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Unheard Musical Delights Part 2

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A few years back I wrote about some of the more lesser-known gems I loved turning people onto. Here are ten more albums guaranteed to expand your musical palette and make you the hit of your next listening party.

Ry Cooder–Into the Purple Valley (1972)

Ry Cooder is the guitar player’s guitar player. He taught George Harrison how to play slide and his session work reads like a who’s who of classic rock, including always-tasteful contributions to records by the Rolling Stones, Little Feat, Eric Clapton, Linda Ronstadt, the Doobie Brothers, Van Morrison and many others. His solo work focuses on his passion for ethnomusicology, wherein Cooder seeks out mostly obscure songs from the American songbook and reworks them in ways that bear little resemblance to the originals. His albums are uniformly excellent but Into the Purple Valley is my favorite. Reimagining material by Johnny Cash, Lead Belly, Woody Guthrie and others, Cooder focuses on the struggle of workers trying to escape the thirties Dust Bowl through Americana music largely rooted in the era it evokes. (Favorite track: “Vigilante Man”)

The Feelies–The Good Earth (1986)

New Jersey’s The Feelies are one of the original lo-fi bands. Their debut arrived amid the mid-seventies punk explosion. Featuring two drummers and hushed vocals, the group is heavily influenced by the Velvet Underground and inspired later alternative acts like R.E.M. The band’s sound layers acoustic and electric guitars over propulsive rhythms with lush, hypnotic melodies, and the end result is truly unique. They released six records between 1980 and 2017 (with a two-decade hiatus between their fourth and fifth albums), and The Good Earth is their peak. As much as I love “Slipping into Something,” the nearly six-minute epic that starts from a quiet, tranquil place before winding its way to a squalling guitar jam at the end, the highlight is the irresistible alt-pop of “Let’s Go.” (Favorite track: “Let’s Go”)

The Flying Burrito Brothers–The Gilded Palace of Sin (1969)

In my last blog about lesser known treats, I wrote about The Byrds’ Sweetheart of the Rodeo, the Rosetta Stone of country-rock. The Gilded Palace of Sin is almost as influential; after Gram Parsons ended his brief run in The Byrds in order to hang with Keith Richards in the South of France, he formed the Flying Burrito Brothers with former Byrds guitarist Chris Hillman, pedal steel wizard “Sneaky” Pete Kleinow and bassist Chris Ethridge. The results are never less than sublime. The voices of Parsons and Hillman combine with a force unequaled this side of the Everly Brothers, and the compositions are still regularly covered more than a half a century later. Particularly notable is the way the group takes a soul classic like “Do Right Woman” and repurposes it into a poignant, intoxicating country ballad, a truly inspiring reimagining. (Favorite track: “Do Right Woman”)

Steve Gunn–Eyes on the Lines (2016)

Philadelphia guitar-slinger Steve Gunn has put out more than two dozen records in the past two decades, including partnerships with Kurt Vile, Hiss Golden Messenger and Mike Cooper. Much of Gunn’s work is instrumental, atmospheric and meditative, but occasionally he wanders into more accessible singer-songwriter territory. Eyes on the Lines is the best of that bunch, with ringing guitars that take the choruses of “Ancient Jules” and “Night Wander” to stratospheric levels, while “Full Moon Tide” and “Conditions Wild” race out of the box. His Bob Weir-like vocal delivery may be a little deadpan at times, but his soloing at the end of album-closer “Ark” is truly transcendent, a fitting close to an album that invites the listener on a rich, rewarding journey. (Favorite track: “Ark”)

Charlie Haden Family & Friends–Rambling Boy (2008)

Charlie Haden, who died in 2014, was most widely known for an extensive career as a jazz bassist. This excellent album is an anomaly, a bluegrass-gospel hybrid of mostly public domain material featuring Haden’s family and guest musicians including Sam Bush, Rosanne Cash, Elvis Costello, Bruce Hornsby and Jack Black (who is married to one of Haden’s three daughters). The blood harmonies of the Haden triplets (who have released music individually and as a trio) covering the Carter Family classic “Single Girl, Married Girl” and Bill Monroe’s “A Voice From On High” are truly angelic. As a bonus, the record ends with an audio snippet of Haden performing as a two-year-old with his family in 1940. (Favorite track: “A Voice From On High”)

Claudia Lennear–Phew! (1973)

