Saturday, September 16, 2017

Hear Lost Acetate Versions of Songs from The Velvet Underground & Nico (1966)

by , Open Culture: http://www.openculture.com/2013/01/hear_newly_released_material_from_ithe_velvet_underground_nicosi_lost_acetate_version_1966.html



While the first Velvet Underground album may only have sold 30,000 copies, everyone who bought one started a band. You know, if you have even a faint acquaintance with rock history, that that well-worn observation comes from producer, artistic innovator, and "non-musician" musician Brian Eno.

And whether you could get into it or not, you've no doubt heard at least parts of that first album, The Velvet Underground & Nico, the 1967 release that brought together such soon-to-be rock luminaries as Lou Reed, John Cale, and the titular German vocalist/Warhol Superstar Nico.

The whole album, in fact, appeared under Warhol's aegis, and like most works associated with him, it tends to push opinions far in one direction or the other. The Velvet Undergound & Nico may still move you to found a rock band - or to scrap your interest in rock altogether - 45 years after its first release.



I refer to the record's "first release" because it's recently undergone a couple more, both of which originate in a version never even intended for market. "In 2002, a fellow paid 75 cents at a New York City flea market for a curious acetate recording of the Velvet Underground," reports Boing Boing's David Pescovitz.

"Turns out, the acetate contained early recorded takes and mixes of songs in different form." That man had stumbled upon the coveted Scepter Studios acetate version of the album that launched 30,000 bands, bootleg files of which soon began circulating on the net.

The acetate received a legitimate release last year as part of The Velvet Underground & Nico's "45th Anniversary Super Deluxe Edition," and you can hear cuts from it, like "Heroin" at the top of this post and "All Tomorrow's Parties" just above. For Velvet Underground purists, of course, only hearing the acetate disc itself will do. They'll have a hard time doing so - it last changed hands for $25,200 - but luckily they can now get at least one step closer with its brand new vinyl release.

Monday, August 28, 2017

Live Yardbirds Tracks Coming Home to Roost

Yardbirds live recording
No bull: The long-lost Yardbirds live recording of 1968 is making a comeback.
Due Nov. 5, “Yardbirds ’68” contains the Anderson Theatre recordings of late March 1968. That NYC set — complete with bogus audience cheers reputedly taken from bullfights — was released in 1971 as “Live Yardbirds: Featuring Jimmy Page” and later withdrawn after protests from group members.
“Yardbirds ’68” also contains eight “studio sketches” tracks from the period.
The new 18-track album was produced by Jimmy Page. The mastering is credited to John Davis, who worked with Page on the Led Zeppelin remasters of several years back.
The Anderson Theatre songs are highlighted by “Dazed and Confused” — the famed psychedelic Led Zeppelin track developed while Page was a Yardbird — as well as his guitar instrumental showcase “White Summer,” a number also shared by the two bands.
Other live tracks include “Train Kept A Rollin,'” “Over Under Sideways Down” and an expanded “I’m a Man.” (“Dazed and Confused” was mistitled “I’m Confused” on the original live album.)
The lineup remained the quartet from “Little Games,” the last studio album. Attempts to record another album for Columbia fizzled and the hitmaking British band broke up in the summer of 1968.
A statement from Yardbirds survivors Jim McCarty, Chris Dreja and Page reads: “We thought this might be lost forever, but we’ve rediscovered it, remixed it. It’s of great historical importance. We’re delighted to see the release.” (Singer Keith Relf, the fourth member of the 1968 Yardbirds, died eight years later.)
“Yardbirds ’68” debuts on double CD, vinyl at standard pricing — and in a pricey “Signed Deluxe Edition” with signatures of Page, McCarty and Dreja. The signed collector’s version goes for just north of $500. So far, the album is only available for preorder on Page’s British web site
The new album, alas, comes without James Grashow’s beloved woodcut of a bird above New York City (above, right). That cover has been replaced by a psychedelic painting featuring the Yardbirds logo that retains the purple color scheme (top).
The spring of 1968 found the Yardbirds in a strange place. The group’s last attempt at a single, “Goodnight Sweet Josephine,” flopped. Guitarist Page wanted to continue with the psychedelics of late-period Yardbirds tracks such as “Happenings Ten Years Time Ago.” Relf sought a classical-folk fusion. And audiences demanded the hits such as “Heart Full of Soul.”
When the Yardbirds played the Anderson, they already had decided to break up. They played their last show a few months later in L.A.
Page, particularly, objected to Epic Records’ two releases of the “Live Yardbirds” album, which was perceived as a cash-in on the success of his Led Zeppelin. After a 1976 revival of the live album by Columbia Special Products, Page reportedly took legal action and had album materials destroyed or returned to the band. Both versions of the live album remained collector’s item for decades and were heavily bootlegged. The post-production shenanigans such as the bullfight cheers are attributed to the poor original recording done at the Anderson. Those adds-on do not appear on the source tapes and will not be heard on the new album.
The “Yardbirds ’68” studio tracks mostly feature drummer McCarty on vocals, as singer Relf was fading from the band at that point. The producer was Manny Kellem (“Love Is Blue”), who apparently recommended the project be abandoned. Some of the studio tracks surfaced in rough mixes on the (since withdrawn) Yardbirds odds-and-sods album “Cumular Limit” of 2000, although the latest versions may differ and almost certainly will benefit from improved sonics.
The studio tracks:
  • Avron Knows
  • Spanish Blood
  • Knowing That I’m Losing You (Tangerine)
  • Taking a Hold on Me
  • Drinking Muddy Water (version 2)
  • My Baby
  • Avron’s Eyes
  • Spanish Blood
“Knowing That I’m Losing You” was reworked as “Tangerine” on Led Zeppelin’s third album.
McCarty continues to tour with a version of the Yardbirds. Dreja was a member of 21st century Yardbirds lineups but apparently has retired due to health issues. McCarty’s Yardbirds are expected to release a studio album next year.

