Category Archives: Album Review

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Take A Trip Across the World (and Back) with Alfred Hause & His Orchestra

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FolksongsEasy listening waltz romps manifesting themselves as interplanetary folk ditties. Solemnly executed by Alfred Hause & His Orchestra, this 1970 cultural roller coaster politely invites you, the listener on a destination vacation through the sunny shores of Mexico, over to the Mediterranean-basking banks of Italy, behind the looming German wall, down to the open, festive, ambience of Spain, all the way across the Atlantic and halfway across the Pacific to paradisiacal Hawaii, before making a pit stop (to flip the record) all the way back to the island of Ireland. If jet lag isn’t your thing, consider a shot and a nap before continuing on with the equally delightful side 2.

Folksongs BackAll rested up and ready for another go? Fantastic. After your three day nap, you find yourself amongst the natural wonders of Argentina (Argentine Republic), before hopping over to the densely populated, yet culturally explosive streets of Japan, up to the chilly, crisp air of Russia, back to Germany (to retrieve a pair of socks you accidentally left behind… you know the socks, the ones you got as a gift from Aunt Silvia that you simply can’t live without), then over to the ignorant-minded throes of Southern United States, before reaching your final, and justly deserved, destination of Scotland.

Closing out a multicultural trip that you’ll undoubtedly remember for the rest of your days with the classic, Auld Lang Syne, you look back at your wondrous journey with exhausted fervor, and a lifetime of memories and useless knowledge with which to entertain (or annoy) your friends and family.

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Les Paul Now!

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Les Paul Now!If you’re in the mood for sweet-low, (<— comma… please notice the comma…) quality instrumental guitar music with a hint of blues and a touch of country twang, look no further than Wisconsin native Les Paul.

The Now part is a bit arbitrary, but the Les Paul part is pure, unmistakable 6-string joy. Two things I learned from (very, very briefly) researching this album are 1) Les Paul came out of retirement to record this album for London Records and 2) by this time, Les and Mary Ford had officially split.

Les Paul CustomReleased in 1968, Les Paul Now!, with its voluptuous purity, must have seemed somewhat out of step with the majority of pop music being produced in the closing years of the waning, hip-tastic 60s. Lucky for appreciators of prudent ear candy everywhere, virtue knows not how to tell time.

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Even Space Stations Are Having a Hard Time

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Deltron2Dan the Automator, Del tha Funkee Homosapien, Kid Koala, Money Mark Nishita, Prince Paul, Damon Albarn, Sean Lennon, Mr. Lif, Peanut Butter Wolf… the list goes on (and on… the credits contain 19 entries, up to and including the G4 computer used to compose these ravishing beats).

All that bass is gonna’ break my ears.

Deltron 3030 exists within a futuristic and corporately antiseptic environment it created for itself. To overly simplify the enormity of this album, the phrase “smart hip-hop” could accurately be used. To overly complicate an already overly complicated concept album, the following phrase seems accurate; “think Dr. Octagon without the perversion, set 1030 years into the future, and triple the IQ.” This album is as hysterical as it is awe-inspiring, as forward thinking as it is historic, and a perfect album for people who don’t necessarily like hip-hop.

Heathens will breed heathens.

Deltron 3030 broke into the new millennium with their 21-track debut of the same name on October 17th, 2000. Fact. They have a much-anticipated follow-up due out on Tuesday titled, Event 2. Fact. With a 13 year gap between albums, this coming Tuesday should go down in astrological history. Opinion.

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Four Old Seven Inches On A Twelve Inch

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12Dischord Records did a remarkable thing for fans of early, D.C. based hardcore. Back in July of 2007, the label, owned by Minor Threat frontman and drummer, Ian MacKaye and Jeff Nelson, reissued four, LONG out of print 7” EPs as the 12” comp, Four Old Seven Inches On A Twelve Inch.

When you consider how much these original records sell for (brace yourself, because this is crazy: Teen Idles – Minor Disturbance E.P. – $750, S.O.A. – No Policy E.P. – $450, Government Issue – Legless Bull E.P. – $208.35, and Youth Brigade – Possible E.P. – $538.40), fans of the genre, like myself, may not otherwise have heard these historic rants had a compilation such as this not been released. Totaling $1946.75 for the originals, the $12 price of the comp still doesn’t seem so bad.