The excellent 2013 documentary 20 Feet from Stardom focused on the notable contributions of famous backup singers, including Claudia Lennear, who sang behind Ike & Tina Turner, Joe Cocker, Leon Russell, Stephen Stills and many others. Lennear’s interpretation of “Let It Be” is one of the highlights of the Mad Dogs and Englishmen concert film. Her only solo effort is 1973’s Phew!, a tasty slice of seventies soul and New Orleans funk with a modest helping of Americana. Side one is the soul side, with subtle axe work from the aforementioned Ry Cooder. Side two is a New Orleans jam session produced and led by famed Crescent City impresario Allen Toussaint and a stacked studio band that includes drummer Jim Keltner and saxophonist Harold Battiste. (Favorite track: “Casey Jones”)

Bridget St. John–Songs for the Gentle Man (1971)

If you enjoy the British folk stylings of Nick Drake, John Martyn and Donovan, this one is right up your alley. Guitarist and singer-songwriter St. John only released four records between 1968 and 1974. Sunday morning music doesn’t get much better: gently picked guitar playing with occasional accompaniment by bassoon, cello and flute, the compositions conjure pastoral images and a soft warmth that captivates as it calms. The album’s two covers, John Martyn’s “Back to Stay” and Donovan’s “The Pebble and the Man,” both improve on the originals. (Favorite track: “The Pebble and the Man”) 

 

The Tubes–Remote Control (1979)

The Tubes were highly theatrical but decidedly uncommercial. Lead singer Fee Waybill went through multiple costume changes onstage and adopted the musical persona “Quay Lewd.” Early tracks “White Punks on Dope” and “What Do You Want from Life?” garnered some FM play, but nothing close to a hit. They tried to change that by bringing in Todd Rundgren to produce their fifth record. Remote Control presents a “TV as Idiot Box” theme and has their best songs and a commercial sheen, even if it does wane a little at the end. No hit was forthcoming–that would come with “Talk To Ya Later” on their next LP, The Completion Backward Principle–but this is still an entertaining slice of ear candy, the best The Tubes ever got. (Favorite track: “Prime Time”)

 

Various Artists–Hank Williams: Timeless (2003)

By now tribute albums are a dime a dozen. And though it’s never a bad thing to pay tribute to deserving artists, the overwhelming majority of such compilations are wildly uneven; typically filler is prevalent even when a handful of tracks add perspective to the original material. This tribute to Country legend Hank Williams is the rare exception. An absolutely stellar cast provides inspired interpretations of some of the greatest compositions of the twentieth century. Highlights include a rousing Tom Petty cover of “You’re Gonna Change (Or I’m Gonna Leave),” Sheryl Crow’s perfectly pitched yodeling on “Long Gone Lonesome Blues,” and Hank III’s nasally reading of his grandfather’s “Long Gone Daddy.” The peak is Lucinda Williams’ rendition of “Cold Cold Heart.” The pathos and drawl in her voice blend perfectly with the melancholy of the lyrics. (Favorite track: “Cold Cold Heart”)

Jonathan Wilson–Gentle Spirit (2011)

Jonathan Wilson is an LA denizen primarily known for his extensive work as a producer on records by Father John Misty, Margo Price, Conor Oberst and others; he’s also been playing David Gilmour’s guitar parts in Roger Waters’ touring band for years. His second album is an enthralling mix of CSNY-like folk and jazzed-up rock with sweet harmonies. Wilson plays nearly all the instruments on the record, which offers Laurel Canyon rock softened up and polished into a original blend. Chris Robinson lends vocal support on one track but this is Wilson’s show, and his musical chops and sophistication demonstrate why so many talented musicians want to work with him. (Favorite track: “Gentle Spirit”)

Insider’s Guide to Vinyl Shopping–Japanese Pressings

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Welcome to the latest edition of the Paradise Found Records blog. A couple of years back I shared some of my tips for successful vinyl shopping. This month I’m writing about my passion for Japanese pressings.

We don’t get a lot of used Japanese vinyl at our stores and are always happy to see it on those rare occasions when it comes in with collections we’re buying.  As recently as last year we had enough in stock in Boulder to merit its own section, next to the “Used New Arrivals” bins by the bulletin board, but currently the few Japanese pressings we have are mixed in by artist/musical category. They are well worth seeking out. As my vinyl library has grown over the years I’ve increasingly shopped for more collectible albums, and it’s been fun to go down the rabbit hole of Japanese pressings, which are unique and offer much to cherish.

 

Several things set Japanese pressings apart from records manufactured in other countries. Perhaps the most important is audio quality, which may be subjective but is still widely acknowledged. I have multiple records from the Original Master Recordings series by Mobile Fidelity Sound Labs produced by Analogue Productions. As much as I love how many MoFi’s sound, Japanese presses often sound better. I am mostly referring to Japanese albums made before 1990; since then there are fewer differences between records manufactured in the USA and Japan.

