Artist: Bobby Sheen
Title: The Bobby Sheen Anthology 1958-1975
Release Date: May 25, 2010
Label: Ace 1257
Genre: Doo Wop, R&B, Soul

Bobby Sheen is best known as one of the two lead vocalists for Phil Spector’s Bob B. Soxx & The Blue Jeans, the other being Darlene Love. It was Sheen’s lead that carried the funkiest rendition of “Zip-A-Dee Do-Dah” to date. His other shining moment with the Spector crew was on A Christmas Gift To You, singing lead on “The Bells of St. Mary.” The relationship with Spector goes back to when Phil was an A&R man for Liberty Records, cutting the single “How Many Nights (How Many Days),” a Clyde McPhatter influenced gem of early 60’s r&b, which is also included on this collection.

Sheen’s early days were spent in West Hollywood after moving from his home in St.Louis at the age of four. He grew up in an upper middle class African-American neighborhood, hanging out with the offspring of the Mills Brothers as well as Marilyn McCoo, later of the Fifth Dimension. Show business was his destiny.

It was in 1958  that Sheen entered the studio with a revamped version of the Robins. The Robins had scored a big hit with “There’s a Riot Going On” and the group splintered into the Coasters and the Robins, with the Coasters gaining greater success. The Robins were recording for Knight Records, a subsidiary of Liberty Records. Sheen’s first lead came on “A Little Bird Told Me” a  song very similar to Bobby Day’s hit, “Rockin’ Robin.” The single went nowhere and the Robins didn’t record again until 1960. It was a single named “Just Like That” written by Robin H.B. Barnum and two studio L.A. musicians Sonny Bono and Jack Nitzschke.

Searching for work, the Robins recorded under the pseudonym, The Ding Dongs for Johnny Otis, cutting the single, “Ding Dong (Saw Wood Mountain).” Sheen also made a few guest appearances in the studio with Marvin Spence of Marvin & Johnny fame as the “Johnny” half of the duo, lending his talents on “A Second Helping of Cherry Pie,” which is not included int his package.

Lavender Records was the Last and final stop for Sheen as a member of the Robins in 1961, recording two singles including a doo-wop rave up of “White Cliffs of Dover.” With no success there, Sheen relocated to New York City and signed with Liberty Records. It was during this time he contacted Marshall Leib of the Teddy Bears, an acquaintance he knew from Clover Studios in L.A. And thus, Marshall was in the Teddy Bears with Phil Spector and the relationship began.

Sheen was the constant member of Bob B. Soxx & The Blue Jeans on the package tours, riding high on the success of their Spector-produced hits. Darlene Love and fellow Blue Jean, Fanita Jones went back to Los Angeles six weeks into the tour and Sheen remained with Blossom, Gloria Jones and Carolyn Willis. Charles Wright, later of the Watts 103rd Street Rhythm Band was their guitarist. Meanwhile back in L.A., Spector cut sides with Darlene Love as a Crystal as a solo artist and also signed the Ronettes. With the exception of the release of the full-length Bob B. Soxx & The Blues album and Phil Spector’s Christmas Gift To You, the brand of Bob B. Soxx had come to an end.

To keep the money coming in, Bobby called upon members of the Robins and they regrouped as The Coasters, Mark II. Members of the original Coasters toured the East Coast and Mark II took on the West Coast. during this time, Sheen also focused on his solo career. He signed with Dimension Records, the Brill Building styled label that was the home of The Cookies, Little Eva and had crack songwriters, Gery Goffin & Carole King as well as Ellie Greenwich and Jeff Barry. It was a Barry/Greenwich song “I Want You For My Baby” that Sheen recorded as well as a drenched-in-church version of the country standard, “My Shoes Keep Walking Back To You.”

But by 1965, Dimension folded and Sheen signed with Capitol Records. Capitol had the Beach Boys and the Beatles as their top priorities. Sheen cut what is now a northern soul favorite, “Dr. Love” b/w “Sweet Sweet Love,” with background vocals by the Blossoms and arranged by Gene Page, who had also worked with Dobie Gray, Solomon Burke and the Righteous Brothers. Sheen recorded a few more singles for Capitol but none of them had success mainly due to lack of promotion. He stayed busy keeping his association with Phil Spector, singing background on various sessions including Ike & Tina Turner’s “River Deep, Mountain High.”