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Groovy Grubworm, Groovy, Groovy Grubworm

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Groovy GrubwormI’ve got to admit, albeit amidst a cloud of guilt and shame, that I’ve been in a classic country mood since returning from my recent holiday in the rural Midwest. Yesterday I forced my girlfriend to join me in walking down the dusty road of Roger Miller and his hillbilly classic, Do-Wack A-Do, and lately I haven’t been able to stop Jeannie C. Riley’s Harper Valley P.T.A. from spinning inside my head. So with that frame of reference in mind, I offer Groovy Grubworm and Other Golden Guitar Greats by none other than Harlow Wilcox & The Oakies.

Now, this is the kind of “country music” I can get behind. No lyrics about hound dogs slurpin’ on Sally’s slippers, or Fakey-Flakey Hearts, just 12 tracks of electric guitar with just the right amount of twang and driving backbeat. Don’t even get me started on what the masses consider “country” music by today’s standards. In my cocky ignorance, I’ll proudly refuse to listen to any so called “country” released this side of 1986 (I stop with Dwight Yoakam’s Guitars, Cadillacs, Etc., Etc.). This is, to be blatently honest, the only reason I can justify listening to country music in the first place. Ok, rant over.

Grubworm BackYou’d think by the stoned out, tree-hugging grubworm on the cover that this album is far out, man. Instead, Harlow Wilcox & The Oakies are strikingly conservative in re-imagining such classics as The Surfaris’ Wipe Out, Johnny Smith’s Walk, Don’t Run, as well as dropping in four original compositions of their own that match seamlessly with the rest of these compelling classics.

Groovy Grubworm feeds that bug, er…worm, for classic, guitar-driven country music. I suspect that it’ll only be a matter of days until my mood shifts and I’ll want nothing to do with country music for the unforeseeable future, but until then, I’ll grab me a beer, and my lady, and we’ll create our own little rustic oasis amongst this sea of 3.8 million Los Angelenos. My sincere apologies to my neighbors in advance.

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I Just Started Hatin’ Cheatin’ Songs Today (AKA, Arguably the Best Album Cover of All-Time)

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Moooooooooe BandyVery few albums capture the soul-crushing heartache brought on by the ailing dark side of love. “I just found out my woman is the devil” is a picture-perfect tagline for this seminal 1974 release that not only defines the rural mindset of a love-lost victim, it also calls for, rather DEMANDS a visual representation (via means of album art) so classic, so surreal, that it goes down in history as one of the best concepts of all-time.

Moe Bandy… the name in and of itself brings (emotional) mountains to mere rubble. With a scorned look, and a drunk, blackened heart, Mr. Bandy sits with the company of sorrow and misery, amidst a muted, bruised, and tattered jukebox full of shattered, and as you’ll notice, empty, Evan Williams bottles. When the cause of your broken heart is outside your bottle-throwing range, take it out on the jukebox.

I Just Started Hatin’ Cheatin’ Songs Today is, as you can imagine, two parts love-sick country, one part hurtin’ western, and 24-parts OUTSTANDING. Whether you have the stomach for long, drawn-out whimpers of melancholy depression or not, this album is nothing short of a necessity, if only for the unparalleled cover.

Dear Mr. Bandy… I wish I could tell you that things will get better, but as you well know… they won’t. Have another bottle, on the house.

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Good Lovin’

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The RascalsGenerally, I’m not a fan of spoon-fed Greatest Hits albums. Personally, I feel too much vital material is all-too-often left on the cutting room floor in order to make room for the handful of songs everybody and their brother has heard several thousands of times on commercial radio. That being said, and with limited options while on holiday, I present Time Peace by The Rascals.

I certainly can’t complain too much about Greatest Hits albums. I own SEVERAL of them, including this particular 14-track compilation. Originally billed as The Young Rascals, this “blue-eyed soul” band saw three #1 hits with Good Lovin’, Groovin’, and People Got to Be Free. They disbanded in 1972, and had to wait a quarter decade to be officially immortalized as rock n’ roll Gods upon their induction into the Rock and Roll Hall of Fame.

