Saturday, December 21, 2013

Review: Paul Revere and the Raiders Featuring Mark Lindsay 'Something Has Happened! 1967-1969'


When we last left Paul Revere and the Raiders they were hitting their creative peak and passing their commercial one with 1967’s Revolution!, the final album represented on Raven Records’ Evolution to Revolution: 5 Classic Albums. After that the group recorded a numb-skulled Christmas album, prepared to part with producer Terry Melcher, and made their already unwieldy name unwieldier when they started going by “Paul Revere and the Raiders Featuring Mark Lindsay.” That unofficial new name was more than a way to cash-in on lead singer Lindsay’s heartthrob status. From this point on, they’d really be his band. Nowhere else would this be clearer than on Goin’ to Memphis, essentially a solo album on which Revere and the Raiders supported him on just one track, “Peace of Mind”. The albums that followed weren’t exactly one-man shows, but Lindsay’s compositions continued to dominate and he took over production duties for good.

This is the period represented on Raven’s follow up double-disc set, Something Has Happened! 1967-1969, which collects 1968’s Goin’ to Memphis and Something Happening and 1969’s Hard ‘N” Heavy (with Marshmallow) and Alias Pink Puzz. None of these records are as straight-through strong as Revolution!, and none of the hits are as huge as “Kicks”, “Good Thing” , and “Him or Me—What’s It Gonna Be?” There are still good things to hear on all of them, and Hard ‘N’ Heavy more than holds its own in comparison to the band’s hot streak from Midnight Ride through Revolution!

Probably the weakest of the bunch is that record Lindsay cut with a bunch of Memphis session men, mostly because the songs aren’t a particularly distinguished lot and the covers of the absolute classics “Boogaloo Down Broadway” and “Soul Man” won’t make anyone forget the formidable originals. Still, Lindsay was one of the more expressive white soul singers of the sixties, and he makes good use of his chops by spreading a soul vibe over an entire record. With its underlying twang, Goin’ to Memphis is sometimes reminiscent of Mike Nesmith’s legendary 1969 Nashville sessions, which yielded that landmark of country soul, “Listen to the Band”. There are some good songs too. “One Night Stand” recaptures some of the feel of Midnight Ride’s “All I Really Need Is You” by tripping from 4/4 time to an exaggerated 3/4. “My Way” draws power from a heavy horn arrangement, and “Peace of Mind” does the same from the support of Darlene Love and the Blossoms. As a song, “Peace of Mind” isn’t as memorable as the Raiders’ earlier hits, and its poor performance on the charts wasn’t undeserved.

Paul Revere and the Raiders got back a bit of their chart mojo with Something Happening, and with the actual band backing Lindsay this time on the hard garage and light psych material that was their forte, this sounds more like a proper Raiders record. The problem is that it’s their most uneven one since Just Like Us. The frustrating thing is that the poor cuts could have been whipped into shape with a producer less given to self-indulgence than Lindsay. “Happens Every Day” and “Love Makes the World Go Round” aren’t bad songs, but overly cutesy touches sink them. “Communication” is presented in two parts when one would have been plenty, and no one needs to hear that minute-and-a-half of obnoxious drag racing noise at the start of the otherwise decent “Get Out of My Mind”. The rest of the record is quite good, though, as the guys work it out on the near acid rock of “Too Much Talk” and the classic Raiders raver “Don’t Take It So Hard” and the pretty light psych pieces “Observation from Flight 285 (in ¾ Time)” and “Burn Like a Candle”.

The two albums on disc two of Something Has Happened almost bring the Raiders back to their ’66-’67 fighting weight. Hard ‘N” Heavy (with Marshmallow) is a minor classic with only a couple of slight (though not necessarily bad) tracks and a good deal of phenomenal ones: the bubblegum sing-a-long “Mr. Sun, Mr. Moon”, the Stonesy hard rockers “Money Can’t Buy Me” and “Time After Time”, and Lindsay’s ultimate production labor of love, “Cinderella Sunshine”, which is one of the greatest things his band ever did. A bit of indulgence mars this record too, as the guys use stupid comedy bits as a misguided way to unify their varied songs. I was actually hoping there might not be enough room on this disc for that nonsense and we’d just get the unadulterated songs—or that the CD would at least be divided so the comedy bits were included at the ends of tracks instead of the beginnings, making them easier to skip. No luck. Great album though.

