the case when I decided to review Jethro Tull’s Stand Up, solely as a joke and a chance to pan defenseless Englishman Ian Anderson, who for some inexplicable reason stands poised on one leg while playing the flute, like a hippie flamingo.

Only to discover, horror of horrors, I actually like the damn thing. Who was it that said, “He came to mock but remained to pray”? Because I’ve always considered Jethro Tull, despite a handful of songs I truly like, ridiculous, due largely to Anderson’s flute, an instrument (in my humble opinion) suitable only for tossing out the window. What’s more, Jethtro Tull always struck me as fairly dim. I clearly remember thinking, when they put out 1972’s Thick as a Brick, that it wasn’t the brightest move, touting one’s low IQ on one’s own album cover.

I picked 1969’s Stand Up for the historically important reason that it has a song called “Fat Man” on it. A Facebook friend gave me the idea, and I fully intend to unfriend her. A short history: Jethro Tull (they filched their name from a pioneer of the English Agricultural Revolution) was formed in 1967 as a blues-rock outfit in Luton, Bedfordshire, a town once famed for hat-making. The concrete hat was invented there, and the resulting epidemic of neck injuries very quickly put an end to hat-making in Luton.

Tull’s debut This Was—which includes jazz flute horror “Serenade to a Cuckoo”—came out in 1968, at which point original guitarist Mick Abrahams split to form Blodwyn Pig, balking at Anderson’s decision to expand the band’s sound to incorporate Celtic, folk, and classical influences. (Fun fact: Black Sabb’s Tommy Iommi briefly replaced Abrahams, until Anderson settled on the courtly Martin Lancelot Barre. Fun fact #2: Yes’ Steve Howe flunked the audition!)

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Graded on a Curve:
Holy Motors,

Although Holy Motors hails from Tallinn, Estonia, their music is perfectly suited for a road trip in a gas-guzzling boat of a car roaring westward across the expanse of the USA. Featuring songwriter and guitarist Lauri Ruas with vocals by songwriter Eliann Tulve, the band, formed in 2013 when Tulve was just 16 years old, is completed by guitarist Gert Gutmann and drummer Caspar Salo. Their sophomore full-length Horse continues to hone a shoegazing, twangy, Mazzy Star-ish sound to productive result. The record’s out now on vinyl, digipak compact disc, and digital through Wharf Cat Records of Greenpoint, Brooklyn.

The Bandcamp bio for Holy Motor’s offers that they are a “dark twang & reverb band from a nonexistent movie.” But as others have observed, they share a name with an actual film, specifically the most recent completed feature, from back in 2012, by the great (and very underrated) French auteur Leos Carax. Additionally, Holy Motors list amongst their achievements a gig in the support spot for a screening of Jim Jarmusch’s 1989 film Mystery Train.

Listening to Holy Motors’ latest while contemplating the allusions in their bio to cowboys and cowgirls and the old West, I’d say that double billing them with Mystery Train was a smart move, as Jarmusch sets his film in Memphis, TN but tells a series of stories about foreign visitors to the city. This complements Holy Motors’ adoration and embodiment of bygone American lore; the band furthermore cite Terrence Malick’s Badlands and Wim Wenders’ Paris, Texas as favorites.

Often described as a neo-noir, Badlands is set at the turn of the 1960s in the titular region of the USA and was the first feature from perhaps American cinema’s prime transcendentalist, which is to say that while American by birth, Malick is unconstrained by borders. Paris, Texas, which can be described as the unfolding mystery of how a relationship came to be broken (complete with a child), also features scenes of Harry Dean Stanton walking across dusty landscapes in the Lone Star State.

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TVD Radar: LEVL UP Fest to benefit the people of the live events industry streaming 12/16

VIA PRESS RELEASE | Live Events Lift Up Festival, also known as LEVL UP Fest, will stream live from the historic Ryman Auditorium in Nashville on Wednesday, December 16 at 8:30 p.m. Eastern. This “festival of music and stories of life on and off the road” will feature performances from more than 25 artists and entertainers who have stepped up to honor all those who help them “go live.” Throughout the event, we’ll hear stories from artists and crew about what it means to be part of a “road family” and get a glimpse behind the scenes of what it takes to produce live entertainment and events.

In early March 2020, the live events industry was shut down by mandate in response to the Covid-19 pandemic. Suddenly, an entire workforce whose livelihoods revolve around creating events where people gather, came to a grinding halt. The collapse of the ecosystem in the live events industry, from supply chain to front lines, quickly became catastrophic. Live events support more than 12 million jobs; and according to statistics from several sources, including the Department of Labor, 77% of the workers in live events have lost 100% of their income. Event pros are grappling with the loss of their income, the uncertainty of when work might return, whether the Government might do enough to stabilize the industry and trying to figure out how they are going to survive.

“We’ve seen depression and anxiety take hold across our community, loss of life due to suicide, families in fear of losing homes and generational small businesses closing their doors,” says Shannon Cook, Co-Founder of LEVL UP Fest. “With large-scale gatherings not expected to return until mid to late 2021, workers across this industry face a very uncertain future.”

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TVD Radar: The Black Keys, Brothers 10th anniversary remastered edition in stores 12/18

VIA PRESS RELEASE | The Black Keys release Brothers (Deluxe Remastered Anniversary Edition), an expanded version of their watershed 2010 multi-platinum, Grammy-winning sixth studio album December 18, 2020 in the US and Canada and on January 1, 2021 in all other territories, via Nonesuch Records, on which the record is newly available throughout the world.

