Lee "Scratch" Perry's eccentric persona often obscures the incredibly innovative approaches he brought to Jamaican music, and his kitchen-sink recording methods likewise cloak the very real vision behind his one-of-a-kind creations. Perry is quite simply reggae's one true auteur, and no matter who is singing or playing at a Perry session, the finished result is all Scratch. This two-disc set, Dubstrumentals, collects three mid-'70s Perry dub albums, Kung Fu Meets the Dragon, Return of the Wax, and Vin Gordon's Musical Bones (all three were released in the U.K. in 1975). Perry's legendary Black Ark Studio was up and running by this time -- it had become more or less operational at the close of 1973 -- and he was just beginning an amazing run of productions. Kung Fu Meets the Dragon benefits mightily from the presence of Augustus Pablo on melodica, which gives it all a vaguely Far Eastern vibe, and the sequence flows like nothing so much as the soundtrack to some long-lost Jamaican spaghetti western. Sound unlikely? Welcome to Scratch country. Return of the Wax was originally released as a limited-edition, white-label LP, and it is less dub proper than it is a deep, dense drum'n'bass set. Musical Bones is actually a sequence from Jamaican trombonist Vin Gordon (with Perry producing), featuring Gordon and friends fleshing out classic reggae rhythms with jazz structures and phrasing. Among the standout tracks on this double-disc reissue are the almost polka-sounding "Scorching Iron" from Kung Fu, the odd musical wisdom of "One Armed Boxer" from Wax and the weird, spooky "Licky Licky," complete with drunken-sounding trombone, from Bones. The real gem here, though, is a bonus track, an amazing and singular version of "House of the Rising Sun" done up as only Perry can do it as "Ark of the Rising Sun." Perry is often as much irritating as he is entertaining, but there is an undeniably strong vision at work here, and once you've surrendered to its joyful, surreal lunacy, a wonderful and wild world emerges, a sort of mirror image of the one you expect.
In 2018 Kinobe released their first album in 9 years - Golden Age. Lead single ‘Little Words’ might just be one of the tunes of year, a Donny Hathaway-esque, soulful slice of too-slow-to-disco that nods towards 60s hipster groovy. At once instantly familiar and brand new, a heartfelt three-and-a-half-minute pop-dance floorfiller – with a hook once heard, never forgotten. Elsewhere the Stephen Hague mixed ‘End Of The Road’ is a huge gospel-tinged ballad destined to own daytime radio, ‘Skyhigh’ is a gorgeously haunting sundowner, ‘Heartstring’ is all cosmic soundtrack strings while ‘Sunray’ is Kinobe at their very best, with its irresistible hooks, washes of melody and downtempo beats.
Lee "Scratch" Perry's eccentric persona (he's either crazy as a loon or crazy as a fox) often obscures the incredibly innovative approaches he brought to Jamaican music, and his kitchen-sink recording methods likewise cloak the very real vision behind his one-of-a-kind creations. Perry is quite simply reggae's one true auteur, and no matter who is singing or playing at a Perry session, the finished result is all Scratch.
This two-disc set collects three early Perry dub albums, Cloak & Dagger (recorded in 1972, but released in 1973), Blackboard Jungle Dub (originally called Rhythm Shower and also released in 1973), and Revolution Dub (1975). Put together like this, the triptych shows a clear development of Perry's unique version of dub, from the mostly pure backing track instrumentals of Cloak & Dagger through the early restructurings, complete with sound effect additions, to the very beginning of Perry's famous Black Ark sound on Revolution Dub. That it all fits together like multiple pieces in one crazy quilt is a tribute to Perry's singular touch. From the gorgeous soul meets reggae meets jazz feel of "Hail Stone" through the brassy "Jungle Lion," the thundering "Black Panta," and the odd, spooky "Bush Weed," everything here is fascinating, a sort of avant-garde dub jazz, and given Perry's frequent spoken interjections, a strange kind of Jamaican beat poetry emerges. Only Scratch could (or would) spin a track off of the melody to "Pop Goes the Weasel," as he does in "Jungle Jim," and make it stick.
