New Record! Count Basie: The Best of Count Basie

Review # 40
Artist: Count Basie and his orchestra
Title: The Best of Count Basie
Format: LP (X2)
Label: Decca
Year: ?
Songs: 24







Hello readers! I'm back from my honeymoon and back to reviewing records! Today I'm listening to a record I bought shortly before I left but didn't get a chance to listen to until today, Decca's double LP best of collection for Count Basie. I picked this up on the advice of my buddy Colin, who seldom steers me wrong on anything. This was no exception. While a number of the tracks on this overlap with the previously reviewed French Count Basie LP (See review # 27), this was still a good purchase at $3.

For one thing, unlike the French best of collection I reviewed previously, this record has extensive liner notes I can actually read, written by Stanley Dance. The cover of this LP is gatefold, and within are several pictures of Basie and his band as well as several pages detailing how the group formed and their rise from a locally successful band in Kansas City to a jazz phenomenon in Chicago. There's also some discussion of Basie's style of arranging tunes. Basie, according to the writer, was the master of stripping down songs to their basic elements and riffing on these simplified versions. Thus, even when he played other people's songs, they became his own as he took the bits that he liked, stripped them down, and built up from there, not unlike the folk tradition of borrowing melodic or lyrical lines from other songs and making them one's own. My knowledge of jazz isn't deep enough that I could have come to this conclusion on my own, but after reading this and listening to the record, I can really hear it. Basie's version of "Honeysuckle Rose," for instance, is recognizable as a version of that song, but has little in common in with other versions I've heard, leaving out some of the most recognizable bits of the song, and transforming the others into something  that, while not entirely different, feels like a Basie composition. The liner notes also include a chronology of the band's personnel.

The music here is also fantastic. The record includes hits like "One O'Clock Jump" and "Swinging The Blues" that make me wish I could play jazz. These tunes are mostly instrumental, but Jimmy Rushing contributes his bellowing, bluesy vocal to a handful of the songs, and Helen Humes also appears on "Blame it on My Last Affair," adding an Ella Fitzgerald-esqe vocal.These two LPs are filled with foot-tapping swing jazz numbers that are full of energy and are just plain cool. The timing is perfect, the band all clearly consummate professionals, yet at the same time they manage to sound like they're just out there having the time of their lives. I could listen to this collection of songs all day long. If you're getting into jazz and don't have any Count Basie in your collection, I think this double LP would be hard to beat.

Here's "Honeysuckle Rose." See if you can hear what Dance is talking about with regard to Basie's arrangements.

Total songs listened: 521

The Beatles: Sgt. Pepper's Lonely Hearts Club Band

Review: 39
Artist: The Beatles
Title: Sgt. Pepper's Lonely Hearts Club Band
Format: LP
Label: Capitol Records
Year: 1967
Songs: 12



What can I say about Sgt. Pepper's Lonely Hearts Club Band that hasn't been said 50 times already? This record is regarded as one of the best rock albums of all time. It's complex, inventive, and full of memorable songs. It is arguably one of the first concept albums (although the extent to which it actually is a concept album is debated to this day). There are dozens of rumors surrounding it, some involving the conspiracy theory that Paul McCartney had died, others surrounding the Beatles' supposed intention to change their name to Sgt. Peppers Lonely Hearts Club Band. More capable writers than I have tread all of this ground numerous times, so I will not.

Likewise, I'm sure that most (or all) potential readers of this blog have heard this record many times (who hasn't?) so there's no need for me to describe the songs themselves in detail. Again, there's nothing for me to say that the interested reader doesn't already know or couldn't find in one of the many books and documentaries about the Beatles. So, I will not do this either.

Instead, I'd like to share some thoughts about how this record came into my life and the importance it has held for me over the last 15 years.

When I was a teenager, as I've written already (see my review of Hey Jude), the Beatles were the band that made me want to listen to rock music. At first though, I really preferred their early stuff. My musical pallet was not very sophisticated yet, and the catchy pop-rock of the first five or so Beatles records made more sense to me than the complex and unusual sounds found on the later records I had heard, like Revolver and Abbey Road. Then in the summer of 1996 I was going to garage sales with my dad in Spokane, Washington, and came across a Sgt. Pepper LP in a $1 box. I had never heard this record yet up to this point in my life. I didn't even have a record player at the time, but my parents' friends did, so that evening I recorded it on to one side of a cassette tape. The sounds I heard on this LP as I lay next to the speakers on the floor of their basement blew me away. I had never heard anything like it. I was captivated. I lay giving it my full attention until it was over, then played it again. It was perfect pop, but mixed with some of the strangest sounds I had ever heard. It was only a few days later that I got Magical Mystery Tour on cd from the library. I recorded this on the other side of the cassette and for several weeks, it didn't leave my tape player. I just turned the tape over and over, soaking in these two records. They became deeply embedded in my musical psyche and also became the standard by which, for some years, all other music was judged, and none could live up to.