To celebrate its tenth anniversary, Brothers will be re-released with three added bonus songs: “Keep My Name Outta Your Mouth,” “Black Mud Part II,” and “Chop and Change.” It will be available in three formats: a 7” box set, a 2-LP set, and a CD (full info about each below). This will be the first in an annual series of archival releases from the band. Brothers (Deluxe Remastered 10th Anniversary Edition) is available for pre-order here. The band today also share their promotional video for the release, directed by Bryan Schlam.

Members of The Black Keys fan club, The Lonely Boys and Girls Club, were treated to an early listen of one of the new tracks from the deluxe reissue, as well as an early look at some of the bonus material included in the upcoming release.

Brothers, originally released on May 18, 2010, was largely recorded at the famous Muscle Shoals Sound Studio in Alabama. It was a career breakthrough for The Black Keys, receiving critical praise and earning three Grammy Awards, for Best Alternative Album, Best Rock Performance, and Best Recording Packaging for Michael Carney’s design. Upon release, Rolling Stone hailed the album “a masterpiece,” and Uncut named them “one of the best rock ‘n’ roll bands on the planet.”

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Sam Roberts Band,
The TVD First Date

“Every fall, in Montreal and the nearby Laurentian mountains, people come from all over the world to see the leaves change colours. We call them Leaf-peepers… I think… At any rate, it really is a spectacle worth seeing, the leaves, that is, not the peepers—one of Mother’s Nature finest from her deep bag of tricks.”

“To a kid growing up in the area, however, the same leaves represent a very different beast. The changing colours are seen for what they truly represent, the death-throes of summer before the long, dark winter sleep. And where do dead leaves end up? The lawn, the flower beds, the driveway…like water, they will find a way into and through and under everything. On precious weekend afternoons, it is the sacred and unpleasant duty of every Canadian kid to rake these leaves—“bag ‘em and tag ‘em.”

My dad used to offer us financial compensation but my brother and I saw through the scheme…10 cents a bag, seemed easy enough—could be looking at a dollar for an hour’s work. Not so fast! A bag is never full until dad has given the OK. Which meant passing the compression test… which meant him taking what looked like a full bag of leaves and standing in the bag until the leaves had been squashed to a near-atomic level! Then came the inevitable judgment, “That’s not full…”

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TVD Radar: The Podcast with Evan Toth, Episode 13: Joe Wong

Joe Wong is a great musician, but he dabbles in a little bit of everything. Not only is his new release Nite Creatures a great addition to the modern psychedelic canon, but he also hosts a popular podcast called, The Trap Set which focuses on musicians, particularly drummers. When he’s not doing those two things, he’s composing music for film and television notably for Netflix’s Russian Doll andMaster of None.

Here, Joe and I discuss his new album, Nite Creatures which was recently released on Decca records and it’s a big, sprawling psychedelic delight featuring a 24 piece orchestra consisting of members of the London Symphony Orchestra and the L.A. Philharmonic and of course a harpist, you’ve got to have a harp. Joe and I also dig into his composition and production process. We talk about his influences yet manage to identify how his unique voice stands out in a crowded musical world.

Are you the kind of person who thinks of great ideas throughout your day, different things you might be able to do? Directions to take and creations to work on? Joe Wong is like that, but he has the determination to take these ideas and turn them into something tangible. That’s not an easy thing do to, c’mon let’s find out more together.

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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Graded on a Curve:
The Move,

This is what fans of The Move call a masterpiece? You might it expect it to be, seeing as how it’s the product of the bizarre mind of professional eccentric Roy Wood, future co-founder of Electric Light Orchestra and founder of the glam rock band Wizzard. And that’s the major flaw of 1970’s Shazam–despite the presence of Wood, the album isn’t eccentric enough.

The Move take a scattershot approach on Shazam, delving into art rock, classical rock, raga rock, and proto-metal, while also taking stabs at The Beatles and sixties folk rock. But their most important influence is the Bonzo Dog Doo-Dah Band, and that’s where things fall apart. The Bonzo Dog Doo-Dah Band kept whimsical tongue firmly planted firmly in dada cheek, but on Shazam The Move want to have it both ways. They wander into Stanshall/Innes territory on a couple of cuts, but for the most part they play it straight. Shazam is a case of a split personality, and it’s too late for it to seek therapy.

“Cherry Blossom Clinic” makes the comedy grade, what with its light-hearted treatment of “they’re coming to take me away ha ha” lunacy, but the song is ruined for me by the extended foray into the music of Bach and Paul Dukas. Sure, it’s all in fun, but I don’t enjoy being classically gassed–if I wanted to listen to the likes of Bach I’d have to become a different person, because the person I am is bored stiff by the stuff.

Far less funny is the opening of the tender and very serious “Beautiful Daughter,” in which the band takes the same “talk to the man in the street” approach the Bonzo Dog Band employ in their masterpiece of absurdity “Shirts.” Trouble is, with the exception of the old women who responds to the question of whether she likes pop music by saying, “Well, it’s nice in its way, you know some of it, not uh, not when they go naked,” the Q and A just ain’t that funny. One laugh line doesn’t not a comedy classic make.

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