Again, whether Perry is crazy as a loon or crazy as a fox, there is a strong vision at work here, and once you've surrendered to its joyful lunacy, a wonderful and wild world emerges, a sort of mirror image of the one you expect. (AllMusic)
Small Faces - 2014 - Here Come The Nice (4CD) @320
The legendary British mod rock band Small Faces’ recording career was split into two distinctive periods. From 1965 until 1967 the band, managed by Don Arden and signed to Decca Records, spent the majority of time performing live and recording sessions were sporadic and time in the studio was limited. However, from 1967 until disbanding in 1969 the group was signed to Andrew Loog Oldham’s Immediate Records label and studio time was virtually unlimited. Guitarist/vocalist Steve Marriott, bassist/vocalist Ronnie Lane, keyboardist Ian McLagan and drummer Kenney Jones took full advantage of the extended studio time, evidenced by all the unreleased material included in this marvelous box set.
“Here Come The Nice” marks the second 4 CD box set dedicated to Small Faces’ Immediate recordings, the first, also on the Charly label, being 1995s “The Immediate Years” compiled by Phil Cohen and containing every track the band released on the label in Germany, the US and the UK, 86 tracks in all. The box sets compliment each other incredibly well as the new release concentrates mainly on previously unreleased material, all 34 tracks on discs two and three making their debut here, a huge addition to the Small Faces catalog indeed.
But, I’m getting ahead of myself. Disc One contains the mono single mixes of all ten singles released on the Immediate imprint, beginning with this set’s title track from 1967 and ending with the 1969 tour de force, “Afterglow Of Your Love”, released posthumously, Steve Marriott having left the band to form Humble Pie with ex-Herd guitarist/vocalist Peter Frampton. Of the ten singles, six made the UK top 40, with three making the top ten: “Itchycoo Park” (#3, and at #16 the only Small Faces single to chart in the US), “Tin Soldier” (#9) and “Lazy Sunday” (#2). Small Faces’ Immediate singles were consistently strong and unlike their Decca counterparts were all band originals, written by the team of guitarist/vocalist Steve Marriott and bassist/vocalist Ronnie Lane. Particularly memorable to American listeners is the trippy, phased “Itchycoo Park” a real psychedelic gem. “Here Come The Nice” follows the drug theme, written about the group’s amphetamine connection. Marriott’s guitar work is consistent throughout, but particularly interesting on tunes such as the classic “Tin Soldier” and my personal favorite the amazing “Afterglow Of Your Love”. With twenty tracks and a run time nearing an hour, disc one is an incredible introduction of things to come.
Discs Two and Three contain nothing but previously unreleased material, 34 tracks total, an honest to goodness treasure trove for collectors and fans alike. Ranging from first takes of later finished tunes like “Green Circles” and “Wide Eyed Girl On The Wall” to alternate mixes of “I Can’t Make It”, “Wham Bam Thank You Man”, “Penny Rides A Penny A Glass” and “Red Balloon”. There are alternate takes on tracks like “Collibosher” “Wide Eyed Girl” and “Call It Something Nice”. Tracking sessions for never issued songs are included giving the listener a hint of what could have been on tunes such as “Anything”, “Wit Art Yer” and “Doolally”. Backing tracks like “All Our Yesterdays”, “Fred” and “Jack” while not finished products prove quite interesting even in instrumental format. An early mix of “Lazy Sunday Afternoon” offers a look inside the band’s songwriting technique. While the run times on these two discs may be relatively short, the presence of previously released songs such as “Fred”, “Mind The Doors Please” and “Jack” make this set absolutely essential for fans of Small Faces, mod rock and psychedelic rock.
