Category Archives: The TVD Storefront

The Absolute Worst 100 Songs in Rock History

“There have been tens of thousands (easy) more terrible rock songs than there have been good ones,” famed rock critic my grandmother once said, and in support of her theory she pushed the entire opus of REO Speedwagon my way. “‘Ridin’ the Storm Out’ is bong steady,” she said, “but you can flush everything else down the crapper.”

She was right, of course, and that’s what made it so hard to put this list together. Few of us are financially wealthy, but we’re all rich in rock and roll dreck. When the Jefferson Starship sing “We’re knee deep in the hoopla” in perpetual contender for worst song ever “We Built This City,” we know it’s not hoopla they’re singing about, is it?

But I’ve tried, Lord knows, to devise my own list of the Awful One Hundred. I’ve had to stomach the unstomachable, bear the unbearable, listen to the unlistenable, and in general audition more musical mortal sins than a talent scout in Hell, and these were the best I could come up with. I personally believe my efforts warrant the Congressional Medal of Horror.

Some of my selections you’ll agree with, others you’ll disagree with, and still others will make you wonder what dim creature from what low-IQ planet in what slow-witted galaxy spit me out like a watermelon seed with such force that I ended up here, solely to get the whole damn thing wrong. Some of my selections have let it be known just how unhappy they are. I’ve received hate mail. Threatening midnight phone calls. One song even took to standing outside my window at night screaming “Thank God I’m a country boy!”

A brief note on how I chose the songs on my list. There are gazillions of songs we can all agree are dog turds in burning paper bags, but to my way of thinking a truly appalling song is one I turn off the very second it comes on. If this means a sprained wrist, so be it. If, while behind the wheel of an automobile, this entails running head on into an 18-wheeler full of highly flammable nuclear waste, them’s the breaks.

Then again, there are countless Lovecraftian abominations out there I won’t turn off simply because they make me laugh. And even on some good days a hearty laugh can be as hard to find as D.B. Cooper. Who, if I understand correctly, leaped from a passenger jet at 10,000 feet into sub-zero temperatures on a stormy night in the environs of some of the most rugged wilderness in the country not to make off with $200,000 in ransom money, but to escape the Original Caste’s “One Tin Soldier.”

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TVD Radar: Iron Maiden, The Number Of The Beast 30th anniversary 3LP in stores 11/18

VIA PRESS RELEASE | BMG are delighted to announce the release of a commemorative triple black vinyl album in honor of the 40th Anniversary of Iron Maiden’s seminal third album, The Number Of The Beast, which was also the first to feature Bruce Dickinson on vocals and was to become the record which catapulted the band to international stardom.

Included in the new vinyl package is Beast Over Hammersmith—available now officially for the very first time on vinyl—featuring the live concert from March 1982’s now legendary Hammersmith Odeon London show from the Beast On The Road World Tour. Recorded only days before the release of The Number Of The Beast album, it’s remarkable to think these now classic songs at that time were still brand new, unfamiliar, and being heard live by fans for the very first time. A real piece of history in the making.

The package features exclusive liner notes written by Maiden founder and bassist Steve Harris as well as restored and expanded artwork taken from the CD format of Beast Over Hammersmith, previously only available in the Limited Edition Eddie’s Archive boxset originally released in 2002.

Steve Harris comments, “On this vinyl release we get the chance to put “Total Eclipse” in its rightful spot on the album for the first time. The reason it didn’t make it in the first place was that it was all a mad rush when we were finishing the record and we had to get the “Run to the Hills” single out before the tour and we basically had to pick a B-side and it was between “Gangland” and “Total Eclipse” and we just picked the wrong one, really! I think “Total Eclipse” is a stronger song and the album would have been stronger if it had been on there.”

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TVD Radar: The Podcast with Evan Toth, Episode 84: Caitlin Cary

The great alt-country band Whiskeytown had only two permanent members during its tenure: one of them was Ryan Adams and the other was Caitlin Cary.