After he left Capitol in 1968 he continued to perform with the Coasters and didn’t find himself back in the studio until 1972, this time landing in Muscle Shoals, Alabama. Under the production guide of Clayton Ivey & Terry Woodford, they secured two singles with Warner Brothers, but like Capitol, the label did not promote the songs. Still working with Ivey and Woodford, they cut a single for the tiny Chelsea Label, a soul cum disco song, “Come On and Love Me” b/w the smoldering “Love Stealing.” Once again, the label did not push the single, this time for the reason of lack of funds.

That was the end of Sheen’s recording career. He did jingle work, did the theme song for a television series called, Out of This World, and started his own label, Salsa Picante. Sheen passed on in 2000, from complication of pneumonia. He left behind many hidden gems, all of great quality. An artist of this calibre should’ve gotten better promotion from his respective labels. But that’s an old story; one that’s much too common for the extraordinary talents of Bobby Sheen.

Why not an A? the CD dances all around his varied career, going from soul to doo wop and back again and the Chelsea sides are of lesser sound quality. A chronological presentation would have made more sense.

The Litany:

There’s an identity crisis happening with this band. There is an obvious amount of production minutia to make the piece sound idiosyncratic. The most obvious is the arena rock power chords contrasting with simple single finger synth riffs and pop hooks. There is a youthful buoyancy in the female singer’s delivery with some sweet nonsense syllables, reminiscent of the sixties girl group sound, but, she also wants to have the moxie of Chrissie Hynde. The trouble is the adolescent lyric don’t support the attitude. Instead it comes off sounding like junior high girl’s bathroom gossip. (Not that I was spying at that time.)

There is future promise in this band, but they have to decide which road to travel. Is it the one that sells out hockey arenas to fourteen-year old girls, or do they want to swagger through adulthood with pop sensibilities?

I’m guessing this is a sophomore effort with limited success off their first album. The prior record probably had better songs since it drew from years of playing live gigs. This offering sounds a forced, but they learned a few tricks in the studio.

I’d scrap the power chords, hang onto the hooks and spend more than ten minutes on the lyrics. The musicians sound smart as far as constructing a song, but they also have to recognize limits. They need to define themselves because they sound like they are stuck in puberty. If it all goes right, their voice will change.

Summary:

This song seems to be the most realized of all on the disc. It melds their influences well and contains the best lyrics fit for this power rock style. the percussive intro grabs your attention, the vocalist delivers the lyrics with believable attitude along with some great placement of pop harmonies. Unfortunately , after the instrumental break, the singer states with no acting skills, “Come on bitches.” Was this to get the “Oh she swore!” response from twelve year olds?

I’m assuming this is called “It’s a Killer Life.” Now it’s time for the show…this is more of the power chord / pop vocal contrast. There are some Ronnie Spector-like “Oh-Oh-Oh’s” that work but are borderline cartoonish. Not a bad song, but listening to it as an adult sounds like the Disney Channel with attitude.

Terrible choice of production gimmickry only matched by Rod Stewart’s “You’re In My Heart.” The sexy whistles and the lyrics, “You’re so hot tonight” makes her sound like a horny teenager.

Possible the best song on the album but unfortunately I just heard the previous song and am having trouble with the bands credibility.

Hey! We’re in the 80s! I hated the 80s. I’m hearing the guitar through a phase-shifter again. She sings, “Hey, this is strange.” No, that would be a compliment.

I’m losing interest. The lyrics include a line about wearing American Apparel. I think this song is called “Sugar.” I’d take saccharine and the cancer.

More reference to “bitches.” OMG! She dropped the F-bomb! She’s serious!

The delivery by our lead vocalist during the chorus is a nice nod to Debbie Harry. I like the line, “I thought you were meant to be the reason I dream at night / but now I’m losing sleep.” Nice pop song. I was almost ready to eject the disc.

Eeeeewwwwwwww! Like the Divinyls but worse.

Again the phase-shifter guitar. I think I might like this better if it was Cheap Trick covering an obscure Big Star song. This might stand well on a mix. The bad cuts on this CD are affecting my judgement on the better songs. My cohort, Ms. Verity Wells warned me of the Stockholm Syndrome. Don’t worry, it ain’t happening here.

Okay, I listened to Run DMC too, but I never pretended to be them.

Can’t it be over yet? I don’t want to hear about foreplay which what this song “Electricity” is about. Lyrically, this is clumsy teenage sex.

What? A ballad? She sings, “I’m caught like a cat in a box, clawing to escape.” Me too. For once we agree.

