Link Wray: Unauthorized live CD adds more evidence for a Hall of Fame induction

[review by Bill Glahn]

Link Wray: Live… My Father’s Place 1979 (Klondike KLCD 5079)

Venue: June 22, 1979 My Father’s Place, Roslyn, NY

Cover: 8-page insert with extensive liner notes with tray card in traditional jewel case

Sound Quality: very good - most likely taken from a circulating flac file that lists the sonic path as FM analog (3^rd generation, cassette) > DAT > CD-R clone > transfer to flac file (no eq, sound level adjusted). That would make this silver disc an internet lift, as the sound is pretty much identical. Not the kind of instrument separation you’d get from mastering analog to disc, but very listenable nonetheless.

Tracklist: Blue Suede Shoes/ Fever/ Jack The Ripper/ It’s All Over Now Baby Blue/ Baby What You Want Me To Do/ Don’t/ Money/ Peggy Sue/ Run Chicken Run/ Ace of Spades/ You’ve Lost That Loving Feeling/ Love Me/ I Fought The Law/ I Saw Her Standing There/ Rawhide/ Rumble

Comments: The gravest omission from the Rock ‘n’ Roll Hall of Fame, in my opinion, has to be Link Wray. And not just because he is cited as a major influence by every guitarist of note from Jimmy Page to Neil Young to Stevie Van Zandt. Many music historians have noted the sonic boom of Wray’s first hit single, the instrumental, “Rumble (1958).” Iggy Pop takes it further, citing his punk attitude. Wray has been nominated twice, but the deaf ears of the Hall’s voting contingent have never taken it to full blown inauguration. But anyone who followed Wray’s career past 1958 knows that Wray should be in the Hall for a lot more reasons than that.

“Rumble” provides a centerpiece in the film, It Might Get Loud, with Jimmy Page, The Edge, and Jack White marveling at the playing of the single all those years later. This is a problem when a single has such a profound impact on the music world that it pigeonholes an artist like Wray. What the labels wanted was more of the same – loud and brutal instrumentals. Which Wray delivered in spades with follow-ups like “Rawhide,” “Jack The Ripper,” and “Ace of Spades.” The record companies milked the string of popularity on instrumentals until the mid sixties, whereupon instrumental artists like Wray and Dick Dale and Duane Eddy found themselves persona non-gratis.

So, in 1971, Link Wray reinvented himself and quietly jumpstarted the DIY movement in the process. Recorded in a three-track studio converted from an old chicken shack on the family farm, Wray, along with brother Vernon (no slouch either) behind the board, created a piece of Americana that stands up well to this day. He found an interested buyer for the recordings in Polydor, a European major that had opened a U.S. branch in 1969 and had an impressive list of acts. Wray would record 3 more albums for Polydor before moving on. Although relatively quiet as a recording act in the mid seventies, Wray moved to San Francisco and became a popular live act, often teaming up with John Cipollina. A number of excellent broadcast recordings featuring the Wray/Cipollina pairing over KSAN are worth hunting down. But Wray also did a lot of European touring in the late seventies, where he has always remained popular. Two Wray singles from the album, Bullshot, were released in Europe during the punk apex, a version of Bob Dylan’s “It’s All Over Now, Baby Blue,” and Little Willie John’s “Fever,” both delivered with maybe a little too much production, but both distinctly Wray. And if Iggy Pop was adopted as “godfather” by the punks, Wray was adopted as the grand elder. For once, Link Wray seemed to be in sync with, instead of ahead, of the times. At least across the ocean. Neither single was released in the States. Which is the period captured by this CD.

Several shows were broadcast on a summer promotional tour of the northeast for Bullshot, including this one. And it’s a doozy. Wray had put a live set together that consisted pretty much of a history of rock ‘n’ roll framed in power chords and stinging leads. Keith Lentin (bass) and Anton Fig (drums) provide a powerhouse rhythm section and the trio dropped the production frills and turned up the volume.

Klondike has included the entire set, starting with a rousing version of Carl Perkins’ “Blue Suede Shoes” and closing up with Wray’s most famous tune, “Rumble.” In between there are covers of Jimmy Reed, Elvis Presley, Barrett Strong by way of The Beatles, Buddy Holly, The Righteous Brothers and others, along with some of Wray’s best known tunes.

As a singer, Wray has a limited range (the lower register of Elvis Presley or Roy Orbison without the high end abilities of either). But he generally sticks within his limits and had become a fine vocalist by this time. On the couple of tunes where he attempts to stretch it out, (i.e. “I Saw Her Standing There”) the results aren’t particularly good. Wray paces the set with a couple love ballads, but basically it’s a start-to-finish blitzkrieg.