Disc Four collects alternate and out-takes along with the five live tracks posthumously released on “Autumn Stone” in the UK and “In Memoriam” in Germany. Stereo mixes of single tracks “Itchycoo Park”, “Here Come The Nice” and “I’m Only Dreaming” released originally on “There Are But Four Small Faces” get things going. The band’s song building is displayed on take 2, alternate mixes of “Eddie’s Dreaming” and “(Tell Me) Have You Ever Seen Me”. Of particular interest is an alternative mono single version of “Afterglow Of Your Love” presented at the original LP speed, the original single having been deliberately speeded up. Mono versions of “Me You And Us Too”, “Don’t Burst My Bubble” and (If You Think You’re) Groovy” credited to The Lot-P.P. Arnold & The Small Faces sound ready made for AM radio. Alternate mixes of “Piccanniny”, “Up The Wooden Hills To Bedfordshire” and “Get Yourself Together” vary sufficiently from the released versions to prove quite interesting. The disc closes with the five live tracks, recorded at Newcastle City Hall in late November, 1968 and released on “Autumn Stone” and “In Memoriam”. They have been corrected for speed and have had some of the audience screaming, added in 1969 at Pye Studios, removed. High energy stuff and a perfect way to end the set! (PsychadelicBabyMag)
Box of vibes number 48 is here, we start this week with my (Reb) tracks from 1 to 8, then Andy's tracks are in the middle section from 9 to 16, then Concha's selections close this week with her tracks from 17 to 24. It's the normal mix of genres and decades, including alternative and cover versions.
2004 - Faces - Five Guys Walk Into A Bar (4CDs) @320
There has never been a better box set than the Faces' Five Guys Walk into a Bar.... There has never been a box that captures an artist so perfectly, nor has a box set taken greater advantage of unreleased and rare material, to the point where it seems as essential and vital as the released recordings. Simply put, there's never been a box set as necessary as this, since it tells the band's entire tale and explains exactly what the fuss is all about. Unfortunately, some explanations are in order, since the Faces never made it big, resigned to cult status in America and Britain alike. Nevertheless, if you love rock & roll with an all-consuming passion, you may consider the Faces the greatest rock & roll band ever. And you'd be right. Other bands were certainly bigger and plenty wielded a stronger influence, but the Faces were something unique, an endearingly ragged quintet that played raw, big-hearted rock & roll as hard as the Rolling Stones, but with a warm, friendly vibe that would have sounded utterly foreign coming from the Stones. At the turn of the '60s, that warmth was unusual in rock & roll, since most of the big bands were larger than life; even the Kinks, the quaintest and quietest of the titans of the late '60s, had a theatrical bent that lent them a mystique.
In contrast, the Faces were utterly without mystique. They were unpretentious to a fault, coming across like the lovable lads from the neighborhood who were always out for a good time, whether it was before, during, or after a gig. They were unassuming and mischievous, with their raggedness camouflaging a sweetness that flowed throughout their music; they were charming rogues, so endearing that even the infamously cranky, trendsetting British DJ John Peel had a soft spot a mile wide for them. That raggedness resulted in exhilarating music, but also made the Faces inconsistent on-stage and in the studio. At their peak, nobody could touch them, but even their greatest albums were sloppy, never maintaining their momentum. They would also throw away great songs on non-LP singles, and their live performances -- including BBC sessions for Peel -- often had a raucous energy not quite captured on their albums. All of these elements taken as a whole add up to a great band, but no single album, not even the first-rate 1999 compilation Good Boys When They're Asleep, captured each of these elements.
Five Guys Walk into a Bar... does. Produced and sequenced by their keyboardist, Ian McLagan, the set throws all conventional rules of box sets out the window. It's not assembled in a chronological order. A grand 43 of its 67 tracks are non-LP cuts and rarities, including a whopping 31 previously unreleased tracks. It has all the B-sides never released on CD. Several songs are repeated in alternate live or studio versions. Such a preponderance of rarities would usually mean that a box set is only for the devoted, but that's not the case here -- these rarities are the very reason why Five Guys Walk into a Bar... succeeds in a way none of their original albums do, since they fill in the gaps left behind on their four studio albums. This does mean that it features several Rod Stewart solo cuts that worked their way into the Faces' repertoire (partially because the band backed him on his solo albums, too), but that was an important part of their history (plus, the BBC version of "You're My Girl [I Don't Want to Discuss It]" is blistering hot), and while this showcases Stewart at his best -- he never was better than he was in the early '70s, whether it was fronting the Faces or on his solo records -- he never overshadows his mates on this box.
