Wax of the Week #88...Cliff Jackson & Jellean Delk with the Naturals: “Frank, This Is It” 7” (1964)

Classic “crying” cut, with its instrumental version on the flip. Can’t get over this girl’s sass. One book says this is actually Sun session guitarist Teddy Paige of The Jesters.

Wax of the Week #87:..Aluk Todolo: Voix (2016)

Remarkable instrumental French trio that’s hard to classify. Their roots are in black metal (all three were in Diamatregon), but they play a sort of exploratory (like The Julie Mittens), heavy and rhythmic (like Guapo) propulsion prog (they’ve gigged with Faust and Magma), with touches of dark psychedelia in the washes of guitar (like some of Davis Redford Triad or even Caspar Brotzmann Massaker). Really well done and impressive. When I bitch about how Metallica have petered out and are running on creative fumes, while graybeard metallers shrug and stretch with an apologetic “It’s OK, I guess” at their new music, THIS is the kinda shit I’m trying to draw attention to: new sounds that stretch the boundaries of metal from artists that are following their muses and taking chances, not whipped by management into pretending to care so they can pay for personal chefs and shopping sprees in Paris. Hrmph.

Wax of the Week #86...Bathory: The Return… (1985)

I’ve long had the feeling that Quorthon did the first Bathory recordings on a lark, and, pleasantly surprised by the positive reaction, continued to bang out strong albums with a seemingly offhand effort, tongue slyly in cheek. Many Swedes seem to have this very dry, lightly cynical sense of humor, and I could just imagine this booze/blow/women-loving punk rocker saying, Fuck it, let’s have a go at this metal thing. And without being totally serious about it (though not everyone picked up on this), he cranked out these kickass records, helped define whole genres (black metal, Viking metal), and became a legend in the process. Says a lot about his innate talent. Musically, this was savage thrash metal with grunting Gollum vocals; remember, back in the ’80s black metal was defined more by lyrical content and image, not really by musical qualities (bands like, say, Venom and Mercyful Fate really had little in common). Bathory was not influenced by Bay Area crunch, but more German thrash with an infusion of varsity-level evil juice. Rumors about drum machines have long surrounded this band, and I do wonder if they were used here. Maybe it’s better not to know, and just enjoy the many mysteries of Bathory.

Wax of the Week #85...The Derelicts: Time to Fuck Up 7” (1990)

This Seattle punk band straddled the grunge and hardcore scenes—melodic enough for one, powerful enough for the other. They had a couple of good singles, but I never got around to their sole LP. Anyone rate it? Cover art by Joe Newton.

Wax of the Week #84...The Joyride: “The Crystal Ship” 7” (1967)

 

Dreamy pop psych cover of the Doors classic, backed with a similar sunshine pop psych b-side.

Wax of the Week #83...The Bandido Family: Playing Em’ Our Way (1977)

Also known as Los Bandidos, from a renowned 1972 live LP (well, renowned to lounge collectors, anyway), they were a midwest Native American band with an incredible guitarist who wrangled weird, scratchy noises out of his instrument that sounded like insects, plus a child singer/drummer.

Wax of the Week #82...The Barons: By Request (1972)

The second album I have by this local Texas barband. Cool versions of “Mr. Soul” (with variable-tempo drumming), Teegarden & Van Winkle’s “God, Love and Rock & Roll,” and CCR’s “Hey Tonight,” along with others: Ten Years After, Booker T & the M.G.’s, and Tin Tin (!).

Wax of the Week #81...The Barons: s/t (1971)

Local Texas barband who released a few LPs and singles on their own labels (Solar and Baron); I believe this is their first, a mix of originals and covers. A diverse rock band with touches of fuzz, blues, and soul.

Wax of the Week #80...The Band: Music from Big Pink (1968)

A group who went against the Frisco ballroom psychedelic sounds of the time, in a more organic way than, say, CCR. Very influential on the rural/rustic rock to follow, in a different way than country rock. This isn’t country, it feels older, like a rock band from the late 1800s if that makes sense. Old sepia tones. Long rifles. North woods. Not a huge Dylan fan (I have a couple albums filed), but I often like when others cover his songs, which is the case here. Another tragic musical venture that was crippled by drugs and booze, along with management ripoff schemes. Robbie Robertson seems like the uptight, egotistical Don Henley of the group. Plenty of Upstate New York connections with these guys, also.