While Caitlin’s name will always be intertwined with that band’s history, she’s also got a history all her own. After the group disbanded, Caitlin decided it was time for her to share the songs that may not have gotten the attention they deserved in her previous group. So, after connecting with Chris Stamey and Yep Roc Records, in 2002 she released her first solo album titled, While You Weren’t Looking.

Well, while we weren’t looking, the album has now turned 20 years old and Yep Roc is giving the album a remaster, a reissue, and is finally putting Caitlin’s music on vinyl where her compositions seem yearning to belong.

Caitlin joins me to discuss her transition from those wild and wooly Whiskeytown days to her own solo career. We also explore how her songs may be ripe for a new audience in the 21st century. Nowadays, Caitlin enjoys her time as a noted visual artist creating needleprint designs and running her own art gallery, The Pocket, in Raleigh, North Carolina.

But, as she traverses through her latest life’s incarnation, every once in a while, she must get flashes of those heady Whiskeytown days and the creation of her own music. Even though she’s more or less left the music world behind, she’s still pleasantly amused that the music she released those two decades ago still reverberates today.

Evan Toth is a songwriter, professional musician, educator, radio host, avid record collector, and hi-fi aficionado. Toth hosts and produces The Evan Toth Show and TVD Radar 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 5th Dimension, Master Hits

Celebrating Marilyn McCoo on her 79th birthday.Ed.

It seems like just yesterday I had hair down to my ass and was rolling in the mud at Woodstock. What a time! The dope was good, the music was far out, and even the brown acid was groovy, once you got past the part where your decomposing grandmother was squatting by your side, her breath reeking of grave dirt and burning sulphur. It was the dawning of the Age of Aquarius, and peace would soon be guiding the stars.

Odd, though, that “Age of Aquarius/Let the Sunshine In” was the product of a very square Black chorale group that would have been more at home in a Las Vegas nightclub than Woodstock (where they didn’t play) or Harlem’s Cultural Festival that same year (where they did). The vocal group’s repertory of styles—which included R&B, jazz, pop and soul—was labeled “champagne soul,” perhaps because their musical stylings were all bubbles and no kick.

It’s hard to imagine a group less qualified to sum up the era’s Zeitgeist. To the hippies and yippies wearing psychedelic paint on their faces and nothing else, The 5th Dimension—whose best known songs are compiled on 1999’s Master Hits—had zero freak cred. At least you knew they weren’t narcs, because narcs made it their job to fit in. Amongst the Jimis and Joplins of the time, The 5th Dimension stood out like a house cat in a panther cage.

“The Age of Aquarius/Let the Sunshine In”—which first appeared in 1967’s risible Hair: The American Tribal Love-Rock Musical—is an example par excellence of cultural appropriation. The song took the revolutionary spirit of the time and diluted it, and by so doing offered the non-LSD crowd a reassuring lense through which they could catch a glimpse of a youth phenomenon they found threatening. How much of a menace could America’s young people be if their anthem was a song like this?

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TVD Radar: Vince Guaraldi Trio, Jazz Impressions of Black Orpheus 60th anniversary releases
in stores 11/18 & 2/24

VIA PRESS RELEASE | Craft Recordings proudly celebrates the 60th anniversary of Vince Guaraldi’s breakthrough album, Jazz Impressions of Black Orpheus, with a variety of reissues. A deluxe, expanded edition of the 1962 album—featuring the GRAMMY® Award-winning instrumental hit “Cast Your Fate to the Wind”—offers 16 bonus tracks, including 12 previously unreleased selections, with outtakes and alternate takes of nearly every track on the album.

Available to pre-order beginning today, this definitive edition will be released as a 3-LP, 2-CD, or 24-track digital collection, with newly remastered audio by engineer Paul Blakemore. Produced by Nick Phillips, the original album is cut from the original master, while the bonus material was transferred from the original analog tapes by Plangent Processes. Lacquers for the 3-LP edition were cut by Kevin Gray at Cohearent Audio and pressed at RTI on 180-gram vinyl. Both physical formats also include new, in-depth liner notes by jazz writer Andrew Gilbert (San Francisco Chronicle, San Jose Mercury News, KQED Arts). The digital offering comes in standard and Hi-Res options. The CD and digital formats will be released on November 18th with the LP set due to follow on February 24th.