The focus is on the band as a whole, which means that the spotlight is shone on the late, perpetually underappreciated Ronnie Lane numerous times on each of the four discs, and that Ronnie Wood has his turn at the microphone on a wonderful live "Take a Look at the Guy." McLagan's song sequencing may appear to have no logic behind it, since it doesn't group recordings together by either era or scarcity, yet his seemingly haphazard approach makes musical and emotional sense, flowing like a set list yet remarkably maintaining momentum through its four lengthy discs. While it may sound like hyperbole, there's never a dull moment here, not a bad track among these 67 songs -- it's consistent in a way the Faces never were when they were together. It's a joyous, addictive listen, too. It sounds like a party, one where everybody's invited and where the music doesn't stop playing until the break of dawn. That makes a perfect tribute for a band that never got the respect they were due, and never made the great album they should have made. With Five Guys Walk into a Bar..., the Faces finally have that great album and not just that, they have a box set that's as infectious and satisfying as any classic rock & roll album and a box set that's quite possibly the greatest box set ever made. Plus, it's just one hell of a good time. (AllMusic)
2024 - The Cure - Songs Of A Lost World (Deluxe Edition) @320
Robert Smith starts at the end for The Cure's first album in 16 years. 'This is the end / Of every song that we sing' is the cheery opening line, and a repeated refrain of 'nothing' closes things some 50 minutes later (the full line is 'Left alone with nothing / The end of every song'). It's safe to say that the godfathers of gloom haven't altered their disposition in the intervening years, and we're all the better for it.
Songs of a Lost World is a true return to the desolate beauty of their 80s heyday. The opening pair of songs, Alone and And Nothing Is Forever, could've fit neatly onto Disintegration with their lengthy introductions (vocals rarely appear earlier than two minutes into any song), the cinematic sweep of the keys and guitar, Smith's languishing laments, the way beauty is eked out of the darkest corners.
Smith wrote, composed and arranged the whole album, something he only did previously on The Head On the Door. And though Songs may be lacking an earworm like In Between Days, the sonic blueprint is just as cohesive as the 1985 classic. The band's collective strengths are brought to the fore on each perfectly constructed ode to grief, memory and impermanence; the plaintive piano of I Can Never Say Goodbye, the screeching guitars of Warsong and Endsong, the martial percussive bounce of Drone:Nodrone.