After I heard this record, I was forever converted to a fan of the later Beatles records, and started trying to find other things that sounded like Sgt. Pepper. It was not long after this that I figured out Bob Dylan, the Byrds, Simon and Garfunkel. These new sounds expanded my mental horizons and changed my worldview. It was a dollar well spent. I still own that same copy of Sgt. Pepper's Lonely Hearts Club Band, and I still hear new sounds each time I play it.

That wraps up the Beatles LPs. The rest of their catalogue I have on cds and a couple of 7 inches, so next time we'll be moving on to different musical terrain as I cross the 500 song line. But it will probably be a couple of weeks before I have time to post again. Starting in late September, look for a return to several posts a week.

Until then, I'll sign off with this clip from the Yellow Submarine film in which the Beatles win the day and defeat the Blue Meanies by singing "Sgt. Pepper's Lonely Hearts Club Band."

Total songs listened: 497

The Beatles: Rare Beatles

Review # 38
Artist: The Beatles
Title: Rare Beatles
Format: LP
Label: Phoenix Records
Year:1977
Songs: 10




Never heard of this record? Neither had I until a few months ago when I was perusing the clearance bins at Jive Time Records. This is one of several available bootlegs of the Beatles from the days when they were an unsigned band from Liverpool that traveled to Hamburg to play the seedy clubs along the Reeperbahn in hopes of making a little money. Specifically, this was recorded at live show during the Beatles' second stint in Germany. Having shed their original bass player, Stuart Sutcliffe, on their first trip to Hamburg, the band's lineup in 1961 (or 1962? I'm finding conflicting information about this) when this recording was made was John Lennon, Paul McCartney, George Harrison, and drummer Pete Best.

But not on the night this record was recorded.

According to the sleeve, on the night Ted Taylor decided to bring his tape recorder to a Beatles show, Pete Best was out for the night. Sitting in for him was the drummer for band called Rory Storm and the Hurricanes. His name was Richard Starkey, or as the world would come to know him, Ringo Starr. This recording, then, is of the first performance of what would become the most famous band ever.

So, you may be thinking (especially if you aren't a hardcore Beatles fan), "that's cool I guess, but how is the music?" Well, it's a live recording of very early Beatles material. It has all the strengths and weaknesses of such recordings you may have heard before--the energy is great, the performance is spot on, the recording quality leaves something to be desired. However, compared to other non-professional live recordings of the Beatles I've heard before, this one is at least as good and maybe slightly better in terms of recording quality. Later, in the cd section, I'll be reviewing the more widely known 1962 Live At the Star Club disc, and while it's been a little while since I've listened to that, I'm pretty sure Rare Beatles sounds a little better. The production is a little rough, but you could do worse.

What's cool about this disc though, aside from the historical value, is that some of the songs on here are tunes I've never heard the Beatles perform on any other release. The record includes Fats Waller's novelty tune "Your Feets Too Big" and Tommy Roe's "Sheila," as well as better known tunes that would remain in the Beatles' repertoire, such as "'Till There Was You," which would appear on the bands second LP a few years later.

There's also some fun banter between band members, and occasionally the sounds of an enthusiastic crowd, both of which make it easier to imagine that you are there watching the Beatles play this historic show.

If your a big fan of the Beatles, and you can find this record, I recommend it. The first show with Ringo is pretty cool to have on record. For casual fans, this probably isn't worth the time and cost of seeking out.
Total songs listened: 485

New Record! Arctic Flowers: Reveries

Review # 37
Artist: Arctic Flowers
Title: Reveries
Format: LP
Label: Inimical Records
Year: 2011
Songs: 8






After a long hiatus, 30,000 Songs is back in action! Life has kept me too busy to review (or even listen to many) records in the last few weeks.  But now, I have a short window before, well, before that happens again for a while, actually. But for more fun reasons. Anyway, those who have been with the blog since its inception might recall that in the original outline for the project, I said that if I acquired a new record that fit in somewhere I'd already passed, I'd review it upon acquisition. I actually bought this a few weeks ago, but again, no time.

