Audiophile Edition - Van Halen, Emerson, Lake & Palmer and More
Our spotlight on vinyl this time out spins audiophile quality pressings from Mobile Fidelity Sound Lab and titles in Verve/UMe's Acoustic Sounds Series.
Mobile Fidelity Sound Lab
MoFi has added three classic rock reissues to their catalog, all from highly-influential acts working in very different genres.
Emerson, Lake & Palmer - (Self-titled)
This is the first album from one of the most successful of all prog rock groups that was originally released in 1970 in the UK and 1971 in the US. The album has long been a favorite of those who listen on headphones and will be all the more so now in this audiophile version. And there is a lot to hear; from Greg Lake's fuzzed out bass at the beginning of instrumental cut "The Barbarian" where Keith Emerson goes nuts on keyboards (and so does Carl Palmer on drums) to the epic "Take a Pebble" with Lake's delicate vocals and an awesome venture into jazz where each of the trio gets to shine. And there's the ominous "Knife-Edge," a beloved track that was (and remains) a classic rock radio staple. And that's just Side One; Side Two holds the three part suite "The Three Fates" where Emerson plays the Royal Festival Hall Organ on part one, the gothic sounding "Clotho," and solos on piano for part two, the somewhat manic "Lachesis" and plays in piano trio format for part three of the suite "Atropos." The album finishes with the tune that introduced most to ELP, the sublime "Lucky Man." A superb beginning for the band that would go on to thrill fans for years to come, this MoFi version of the ELP debut has been specially plated and pressed on 180-gram high-definition vinyl.
The Stooges - (Self-titled) - (Original Master Recording, 2 LPs, 45 RPM)
Here MoFi gives the audiophile treatment to another debut album, this time from the punk band that would eventually become legendary and monumentally influential. Helmed by singer (and eventual "Godfather of Punk") Iggy Pop (credited here as Iggy Stooge) the Stooges here were rounded out by guitarist Ron Asheton, bass man Dave Alexander and drummer Scott Asheton. The album begins with "1969," a funky rocker about youthful boredom and with an apt title since the album was released in 1969, and also true to the era there is a psychedelic guitar solo from Ron Asheton. A favorite for Iggy fans, "I Wanna Be Your Dog" barks for the first time here; the guitar squall at the song's beginning has been copped by countless acts over the years. It probably is not a coincidence that the song sounds like the Velvet Underground since VU member John Cale produced the record. The 10-minute "We Will Fall" also has a sound that's been borrowed by many. Sort of the opposite of what the Stooges came to be known for, the song features a slow groove with chanting in the background and mysterious vocals from Pop, perfect for burning incense and entering an altered state of mind, with or without chemical help. This track in particular benefits from the MoFi magic. Also here are essential Iggy cuts "No Fun" and "Real Cool Time" along with "Ann," "Not Right" and "Little Doll." Packaged in a sturdy gatefold jacket.
Van Halen - Diver Down - (Ultradisc One-Step Pressing Box Set, 2 LPs, 45 RPM)
MoFi's Ultradisc releases are the best you can get and here they put the process to work on the beloved 1982 Van Halen album
Diver Down. Of course, the main things that listeners will hear on this improved audio release are every squeal and howl from singer David Lee Roth, and perhaps more importantly, the always amazing sound of guitarist Eddie Van Halen. The band leaned heavily into songs written outside the band for this release and begin the album with a rocked-up version of the Kinks' "Where Have All the Good Times Gone;" a take on Roy Orbison's "(Oh) Pretty Woman" did really well for them too as did an interpretation of the Martha and the Vandellas chestnut "Dancing in the Street." There are even a couple of super oldies here including the obscure 1940s cut "Big Bad Bill (Is Sweet William Now)" and the album closer done acapella, the Roy Rogers-associated and Dale Evans-penned "Happy Trails." But fans will want to hear Eddie's guitar on originals like the heavenly sound of "Cathedral" with its cascading guitar effect, the Roth-penned instrumental "Intruder" that segues into "(Oh) Pretty Woman" and of course "Little Guitars" which begins with Eddie showcasing his skills on acoustic guitar on the song's intro and then rocking like crazy over Roth's vocals on the main part of the song which was also a radio mainstay for the band. Box includes an insert with photos and credits.
Verve Acoustic Sound Series
All of these audiophile pressings are on 180gm vinyl and packaged in very attractive heavy duty gatefold jackets.