Additionally, Craft will offer a limited and numbered pressing of the original, eight-track album as part of their acclaimed Small Batch series, which offers discerning listeners the highest-quality, authentic sound—distilled to its purest form. As with previous Small Batch pressings, Jazz Impressions of Black Orpheus was cut from its original analog tapes by legendary engineer Bernie Grundman and pressed on 180-gram vinyl at RTI using Neotech’s VR900 compound and a one-step lacquer process—as opposed to the standard three-step process—allowing for the utmost level of musical detail, clarity, and dynamics while reducing the amount of surface noise on the record.

The limited nature of these pressings guarantees that each record is a true representation of the original lacquer and is as close as the listener can get to the original recording. Craft’s all-analog, one-step series has drawn praise from critics far and wide, with Hi-Fi Choice describing the audio quality as “Extraordinary,” while Stereophile commented that the series is “beautifully done,” and Record Collector described the sound as “flawless.”

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Graded on a Curve:
Jerry Lee Lewis, Southern Roots: Back Home to Memphis

Celebrating “The Killer,” Jerry Lee Lewis on his 87th birthday.Ed.

For Jerry Lee Lewis, 1973 was the worst of years and the best of years too; despite a brief turn in prison, the death of a son, a divorce (his fourth), and rampant drug and alcohol abuse, the Killer still turned out two seminal LPs with The Session… Recorded in London with Great Artists and Southern Roots: Back Home to Memphis.

The latter LP is nothing short of a miracle; Jerry Lee somehow managed knock off ten galvanizing performances even though he was, by all accounts, out of control even by his own berserk standards. When he wasn’t abusing legendary producer Huey “The Crazy Cajun” Meaux, the heavily medicated Lewis was threatening to kill a photographer and generally being a dyspeptic old cuss. “Do you wanna try one?” asks Meaux doing the proceedings. “If you got enough fuckin’ sense to cut it,” replies the orneriest cage-rattler to ever hail from the friendly state of Louisiana.

Let’s make one thing clear from the start; neither LP comes close to recapturing the anarchic feel and demented energy of Lewis’ early recordings, or the deranged ferocity (subtlety? toss it out the goddamn window!) of his hair-raising live performance with the Nashville Teens at Hamburg, Germany’s Star Club in 1964. His vocals are lazier, and his piano playing less a frenzied hammering at the gates of Hell, the place he’s always figured will be his final destination. It may have been the pills, but the old piano burner almost sounds relaxed at times.

In short, on Southern Roots The Killer proves there’s more than one way to skin a cat. He lays back in the groove and waxes sly and lewd by turns, sounding randy even at his most relaxed and pretty copacetic for a guy who has just threatened to murder another guy for having the audacity to point a camera his way. Whether he’s singing the songs of Doug Sahm or Isaac Hayes or breathing life into novelty tune about a haunted house, Jerry Lee mostly plays it cool but isn’t afraid to blow volcanic hot when the mood strikes him.

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TVD Radar: The Beach Boys, Sail On Sailor–1972 box sets in stores 11/18

VIA PRESS RELEASE | The Beach Boys landmark albums, 1972’s Carl and the Passions—“So Tough” and 1973’s Holland, will take center focus in Sail On Sailor – 1972, a new expansive multi-disc and digital box set, releasing November 18th via Capitol Records/UMe, that documents and dives deep into their transformative and fruitful 1972 era.

The latest chapter in the Beach Boys’ archival series was produced by Mark Linett and Alan Boyd, the team behind 2013’s GRAMMY® Award-winning SMiLE Sessions and last year’s acclaimed Feel Flows – The Sunflower and Surf’s Up Sessions 1969-1971, the comprehensive 6CD Super Deluxe Edition features newly remastered versions of Carl and the Passions – “So Tough” and Holland, plus “Holland’s Mount Vernon and Fairway (A Fairytale)” EP (complete with its original instructions to “please listen in the dark”), and boasts an unreleased live concert recorded at NYC’s famed Carnegie Hall on Thanksgiving, 1972, the first-ever release of a complete Beach Boys concert from this era with the original setlist.

