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THE ROLLING STONES In Mono
( Abkco )
For the price of a coveted pair of Rolling Stones concert tickets , you can have this mouthwatering box . Fifteen albums covering the Stones ’ ‘ 60s output have been remastered and stamped on 180-gram vinyl , with attention to detail and high quality . ABKCO was determined to do the band ’ s legacy justice and not allow the rival Beatles to corner the market on premium monophonic collections . First spin goes to the UK version of 1966 ’ s Aftermath . The clarity and presence of “ Mother ’ s Little Helper ” and “ Stupid Girl ” are spectacular . Brian Jones ’ marimba during “ Under My Thumb ” sounds as if it ’ s being played in the room . Noise is sufficiently far in the background as to seem non-existent . The US version omits four tracks including “ Out of Time ,” but features the bracing “ Paint it , Black ” not included with the UK release . The rambling blues improvisational “ Goin ’ Home ” sits at the acoustically compromised center of both records near the label , but Bill Wyman ’ s bass is full in the mix while the twang and tremolo of Keith Richards ’ guitar swaps licks with Mick Jagger ’ s boyish vocal . A handful of songs including the soul- and Gospel-influenced “ Time is On My Side ” are shared between the Stones ’ sophomore UK album No . 2 and US release 12x5 . Both feature songs recorded at Chicago ’ s famed Chess Records recording studio . Written in homage to the birthplace of records by Willie Dixon , Howlin ’ Wolf and other blues titans , “ 2120 South Michigan Avenue ” appears on 12x5 and has reminded Stones fans of Chess ’ address since 1964 . Out of Our Heads is another album represented by overlapping US and UK releases . The set culminates with 1968 ’ s Beggars Banquet and 1969 ’ s Let it Bleed . Although the band
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were a sharp unit straight through ( with the rhythm section of Wyman and drummer Charlie Watts , how could they not be ?), the later records document strides in the Jagger / Richards songwriting partnership . With its samba rhythm , Beggar ’ s Banquet ’ s “ Sympathy for the Devil ” is possibly rock ’ s most hip-shaking description of man ’ s inhumanity to man and God alike . The album also boasts the politically-charged acoustic symphony “ Street Fighting Man .” With new guitarist Mick Taylor elevating the sessions , Let it Bleed ’ s “ Gimme Shelter ” and “ You Can ’ t Always Get What You Want ” deserve their classic status . Saxophonist Bobby Keys burns through “ Live with Me .” The gatefold Stray Cats includes 24 non-album tracks and single edits . A 44-page albumsized book contains unearthed photos and new essays by acclaimed music critic David Fricke .
– Jeff Elbel
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TEMPLE OF THE DOG Temple Of The Dog ( Reissue )
( Universal )
When the Seattle-based band Mother Love Bone ’ s lead singer Andrew Wood died of a drug overdose in 1990 , it left Soundgarden ’ s Chris Cornell without a roommate and a best friend . It also meant that current MLB and future Pearl Jam members Jeff Ament ( bass ) and Stone Gossard ( guitar ) were no longer in a band . As an act of bereavement , Cornell threw his sorrow into song , writing in folky , ballad-esque forms that were the antithesis of Soundgarden ’ s sludgy heaviness . Two songs (“ Say Hello To Heaven ” and “ Reach Down ”) emerged almost immediately . Not sure what to do with them , he reached out to Ament and Gossard in the hopes of getting them recorded . Still reeling from loss , the trio continued pouring their grief into song . The outpouring resulted in a dozen or so compositions . Perhaps as a therapeutic exercise , the band ( now fleshed out by Soundgarden drummer Matt Cameron and another soon-to-be member of the not yet formed Pearl Jam , guitarist Mike McCready ) recorded an albums worth of material in a meager two weeks time . With no commercial agenda , the project was dubbed Temple Of The Dog and was delivered to A & M Records ( Soundgarden ’ s label at the time ) in the Spring of 1991 with little or no expectations .