Tuesday, August 22, 2017

What Happened To Savoy Brown?

by Jim Farber, Music Aficionado: https://web.musicaficionado.com/main.html?utm_source=email&utm_campaign=WeeklyRecommendations#!/article/what_happened_to_savoy_brown_by_jimfarber

PHOTO COURTESY OF GETTY IMAGES

Savoy Brown has never had a song on the pop charts and none of their albums have ever inched above the top thirty anywhere in the world. Yet, for aficionados of British blues, they hold a unique place. Between 1967 and 1974, Savoy Brown released nearly a dozen notable albums that took a holistic approach to the blues, snaking through an ever-evolving mix of boogie, R&B, jazz, and psychedelic rock.


The story of how those albums came to be contains a drama rife with personality clashes, exacerbated by a pitched resistance to the slickness of pop stardom. Over the years, the band switched line-ups as often as Imelda Marcos changed shoes. Yet their music achieved a consistent quality that deserves a rehearing by anybody who appreciates blues with a hard rocking edge.

Simmonds At The Center

Kim Simmonds - Savoy Brown's stalwart leader, and sole consistent member - rates as one of the most emotive and flexible guitar heroes Britain has ever produced. His love of the blues began after he heard the American pioneers featured in his brother's record collection. "It was the honesty of the music that attracted me," the guitarist said. "There was none of the nonsense of pop. It's simple music, yet at the same time there's great art in it."




Savoy Brown

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Simmonds formed his baby step version of Savoy Brown in 1965, when he was just 18. Their initial line-up featured six players, including harmonica player John O'Leary, and singer Bryce Portius, perhaps the first black musician to be part of a British rock band. The latter hire reflected Simmonds' upbringing in a racially mixed area of South London. In their early gigs, Savoy played the same clubs as Fleetwood Mac, opened for Cream at some of that group's earliest shows and even served as John Lee Hooker's band on a full U.K. tour. Their growing reputation as a live act got them a deal with Decca Records. But by the time they cut their first album, Shake Down, they had already replaced two of their initial players and added a second guitarist: Martin Stone. The band's debut, 'Shake Down', released in September of '67, featured production from Mike Vernon, blues-rock's ultimate go-to guy for his work with John Mayall, Fleetwood Mac, and later, Ten Years After.