Diamonds & Studs on Amazon + iTunes

Artist: Broken Bells
Title: Broken Bells
Label: Columbia 55865
Release Date: March 9, 2010
Genre: Rock

Broken Bells is producer extraordinaire, Danger Mouse, and Shins’ vocalist, James Mercer. Their mutual admiration goes back to a meeting at a music festival in 2004, but they did not start collaborating on the project until late 2008. 

Danger Mouse has worked his production magic, lending his skilled hand to the likes of Sage Francis, Beck, The Black Keys, the Gorillaz, and was, along with Cee-Lo Green of Goodie Mob, Gnarls Barkley. He also won acclaims for his mash up of the Beatles’ White Album and Jay-Z’s Black Album into The Gray Album. With Mercer as his new muse, Broken Bells could be Danger Mouse’s greatest feat.

Mercer went beyond his usual stylings in melody and voice, to distance himself from the  Shins, to make Broken Bells as distinct project, a separate entity of its own. By being so daring, he did expose himself and pushes the limits of his range. It becomes more apparent as the album plays on and I found myself more interested in the production than the songs themselves.

There are some stellar songs on the album, in fact they stand very well on their own out of context from the whole piece. But, there isn’t enough variance in tempo. the album bogs down in the middle and I found myself disinterested.

When I went back and revisited the album, particularly track 7, “Citizen,” a song I nearly dismissed when listening to the completed work, I enjoyed it much more on its own. I has touches of a classic Bowie/Eno composition. At that realization, I thought I’d love to hear Bowie and Eno traipse through the number.

I had similar thoughts with “The Ghost Inside.” How would this song sound with as a Gnarls Barkley record with Cee-Lo singing.

I respect Danger Mouse. His studio trickery makes all his endeavors interesting enought to plop a twenty on the counter. But this recording makes me somehow wonder if his production is supposed to distract me from the overall quality of the songs on Broken Bells. The piece is worth repeated listenings, but I don’t know if I trust it.

Artist: Kings Go Forth
Title: The Outsiders Are Back
Label: Luaka Bop 90075
Release Date: April 20, 2010
Genre: Neo-Soul

Miss Sara from the KFAI’s Rockhouse pitched this disc to me with the preface, “These guys are out of Milwaukee. They’re supposed to be the next big thing to challenge Sharon Jones & The Dap Kings.”

For a reason I can’t wholly explain to my satisfaction, internally I went to the defense of Ms. Jones. I’ve been a fan of Daptone records, but I’ve run hot and cold.  Admittedly, I’ll confess that Jones’ most current release, I Learned the Hard Way is my most preferred from her catalog, but I really don’t have a personal connection with her nor does her record strike a nostalgic sentimentality that I deemed holy.

So I’m envisioning this musical boxing match and I’m in Jones’ corner before the first round ever began.  I slipped the disc into the player and The Kings come out swinging.“One Day” opens like the instrumental second half to Curtis Mayfield’s “Move On Up.” This is Chicago Soul. Black Wolf, the lead singer and poet behind the lyrics of Kings Go Forth, lacks the richness in vocal timbre that Mayfield possessed, or even Cee-Lo Green for that matter. It wasn’t a knockout punch but it was a swing that connected, but it didn’t floor me.

Track two, “I Don’t Love You No More” is more of the same but better. It stepped a little further away from mimicry. It almost makes the first song unnecessary. If you can write a song that clearly displays an allegiance to a sound, why be so derivative in the previous number? “I Don’t Love You No More” is a superior reworking of “One Day.”

“You’re the One” glides into a smooth uptown groove, which exhibits another weapon in the Kings’ arsenal. The band gravitates toward an upper register three-part harmony, which I find is prevalent throughout the recording.

It is easy to recognize the band respects its influences; they are technically sound. Production values are high and that’s why “Don’t Take My Shadow” works so well. “Shadow” is a roundhouse punch of Philly disco with strings and a signature percussion break. The only thing missing is Teddy Pendergrass and a Sigma Sound credit. This is the killer cut.

But I still think Sharon Jones will withstand anything this band can dish out. The production is so tight that if the band has grit, it has been glossed over. If people deem Sharon Jones the Queen of Neo-Soul, the Kings are kings only in name.  They need to fight through a few more tours and recordings to get that match.