The New Stan Getz Quartet featuring Astrud Gilberto - Getz Au Go Go
The Getz Quartet here is Stan on tenor sax, Gary Burton on vibes, Gene Cherico on bass and Joe Hunt on drums. Six of 10 songs find the guys joined by singer Astrud Gilberto and the entire set was recorded live at the Cafe Au Go Go coffeehouse in Greenwich Village in New York City in 1964. To be sure, Getz and company are in fine form here, but it is Gilberto who really steals the show with her charming vocal styling. Having recently had a hit with "Girl from Ipanema," not included here, Gilberto coos delicately on opening cut "Corcovado (Quiet Nights of Quiet Stars," "It Might As Well Be Spring" and "Eu E Voce" which she sings in Portuguese as the band really cooks. It is only after that the band plays without Gilberto, grooving on an eight minute interpretation of "Summertime" that showcases Burton, and the very brief "6-Nix-Pix-Flix." The second half of the show sees Gilberto return to sing "Only Trust Your Heart," "The Telephone Song" and "One Note Samba;" without her the quartet plays "The Singing Song" and the closer "Here's That Rainy Day."
Roland Kirk - Now Please Don't You Cry, Beautiful Edith
Kirk is backed here on this 1967 release inspired by his love for his wife Edith by Lonnie Smith on piano, Ronald Boykins on bass and Grady Tate on drums. Known primarily for his work on tenor saxophone, Kirk had the peculiar talent of being able to play three horns at once. He doesn't do that here but he doesn't need to as he sounds intriguing as he leads the band through the slinky groove of "Stompin' Ground" on which at mid song he demonstrates another of his talents, the ability to hold a note for a super long time. With the exception of a take on the Bacharach/David composition "Alfie" all of Side One is Kirk originals, including the swinging "Silverlization." Side Two opens with the uncharacteristically rocking "Fall Out," another original where Kirk plays a greasy sax lead and Smith plays a rhythmic piano part. The side's highlight is of course the title cut, the dripping-with-emotion "Now Please Don't You Cry, Beautiful Edith" where the mood moves from melancholy to manic in an instant. The effort ends with a take on Billy Taylor's "It's a Good Night for Swinging," a cut that truly does swing as Kirk shines on flute.
The Great Kai & J.J. - Brand New, Swinging Together Again
Originally released on the vaunted Impulse label in 1961, this album pairs the great trombonists Kai Winding and J.J. Johnson. They really go to town on the big and brassy opener "This Could Be the Start of Something;" the mood is just the opposite on the chestnut "Georgia on My Mind" where their interplay is simply sublime. A take on the Thelonious Monk favorite "Blue Monk" also find the guys working in a mellow mood; Side One also features the Johnson original "Judy" and the bluesy "Alone Together" as well as the spritely "Side By Side." Backing the pair on the side are Bill Evans on piano, Roy Haynes on drums and Paul Chambers on bass. On Side Two the side men are Evans and Tommy Williams on bass and Art Taylor on drums and they boogie through "Concentrate on You," the understated "Theme from Picnic" and another Johnson original, "Trixie." Winding contributes an original here too in the form of "Going, Going, Gong!" which yes, has Taylor smacking a gong here and there.
Duke Ellington and Johnny Hodges - Side by Side
Hodges was a member of Ellington's orchestra but left to front a band of his own; he returned though for this album that was recorded in 1958-59 and released in 1959. Side men here include Harry Edison on trumpet, Al Hall on bass, Leslie Spann on guitar and flute, Jo Jones on drums, Ben Webster on tenor sax, Roy Eldridge on trumpet, Lawrence Brown on trombone, Wendell Marshall on bass and Billy Strayhorn on piano (not all play on every cut). Ellington's own "Stompy Jones" begins the effort where he mostly lays back on piano in favor of Hodges taking the lead on alto sax; the cut also features a mellifluous guitar solo from Spann. Other Side One cuts include "Squeeze Me," the playful "Big Shoe" and "Going Up" where Spann takes a turn on flute. Side Two contains "Ruint," the only Ellington/Hodges co-write on the album and there's probably a good story behind the title but since this is instrumental music we have no hint at what it is. It's easy to figure out the meaning behind closing cut "You Need to Rock" though as the song tunes into the rhythm that would soon take over when the rock 'n' roll era hit.