Another gem (I almost typed Jem… remember the 80s cartoon, Jem?!) in my parents’ collection, Time Peace is a great introduction into the mischievous world of The Rascals. It is strongly suggested, as with any other undiscovered act, that an unseasoned listener start with an artist’s first album, and work through that catalog in chronological order. But hey, what the hell do I know?

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Play it Loud, Mutha!

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TSTwisted Sister, to a five-year-old in rural Wisconsin, was a bit of an eye-opening spectacle. Back before the (ridiculously) small town in which I grew up (1200 open air loving residents) collectively banned MTV from the township limits, the roots of my rebellious nature were beginning to seep into the ground of my shielded childhood. Twisted Sister’s classic video to We’re Not Gonna Take It was always a personal favorite, for many adolescent reasons, and it acts as a significant, early-adulthood bridge to the burgeoning days of my foolish innocence.

DeeSo, I’m an early 20-something attending the University of Wisconsin Milwaukee and working at Hollywood Video. Remember brick and mortar video stores? Neither do I. Anyway, I was closing up the store one hot, summer evening and a guy approached the check-out with a movie I’ve long since forgotten. I greeted this man with both a courteous smile, and curious stare. The man was Mark Metcalf, the legendary barking father from the We’re Not Gonna Take It video. I didn’t call him out, as you can possibly imagine, celebrities of any caliber, NEVER walk into a Hollywood Video on Milwaukee’s north side. I worked there for another year or so, and never saw Mr. Metcalf again, but I’ll never forget that immediate wave of childhood warmth felt only for those 30-odd seconds.

Look, I’m just gonna go on the record and say that Stay Hungry still holds up! I don’t care who mocks, scorns, maligns, or even shin-kicks. My favoritism towards Dee Snider, Mark Metcalf, Twisted Sister, and this striking album is not unlike a bonfire that’s been burning for nearly 30 years, and every delicate spin of this angst-ridden album adds more fuel to that never-ending flame.Play it Loud, Mutha!

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RSDBOTB LP

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HSBOTB LPI had no Earthly idea what to expect when I picked up Record Store Day Presents High School Battle of the Bands, but for only $1.99, and sealed, I figured, what the hell. Released as part of 2010’s Collector Christmas, also known as Record Store Day, this nine track comp, quite understandably, acts more as a vehicle for parading individual tracks than that of a comprehensive album. With that in mind, the pool of talent displayed throughout this record overwhelmed me. The overall lurid inflection on the majority of these tracks assured me that what I found was something significant.

InsertIn a nutshell, Fender teamed up with the liberators at Records Store Day to devise a brick-and-mortar-record-store-sponsored-high-school-band-contest. The winning band was to win a bunch of free gear, studio time, and a slot on this record. It was up to some undisclosed record executives and members from the Fender Corp. to judge all the entries that eventually resulted in this record. I have no idea how many bands entered, but every single one of the chosen nine are studio/label worthy.

It’s gratifying to see my two home states, Wisconsin and California, representing four of the nine tracks on this comp. My only gripe is that the link to the free download is dead… my fault for waiting three years to get this album. Support the future of noise pollution and GET THIS ALBUM!

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Thelma (the First Wife), and the Bulging Wang of Martin Crosbie

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MartinWikipedia will have you know, that Martin Crosbie “was an Irish tenor” who is internationally known for the song, The Miller’s Daughter featured here, on his 1975 album, Yesterday When I Was Young. At the time of this record’s release, Mr. Crosbie had been performing at Clontarf Castle in Dublin “for the past ten years” (1965-1975 for those not keeping track). Many of the chosen tracks that appear on Yesterday When I Was Young were those most requested by levelheaded audience members attending his consistent executions on stage at the above-mentioned Irish castle. The man was a hoss… a performance whore with lines that wrapped around the corner, and down the halls (no evidence of this exists).

BackThe back sleeve offers a little insight into Mr. Crosbie’s personal life: “The recent tracks on the album are Thelma (the first wife) on the organ, and myself only.” First wife? How many more were there? Could a once blooming, and romantically blossomed love really be diminished down to a three-word description such as “the first wife?” Apparently so. Passing away in 1982 at the age of 71, and with little-to-no information about this golden-throated legend available online, we are all left to the inconsistent suggestions of speculation.