Artist: Charlotte Gainsbourg
Title: IRM
Label: Because Music / Elektra
Release Date: January 26, 2010
Genre: Rock

The album title, IRM is the French equivalent to the medical MRI, giving point of reference to the head trauma Ms. Gainsbourg suffered during a recent skiing accident. The opening cut, “Master’s Hands” lands you in squarely in the hospital. And the second track, “IRM” is like a modern day “Dry Bones,” but much drier.

The album, IRM is a trip through pain, darkness and uncertainty. It’s the equivalent sitting in a hospital waiting room for family only. Rhythms tend to be as mechanical as a heart monitor and the music can flow like a transfusion or drone on like a siren.

I find little pleasure in the experience of the disc – which is perfect – because it is reflective of Gainsbourg’s distressful ordeal. I am in awe of how it can mold my feelings.  That is due to her collaborator, Beck. As much as this is Gainsbourg’s experience, Beck deserves great merit for his production that completes the concept.

People may have trouble with the IRM because of its overall relative feel. But just because it uses the same medium as pop music, does not mean it has to supply us with a number one hit so we can all dance along.

I don’t believe Charlotte Gainsbourg wants us to share her suffering, but wants to share her story with us.

Artist: Marshall Crenshaw
Title: Jaggedland
Label: 420 Records 17771, 2009
Genre: Pop / Power Pop

Unofficially, rock and roll has been around for about 55 years. in different evolutions, from rockabilly to psychedelia, from soul to funk, punk to grunge, rap to hip-hop, it has been a music of youth and rebellion. Songs about cars, love and getting into trouble were common theme; then came politics and heavier issues. Rock and roll has persevered and it also has become the backbone of contemporary pop music.

Marshall Crenshaw has been on the national scene since 1982. Prior to his self-titled debut, he cut his teeth around his hometown of Detroit before landing in a touring production of Beatlemania. He too once wrote of youthful themes. He also persevered. Twenty-seven years later, Crenshaw’s twelfth album, Jaggedland, was released. The beauty of his pop vocals are still there, his fine guitar work still exists, as do the melodic hooks, but the themes are a bit different.

This album is a very mature work but there is a contrast of simplicity. Crenshaw is able to capture a single moment in the track, “Never Coming Down.” He sings of an image of a person running on a beach and holds it in his memory as a good place to go to. It’s very simple, but that comes with the awareness of life and and how a instance can be a well of happiness.

In the song, “Long Hard Road,” Crenshaw states, “No way around it / Being you and me sometimes takes its toll.” But instead of leading us down the path of teen anguish, he continues with, “Come lay down beside me / Let the morning sunlight warm your soul.” This song in sentiment is like hearing what happened to the couple in the Beach Boys’ “Wouldn’t It Be Nice,” many years later.

Crenshaw’s “Passing Through” is a standout among songs about the memories and relationships. The past is what it was, the present is what it, we still exist, but the calendar pages keep turning. The vocal delivery definitely hints at sentimental, but things are really matter of fact. The palette is simple, not black and white images but more like pages of faded photographs. And they’re not always the best composed or most significant images, but they are real. These are mature sentiments and situations, not romanticized, with realistic resolutions, not melodrama.

But he is not with his youthful past either. “Gasoline Baby” is a good rock rave-up, “Stormy Rover” features guitar work from Wayne Kramer, and he drops the names of Elvis Presley ad Bobby Vinton in his lyrics. There’s even a lift of an Everly Brothers’ lyric. But the addition of some finely placed strings and vibraphone give the CD a sense of aging.

It’s these little simple little snippets of life that make up a sophisticated pop album. The transition of an artist doesn’t always work well. The man continues to put out finely crafted albums. The content is a far cry fro the sentiment of “Cynical Girl,” but with time comes memories, reflections and new perspectives. I’m grateful Mr. Crenshaw and his music continue to evolve.

Sunday, December 6, 2009
Cheapo Records, Saint Paul, MN

Artist: George Jones & Gene Pitney
Title:For The First Time! Two Great Stars
Label: Musicor MM204 1966
Genre: 60s Country
Media: Vinyl

The artwork of this albums leads one to believe that this is a quick collection compiled by the label for a budget release. Upon further inspection, it is revealed that of the twelve cuts on the LP, eight are actual duets, with Jones & Pitney splitting the other four with solo efforts.

The combination of the two intrigued me; Jones, a deep country artist and Pitney, a veteran of the Phil Spector machine, film soundtracks and pop success. Both sing in a similar pitch but their timbre is the contrast. Jones’ voice tends to resonate through a whisky bottle where Pitney’s leans toward the melodrama.