Similar to Feel Flows, which topped many year-end lists in 2022 and was selected by MOJO as their prestigious “Reissue Of The Year,” Sail On Sailor – 1972 includes a bounty of unreleased outtakes, live recordings, radio promos, alternate versions, alternate mixes, isolated backing tracks and a cappella versions, culled from the historic album sessions. In all, it contains 105 tracks, 80 of which are previously unreleased.

Sail On Sailor – 1972 is being previewed with the previously unreleased performance of Carl and The Passions’ album opener, “You Need A Mess Of Help To Stand Alone,” recorded live during their performance at Carnegie Hall on November 23, 1972. The complete Carnegie Hall set, which has remained unreleased for 50 years, was recorded on then state-of-the-art 16-track tape, rare for the time and a great advantage given the number of instruments and vocalists in the band.

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Graded on a Curve: Honey & The Bees,

Soulful gal vocal group Honey & the Bees began recording in the mid-1960s and released their only LP in 1970 for the Josie label. Featuring their best known single, a version of the Royalettes’ “It’s Gonna Take a Miracle,” original copies of Love are scarce and quite expensive, so here comes Real Gone Music to the rescue, with a high quality reissue remastered by Mike Milchner and pressed on honey colored (bees)wax in an edition of 2,000 copies. If not a masterpiece, its contents are thoroughly enjoyable, and it’s difficult to imagine a fan of classic soul not wanting this set in their collection. It’s out October 7.

The biography of Honey & the Bees isn’t exactly extensive, but the story is that a group using the moniker cut a couple singles for the Academy label in 1965, but the members quickly spilt the scene, which led musician-songwriter-producer Phil Hurtt to organize a new lineup under the name, with the recruits Jean Davis, Nadine Felder, Gwendolyn Oliver, and Cassandra Ann Wooten debuting on a 1966 single for the Arctic label, “I’m Confessin’” b/w “One Time is Forever.”

The B-side to the 45 was written by Kenny Gamble, an info tidbit that’s a tipoff to what’s heard on Love, and don’tcha know that Leon Huff plays piano on the album? Yes, the ten songs do indeed have a tangible connection to the sound of Philly Soul, but as the record lands pretty early in the scheme of that regional state of affairs and with what was pretty clearly a modest budget (but resourcefully utilized), the songs counterbalance finesse, as the strings arrangements are plentiful, with heft, as the punch of the rhythm section hits the ear like a predecessor to the production work of Leon Michels.

In 1970 Honey & the Bees’ manager Jimmy Bishop moved the group from Arctic to the Josie label, a realignment that improved their fortunes a bit, with single “We Got to Work Together,” the opening track on Love, generating a little buzz, and “It’s Going to Take a Miracle,” the closing track on side one, enduring as their highest profile tune amid numerous versions, preceded by the Royalettes and followed by Laura Nyro’s take with LaBelle on her ’71 album Gonna Take a Miracle and Deniece Williams’ ’82 R&B smash.

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Graded on a Curve:
Sun Records 70th Anniversary Reissues

2022 marks the 70th anniversary of the birth of Sun Records. The label was founded in Memphis, Tennessee by Sam Philips. The independent label essentially put rock ‘n’ roll on the map and launched the careers of some of the most important rock ‘n’ roll, blues, country, and R&B artists. It was the label’s rock ‘n’ roll recordings of Carl Perkins, Roy Orbison, Jerry Lee Lewis, and especially Elvis Presley, among others, that forever enshrined the label in popular music history. To mark the label’s anniversary, a wide variety of albums are being reissued on 180-gram vinyl and in most cases have been curated by Chris Isaak. The albums are also very affordably priced, with beautiful era packaging.