Alias Pink Puzz doesn’t have anything as splendid as “Cinderella Sunshine”, though “Let Me!” is a screamy slab of soul more exciting than anything on Goin’ to Memphis. Dominated by funky, greasy soul, Pink Puzz often sounds like the record Memphis aspired to be. Evocative bits of psychedelic balladry (“Frankfort Side Street”, “Here Comes the Pain”) and bubblegum (“Hey Babro”, which missed its calling by not playing over a chase scene on “Scooby Doo”) mix up the mood a bit. The album only misses the boat a couple of times—“Louisiana Redbone” is too cute by half and the purposelessly lengthy “I Don’t Know” should have been halved—but these tracks aren’t egregious. Really the only straight-up bad song on disc two of Something Has Happened! is a bonus track pulled from A Christmas Present… and Past. On “A Heavy Christmas Message” the guys mumble some nonsense about keeping the “Christ” in “Christmas” before breaking out a choir of kazoos. The bonus Christmas songs on disc one are slightly better, the best being the fuzzed-up “Rain, Sleet, Snow”, which is about the USPS. Raven’s hearts were in the right place when they included bonus tracks on this CD, but singles such as “Do unto Others” and the shorter, more garagey version of “Cinderella Sunshine” would have been preferable.

One area that should elicit no complaints is the sound. I tested Something Has Happened against my old copy of Hard ‘N” Heavy (with Marshmallow) released on Sundazed Records in 2000. Sundazed is renowned for their superb mastering jobs, and much to my surprise, Raven’s new job sounds even better, revealing nuances on the piano of “Mr. Sun, Mr. Moon” I never heard before.

Get Something Has Happened! 1967-1969 on Amazon.com here:

Friday, December 20, 2013

Track by Track: 'A Christmas Gift for You from Philles Records'


In this ongoing feature on Psychobabble, I’ve been taking a close look at albums of the classic, underrated, and flawed variety, and assessing them Track by Track.

“The biggest thanks goes to you for giving me the opportunity to relate my feelings of Christmas through the music that I love.”

-Phil Spector “Silent Night”

Like so many visionaries, Phil Spector refused to grow up. Perhaps this has been the cause of so many of his problems—his infantilizing of ex-wife Ronnie Spector, his daddy issues, and his fatal obsession with playing with guns—but it is also the source of his art. His favorite toys are the ones found in a recording studio and his favorite time of the year is Christmas. In 1963, Spector attempted to capture the essence of the holiday several months before December 25th in the less than seasonal setting of sunny Los Angeles’ Gold Star Studios. How would his thunderous Wall-of-Sound work with corny kiddie songs like “Rudolph the Red-Nosed Reindeer” and “Frosty the Snowman” or the hymn carol “Silent Night” or the easy-listening standard “Winter Wonderland”? Brilliantly, of course, though it has taken longer than Spector surely wished for this to become common knowledge.

As the often-told tale goes, the release of A Christmas Gift for You from Philles Records is not the first thing that comes to mind when most people recall November 22, 1963. At 12:30 PM that day, John Kennedy’s motorcade was driving through Dealey Plaza in Dallas, Texas, when the president was assassinated. How this affected A Christmas Gift for You depends on whom you ask. By most accounts, it was a simple matter of national mourning displacing holiday merry-making. In her autobiography, My Name Is Love, Darlene Love wrote that her producer decided to “yank” the album from distribution out of respect for the grim times.

Spector at work on A Christmas Gift for You while two of his crucial singers—Darlene Love and Cher—await instructions.