As for the bulging wang… no comment.

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Let’s Talk About Maturity

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LTAFSave for the compilation, Let’s Talk About Leftovers, 1998’s Let’s Talk About Feelings was the last studio album by the Goleta, CA pop-punk rockers… the illustrious Lagwagon… that demanded my immediate, consistent, dumbfounded, and adolescent attention. I believe, shortly after the release of this album, the wings of my music evolution stretched into the dark, disheveled world of industrial music, so needless to say, Let’s Talk About Feelings left a lasting impression.

To fly over the specifics of this album, allow me to ramble off a few key (irrelevant) facts. Let’s Talk About Feelings was released, as I stated, in 1998 by Fat Wreck Chords. It was offered on compact disc and via wax by means of a 10”. Lagwagon released a box set of their major albums back in 2011, and Let’s Talk About Feelings was finally given a proper 12” format. Ok… back to the lamenting.

LTAF 10Let’s Talk About Feelings was one of those albums that never left the car. You know those albums, those discs of the compact nature. This particular disc postulated my attention for what seemed like SEVERAL years (I was 19 then, so a day felt like a week, and a week felt like, well, two weeks). Let’s Talk About Feelings, or LTAF, marked something of an uncomfortable maturity from the band that, at the time, I was both not prepared for, and unwilling to accept. Again, I was 19… daft, irrelevant, thick, and extremely pissed off.

LTAF PinkWith only 25 minutes dispersed throughout 12 emotionally weighing tracks, LTAF feeds that driving need for fast-paced, melodically moving, and hook-tastic pop-punk, that, for me, acted as a perfect half-hour soundtrack to the inevitable, adolescent-abandoning struggles of my late teen years. Let’s Talk About Feelings is a difficult album… not by what it presents, but by the nostalgia it unearths. My experience with this album is certainly only isolated to me, my actions, and the immediate concerns of a 19 year old pizza delivery driver facing the woes of the budding responsibility that erupts from the inevitable mountain of mastered maturity.

Let’s Talk About Feelings… I just did.

Editor’s note: This post was by request, and marks the first of (hopefully only a few more… just kidding) many friendly, reader-based requests to come. Do you have a specific request? Email me or drop me a line in the comments. I can’t promise you’ll enjoy what you read, but your requests certainly will not go overlooked.

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Draw the Shades and Hide the Cats, Because the British are Coming

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British SterlingArguably the best 30 track compilation featuring the monstrously influential British Invasion ever to be pressed to wax, this 1981 collaboration between Warner Special Products and Lake Shore Music marries the pinnacle of head-spinning talent that the Queen of England’s own had to offer… up to and including the 1961 single, My Bonnie, featuring Tony Sheridan and The Beat Brothers. The Beat Brothers, as you know, would eventually change their name to The Beatles… the band name this track is credited to on this compilation.

I’m not going to bore you with the A-1 list of exceptional talent highlighted here (The Hollies, Gerry and the Pacemakers, Unit 4+2, Donovan, Manfred Mann, The Zombies, Them, Chad & Jeremy, The Beatles, The Spencer Davis Group…), but I will (briefly) mention that someone off Discogs offered to buy my copy of British Sterling, which I appropriately, and respectfully declined. One of these days I’m going to gather enough motivation to digitize this double LP, but until that (dreadfully long and labor intensive) day, two flips for 30 tracks suits me just fine.

My BonnieAlthough I don’t consider A Whiter Shade of Pale by Procol Harum a pivotal part of the British Invasion, there is something striking about the 1-2 punch of Procol’s Shade followed by Tell Her No by The Zombies. Somebody knew what the hell he or she was doing when they made this compilation. To whomever that is… (raises Sun Records coffee mug) I salute you!

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Hubert Laws: Badass Flautist

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Hubert LawsMy apologies to fans of the masterful, and iconic Ian Anderson, but there has never been a bigger, fear-invoking, badass flautist than Hubert Laws. Have a quick look-see at the bevy of influential and groundbreaking artists Mr. Laws has performed with: Chet Baker, George Benson, Ron Carter, Johnny Hammond, Freddie Hubbard, Milt Jackson, Quincy Jones, Herbie Mann, Mongo Santamaria, Leon Spencer and Walter Wanderley… and that’s only naming about half of his collaborators.