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Fast forward one year later – Soundgarden is achieving success with Badmotorfinger and members Ament , Gossard and McCready are now in Pearl Jam , who were on the cusp of becoming the face of the soundtrack to Generation X . The song “ Hunger Strike ” ( which features vocals from San Diego transplant and new Pearl Jam vocalist Eddie Vedder ) becomes a staple on rock radio formats and an unsung , unassuming debut quietly goes platinum . 25 years later , the self-titled debut is getting the reissue treatment : Vinyl versions , a deluxe-box with demos and previously unearthed recordings . But the gift here continues to be the original material and the initial intent which was to turn mourning into melody and made with no other motivation than to help heal . On Temple Of The Dog , that concept still hasn ’ t met with its expiration date .
– Curt Baran
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PETE TOWNSHEND ' S DEEP END Face The Face
( Eagle Vision / Universal )
1986 ’ s Deep End Live was Who guitarist Pete Townshend ’ s first live album as asolo artist . Although his stellar band had been assembled to promote Townshend ’ s 1985 album White City : A Novel , Deep End ’ s original ten track release contained no songs from that album . Credited to Pete Townshend ’ s Deep End , Face to Face captures a later performance on the same tour filmed in Cannes , France for the Rockpalast concert program . Not only does Face The Face feature live recordings of four White City tracks rarely performed since , it illustrates the considerable well Townshend drew from . Only a handful of Face The Face material overlaps Deep End Live , making this an essential addition for fans of Townshend ’ s solo work . Pink Floyd guitarist David Gilmour adds his signature delayed guitar a la “ Run Like Hell ” to Townshend ’ s slashing chords on “ Give Blood ,” while Chucho Merchan plays slippery and propulsive fretless bass . Harmonica player Peter Hope-Evans features on “ Secondhand Love ” and plays his signature riff on “ The Sea Refuses No River ” from 1982 ’ s All the Best Cowboys Have Chinese Eyes , while Gilmour adds a spine-tingling guitar solo . Keyboardist John “ Rabbit ” Bundrick leads the fray on “ Slit Skirts .” The perils of live performance are briefly revealed as Townshend bungles a line of the song ’ s dense , literate lyrics . The band diverts to Gilmour ’ s 1984 album About Face for “ Blue Light ,” a selection notable for not being one of two tracks cowritten by Townshend for the album . The band performs “ After the Fire ,” Townshend ’ s 1985 single for Who vocalist
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Roger Daltrey . In place of Deep End ’ s “ Barefootin ’,” Face The Face includes a rowdy version of Jimmy Forrest ’ s 1951 single “ Night Train ” with a hot solo by drummer Simon Phillips . The often-covered song was featured on James Brown ’ s Live at the Apollo . The DVD adds Screamin ’ Jay Hawkins ’ “ I Put a Spell on You .” Who favorites include “ Pinball Wizard ,” “ Behind Blue Eyes ” and “ Won ’ t Get Fooled Again .” There ’ s little to dislike about the set that can ’ t be pinned down to prevailing production choices in the ‘ 80s . “ Rough Boys ” from Empty Glass is weakened when twinkling synthesizer substitutes for Townshend ’ s muscular guitar intro , but the song is redeemed by Phillips ’ fierce drumming , more spirited playing from Gilmour , Townshend ’ s impassioned vocal , and the soulful work of the Kick Horns .
– Jeff Elbel
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DAVY KNOWLES Three Miles From Avalon
( Wyan )
While born and raised on the Isle of Man , blues-leaning guitarist Davy Knowles has lived in Chicago for many years . Indeed , Knowles ’ latest adopted hometown , self-produced semi-long player ( only seven cuts ) allows him to showcase his serious chops across varied musical styles , ranging from the more rock-ish big guitar blues Rory Gallagher-inspired sound of cut “ What You ’ re Made Of ,” the call-and-response gospel story-driven “ Oxford MS , to the smoky , dramatic blues riff snaking through “ Falling Apart .” But in truth , the disc ’ s first six cuts can be viewed as literal warm-ups to Davy ' s 11- plus minute finale ( the Willy Dixon classic ) “ What In The World ,” an amazing excursion that allows Knowles to really stretch out and show the depth of his technique , which is both further amplified and complemented by Hammond B3 stylings of bandmate Andrew Toombs . While TMFA is a relatively brief recording and one could quibble about the handling of the drum sounds , Knowles has fairly convincingly captured the “ live band feel sound ” on this studio recording , making his upcoming local record release party a must-attend event .
-- DavidC . Eldredge Appearing 10 / 21
8 at SPACE , Evanston .
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Continued on page 55
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