Regardless of the circumstances, A Christmas Gift for You from Philles Records was a flop, and the British Invasion that rocked American shores in the first months of 1964 would do even more damage to Phil Spector’s dominance of the pop scene. Although he’d continue to score some huge hits with The Righteous Brothers through 1966, radio now belonged to The Beatles and their brethren. Spector would get a creative and commercial second wind at the end of the decade by hooking up with that band and its ex-members, but there’s no question that late-’63 was as dark a time for him as it was for everyone else.

Today A Christmas Gift for You from Philles Records sits in the classic spot it should have earned fifty years ago. Hip holiday fans with no patience for church choirs or Andy Williams feel no embarrassment when giving this disc a spin. Surely no other Christmas record rocks so hard, is so soulful and powerful, yet also translates that indescribable holiday feeling so authentically. A Christmas Gift for You is snow and sleigh bells and fur-fringed red suits. It’s also a rowdy office party, a make-out session under the mistletoe, and in at least one instance, the gut-shredding anguish of spending Christmas all alone. With incalculable support from the expressive voices of The Crystals, The Ronettes, Bob B. Soxx & the Blue Jeans, and—whoa…hold onto your Santa hat—Darlene Love, as well as the instrumental might of the Wrecking Crew, Spector not only made the never-will-be-challenged greatest Christmas record, he made one of the greatest Rock & Roll records of any kind. Let’s take a closer look at each track to see and hear why.



A Christmas Gift for You from Philles Records

Originally released November 22, 1963

Produced by Phil Spector

Track 1: White Christmas by Darlene Love (Irving Berlin)

With the slowly rising piano figure that sweeps it in and the moderately paced stroll that follows, “White Christmas” is an unusual choice to begin this barrage of sounds. Spector is easing us into the experience like a kid gradually waking on Christmas morning, rubbing her eyes, and realizing what day it is before zooming downstairs to find out what’s under the tree. However, Darlene Love’s voice is undoubtedly adult, without Ronnie Bennett’s (remember, she wouldn’t be Ronnie Spector for five years) kiddie enunciation or even the high register of Bobby Sheen, the only male lead voice on the record. Darlene’s delivery is also especially adult on “White Christmas”. She keeps the fire rockets in reserve to be used judiciously on “Marshmallow World” and “Winter Wonderland” and shot off without restraint on “Christmas (Baby Please Come Home)”. Even her mid-song recitation sounds drowsy.

Irving Berlin’s classic was made famous by Bing Crosby in 1942, and went on to become one of the biggest hits of the pop era, returning to the Billboard charts some twenty times throughout the years and reaching the number one spot a staggering three times, the only single with that particular achievement to its credit. Its melancholic message of wishing to be in a snow-blanketed Currier and Ives paradise must have really resounded with the overseas soldiers fighting World War II. The spoken interlude in Spector’s version better reflects his own yearnings. A child of the Bronx with a love of traditionally wintery Christmases, he surely must have missed the East Coast on those sunny December days in L.A. Darlene Love laments vistas of green grass and swaying orange and palm trees. Perhaps most of A Christmas Gift was too up beat for the troubled times in which it was released. This is not one of those tracks. The mood would change with the next track though…

Track 2: Frosty the Snowman by The Ronettes (Steve Nelson and Walter Rollins)

Tuesday, December 17, 2013

Psychobabble Hall of Fame to Open in Cleveland!

Breaking news! After an as-yet unidentified Cleveland museum was accidentally demolished by a slightly moist fart, city officials agreed it would be idiotic to rebuild it, instead deciding to replace that as-yet unidentified museum with a new one called the Psychobabble Hall of Fame! 

All artists are eligible for induction 25 years after the release of their first record. At least one non-shitty contribution to Rock & Roll history is the sole criteria for induction. The ability to apply clown makeup will not be a consideration for induction.
Proposed Museum Design.