But now, without further ado, the new LP by Portland's Arctic Flowers. I first saw Arctic Flowers opening for the Subhumans (I think? Might have been Citizen Fish? I can't really remember) last year, and I was frankly blown away. Arctic Flowers play anarcho-punk, not crust. Female vocals that mostly sing and occasionally shout, but never really scream, compliment dark, melodic guitar lines and a warm, undistorted bass. The drummer makes full use of his toms and in doing so fills out the sound nicely.

The band are clearly influenced by the British anarcho-punk of the 1980s, but are much more in the tradition of Lack of Knowledge, Zounds, Omega Tribe, Rubella Ballet (who's song "Arctic Flowers" is presumably the source of the band's name) or the other bands from that scene that developed their musicianship by incorporating post-punk influences than the likes of Crass or Conflict. There definitely sounds like there's some post-punk influences here, and occasionally even some moments that are reminiscent of emo back when that genre still had something to offer. The guitar, for example, reminds me in places of old Sunny Day Real Estate. At other times I'm also reminded of the quieter moments on the third WitchHunt LP. This is definitely punk rock, but it demonstrates a wider array of influences than the average punk band and probably has something to offer even those who aren't big punk fans (though probably not for those who dislike punk). It's powerful, but not as assaultive as a lot of the music from the genre and there's some really competent and innovative musicianship going on here.

The lyrics here are a blend of personal and political, delivered in a manner that's compelling, haunting, and passionate by a woman who knows how to use her voice in more than one way. The production is warm yet crisp, with a few effects used on the vocals that add to the haunting, post-punky feel of the record. It's hard to pick out highlights because the whole record is so good, but I guess I'd point to the title track, the opening track ("Double Edged") and "Cri de Coeur" (which apparently means "an impassioned outcry") as my favorites. This may well be my favorite record of 2011. If you like any punk rock at all, you should check this band out.

The record is new enough that I can' really find any tracks from it online. It's not hard to find some of their earlier stuff from their first demo if you want to, which would give you sort of an idea of what to expect, but those tracks are less polished and mature efforts, and, not being from this record, I won't post them here. It's not on iTunes either, so you'll have to track this down on your own, or better yet, go see the band live. Just like in the old days.


Total songs reviewed: 475

The Beatles: Magical Mystery Tour

Review #36
Artist: The Beatles
Title: Magical Mystery Tour
Format: LP
Label: Capitol Records
Year: 1967
Songs: 11




The Magical Mystery Tour LP is the only American Beatles release that has become the canonical version. This record, if you aren't familiar, features the music from their very unusual film of the same title, as well as a number of tracks previously released as singles. The British version of this was actually a double ep that only featured the songs from the film and excluded the singles. With every other Beatles record, when the cd versions came out, they were all the original British versions. But not Magical Mystery Tour.

Perhaps that's because this is such an excellent collection of songs. In fact, for a long time, this was my favorite Beatles record. From the infectious pop of the title track, to the strange abrasiveness of "I Am the Walrus," to basically all of the singles that make up side B, this record is both fun and interesting from beginning to end.  As a teenager, I declared Harrison's "Blue Jay Way" to be one of the Beatles' only bad songs.  But I've since warmed to it.

The absolute highlight of this record, in my view, are two songs on side B that were originally released as a single together, "Penny Lane," and "Strawberry Fields Forever." In my last post, I described the "Hey Jude/Revolution" single as the pinnacle of the Beatles' catalogue. If that is so, then this single is a close second. These songs, both about actual places from the band's history, are classics that really showcase Lennon and McCartney's differing but complimentary styles. "Penny Lane" is a pure McCartney pop gem. Catchy and fun, but also well crafted and innovative in its own way, "Penny Lane" is one of McCartney's best compositions. "Strawberry Fields Forever," by contrast, is clearly Lennon's work--slightly dark in its sound, with lyrics at once absurd and profound, and unusual instrumentation and production to give the song a surreal and slightly spooky quality. Both are fantastic in their own way and for some reason feel as if they were always destined to be paired, in spite of the their differing sounds.