Savoy Brown

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Cover versions of classic blues songs ate up their debut, with the exception of one cut written by Stone. From the album's first song, the focus fell on Simmonds' shivering tone and limber leads. Yet only one track gave him room to stretch out, a final 6 minute take on the traditional blues Shake 'Em On Down.

Going On A Firing Spree



Play Album
The band's tentative first-steps necessitated a strong rethink before Simmonds cut album No. 2. Four of the band's six members got pink slipped, leaving only their leader and pianist Bob Hall. (For a blink-and-you-missed-it moment, Savoy had at its drummer Bill Bruford, who went on to great success with Yes). The band's more defining hires turned out to be second guitarist "Lonesome" Dave Peverette, a friend of Simmonds' from childhood, and frontman Chris Youlden. Though he owns one of rock's burliest, and most emotive voices, Youlden lacked the look of a showman. So the band's manager (Simmonds' brother Harry) created an image for him, outfitting the frontman with a distinct bowler hat and a monocle. The unit's debut, Getting To The Point, released in July of '68, bold-faced their reboot with eight original pieces. The slow blues, Flood In Houston, offered a nice showcase for Youlden's inventive vocals, as well as Simmond's intuitive guitar. But a cover track - Willie Dixon's You Need Love -


Savoy Brown

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has intrigued historians most. Youlden's cry of "deep down inside, woman, you need love," later struck some listeners as a precursor to Robert Plant's famous use of those lines in Whole Lotta Love, released one year later. Simmonds believes some of his licks also had an influence on that track. "We did dates with The Yardbirds when Jimmy Page was in the band," Simmonds said. "I wouldn't doubt that he heard some of that material."

Expanding The Blues




Savoy Brown

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Savoy greatly widened their melodic reach on 1969's Blue Matter. The key track, Train To Nowhere, threaded four muted trombones behind Simmons' valiant solo, while the vocal from Youlden nailed the existential pull of the lyric. The band devoted half of the album to live tracks, cut the previous December at a gig which Youlden missed due to a bad case of tonsillitis. His loss gave the band two gains: Guitarist Peverette got to show off his own skills as a vocalist, and the musicians got to stretch out on tracks that lasted up to nine minutes. The concert format re-emphasized Savoy's forte as a live band. Subsequently, the group began to concentrate on touring, particularly in the U.S., where they headlined the Fillmore East and West several times.





Savoy Brown

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Youlden more than compensated for his absence on the live part of 'Blue Matter' by dominating the writing on the first side one of the band's next album, A Step Further, released in late '69. He proved a striking songwriter, even on the instrumental track Waiting In the Bamboo Groove, which was fired by a charging horn section. Again, the second side of the album went the live route, devoting 22 minutes to Savoy Brown Boogie, a fast-paced medley of songs like Chuck Berry's Little Queenie, Hendrix's Purple Haze and even Hernando's Hideaway. It introduced fast and loose boogie to Savoy's usual repertoire of hard and steady blues.

Enter Jazz




Savoy Brown

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The band made an even greater leap on their fifth album, Raw Sienna, resulting in what some see as their studio masterpiece. Released in March of 1970, 'Raw Sienna' seemed to provide a U.K. answer to the jazz-rock trend exploding out of America in bands like Blood Sweat & Tears and Chicago. In fact, Simmonds took his inspiration from Ray CharlesLittle Milton and the classic recordings of Blue Note. The full-bodied horn section, used throughout, added muscle to the best compositions of Youlden and Simmonds' careers. Youlden wrote six songs, including the heartfelt I'm Crying and the sexy Stay While The Night Is Young while Simmonds contributed the emotive That Same Feelin', along with the album's most animated track, Master Hare. A jazz-rock instrumental, "Hare" suggested a caffeinated version of a Dave Brubeck classic. Regardless, the album underperformed on the charts, inching up to just No. 121 in the U.S.



Savoy Brown

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For another blow, Youlden announced right after finishing recording that he was finished with the group as well. "He wanted to go in a more singer-songwriter direction, and I wanted to go more towards the guitar," Simmonds said. Personal problems also contributed to the split. "We didn't get along too well," the band leader said.

