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Top 20 Reissues/Historical Releases of 2006, Part 1
It turns out that there were so many good reissues and releases of historical material in 2006 that I’m going to have to make this list a two-parter as well. (And that’s without even including jazz; for my thoughts on 2006 jazz, both new and historical, go here.) One trend continues to dominate: the period from 1977 to about 1983 (which brought post-punk, jagged dance rhythms, the birth of hip-hop, and the melding of avant rock and minimalism) is hotter than anything happening now.
Various Artists – Big Apple Rappin’ (Soul Jazz)
Subtitled “The Early Days of Hip-Hop in New York City 1979-1982,” this two-CD (or four-LP) set captures (as much as possible) the birth of the genre. These were the days when the music was taken straight from disco and funk hits, while the rhymes are largely fresh and bright, innocent fun rather than dark commentary or confrontational aggression. The better-known artists here are Spoonie Gee, Xanadu (the influential “Sure Shot”), and Cold Crush Brothers, but as usual with Soul Jazz compilations, what makes this great is its depth, with a wealth of more obscure tracks.
The nearly 22-minute title track of Die Donnergotter offers wave after wave of minimalist ecstasy. “Guitar Trio” (1977) is where Sonic Youth learned how to make guitars sound like lethal weapons. Absolutely essential; if you want to get just one Chatham disc, this is the one. But why stop there? An Angel Moves Too Fast to See offers more guitar goodness, of more recent vintage; it’s a 42-minute-plus, five-movement suite “for 100 electric guitars, electric bass, and drums.” Maybe there aren’t really 100 guitars, but the sound is magically rich and textured. Two Gongs offers an exquisitely simple concept. On this 1989 recording of a 1971 composition, two guys play two gongs for an hour, exploring the overtones (sounding not too dissimilar to legendary downtown NYC icon Chatham’s massed-guitars pieces). And yet, it reveals so many facets: You can listen to it carefully as a subtle abstract exploration, mellow out and use it as a mood-setter, or turn it up and be rocked.
I’d had a good portion of this on a bootleg LP for a good quarter century, in which format it was already one of my favorite live albums of all time. Now that it’s gained official release, it’s even better: a full 16 tracks, now in excellent sound. This was the E Street Band at its most exuberant, playing the highlights from Bruce’s first three albums and some classic covers (the Mitch Ryder tribute “Detroit Medley” and Gary “U.S.” Bonds’s “Quarter to Three).
Russell may be more widely known now than he was during his short life, and Audika’s exemplary series of releases is the main reason why. First Thought Best Thought reissues a couple of rare albums, Tower of Meaning and Instrumentals, vol. 2, and gives us for the first time Instrumentals, vol. 1 and the shorter pieces “Reach One” and “Sketch for the Face of Helen.” This is Russell as classical composer, but it’s nicely accessible. Unlike the other Audika reissues, Springfield focuses firmly on his imaginative dance-oriented productions. Lots of 25-year-old dance tracks would sound dated, but not these: even in this genre, he was ahead of his time. By contrast, Another Thought (reappearing on Philip Glass’s label) draws from over 800 tape reels in a variety of formats, but intimate voice-and-cello songs dominate. They’re so light and evanescent, they’re almost not there, yet they’re so memorable and touching that they’re timeless.
An ‘80s cult classic returns in deluxe form. The Glove was a one-off collaboration by Robert Smith (The Cure) and Steve Severin (Siouxsie & the Banshees), plus vocalist Jeanette Landray (girlfriend of Banshees drummer Budgie), who sings the majority of the songs on the original album. While some tracks do recall The Cure, most are more psychedelic, and with koto, sitar, dulcimer, strings, and a drum machine expanding the sound. When the album was originally released, Smith was only allowed to sing on two tracks. Now we get to hear his vocal demos of all ten original tracks and an additional four songs, plus two instrumentals.
The most definitive reissue of this 1979 masterpiece, including Daryl Hall vocals that had to be replaced on earlier versions for contractual reasons. The two-CD set duplicates tracks to offer the two main versions in their entirety – no fancy track-order programming required – plus important alternates.
Joe Walsh’s sense of humor has overwhelmed his genuine musical talents in the minds of most music fans, due in some part to having such a big hit with “Life’s Been Good.” But he has long been an excellent songwriter, and on Barnstorm, his first album after leaving the James Gang, he was actually quite serious. Could that be why its only CD appearance in the U.S. was a limited edition Mobile Fidelity audiophile release? I was quite happy when it reappeared in Japan last year. Much of the album is darkly lush, though it also contains the first version of one of his signature rockers, “Turn to Stone.” A must-own for any serious fan of ‘70s rock.
Recorded almost three decades ago but never released after John Fahey’s Takoma label foundered, this gorgeous solo acoustic guitar album finally appears. Fans of Fahey, Sandy Bull, Leo Kottke, and James Blackshaw will dig Fosson’s adept fingerpicking and hypnotic excursions. And he has his own style, lighter and sunnier and with more variety of timbre than Fahey’s classic style. Fosson’s sense of structure is tightly focused and concise; every track is perfectly balanced, the intricate webs of sound often supporting pretty melodies that seem like primeval folk tunes even though they’re originals.
One of the greatest reggae albums has its original ten tracks supplemented by eight tracks never before on CD. Four of the bonuses are extended mixes, but three are earlier singles. “I Man a Rasta” is the earlier 7-inch version of the album’s “I’m a Revolutionist.” The last two bonuses, “Rastaman Camp” and the extended mix of “Bobby Bobylon,” are the only tracks that reprise album material. Song titles such as “Wine of Violence” and “I’m a Revolutionist” may suggest stern lectures, but McGregor’s silky voice remains seductive and the musical arrangements have a mellow lilt.
For decades, Van Ronk was the father figure of the New York folk scene. He passed along the secrets of his superb guitar technique to countless students, and inspired just as many with his dedication and wit. It’s great to have this 1991 album – Van Ronk’s only all-original program (though some of the lyrics sure sound familiar) – back in print. Nowhere is his sardonic humor better displayed than in this program of his own songs —“Luang Prabang” is one of the most black-humored antiwar songs ever.