A great place to start for the novice is Sun Records’ 70th Anniversary Compilation, Vol. 1. The album is curated by Chris Isaak and includes his liner notes. This album gives a fine overview of groundbreaking, legendary, and popular Sun artists, including the aforementioned, along with Johnny Cash, Patti Page and others. Staples of the foundation of rock ‘n’ roll are here, such as “Mystery Train” from Little Junior’s Blue Flames and “Breathless” by Jerry Lee Lewis, along with country classics like “I Walk the Line” and “Folsom Prison Blues” from Johnny Cash. The album does not include any of the music Elvis recorded for Sun, which occurred before he signed with RCA.

Other than maybe Johnny Cash, the Sun artist whose career lasted the longest was Roy Orbison. Orbison’s voice and the accompanying production have made his recordings some of the most beloved in popular music history. His rebirth and eventually joining the Traveling Wilburys attest to his timeless music and the respect he commands among musicians. The Original Sound, released in 1969, is one of Orbison’s more obscure albums, but it includes such classics as “Ooby Dooby.” While the album came at a stage in his career when the hippie rock culture was ascending and his influence and popularity were waning, it’s still an excellent album and one worthy of such a well-conceived reissue. This reissue includes liner notes by Orbison’s son Alex.

Like Roy Orbison, Carl Perkins had a long career and his influence on other musicians is incalculable. George Harrison of The Beatles was heavily influenced by the way Perkins played guitar. Perkins is perhaps the most important rockabilly artist in popular music history. Perkins was also a member of the famed Million Dollar Quartet, with Elvis, Cash, and Lewis. The King of Rockabilly is a collection of his hits, including an alternate version of “Honey Don’t,” famously covered by The Beatles. “Matchbox” and “Blue Suede Shoes,” also covered by The Beatles, are  included here as well. This reissue includes liner notes by Carl’s son Stan Perkins.

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Graded on a Curve:
Tyrannical Vibes

Kolb is the bedroom pop project of one Michael Kolb, who’s stepping out from his long term role as touring member of the electro-pop outfit Water From Your Eyes to deliver a trim nine-song set, issued by the Ramp Local label, out digitally on September 30, with vinyl due on October 21. Catchy and substantial even as the music’s bedroom origins are quickly ascertained, Tyrannical Vibes welcomes help at the microphone from fellow Brooklynites Ani Ivry-Block (of Palberta), Carolyn Hietter and others as Kolb plays guitar, bass, keyboards and more.

In terms of fidelity, Tyrannical Vibes is crisp and vibrant, with Kolb earning the bedroom pop descriptor through the nature of the song’s construction. It’s pretty clear the nine cuts are not the byproduct of a band, even as the thrust is multidimensional and full. Opener “Cruising” begins in the choppy-quirk zone but makes a slick transition into strum mode (with an undercurrent of power pop, even) as Kolb’s Princely falsetto binds it all together.

One of the record’s strong points is that Kolb doesn’t always take the vocal lead. It’s Carolyn Hietter’s voice up front in “I Guess I’m Lucky,” which leans into the sophisto side of gal-sung indie pop while keeping tabs on the strummed string angle, and with Hietter’s brief sax solo an added treat as Kolb enunciates up a storm in the backing spot.

It’s Ani Ivry-Block singing on “Internal Affairs,” a decidedly electro-pop-inclined cut, although appealingly urgent and artily pulsating, or put another way, lacking in clichéd moves. And Ivry-Block’s delivery is warm and full and human. From there, Kolb sings lead on both the densely layered “Jean-Luc,” which lyrically references the cornerstone Nouvelle Vague director Jean-Luc Godard (RIP), and on “Ectoplasm,” where the driving electro-pop feel of “Internal Affairs” is combined with some bell-like tones, outbursts of raw guitar, and Kolb’s vocal alternating between a new wave croon and agitated post-punk shouts.

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Graded on a Curve:
Shaun Cassidy,

Celebrating Shaun Cassidy on his 64th birthday.Ed.

If David Bowie was so weird, how come former teen hottie Shaun Cassidy’s cover of “Rebel Rebel” on his 1980 LP Wasp makes the Bowie original sound so … tame? Sure, Bowie’s half-pooch self on the cover of 1974’s Diamond Dogs is what you might call weird even though his dog dick’s been airbrushed out, but Shaun doesn’t have to resort to such gimmickry–he looks just like his White Anglo-Saxon Protestant (as in WASP!) self on the cover of Wasp, although he seems understandably nervous cuz he’s got a stinging insect on his face.