Breaking update! The list of inductees has just been announced! It is as follows:

Paul Revere and the Raiders

Outstanding Contribution: Can play brutal bubblegum garage rock while doing choreographed dance moves in American Revolutionary War costumes.
Most Outstanding Work:  The Spirit of '67 (1966)

The Zombies

Outstanding Contribution: Crafted ethereally jazzy pop and masterful, Mellotrony psychedelia. Responsible for the current zombie craze.
Most Outstanding  Work: Odessey and Oracle (1968)

The Pretty Things

Outstanding Contribution: Recorded and released the very first LP length-rock opera. Wore the very first 1970s-length long hair. Rocked terribly hard.
Most Outstanding  Work: S.F. Sorrow (1968)

The Turtles

Outstanding Contribution: Racked up hits by recording consistently wonderful bubblegum folk rock with an emphasis on beautifully stoned harmonies and wise-ass humor.
Most Outstanding  Work: Turtle Soup (1969)

Nico

Outstanding Contribution: Metamorphosed from gorgeous, icy voiced pop chanteuse into ghoulish, icy voiced goth princess. Was the scariest thing about The Velvet Underground, which is saying a hell of a lot.
Most Outstanding  Work: The Marble Index (1968)


Love

Outstanding Contribution:
One of the few integrated rock groups of the sixties made a totally new sound with each album, and each one was fabulous. Were LA's coolest underground band, and Arthur Lee could shout as well as he could coo.
Most Outstanding  Work:
Forever Changes (1967)

 
The Monkees

Outstanding Contribution: Started as a totally manufactured sitcom pop band, said "Fuck that!" and threatened their record company until they were allowed to be one of the greatest real bands of the sixties. Were pretty awesome even before that. Hated by Jann Wenner, which is practically instant credibility.
Most Outstanding  Work: Pisces, Aquarius, Capricorn, and Jones, Ltd. (1967)

The Left Banke 

Outstanding Contribution: Single-handedly invented mopey British pop. Were from New York City.
Most Outstanding  Work: Walk Away Renee/Pretty Ballerina (1967)

The Creation 

Outstanding Contribution: Parodied art by setting canvasses on fire on stage. Taught Jimmy Page how to bow a guitar. "Making Time"? Holy shit!
Most Outstanding  Work: We Are Paintermen (1967)

The Move

Outstanding Contribution: Ripped out hilarious power pop, power bubble gum, and power prog rock, often while smashing used cars with sledgehammers. Kept Roy Wood and Jeff Lynne out of trouble.
Most Outstanding  Work: Move (1968)

Procol Harum 

Outstanding Contribution: Invented goth rock even though everyone insists on primarily categorizing them as prog rockers. When they did play prog, Gary Brooker's voice made it soulful prog. Revolutionized the double-keyboard approach. Made their non-singing, non-instrument playing lyricist an official member of the band, which is very considerate. Occasionally wore Merlin costumes.
Most Outstanding  Work: A Salty Dog (1969)

Nazz

Outstanding Contribution: American rockers who kept the concise spirit of '65/'66 British pop alive during the long-winded, jammy late sixties. Were the first thing on Todd Rundgren's resumé.
Most Outstanding  Work: Nazz (1968)


Nick Drake

Outstanding Contribution: Was the king of morbid, introverted singer-songwriters. Made three perfect yet distinct albums.
Most Outstanding  Work: Bryter Layter (1970)

Yes

Outstanding Contribution: Fused Beatlesque pop with prog pretensions. Jon Anderson sang lyrics that didn't even make sense when you were tripping your butthole off. Pissed off your super dogmatic punk buddies.
Most Outstanding  Work: Fragile (1971)

King Crimson

Outstanding Contribution: Are the only prog band you're not embarrassed to keep in your record collection. Robert Fripp did incredibly beautiful things with heavily distorted electric guitar and  incredibly heavy things with the beautiful Mellotron.
Most Outstanding  Work: In the Court of the Crimson King (1969)