These songs were written against a backdrop of family bereavement (I Can Never Say Goodbye is as poignant as it is heartbreaking), but Smith's reckoning with time and mortality is never self-pitying. Rather, he can view his nihilistic tendencies in the fullness of experience; love may be a fragile thing, but it's ultimately worth the pain it can cause. (TheSkinny)
2014 - Shuggie Otis – The Very Best Of Shuggie Otis
- 1969-1974 @320
2014 collection from the Rhythm & Blues singer/songwriter. This release spans the years 1969-74 and includes 'Strawberry Letter 23', 'Ahut Uh Mi He'd',' Hurricane', 'I Can't Stand to See one Die' and many more. This a great value compilation of Shuggie's work recorded between 69-74. Strawberry Letter 23 would go on to become a massive hit in 77 for the Brothers Johnson produced by Quincy Jones. Shuggie's original version is awesome. This 18 track compilation comprises the majority tracks featured on his first three albums. The quality is awesome and still sounds great today. The albums must have sounded cosmic when originally released! Unfortunately Otis recordings dried up following this initial burst of creativity recorded in his late teens and early 20's and we can only imagine the stellar career he might have had. A terrific album from a terrific artist at a terrific price. (Desertcart)
Cowboy Junkies - 2022 - Songs of the Recollection @Flac
When the Cowboy Junkies released their first album in 1986, Whites Off Earth Now!!, eight of the nine songs were covers, and their second, the 1988 breakthrough hit The Trinity Session, introduced them to a larger audience with their interpretations of Lou Reed's "Sweet Jane" and Patsy Cline's "Walkin' After Midnight." Recording other people's songs and giving them a sound of their own is deeply ingrained in the Cowboy Junkies' working method, so it's no great surprise that they've chosen to release an album devoted entirely to covers. 2022's Songs of the Recollection features five new recordings of tunes from artists they admire, along with four previously released tracks that appeared on EPs (Vic Chesnutt's "Marathon" and the Cure's "Seventeen Seconds") or tribute albums (Gram Parsons' "Ooh Las Vegas" and Gordon Lightfoot's "The Way I Feel"). This is very much in the tradition of what we've come to expect from the Cowboy Junkies in the year 2022, and that is not at all a bad thing.
As a singer, Margo Timmins has learned to adapt her understated murmur to a wide range of moods and melodic frameworks, and she's consistently lovely here, especially in her rueful takes on David Bowie's "Five Years" and Neil Young's "Love in Mind." Guitarist Michael Timmins has a gift for weaving expressive dissonance and electric accents into the folky vibe common to their performances, and the overdriven finale of "Five Years," the sudden showers of fuzz in Neil Young's "Don't Let It Bring You Down," and the reverb-enhanced feedback on "Ooh Las Vegas" attest to his status as an unsung hero of noise guitar. And the rhythm section of bassist Alan Anton and drummer Peter Timmins are reliable in their excellence, knowing when to rise and fall with the mood of the songs and giving Margo and Michael just the right sort of musical support.
In many respects, the Cowboy Junkies have changed very little over the course of 35-plus years, but Songs of the Recollection presents that as a virtue. This band have maintained a creative vision that's served them beautifully, and their commitment to the power of dynamics and finding the details of a song by leaving room to ponder the details and textures has led them to write some great material and also find unexplored landscapes in the work of other tunesmiths. Songs of the Recollection captures them doing the latter with grace and intelligence. (AllMusic)
So here is the latest Box Of Vibes, our multi decades, multi genre mix of tracks for your enjoyment. It includes cover versions and alternative versions.
Box 47 starts with tracks selected by Concha from 1 to 8, followed by my (Reb) tracks from 9 to 16, then Andy closes the Box with his tunes from 17 to 24.
Given Lila Iké’s popularity in the reggae music scene, it’s hard to believe the newly released Treasure Self Love is her debut full-length album. Fans have been understandably giddy over the singer since 2020’s The ExPerience EP put her on the path to worldwide stardom. Still, when an artist has so much hype, disappointment can feel inevitable. Thankfully, that’s not the case here, as Treasure Self Love is further proof that Iké is the real deal (not that we needed any).
The album features several notable collaborations, and each of them perfectly amplify Iké’s distinctive talents. Joey Bada$$ brings playful energy to “Fry Plantain,” while Maverick Sabre lends warmth to “All That and More.” Perhaps the most daring track is “He Loves Us Both” with H.E.R., an engaging tune that finds two female powerhouses joining forces in to great success.
For an artist that has quickly been hailed as reggae’s next superstar, Iké also exudes respect for the genre’s trailblazers. Her fantastic cover of Patra’s 1993 classic “Romantic Call” – here called “Romantic” – is a thoughtful nod to dancehall history. Likewise, “Love in a Lovely Way” cleverly intertwines Garnett Silk’s “Place in Your Heart,” managing to be both fresh and nostalgic at the same time.