Lose One Singer To Discover Another




Savoy Brown

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Luckily, the band had Peverette in their back pocket as a vocalist. More, Simmonds had already written material he knew was among his strongest for a potential follow-up work. Released just seven months after 'Raw Sienna', in October of 1970, the Looking In album not only revealed a new lead singer but a whole new sound. With its tighter, four man line-up, Savoy Brown set its sights on hard rock, giving the music more punch and weight. After opening with a gorgeous solo guitar piece from Simmonds, the band launched into Poor Girl, a titanic rocker that honed the new tone. Peverette, a formerly shy singer, presented a newly assertive vocal style, while Simmonds kept the songwriting level high with the slinky Money Can't Save Your Soul and the jazz-tinged title track. The latter boasted dueling guitars from Simmonds and Peverette that wouldn't be out of place in the Allman Brothers. Together, it gave the band the highest chart score of its career, cracking the American Top 40 for the first, and only time.



Savoy Brown

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You'd think that success would encourage Simmonds to stick with the formula. But, in an exceptionally gutsy move, he challenged the other players to explore something dramatically different for their follow-up. "I wanted to go for a tighter, R&B sound." he said.


When the rest of the band proved ill equipped, or unwilling, to make that change, he fired all of them. The three - Peverette, bassist Tone Stevens and drummer Earle - took some ideas Simmonds had blueprinted and used them to form a new group, Foghat. By buffing up the sound, and simplifying their approach, Foghat became a huge act in the U.S. Their willingness to standardize Savoy's style, offers a key explanation for why they, rather than Simmonds' group, achieved sustained stardom.

Simmonds insists he "was very happy for them. And we remained great friends. I still get a thrill when I hear Slow Rideon a Nike commercial," he said.

The Move To R&B



Hear This Album
A shake-up in a fellow blues band helped the resourceful Simmonds rebound from the three man loss. As it happened, Stan Webb, czar of the Brit blues at Chicken Shack, had just jettisoned three members of his band. Recognizing an opportunity, Simmonds hired every one of them. The new line-up jelled remarkably well, especially with the addition of singer Dave Walker, whose deep voice had some of the throaty command of Youlden. The unit's debut, Street Corner Talking, released in September of '71, made good on Simmonds' goal to bring steely R&B to the blues, evident in a convincing cover of The TemptationsCan't Get Next To You

The song received wide play on FM rock stations as did a catchy original, Tell Mama. Both cuts showcased a slicker, more streamlined production sound.


Savoy Brown

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The groove on 'Street Corner' proved deep enough to inspire a strong restatement on its follow-up, Hellbound Train, released just five months later. The album found a highlight in the nine minute title cut, which remains a part of Savoy Brown's set to this day. The mix of R&B, boogie and blues hit a trifecta with 'Lion's Share', released late in '72. But, like all shades of Savoy Brown, this incarnation wasn't built to last.


By the end of that year, frontman Walker bolted to join the equally peripatetic Fleetwood Mac. His replacement, Jackie Lynton, proved a pale substitute, something the group tried to camouflage by surrounding him with scores of female backup singers on his sole album with them, 'Jack The Toad'. After Lynton left, Simmonds made another ballsy move by hooking up with peer Stan Webb for a double-guitar assault of an album, 'Boogie Brothers' in 1974. After that, Simmonds himself took over the singing, though he never considered himself a top vocalist. Savoy Brown's audience began to taper at that point, a trend which didn't dissuade Simmonds from continuing to lead some version of his brand through all the decades since. Along the way, he has released scores of albums and toured regularly.




The Yardbirds, John Mayall and 16 others

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In the 50 years since Savoy Brown released their debut, they've run through over 60 (!) musicians, with Simmonds serving as their sole through line. "I can be a difficult person," the band leader admitted. "And I don't want to stand still. Once I've climbed a mountain, I want to climb another. If a band weren't willing to do that, I would get another band."


The subsequent roller-coaster ride hasn't deterred Simmonds. For the band's fiftieth anniversary this fall, Simmonds will release yet another new Savoy Brown album and tour to back it. "I have a strong motivation to continue,' he said. "A famous poet once said "the deed can never be done without need.' There's something in me that's gotta come out. Through all of it - the band's changes, the music, and the fifty years - the one tie-in is my guitar playing. That's what keeps it all going."