The man was even featured on an early Groove post about the “junk induced, vodka-and-coke spilling, dank, eye-burning, smoke-filled classic for the casual 1980 Contemporary Jazz fan in all of us,” the illustrious Empire Jazz.

The Chicago Theme is upbeat groove-jazz with a Starsky & Hutch-style flair, and comes highly recommended. Released on Creed Taylor’s prominent CTI label back in 1975, this six track funktastic medley tackles such well known incarnations as You Make Me Feel Brand New (covered by everyone from Boyz II Men, to Rod Stewart to Babyface) and Midnight at the Oasis (I can’t help but picture Ron and Sheila Albertson performing an abridged version of this track whilst auditioning for Corky St. Clair’s Red, White and Blaine in the timeless, Waiting for Guffman).

One doesn’t think “badass” when they think of the flute… Hubert Laws is here to rectify that, and but quick!

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The World’s First Stereo Scored Orchestra

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Hits Cover101 Strings, not unlike Dalmatians, is a wondrous sight to behold. Apart from being a monumental mass of “the finest musicians in Europe today” (circa: 1961), the wistful beauty discharged from these prominent performers is seductively pleasing to both the visual, as well as the hearing senses. Coupled with (The Wondrous World of) Stereo Fidelity, a US based subsidiary of Somerset Records, these 10 Italian hits that make up, well, Italian Hits, emerge from the stereo with a protuberant level of piercing and erotic joy, that is seemingly unheard of today, let alone in 1961.

Hits BackTouching upon such Italian classics as Volare, Cha-Cha Italiano, La Dolce Vita, and Ciao Ciao Bambino (which translates into “Hello Hello Baby”), Italian Hits, as far as I can tell, does a satisfactory job of representing exactly what the back cover boasts: The Biggest Popular Hit Songs from Italy in the Past Ten Years. A “Pop” Program in the Sound of Magnificence.

I’ve never been to Italy, but thanks to 101 Strings and the four, straw-sucking minxes on the cover, I feel as though Italy is as close as a car jam on the 405.Stereo Fidelity_smaller

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Did He Just Say “Supersonic Honeymoon?”

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Ames BrothersI’m a sucker for vintage space and/or rocket-themed cover art, and you can imagine (it’s okay, I give you permission) my excitement when the spaced-out, black hole of vintage music behind the interstellar cover art is actually magnetic and borderline whimsically enchanting.

I’m on the hunt for another copy of Destination Moon, as the bottom left corner has a bit of Moon juice spilled on it (as you can plainly see). This album was released in 1958, so I’m going with the (by no means made up) story that the Ames Brothers ACTUALLY traveled to the moon to record AND press this album, but in their hurried attempts to jettison back to Earth to disperse their space-rock discovery amongst the lemming-like Earth creatures, they accidentally spilled a large amount of Moon juice on a few boxes containing Destination Moon, packed and ready for worldwide distribution. Yeah, that’s it…

Destination MoonLate 50s Jazz Pop with a theme that’s… I’m sorry; I have to… out of this world. I don’t own anything else by the Ames Brothers, but my intergalactic curiosity for more, good-time, secretly wholesome, space-themed 50s music will undoubtedly point me to the direction of the orbiting cluster of space debris called, the Ames Brothers.

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Whoopee John

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Whoopee JohnSome days you just need a creepy-smiling guy with (what looks like) a beautiful pheasant feather in his (what looks like) burgundy, felt hat (that matches his suit coat) playing 40 amazing, and TV advertized, polka ditties.

Some days you just need a dapper gent to kick off your day, and Whoopee John is certainly a man of devilish wit, a talented chap with striking good looks, and the perfect candidate to fit your early morning polka needs.

The Devil HimselfSome days you just need everything from the Barn Yard Blues Polka, to the Norwegian Schottische, to the often overlooked, No No Polka. This 2 record set, as advertised on TV (man, would I LOVE to see that commercial), is aimed at tickling the funny bone of the novice polka fan, from the tall trees of California (California Polka) to the windy streets of Chicago (Chicago Waltz). If an accordion-filled wave of sound is your monkey, The Whoopee John Story is your euphoriant fix.