Throughout Treasure Self Love, Iké blends a variety of influences. Yes, reggae is at the heart of everything, but soul, R&B, and hip hop also factor into her sound. The singer also showcases songwriting talent well beyond her years, displaying strength, vulnerability and power within her lyrics.
During a recent conversation with Grammy.com, Iké described Treasure Self Love as “a journey of learning to love myself, understanding that each and every one of us should be able to treasure ourselves and value ourselves.”
“Every time I make music, every time I get to another level, every time that I’ve ticked off an accomplishment or overcome a particular milestone, it’s just a reminder to just continuously evolve,” she continued, “to continuously work on getting better and especially to just learn myself because you really don’t know what you’re capable of until you do it.”
Treasure Self Love is proof that the journey — and the evolution — was well worth the wait. (The Pier)
Box 46 and Andy's turn to start with his selections from 1 to 8. Then Concha's tunes and next in the middle from 9 to 16, and finally my (Reb) tracks to close this weeks box, from 17 to 24.
The Undertones - 1986 - Cher O'Bowlies (The Pick of the Undertones) @320
A definitive collection from The Undertones, Cher O’Bowlies gathers the band’s most iconic tracks into a single, high-energy compilation. This 1987 CD features the raw, catchy power-pop and punk spirit that made them legends of the late ’70s and early ’80s, blending infectious hooks with witty, relatable lyrics.
From the timeless anthem Teenage Kicks to the clever storytelling of My Perfect Cousin and the summery joy of Here Comes The Summer, this compilation captures the band at their most memorable. Essential for fans of punk, new wave, and classic power-pop, it’s also a perfect introduction for newcomers discovering one of Northern Ireland’s most enduring musical exports. (Sounds-Grounds)
Produced by Clive Hunt and recorded at legendary producer Lee ‘Scratch’ Perry’s studio, this set delivers deep roots and strong Black Ark's sound with Leroy ‘Horsemouth’ Wallace on drums, Robbie Shakespeare on bass, Earl ‘Chinna’ Smith and Michael Chung on guitars and Augustus Pablo on Keyboards and melodica.
A great reissue with top roots vocals and harmonies in the rasta vocal trio tradition, congos stylee !
Original LP plus bonus tracks (including Lloyd Robinson's Cuss Cuss!) (Soul Jazz Records)
This compilation provides an excellent overview of John Renbourn's recording career up to The Hermit (1976), showcasing his ability to balance tradition and studied technique with an innovative, adventurous sensibility. Jesse Fuller, Big Bill Broonzy, and Ramblin' Jack Elliot were among Renbourn's earliest muses, inspiring folk-blues explorations like the Appalachian tune "Winter Is Gone," from his 1965 self-titled solo debut. In addition to American music, Renbourn also drew on the sounds of Alexis Korner and Davey Graham; their influence began to manifest itself particularly on his 1966 record with Bert Jansch, Bert and John, which blended folk and blues with jazz. The guitar duets from that release appearing on the present compilation nicely capture what critics called Renbourn and Jansch's "folk Baroque" sound. The collaboration with Jansch led to the formation of the Pentangle and Renbourn's Another Monday (1966) featured his first recordings with that band's eventual singer, Jacqui McShee; of these, "Can't Keep From Crying" is included here. The medieval and Renaissance orientation of 1968's Sir John Alot of Merrie Englandes Musyk Thyng and Ye Grene Knyghte proved influential among new age Celtic musicians; however, that album is represented by a more bluesy track featuring African percussion, "Sweet Potato." Renbourn's sitar playing brings non-western nuances also to "The Cuckoo," from Faro Annie (1971). That record saw him revisit his folk-blues roots, re-enlisting an old collaborator, American gospel singer Dorris Henderson, whose vocal contributions help make "White House Blues" one of this collection's standouts. As a selection of work from 1965 to 1976, which also includes several Pentangle tracks, The Best of John Renbourn offers a solid introduction to his music. Above all, it attests to Renbourn's range as a writer and a performer, making the inadequacy of the catchall tag "folk guitarist" very apparent.