Older Japanese pressings offer superior audio for two reasons. First, the vinyl itself is higher quality; Japanese plants used higher quality material in the sixties, seventies and eighties. Before 1990, Japanese manufacturers used new, pure “virgin” vinyl, whereas domestic factories often used recycled plastic that introduced impurities, crackling and surface noise. During the energy crisis in the seventies, American manufacturers used thinner, lower-grade filler material to reduce costs, while Japanese producers maintained higher-quality standards. The Japanese production process was recognized for higher quality control that led to fewer warps and clicks.

Because of this difference in production quality, the albums in the pricey MoFi Original Master Recordings series, which started with classical titles before adding rock in 1978 (Supertramp’s Crime of the Century was the first), were manufactured in Japan up until the late eighties. Advertising for MoFi’s referenced Japanese vinyl as superior, justifying the higher price tag. The first Japanese pressings of Dark Side of the Moon and Meddle, two Pink Floyd classics, are widely considered to be the best-sounding editions of those LPs. Japanese records are much quieter and less noisy than their American counterparts.

A second reason Japanese vinyl sounds better is because the music is mixed differently. Because such a high percentage of Japanese record buyers live in apartments, audio engineers make the records brighter, reducing some of the bass/low end and boosting the mid- and high-ranges (you can always raise the bass level to compensate). Of course your results and ears may vary, but I find it easy to tell the difference when comparing Japanese to non-Japanese editions. In a handful of instances, including Fleetwood Mac’s Rumours and Tusk and Some Girls by the Rolling Stones, the US stampers were used at the Japanese pressing plant with the higher quality vinyl, and the sound is noticeably better. The lack of background hiss and surface imperfections makes for an ideal listening experience.

Another thing to love about OG Japanese pressings are the obi’s. An obi is a paper strip wrapped around the spine of the album, usually on the left side although some run along the top or to the right. Obi’s generally list the price in yen along with song titles and other relevant selling points in Japanese, often in bright and striking fashion with pictures. Many obi’s are graphically stunning, and are sought-after to the point where a record with an intact obi often sells for far more than one without. For example, the aforementioned Dark Side of the Moon and Meddle each run between $100 and $300 and up if they have the obi attached in excellent shape to go with the record. Without the obi both can be had for significantly less without sacrificing anything in audio quality.

Obi’s are also desirable because of the implied condition of the vinyl. It’s safe to say that anyone who took special care to keep an obi in pristine shape did the same thing with the record itself, since it’s very easy for an obi to get torn or abused with repeated use. Foxing, rust-colored spots on printed materials that can develop over time as a result of oxidation and humidity, is inevitable unless a record is stored the best way: in plastic liners, shelved (not stacked) in a location without high humidity or extreme temps. A well-treated obi is a well-treated record, as close to new as you can get once the seal has been broken.

Japanese pressings also often include unique lyric inserts with sometimes wildly incorrect transcriptions. Most song lyrics are available online these days, but pre-Internet they could be hard to deduce unless they came with the LP; no two people thought the lyrics on Exile on Main Street were the same. Once upon a time the only reliable way to learn or confirm many lyrics was through songbooks that included both the words and the chords for musicians. Here are a handful of lyrics mistranslated for the Japanese consumer:

On the Grateful Dead’s “Estimated Prophet,” “Standin’ on the beach, the sea will part before me” becomes “Standing on the beach to see what might befall me.” On Led Zeppelin’s “Immigrant Song,” “The hammer of the Gods will drive our ships to new lands, to fight the horde and sing and cry, Valhalla I am coming” becomes  “Comin’ of the cold, drive our ships to new lands, fightin’ the haul, singin’ and cryin’, I am coming.” On Bob Dylan’s “Lay Lady Lay,” “Why wait any longer for the world to begin, you can have your cake and eat it too” becomes “Why wait any longer I don’t mean to complain, you can have love but you might lose it.” On Elvis Costello’s “Watching the Detectives,” “Red dogs under illegal legs” becomes “Red dogs and narrow eagle legs.” On Costello’s “King Horse,” “Cheap cut satin and bad perfume, showtime is almost here” becomes “Jean got saddened and had to fume she’ll die of dishonesty.” On Costello’s “This Year’s Girl,” “She’s not happy with the cost” becomes “She’s got havoc with the cost.” On Glen Campbell’s “By The Time I Get to Phoenix,” the New Mexico city is spelled “Albakerky.” And on Bob Marley’s “I Shot the Sheriff,” the first line morphs from “I shot the sheriff but I did not shoot the deputy” into “I shot sheriff but I did no shot to death” and “they say they want to bring me in guilty for the life of the deputy” becomes “they say they want to bring me in guilty for the killing of a Dirty G.” Not side-splitting but still amusing; on Costello’s Get Happy, the transcriptions are credited to one “Stanley,” who presumably was too embarrassed to provide his entire name.