Two months later, he would record the highly acclaimed Live at the Paradiso live album in Europe (later released under license in the US. On Visa Records) and move to Europe soon after. Link Wray remained in Europe for the rest of his life where he enjoyed continued popularity and a steady touring career. It’s a tragedy that he never received equal respect in the U.S. and certainly an egregious oversight by the Rock ‘n’ Roll Hall of Fame that he wasn’t inducted on day one. With all the testimony by musicians already in the Hall about his impact as a major influence, the continued absence of Wray remains an embarrassment. Obviously, the Hall is more interested in selling tickets these days than presenting a proper history.

With a master source tape, and a legitimate release, properly edited for mass consumption, this is the type of recording that has a shot at a Grammy award in several categories (Lifetime Achievement Award, Best Americana Roots Performance). Maybe that’s the road to get the HoF off their duff. Years of fan complaints certainly haven’t.

Bonus: If Elvis looked badass on his 1968 comeback special, Link Wray looked downright DANGEROUS on stage throughout his career, like an axe-carrying delinquent. And that's certainly how the establishment viewed him from the start. "Rumble" was banned from many radio stations because it was viewed as violent and a bad influence - sort of like the instrumental predecessor of "Louie Louie."

  

 

Warren Zevon - Simple Man, Simple Dream: Lackluster sound quality diminishes excellent performance on unauthorized CD

 

[review by Rev. Keith A. Gordon]

WARREN ZEVON Simple Man, Simple Dream (Laser Media CD)

VENUE: The Metro, Boston MA; WBCN-FM radio broadcast; September 29th, 1982.

SOUND QUALITY: Although it’s nowhere near as bad as those one-star reviews on Amazon would have you believe – I’m guessing that many of these amateur critics just recently discovered the wealth of dodgy “copyright gap” CD releases available these days – the CD’s sound is somewhat muddy with a few sonic artifacts creeping in along the edges and an overall hollow feel to the performances. It sounds like you’re standing against the back wall of a cavernous warehouse and watching the show, with all the echo and distortion that implies; not unlistenable by any measure, but not of the quality of the legit, label-released Stand In the Fire LP (which, strangely, a lot of people compare this to?).

COVER: Laser Media isn’t known for spending a lot of time or money on the label’s CD packaging, so you get a sepia-toned Zevon photo for the front cover (the same pic as the previously-released Live In Boston 1982 set on Live Wire) with a track listing on the rear of a single-ply insert. The tray card lists the songs again and, in the fine print, states that this CD is an “official radio broadcast.” Sure it is…

TRACKLIST: 1. Johnny Strikes Up the Band • 2. The Overdraft • 3. A Certain Girl • 4. Let Nothing Come Between You • 5. Jeannie Needs A Shooter • 6. Join Me In L.A. • 7. Gorilla, You’re A Desperado • 8. Roland the Headless Thompson Gunner • 9. The Envoy • 10. Simple Man, Simple Dream • 11. Bill Lee • 12. Charlie’s Medicine • 13. Jungle Work • 14. Play It All Night Long

COMMENTS: Singer/songwriter Warren Zevon enjoyed modest commercial success when his third album, 1978’s Excitable Boy, achieved Gold™ Record status on the back of the Top 30 hit “Werewolves of London” which, in turn, drove the album into the Top 10 on the charts. Zevon’s follow-up, 1980’s Bad Luck Streak In Dancing School, while performing admirably (peaking at #20), was considered a step backwards commercially and creatively (note to critics: it’s actually a pretty great record). A poorly-performing live set, Stand In the Fire (which ain’t half-bad, either…) haunted the upper half of the albums chart and signaled that Zevon’s commercial momentum may have stalled.

Although his fortunes had begun to wane somewhat by the time of The Envoy, Zevon still put on a heck of a live show, and this FM radio broadcast by WBCN in Boston is a fine example. The set list on this CD release (which is not the full show – see below) draws three tracks from The Envoy, six songs from Bad Luck Streak In Dancing School, a pair from Zevon’s self-titled 1976 Asylum Records debut, two songs from 1978’s Excitable Boy, and a reverent cover of the John David Souther ballad “Simple Man, Simple Dream,” from which the CD is titled. Zevon and his journeyman touring band, which included guitarist John Wood and bassist Larry Larson, provide the performances with plenty of energy and enthusiasm.

Zevon also knew how to structure and pace a live show, opening in Boston with a brace of unbridled rockers in “Johnny Strikes Up the Band,” the guitar-happy “The Overdraft,” and a raucous take of the Yardbirds’ (by way of Ernie K-Doe) “A Certain Girl” before cooling off with the mid-tempo “Let Nothing Come Between You.” From this point, Zevon sandwiches heavier tracks like “Jeannie Needs A Shooter,” “Roland the Headless Thompson Gunner,” “The Envoy,” and “Jungle Work” between more nuanced songs like “Simple Man, Simple Dream” and the piano-driven “Bill Lee.” The fierce “Join Me In L.A.” evinces a deep, funky groove while “Gorilla, You’re A Desperado” is provided an appropriately jaunty, tongue-in-cheek reading. Simple Man, Simple Dream closes with the wickedly satirical “Play It All Night Long,” which offers a barbed condemnation of the myth of the simple Southern lifestyle with direct references to Lynyrd Skynyrd.