Can this work?

The album is decidedly country, opening with a Ted Daffon number, “I Got Five Dollars and It’s Saturday Night.” This obviously suits Jones better than Pitney, but the two trade lines liked they worked together for years, harmonizing on the chorus, with Pitney naturally taking the higher register. It’s a good corny song in a sixties country fashion and Pitney does not sound out of place. This could have easily been a duet between Jones and his then female co-star, Melba Montgomery.

The following number is Gene Pitney covering the the standard, “I Really Don’t Want To Know.” The country aspect of the song is stripped away by Gene’s operatic vibrato. He doesn’t come off as sounding powerful, but vulnerable, which is how the song should be read. Pitney’s other solo is on “Born To Lose” which gets the full-Pitney make over. It sounds a bit out of place on the album, but it is the closing track with production analogous to a fireworks finale.

“I’m A Fool To Care,” “Wreck On The Highway” and “I’ve Got A New Heartache” follow the formula used on the opening number and are all triumphs. “My Shoes Keep Walking Back To You” really shines through among the duets, because it is more of a showcase of Pitney’s strength of a vocalist in a genre he generally doesn’t deeply delve. Jones is one of the greatest voices in country music, so of course he’s comfortable among these standards. Pitney worked off Jones with great success.

The album was produced by Jones’ longtime producer at Musicor & Starday, Pappy Daily, so it sounds consistent with other George Jones releases from that era. One of the two George Jones solo efforts is the Leon Payne number, “Things Have Gone To Pieces.” The song features lyrics that only Jones could emote:

“Somebody threw a baseball through my window,
And an arm fell off my favorite chair again,
The Man called me today and said he’d haul my things away,
If I didn’t get my payments made by ten.

“Things have gone to pieces since you left me,
Nothing turns out half-right, now it seems,
There ain’t nothin’ in my pocket, but three nickels and a dime,
but I’m holding on to pieces of my dream.”

Yes, this can work. If you’re a fan of sixties country music and you’re out digging through used vinyl, don’t pass this up. Even at three times the price it would be worth it.

Roy Wood Wizzo BandSuper Active Wizzo
Warner Brothers UK  K6388, 1977

Genre: Rock
Format: Vinyl
Price Paid: $8.99

Roy Wood has lead his band mates down some strange roads and they have followed. How he got them in this convoy I have no clue. Super Active Wizzo is a strange mess.

It’s Emerson Lake & Palmer with a touch of glam, fusion, some studio wizardry and a splash of pedal steel. Where this was supposed to take me I cannot fathom.

I’ll probably never listen to the album again but I’m keeping it for two reasons: 1) I’ll never recoup the money I paid for it, and 2) I’m keeping it out of the hands of some impressionable listener, so he or she doesn’t equate this confusion with other Roy Wood related projects.

I generally like Roy Wood and will listen to his contribution on any concept from the Move, to Wizzo. Something went terribly wrong here.

(It could be a D if it wasn’t so goddamned strange).

Artist: Adriana Evans
Title: Weather Man 12″
Label: 101 Distribution
Release Date: January 12, 2010
Genre: Neo-Soul

A very catchy 12” from neo-soul artist, Adriana Evans, that should be filling up dance floors. The grooves are dug deep to the early 70’s, with a TK/Glades/Alston-type vibe. But unfortunately for Ms. Evans, it is 2010 and it may be a little too retro for the masses.

Personally, I like the song. It reeled me in upon the first listen. I liked the Betty Wright “Mr. Big Stuff” guitar licks, the nice punch from the horn section and the tiny rings of the glockenspiel. The production and arrangement are slick as 70s sateen, but maybe a little too slick.

The mix could stand a little more bottom because if you’re going to dig that deep back into time, make it deep. The background vocals, which I am assuming are Ms. Evans’ overdubs, are a little high in the mix. Plus, they don’t vary. It’s the same shoo-doo-doo, shu-doo-doo-doo-doo, over and over again. If you’re going to repeat the past, learn from it. The Pips didn’t sing the same nonsense syllables throughout a song. The background vocals on “Weatherman” get to sound like a tape loop. It becomes more present upon repeated listenings.

I’m being a bit nitpicky but I hear so much potential in Ms. Evans voice that she and the song deserve better arrangements and production values. I think her voice has the power to bring a good song to greatness so let’s get the whole package. When the full-length LP comes out I’ll be sure to buy it. In the meantime, I’ll get over my tedious comments and enjoy the record.