Big Star

Outstanding Contribution: For those with no space in their hearts for prog, Big Star were the early-seventies saviors of power pop. But only critics knew that.
Most Outstanding  Work: #1 Record (1972)

Pete Townshend

Outstanding Contribution: Already inducted in old museum as member of The Who, deserves to be inducted in new one for making better solo albums than any other member of a major band and better demo recordings than God.
Most Outstanding  Work: Empty Glass (1980)

The Damned 

Outstanding Contribution: Punk, pop, psych, goth, garage rock, prog. They mastered it all without losing their sense of humor. Made the first punk single and the first punk album and toured the states before any of their British brethren. Outlasted about a million break ups and all the asshole critics who said they'd never last.
Most Outstanding  Work: Machine Gun Etiquette (1979)

The Jam

Outstanding Contribution: Introduced sharp mod style and twelve-string Rickenbackers to seventies punk rock. Made eighties new wave honest and organic even if no one else did.
Most Outstanding  Work: All Mod Cons (1978)

Cheap Trick 

Outstanding Contribution: Were the only traditional Rock & Roll band that mattered during the late seventies punk revolution. Their lyrics were as funny as their two heartthrobs/two slobs image.
Most Outstanding  Work: Cheap Trick (1977)

The Cure

Outstanding Contribution: Made the most thrillingly bi-polar music in rock history. Reinvented the dirge. Reinvented grooming.
Most Outstanding  Work: Kiss Me, Kiss Me, Kiss Me (1987)

Siouxsie and the Banshees

Outstanding Contribution: Transformed punk rock into avant garde art, transformed the Gothic into the delectably poppy, transformed millions of perfectly nice high school girls into wild-haired, wild-makeupped mini-Siouxsie Siouxs (note: just to confirm, Siouxsie's outstanding ability to apply clown makeup was not a consideration in her induction).
Most Outstanding  Work: A Kiss in the Dream House (1982)

XTC

Outstanding Contribution: Made the best hurky-jerky new wave since Talking Heads and the best Beatles and Beach Boys albums since The Beatles and The Beach Boys.
Most Outstanding  Work: Black Sea (1980)


The Replacements

Outstanding Contribution: Were too crazy to contain, too beautiful to ignore, too drunk to keep it together, and too cool for that other hall of fame.
Most Outstanding  Work: Let It Be (1984)

The Smiths

Outstanding Contribution: Made gloriously shimmering pop for mopey kids who didn't quite understand that Morrissey is really, really, really funny.
Most Outstanding  Work: The Smiths (1984)

Suzanne Vega

Outstanding Contribution: Most often stereotyped as a folk singer, the New York singer-songwriter actually reinvented herself as regularly and audaciously as David Bowie. Possibly the only pop artist to dabble in industrial music without making a fool of herself.
Most Outstanding  Work:
99.9 (1992) 

Throwing Muses 

Outstanding Contribution: Were the scariest thing ever to come out of Rhode Island. Had the most stellar rhythm section in college rock history and a front woman with a voice that could melt your face faster than the Ark of the Covenant.
Most Outstanding  Work: The Real Ramona (1991)

Guided by Voices

Outstanding Contribution: Made it OK to be a lo-fi, middle-aged, self-made Rock & Roll superstar. Literally released 6,000 albums, including a slick, hi-fi one produced by Rik Ocasek that is amazingly awesome despite what everyone says.
Most Outstanding  Work: Bee Thousand (1994)

The Pixies

Outstanding Contribution: Have you ever heard nineties rock? They're responsible for that.
Most Outstanding  Work: Doolittle (1989)

Nirvana

Outstanding Contribution: Revitalized Rock & Roll after the "hair metal" years. Were the last truly culture-crossing, globally important band of the Rock & Roll era. Only band of previous museum's recent inductees deemed worthy of inclusion in the Psychobabble Hall of Fame.
Most Outstanding  Work: In Utero (1994)


Monday, December 16, 2013

Psychobabble's Best of 2013


As another year approaches its end, let’s take a look back on Psychobabble’s top-reviewed books, CDs, and blu-rays/DVDs of 2013. Each item on each list links to the original review.