Often derided as a last ditch effort to resuscitate Cassidy’s moribund career, Wasp was produced by Utopian Todd “I’ll produce something/anything” Rundgren, who might have turned the album into a New Wave Bubble Freak masterpiece. Unfortunately, Sir Wizard and True Star stopped short at “Rebel Rebel” (more about which later), and filled the rest of the LP with what are largely workman-like covers of largely pedestrian material.

Wasp includes three Utopia songs–exactly three more, if you do the math, than any sane listener wants to hear. None deviate much from the originals, which is to say they’re once, twice, three times redundant, which in corporate terms means they’d be given severance packages and shown the door. Except wait: the title track is fascinating indeed: Shaun shouts “Hey cowboy, didn’t you used to be a faggot bartender in the West End?” (the lyric sheet reads “packy back” but I know homophobia when I hear it ), then confuses New Wave with punk (“You’re looking mighty New Wave/I hardly recognize you with that shish kabob through your face.”) In short it’s a hoot, in large part because it betrays poor Todd’s complete ignorance of current events.

The other two Rundgren tracks are useless: on “Selfless Love” Cassidy gets his heart broken and threatens to jump off a mountain, which is a pretty selfless thing to do if you ask me. “Pretending” gives Shaun the chance to get all theatrical, and gives the impression he’s auditioning for a role in Cats.

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Graded on a Curve: Andrew Cyrille, Elliott Sharp & Richard Teitelbaum, Evocation

Evocation documents a 2011 performance held at the NYC music space Roulette, organized by curator-vocalist Thomas Buckner as part of his long-running Interpretations series at the venue, that brought together Andrew Cyrille on drums and percussion, Elliott Sharp on 8-string guitarbass, bass clarinet, and electronics, and Richard Teitelbaum on piano, computer, and sampler. The brilliant and unpredictable results of this creative meeting are out September 30 on compact disc in a six panel wallet and on cassette tucked into a wraparound paper sleeve through the auspices of the Infrequent Seams label.

Even over the long span of decades, it’s easy to pinpoint how I first heard Andrew Cyrille. ‘twas Unit Structures, pianist Cecil Taylor’s 1966 masterwork for the Blue Note label, which I purchased in ’89, shortly after graduating from high school, on CD, as vinyl was rapidly disappearing in most suburban record stores at that point. Gripping and beautiful, Unit Structures served as my gateway into dozens of Cyrille’s recordings, including a bunch more with Taylor.

There was also Cyrille’s input on Charlie Haden’s Liberation Music Orchestra for Impulse from ’69, Marion Brown’s Afternoon of a Georgia Faun for ECM from 1970, plus Grachan Moncur III’s New Africa and fellow Taylor alum Jimmy Lyons’ Other Afternoons, both released in ’69 as part of the BYG Actuel label’s rapid-fire burst of avant-freedom.

Of Evocation’s three participants, Cyrille has the deepest ties to jazz tradition, having debuted on record in support of the great saxophonist Coleman Hawkins on The Hawk Relaxes, recorded in 1961 and released by Prestige subsidiary Moodsville. However, Cyrille’s albums as leader or co-leader are obviously more representative of his approach, starting with debut What About?, an LP of consummate solo drums released as part of the BYG Actuel series mentioned above.

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Graded on a Curve:
Bryan Ferry,
Live at the Royal Albert Hall 1974

Celebrating Bryan Ferry on his 77th birthday.Ed.

Bryan Ferry’s solo discography commenced in deceptively lowkey fashion with a pair of covers albums in 1973-’74. The setlist for BMG’s Live at the Royal Albert Hall 1974 draws from those records as it showcases the man’s sturdy, distinctive pipes and equally unique interpretive skills plus a killer band including guitarist Phil Manzanera, guitarist-musical director John Porter, pianist-violinist Eddie Jobson, bassist John Wetton, drummer Paul Thompson, and saxophonist Chris Mercer. 

