Bowie’s Masterful ‘Blackstar‘ Shines, Lee Michaels Box Roars & More
David Bowie: Blackstar (Columbia) What may be most impressive about this very fine new David Bowie album is that Bowie sounds as masterful a singer, songwriter and arranger as he’s ever been. And, at 69 years of age–it’s his birthday today–we need not “make allowances” as we have in the past for similar aging icons like Leonard Cohen or Lou Reed who, despite lifelong talent, lost some aspect of their specialness with age. Though there are just seven songs on Blackstar, some of them are very long, none of them sound especially alike, and all of them sound like very prime, adventurous David Bowie. Longtime fans who picked up 1974’s Diamond Dogs when it came out may be reminded of their initial moments with that album, when they looked at its cover, plopped the vinyl on the turntable, and had absolutely no idea what they were about to hear, but suspected it would sound nothing at all like Ziggy Stardust. And of course it didn’t. Ten-minute long album opener “Blackstar,” which we’ve already heard, is a textured, suite-like piece incorporating arrangements that recall the shape of Bowie’s undersung 1979 set Lodger, maybe slightly jazzed up a bit, but there are moments—especially on the fascinating “Dollar Days,” which evokes flashes of the extended bits on the Man Who Sold The World album—that signify nothing so much as David Bowie being really good, right now, in 2016, like he has always been. There is a lot of depth and complexity to absorb here, as there usually is with Bowie, and this will take many more listenings to sink in. But from the very first listening, it sounds very good indeed. And more listenings will come. Good show, sir.
[Related: Career Lessons Learned From David Bowie]
Villagers: Where Have You Been All My Life? (Domino) A great place to catch up with all that is good about Ireland’s wonderful Villagers—which essentially boils down to the songs, singing and instrumental talents of young Conor O’Brien—this new album features much of the best material from the three that preceded it, all newly performed in one day at London’s RAK Studios, and thus flowing smoothly sweetly, and like one great big artful career statement. O’Brien’s a very talented writer, with a good ear for melody and a very unique lyrical sense—his imagery is vivid, stark, and not what you’d expect from someone so young. Aside from being a fascinating collection, this set is a pretty smart means of introducing a talented band’s best work to a brand new audience in one compact sitting. Longtime fans will like the new performances, new fans will want to hear much more, and everybody wins.
John David Souther: John David Souther (Omnivore) From the opening verse of “The Fast One,” which briefly sounded like higher-pitched Ricky Nelson back in 1972, J.D. Souther’s debut album oozed importance: It was on David Geffen’s still-boutique Asylum label, Souther himself had special friends and was a fine singer-songwriter, and that whole West Coast scene of Linda Ronstadt, Jackson Browne, the Eagles & their pals was about to burst into Rolling Stone-cover prominence. While it may unfortunate that Souther was an integral part of that label-inspired “supergroup” that never took off—the SHF Band, featuring our man J.D, ex-Byrd/Burrito Bro Chris Hillman and ex-Buffalo Springfield/Poco man Richie Furay—all that never seemed like his idea in the first place. So what really counts is the quality of his work. And here, in 2016, bolstered by seven additional demo tracks, Souther’s 1972 debut set can be appreciated for what it is: A very substantial, well-performed collection of material that sounds contemporary (and not unlike what passes for contemporary country music) and is well worth a rehearing. Kudos to Omnivore for re-introducing Souther and his work to a brand new audience.
Arthur Lee & Love: Coming Thru To You The Live Recordings 1970 – 2004 (Rockbeat) A minute here to mention this unexpected 4-CD set of live material produced by the legendary Arthur Lee and those several assemblages billed as “Love” well after the recording of 1967’s maximum masterpiece Forever Changes. Issued last November, it, along with 1974’s just-reissued Reel-To-Real, are invaluable reminders that Lee’s brilliant career did not start and finish with Forever Changes, and in the case of this new box—which features a vast amount of the song catalog, performed by permutations of Lee & Love over a 34-year span—it’s a pretty solid reminder that Lee’s talents never truly departed. Recording quality is fine—not great, but not horrid—and while I personally would kill for a full-on high quality live set by the Love that recorded 1969’s Four Sail, this is not a bad consolation prize. Notes by David Fricke and the Doors’ Robby Krieger, cover by William Stout, and, at this late date, one impressively solid piece of physical product. Recommended.
Lee Michaels: The Complete A&M Album Collection (Manifesto) Yes! And as physical product fades off into the sunset, who would have guessed that the last remnant of truly inspired collectability would be reverently produced oddities like this? While most people of a certain age have heard Michaels’ 1971 hit “Do You Know What I Mean”—which in 2016 sounds like a masterpiece of existential lyric-writing—nearly all of the stuff here, 7 CDs of albums released between 1968-1973, has been unheard by the masses. And you know what? It’s great! Michaels’ famous format—him howling soulfully over his loud Hammond organ, typically accompanied only by his rotund drummer “Frosty”—is really one of a kind. And measure for measure, on all these albums, not much more instrumentation is really needed, though it’s often there. It struck me upon hearing Michaels’ cover of Moby Grape’s “Murder In My Heart For The Judge” here, from 1970’s Barrel, that Michaels’ vocal style is not that far removed from that of the Grape’s Bob Mosley himself—high praise, this—and that his collected works really could use a 21st century rehearing. This beautifully packaged box, collecting the albums in replicas of their original A&M sleeves, is not just a labor of love—it’s a welcome reminder that some pretty interesting stuff was going on back then. And this may be our last opportunity to hold some of it in our hands before it vanishes into the WAV- and FLAC-filled ether.
Ed Kuepper: Lost Cities (Prince Melon) The last few weeks of December brought us a welcome new release by legendary Australian musician Ed Kuepper–who since his days in the ‘70s with the Saints has never failed to impress with a continuous flow of inspired and unique music. Whether under his own name, with the Saints, the Aints, or personal faves the Laughing Clowns (so good!), Kuepper simply gets better and better with each project and continues to make music that gets under your skin in a very compelling, haunting way. When he connects, it’s extraordinary. This is his 50th release, believe it or not, and he’s connecting here like crazy. Details here.
Catch My Soul and The American Dreamer (Both Etiquette Pictures Blu-Ray/DVD sets) While reviewing actual movies has not been my thing since Marooned (true!), think it would be worth mentioning that a few things popping up on the new Etiquette Pictures video imprint will delight pop culture fans and record collectors—especially these rarely seen films, whose associated soundtracks have probably garnered greater exposure in cutout bins through the ages. 1973’s Catch My Soul features Richie Havens, Tony Joe White, Delaney & Bonnie and, er, legit actors and was directed by no less than actor Patrick McGoohan of The Prisoner fame; its soundtrack briefly appeared on Metromedia Records in 1973. The American Dreamer, a post-Easy Rider Dennis Hopper-fest that was barely seen at all, bore an interesting soundtrack featuring Gene Clark and the Hello People and released on Mediarts Records in 1971. There’s also Zalman King’s Some Call It Loving, but..the point is, here’s a new company, packaging up rare, cultish movies in a manner reminiscent of Criterion, in simultaneous Blu-Ray/DVD combo packs, and it’s fascinating someone actually wants to do that. I suggest you do us both a favor and investigate. Here’s more.