Wax of the Week #79...Barney Armstrong's Machine: Live at Jordan's Alpine (1978)

Lounge act from Washington state, doin’ disco, a Seger cover, and an epic Stevie Wonder medley. They had something to do with hydroplane racing up there.

Wax of the Week #78...Baden Powell Quartet: Vol. 3 (1970)

Third of three albums they recorded in three days in Paris (still need #2). Nice stuff, especially for finger-pickin’ guitar players.

Wax of the Week #77...Back from the Grave Vol. 6 (1985)

The first one in the series I heard (and my favorite so far). Immediately fell for the moody rock & roll of The Beaux Jens (from Michigan), the frantic twang of The Barracudas (from Louisiana), and the driving groove of The Werps (from Jersey).

Wax of the Week #76...Baden Powell Quartet: Vol. 1 (1971)

First of three albums they recorded in three days in Paris. Janine De Waleyne’s vocals on the Powell/Paulo César Pinheiro composition “Réfem da Solidaõ” give a bit of a giallo soundtrack feel (apparently they did a whole album together in the same year; will need to track that down). Some nifty guitar work on Ed Lincoln’s “Do Jeito Que a Gente Quer.” Johnny Alf’s “Rapaz de Bem” evokes the classic light, breezy, and sophisticated bossa sound. Plus there’s an acoustic instrumental and a long, energetic Brazilian percussion track. A nice one.

Wax of the Week #75...Badfinger: Straight Up (1971)

A pleasant Beatlesque pop record, though only three (very good) songs stand out for me. Love the smooth slide guitar in “Day After Day” (that’s singer/songwriter Pete Ham and co-producer George Harrison; Leon Russell provides piano), bassist Tom Evans’ “Money,” and the arpeggiated riffs of Ham’s “Baby Blue”; so catchy. Yet more tragic victims of the gangster music biz; Ham and Evans both eventually took their own lives after getting fucked over by management for years.

Wax of the Week #74...Baden Powell and Vinicius de Moraes: Os Afro Sambas (1966)

One of my earliest Brazilian records, and one that still fascinates me. I couldn’t even figure it out for the longest time; it was in such an alien musical language, I couldn’t grok what was going on at all. Obviously bossa nova–based, it also had a classical vibe in parts, and African influences, and featured what sounded like a children’s chorus (actually the Quarteto Em Cy; more on them down the road). Even knowing a little more about Brazilian music now, there’s still an air of mystery and sophistication around this record, which certainly heightens the interest. Collecting Brazilian records is an expensive hobby, but also a load of fun, as there were so many great records that were only pressed in South America, never making it to the Anglo world until collectors got them here. For a few years in the 2000s I listened to every bossa soundclip on eBay, making for a rather large want list. But hey, this is why we get up early to make the donuts. I’ll get more into guitarist Powell in coming posts; de Moraes (1923–1980) was a famous poet and lyricist from Rio de Janeiro. He was there at the birth of bossa nova with João Gilberto and wrote a bunch of standards.

Wax of the Week #73...Baja Marimba Band: s/t (1963)

Slightly tongue-in-cheek easy listening with a Mexican flavor and slight exotica touch, but played mostly by pasty white guys. Band was led by Julius Wechter, the guy who replaced Arthur Lyman in Martin Denny’s band. He played on Herb Alpert’s Lonely Bull album, and wrote the hit “Spanish Flea” for him (as heard on The Dating Game TV show). So to help cash in on the Tijuana sound (and the bossa nova craze, à la Brasil ’66) he formed his own band for Alpert’s A&M label, accompanied by seasoned session vets like Hal Blaine and Leon Russell. This is their first album. The Chicago-born Wechter died in 1999, aged 63.

Wax of the Week #72...Arthur Lyman: Aphrodisia (1968)

A recent one for me, has three decent tunes. By this time, Lyman had brought EZ pop hits like “Sunny” and “Goin’ Out of My Head” into his repertoire. Anyone know the name of the typeface here?

Wax of the Week #71...Back from the Grave Volume Two (1983)

Strong entry in the series.

Wax of the Week #70...Arthur Lyman: Polynesia (1965)

One of his better titles, if a bit mellow.

Wax of the Week #69...B.B.K.'s Expedition: Upship’s Creek (c. 1973)

Brass-laden lounge band from parts unknown does the Ojay’s, Chicago, and the Doobies; plenty of private white guy funkiness.