Some days you just need to say, “To hell with modern pop, give me some Whoopee John!” Unfortunately, today is NOT one of those days.

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Cha-Cha-Cha with Art Mooney

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Art CoverWhen Luke Skywalker said to Han Solo in the murky bottoms of a damp and dungeon-like trash compactor, “Did you see that?!” What the ol’ scoundrel SHOULD have answered was, “Why, yes I did, kid. That’s the sound of Art Mooney.”

Decades old intergalactic space references aside, I’m here to tell you that Art Mooney’s music on Cha-Cha-Cha with Art Mooney does, in fact, set sound in motion… it says so right on the cover, “Movement in Sound.” Like a 12-6 curveball, the bachelor-pad-ready-sound from this smokey-lounge-album moves, man! It moves in ways that force parents to shield the virgin ears of their children, you dig?

Art BackThe next time my significant other and I decide it’s time for a change of scenery, I’m calling Art Mooney and His Orchestra to help us move. If he’s half as good at hauling my T-Z shelf as he is delivering the moving sound of the Cuban Cha-Cha-Cha, we’ll be hosting casual dinner parties at our new digs in no time.

“He enjoys golf, swimming and tennis and is a classical records’ collector.” – Back Sleeve

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It’s a Bird… It’s a Plane… It’s Meco!

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MecoThis is the class of disco I can get behind… lavish arrangements of dance funk and soulful electronic grooves (as apposed to soulless electronic grooves) based on popular Sci-Fi films. Meco launched his historic career with his masterwork, 1977’s Star Wars and Other Galactic Funk, continued his platform-shoe-shaped torch with 1977’s dicso-tastic take on Close Encounters of the Third Kind with, Encounters of Every Kind, returned in 1978 with the bass-bleeding Meco Plays The Wizard of Oz, until landing in the superhero genre with Superman and Other Galactic Heroes in 1979.

J WilliamsNot unlike Electric Light Orchestra and their amalgamation of rock and classical music, Meco bridges the much needed gap between the symphony, and the sweat-inducing-body-river of late 70s dance floors. Definitely worth checking out for even the casual fan of disco and/or Sci-Fi film related music, Meco’s fourth studio album is classic, 70s feel good, groove music.

“I am delighted that the words DISCO and MECO are now household words.” – John Williams

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This is Tom Jones

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This is Not, in Fact Tom JonesNo, this is an album by Tom Jones. Actually, if you take a step back even further, this is a blog post about an album by Tom Jones, and on this album by Tom Jones, evident by this blog post about an album by Tom Jones… you know, the blog post about an album by Tom Jones that you are currently (struggling through) reading, Tom Jones belts his little Tom Jones heart out while singing favored songs by such Tom Jones inspiring artists as Otis Redding, John Lennon and Paul McCartney.

Released in 1969 to promote a variety show by the same name, This is Tom Jones (the album, not the man… whose actual name is Thomas John Woodward, by the way) is a fairly well-rounded representation of this Welsh singer’s admired talents. I must admit that although my fondness for Tom Jones is casual, at best, I’m more than happy to welcome this album (by Tom Jones) into my collection.

This concludes the blog post about the album, This is Tom Jones titled, This is Tom Jones.

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John Gary Would Like A Word

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The GaryThis dapper gent’s got something on his mind, and he’d like to tell you about it. Actually, he has 12 things on his mind, and, if you have the time, Mr. John Gary has a few songs… songs for you alone.

So Tenderly does this man whisper sweet nothings into your eager ears, So Tenderly does he weave tales of love, brown-eyed baby boys, and a Red Rosey Bush. It’s not enough that this dashing, fist-on-chin-resting, expensive watch wearing, googly-eyed slickster sits in a room of bright orange… it’s the jaw-dropping style with which he masterfully does it!

John GaryLook at those eyes… they’re cutting deep grooves of tenderness right into your pulsating heart… a heart that beats, in perfect time, to the lustful syllables lovingly, and tenderly, So Tenderly, beaming from John Gary’s mouth-hole… an angel’s mouth-hole… a mouth-hole for you, and you alone.