An eternally sharp dresser with an erudite croon, Bryan Ferry can be synopsized as the high priest of chic. However, the sheer brevity of this designation ignores the atypical and occasionally downright oddball aspects of his personality; the art-school (big on Duchamp, he was), the art-rock (bandmate of Eno, he was), the smoky late-night lounge (a persistent component in his image, it was), the jetsetter (ditto), the student of pop (as revealed in numerous interviews and journalistic portraits over the years). All are traits that have fortified his work both with Roxy Music and as a solitary operator.

If you know Bryan Ferry’s solo debut These Foolish Things and its follow-up Another Time, Another Place, then you’re already hip to what transpires on Live at the Royal Albert Hall 1974. With the exception of “A Real Good Time,” a Ferry original from Roxy Music’s Country Life (released roughly a month prior to this performance), all the songs are drawn from his first two, and the only other non-cover is the title track from his second.

If you don’t know those records but do know Ferry, perhaps picking up the career thread at Roxy’s Siren (with its big hit single “Love is the Drug”) or maybe having just absorbed a latter portion of his long tenure as the Svengali of suavedom, this archival set needs a little contextualizing. Because for some, the contents, at least as represented on those solo LPs, inspired some head-scratching.

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Graded on a Curve:
Deep Purple,
Concerto for Group
and Orchestra

I guess you had to be there. You should be glad you weren’t there. If you’re not glad you weren’t there you should schedule an appointment with a psychiatrist immediately. She won’t be able to help you, but she will take your money and urge you to come back so she can take more of your money.

The “there” I’m talking about was the Royal Albert Hall in September 1969, where Deep Purple collaborated with the Royal Philharmonic Orchestra on a concerto composed by organist Jon Lord with lyrics written by vocalist Ian Gillan. I will state from the outset that said collaboration was more than just a misbegotten child—it was a harbinger of worse to come from the likes of Procol Harum, Rick Wakeman, and Caravan. Deep Purple have a lot to answer for.

Rock music was moving in a classical direction at the time, a trend that would ultimately leave us cringing to the neo-classical abominations of Wakeman and, God help us all, Emerson, Lake & Palmer, who dispensed with the live orchestras in favor of their own adaptations of classical chestnuts. But Deep Purple were the first, the pioneers of pomp and circumstance, and hence occupy a place of honor in the Museum of Musical Monstrosities.

The Concerto for Group and Orchestra is composed of three movements, or four too many in my opinion. You get exactly what you’d expect, pretension piled upon pretension to create a veritable mountain of pretension you’d be a fool to scale without harness, carabiners, and jackhammer-grade ear protection.

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TVD Radar: The Dave Clark Five, All The Hits–The 7” Collection in stores 10/28

VIA PRESS RELEASE | Legendary group The Dave Clark Five announce All The Hits – The 7” Collection, a brand new 7” vinyl box set collecting some of the band’s biggest selling records, available 28th October via BMG. Pre order here.

All The Hits’ – The 7” Collection is the definitive selection of their biggest selling singles including “Glad All Over,” “Bits & Pieces,” and “Do You Love Me,” This new release of ten double-sided vinyl singles in picture bag sleeves was remastered by Dave Clark at Abbey Road Studios in London, and stands as a testament to the enduring popularity of the group.

Dave Clark says of the reissue, “Everyone knows that the 1960s music explosion really happened on the seven-inch vinyl disc spinning at 45rpm. So, for me it felt right to go back into Abbey Road Studios and remaster the DC5’s biggest hits from music’s most thrilling decade onto the original vinyl discs—20 individual hits on 10 double A-side singles in original picture sleeves. It all brings back the fun and excitement we had back then recording these tracks, and I hope you enjoy them too.”

Formed in the early 1960s, five working class lads from Tottenham, North London came together to become The Dave Clark Five (The DC5). Founded by one of the UK’s most prolific and celebrated musicians, songwriters and producers Dave Clark, the 5-piece consisted of Clark (drums), Mike Smith (vocals, keyboard), Lenny Davidson (guitar), Denis Payton (saxophone), and Rick Huxley (bass).

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