CDs








Blu-rays and DVDs







Music Books













Film, Television, and Miscellaneous Books












Friday, December 13, 2013

"Twin Peaks" (doesn't) Has U.K. Blu-ray Release Date

As rumors of a "Twin Peaks" Blu-ray box continue bubbling without confirmation in the U.S., U.K. Peaks Geeks only have to wait a few months. They'll be getting their hi-def coffee and pie fix on March 24, 2014. Hopefully that Universal/Playback release will differ from the one Paramount will hopefully release next year, because according to its Amazon.co.uk page, the set will only include the series and not the feature Twin Peaks: Fire Walk with Me, which already received a stand-alone release on Blu-ray in 2012. So Americans should continue keeping their fingers crossed that an all-inclusive "Twin Peaks" set will arrive in the states sooner than later. Our European friends can just go ahead and pre-order their version here now.

Update: Apparently Amazon.co.uk jumped the gun in putting this "Peaks" Blu-ray up for pre-order. The release date has been removed as has the pre-order option. Surely this will do nothing to stop over-zealous fans from insisting that "Twin Peaks" is coming to Blu-ray soon complete with Fire Walk with Me, twelve hours of deleted scenes, a lock of Kyle MacLachlan's hair, and a personal invitation to David Lynch's house for pie and coffee. 

Review: 'The Golden Voyage of Sinbad' and 'Sinbad and the Eye of the Tiger' Blu-rays


Late in his career, Ray Harryhausen returned to the subject of one of his hugest mid-period successes to make The Golden Voyage of Sinbad and Sinbad and the Eye of the Tiger. Neither of these films received the accolades or classic status of 1958’s The 7th Voyage of Sinbad, though I suspect the main reason is that folks started viewing Harryhausen’s DynaMation stop-motion technique as a bit old-fashioned in light of the special effects developments displayed in recent films like 2001: A Space Odyssey and Planet of the Apes. That Eye of the Tiger came out the same year as Star Wars and Close Encounters of the Third Kind probably didn’t do it any favors in that department either.

Watching these films today is a totally different experience. While the knowledge that all modern special effects are done by some nerd with a computer has robbed them of their “Wow!” value, Harryhausen’s effects are all “Wow!” In The Golden Voyage of Sinbad (1973), a bat-like homunculus drops a prized golden amulet in the famed sailor’s ship, sending him on a treasure hunt in which he duels with his ship’s animated figurehead and a six-armed Kali statue and encounters a giant Cyclops-centaur and a griffin. In The Eye of the Tiger (1977), his mission to rescue a prince transformed into a stop-motion baboon leads him to fend off a gaggle of bug-eyed goblins and a dinosaur-sized walrus, while also befriending a giant, horned troglodyte. These creatures are as magical as any in Harryhausen’s more critically lauded films, so it’s kind of unfair that they get short shrift just because of the era in which they appeared.

The stories that surround these animals and monsters are better than their reputations too, though the human characters are usually up-staged by the creatures. This is actually particularly true of the better film, Golden Voyage, which drags for the mostly creature-deprived opening 38 minutes but takes off like a monster-packed rocket for the final hour. Still, that film’s Sinbad, played by the reasonably charismatic John Phillip Law, is much more enjoyable than the personality-devoid Patrick Wayne, who plays our hero in Eye of the Tiger. That film makes up for his shortcomings with a stronger gang of supporting players led by Jane Seymour as the baboon-prince’s sister and Sinbad’s girlfriend (she’s a much more engaging heroine than Caroline Munro’s nearly dialogue-less slave girl in Golden Voyage) and Patrick Troughton as the wizard with the knowledge to un-monkey her brother.