"Strawberry Fields Forever" is also a crucial piece Paul is dead conspiracy lore. Near the end of the song, a muffled John Lennon can be heard saying "Cranberry Sauce." This was misheard as "I buried Paul" and taken to be yet another piece of evidence that McCartney had died and been replaced by a look alike.  But don't get me started on that.

The LP version of this record is especially worth having for Beatles enthusiasts and collectors because inside it's gatefold cover it includes an illustrated storybook of the film, complete with very 1960s artwork, and also some photographic stills from the movie. Good fun.

In short, Magical Mystery Tour is a great record. The movie is not for just anyone--it's pretty weird and also dull at times (I like it anyway) but the record is essential.

Here's the title track, with video as it appeared in the film.

Total songs listened: 467

Frank Friday! Frank Sinatra: Come Dance With Me

Review #35
Artist: Frank Sinatra
Title: Come Dance With Me
Format: LP
Label: Capitol Records
Songs: 12







For pure fun Sinatra tunes, it's hard to beat Come Dance With Me. This is one of my favorite records to put on when I have people over for dinner. It's upbeat swinging Frank Sinatra in top form. There's not a bad performance on this record (although I'm not terribly fond of "Baubles, Bangles and Beads" as a piece of music), and while I personally am a fan of Frank's more melancholy numbers, this is a great record for entertaining guests because it stays up-tempo all the way through, slowing down only for it's closing tune, "The Last Dance."

The most interesting thing about this record is that it's a bit of a concept album. Most of the songs on the record are about (or at least mention) dancing. In addition to the title track and "The Last Dance" it features, among others, swinging renditions of "Dancing in the Dark," "I Could Have Danced All Night," and of course, "Cheek to Cheek." It's kind of a cool idea and somewhat ahead of it's time to connect the songs on the record thematically like this.

Sinatra's performance is spot on on this record. The man was in many ways in his prime when this recorded, and the vocals have that uniquely Frank-Sinatra-cool attitude that characterizes the best of his swing material. Backing him up are trumpeter Billy May and his orchestra, who collaborated with Sinatra on several other records, some which will appear later on this blog.  May and his band play good, solid swing, which should come as no surprise given that Billy May was part of Glenn Miller's band for a while and also worked with, among others, Bing Crosby, Ella Fitzgerald, and Nat King Cole. Interestingly, along with other film and television work, Billy May also composed some of the music for the 1960s Batman television show.

This to me isn't Sinatra's most compelling record, but it's definitely one of his most fun.

Come dance with Frank Sinatra.

Total songs listened: 456

The Beatles: Introducing the Beatles

Review # 34
Artist: The Beatles
Title: Introducing the Beatles
Format: LP
Label: Vee-Jay
Year: 1964
Songs: 12




I don't have too much to say about this one because, in some sense, I've already reviewed it. Like The Early Beatles, this is a U.S. release of the songs that appeared on the Beatles' first UK LP, Please Please Me. Released on Vee-Jay records in 1964, this record was the first release of Beatles material in the United States, preceding Meet the Beatles (the U.S. equivalent of the band's sophomore effort With the Beatles) by a few weeks. Capitol Records had initially been uninterested in releasing these songs, as the Beatles were still an unknown commodity in the U.S. a that time. Introducing the Beatles was available for a fairly short time because it soon became apparent to the folks at Capitol that they wanted these songs on their label after all. Thus, this is a highly sought after collector's item, especially if you can find a stereo version.

My copy is almost certainly a counterfeit.  This record was already a scarce and desirable commodity by the late 1960s, and bootleg versions of it were produced throughout the 60s and 70s. I did a little research on how you can tell the fakes and found 1) if it says it's stereo (mine does), it's probably a fake because so few stereo copies were made, 2) if you can't see George's shadow, it's probably a fake (you can't see it on mine, but the sleeve is so worn that it's hard to tell), and 3) if the title and the band name are on opposite sides of the spindle hole, it's probably fake (as is the case with mine). But, that's what you get for a  $1.29 at a thrift store. It's still cool to have a copy.

Interestingly, the Vee-Jay record featuring the songs from Please Please Me is actually more similar to the British release than is the Capitol version.  The songs on Introducing the Beatles are actually in the same order as on Please Please Me, however, like the Capitol release, tracks have been removed (in this case "Love Me Do" and "P.S. I Love You"). Another oddity on this record is that the songwriting credits on the original songs all go to "McCartney-Lennon" rather than "Lennon-McCartney" as they would appear on every other Beatles' album.


Total songs listened: 444