However, these being Ray Harryhausen films—the only kinds of films we think of as belonging to the special effects guy rather than the director—the effects are paramount, which is why Golden Voyage comes off as superior. Tiger’s goblins are like poorly designed retreads of Harryhausen’s legendary skeleton soldiers from Jason and the Argonauts. The baboon-prince and the troglodyte are both wonderfully articulate and disarmingly emotive creations, but the other animals are less imaginative than the monsters of Golden Voyage. The overuse of bad traveling matte shots is another issue with Eye of the Tiger.

So it is fitting that Twilight Time has put a lot more effort into their new Golden Voyage of Sinbad blu-ray than their Eye of the Tiger disc. Both films look excellent in high-definition, which is a real relief considering the possibility that stop-motion might not have translated well in such flaw-revealing clarity. Golden Voyage has received an especially careful restoration. Take a look at the details on those fabulous costumes: the golden texture of the Grand Vizier’s frock, the spangles on the villain’s black robe, and the nap of the little patches of purple velvet on his sleeves. Eye of the Tiger isn’t quite as dazzling because it’s a lot less colorful with too many poor-contrast night scenes, though that’s probably more the film’s fault than the restoration’s.

Golden Voyage has some nice extras to match it spectacular visuals. There are three Harryhausen interviews focusing on his earlier films Mysterious Island, The Three Worlds of Gulliver, and Earth vs. the Flying Saucers. He talks about his special effects techniques (including animating a real dead crab in Mysterious Island), use of travelling mattes, locations, and props. In the Earth vs. the Flying Saucers featurette, interviewer Joe Dante gets to manhandle the actual UFO prop used in the film, ostensibly because he wants to explain how it works… but you know he just wanted to play with a really cool toy. There are no details on when these interviews took place, but based on how young Dante looks, I’d guess late eighties/early nineties.

The Golden Voyage of Sinbad also features a booklet essay and an isolated musical score track. These extras are included on the Sinbad and the Eye of the Tiger blu-ray too, though the only featurette is a three-minute 1958 documentary on DynaMation. It has nice retro value, but Twilight Time would have given this disc more value had it spread those interviews between both discs instead of hording them on one. So Golden Voyage is the totally essential disc, but both are well worth checking out for their underrated main features. But you better not dilly-dally because they’re both only available as limited editions of 3,000 units, as are all Twilight Time releases. The Golden Voyage of Sinbad and Sinbad and the Eye of the Tiger are only available at Screen Archives.com.


Thursday, December 12, 2013

Beatles Capitol-Era Box Set Coming Soon!

Those of us who grew up in America and on Capitol's sliced and diced versions of The Beatles' albums had to acclimate to very different albums when the proper Parlophone discs replaced them in the mid-eighties. Naturally, the British versions were the albums John, Paul, George, and Ringo intended us to hear, but that's no balm for nostalgia pains. We old Americans got a couple of teasing tastes of those records we knew and loved with CD boxes of The Capitol Albums in 2004 and 2006, but Capitol never finished the story. Well, they are now in a big way with The U.S. Albums, a thirteen-disc set that should satisfy every Yankee Beatlemaniac. All five non-compilations that missed those two volumes of The Capitol Albums will be included in mono and stereo incarnations.
The U.S. Albums is coming on January 21, 2014, as are stand-alone CD releases of each album (purchase links for each one follow), and can be pre-ordered on Amazon.com now here:

The set will include:

Meet The Beatles (The U.S. Album)
The Beatles' Second Album (The U.S. Album)
A Hard Day's Night [Original Motion Picture Soundtrack] (The U.S. Album)
Something New (The U.S. Album)
The Beatles' Story (only available in box set)
Beatles '65 (The U.S. Album)
The Early Beatles (The U.S. Album)
Beatles VI (The U.S. Album)
Help! [Original Motion Picture Soundtrack] (The U.S. Album)
Rubber Soul (The U.S. Album)
Yesterday And Today (The U.S. Album) (with Butcher sleeve concealed under the released cover!)
Revolver (The U.S. Album)
Hey Jude (The U.S. Album)
 
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