A few cavils to share – first of all, Simple Man, Simple Dream offers roughly half of Zevon’s actual concert performance that night, which ran a hefty 27 songs if you include the encore (and why wouldn’t you?) and don’t count onstage banter and introductions. The aforementioned Live In Boston 1982 sports two discs (instead of Laser Media’s single), was released earlier, offers three additional tunes from The Envoy, and includes the encore performances of “Excitable Boy,” “Werewolves of London,” “Carmelita,” and “I’ll Sleep When I’m Dead.” Headless In Boston is a similar single-disc set, but it runs a healthy 19 tracks and includes the very cool encore performances.

Summing up, this is another typical shabby “copyright gap” CD release by the folks at Laser Media, a U.K. company that specializes in obscure radio broadcasts that are offered in what is the absolute cheapest packaging available, with little-or-no credits and carrying a premium price tag. A quick look at a list of the label’s releases on Discogs displays a diverse and, to the fanatical classic rock fan, mouth-watering roster of albums by artists like Yes, Thin Lizzy, Aerosmith, David Bowie, Tom Waits, Jeff Beck, Van Halen, Rory Gallagher and, yes, Warren Zevon. Overall, this is a stellar performance by Zevon and band but with mediocre sound. If you absolutely have to own it on compact disc, that’s OK but, with a little Googling, you can find the complete Boston show online and enjoy it for free!

Grade: C+

Bonus View: a couple nights later

 

Free Will - Live At Jabberwocky 1970: Previously Undiscovered Gem on Vinyl

 [review by Rev. Keith A. Gordon]

FREE WILL

Live At Jabberwocky 1970

(The Grail Record Productions, Italy)

VENUE: The Jabberwocky, Syracuse NY; July 1970.

SOUND QUALITY: Decent soundboard recording for the era, probably captured on portable reel-to-reel and put through its paces with modern mastering and studio gimcrackery. It could be worse, given the vintage of the recording, the mix awfully dense and quiet to the point of distraction. The entire album could have used more EQ to balance out the frequencies and they could have pumped up the volume with some slight compression. It’s listenable, though, provided you turn it up, and while the vocals are pretty muddy, and the guitars tend to dominate the sometimes sludge-like instrumentation, the two records capture the high spirits of the performance.   

COVER: Pretty dang swanky for a label I’ve never heard of in almost 50 years of collecting and writing about music. The Grail Record Productions out of Italy doesn’t seem to have a very large catalog – a mere four albums listed on Discogs, with three of ‘em by this band Free Will. But Live At Jabberwocky 1970 sports a handsome gatefold cover with cool cover art printed in silver ink against a black background. The inside features a bunch of color photos of the band in typical 1970s rock star poses on stage, while the rear cover lists the songs in gold ink and offers more arcane-looking, silver-printed artwork. Thick slabs of vinyl are housed in slick, high quality paper sleeves. An overall impressive job; I’ve seen major label releases that showed a lot less effort in their packaging than The Grail does here. 

TRACKLIST 

Side One: 1. Good Rockin’ Tonight • 2. Big Boss Man • 3. Someplace Is Something • 4. Handbags To Gladrags • 5. The Hunter • 6. Help Me

Side Two: 7. Carry Me Home • 8. Candy Man • 9. Big-Legged Woman • 10. Country Road • 11. Stormy Monday • 12. Swingin’ Sheperd Blues

Side Three: 13. Needle and Spoon • 14. Free Will Boogie • 15. Bright Lights, Big City

Side Four: 16. Dink Soup • 17. Mother Earth • 18. Ridin’ With the Devil 

COMMENTS: Free Will was a 1970s-era blues-rock band from upstate New York (Syracuse area) that toured clubs and colleges in the East Coast region. Formed in 1968 by singer Joe Whiting and guitarist Mark Doyle, the line-up also included rhythm guitarist George Egosarian, bassist John DeMaso, and drummer Tom Glaister. To be honest, there’s not a heck of a lot of info on the band on the old Internet – they skewed towards a bluesy sound that took advantage of Whiting’s strong vocals, mixing blues and rock covers with a handful of original tunes, and their dynamic live shows earned Free Will a loyal following in the tri-state (NY-NJ-PA) area. 

Somewhere along the line, the band’s demo tapes brought them to the attention of A&R guys at RCA Records and a subsequent record deal. The label changed the band’s name to the absurd moniker Jukin’ Bone and emphasized the “rock” side of the band’s sound across a pair of poorly-received 1972 albums – 1972’s Whiskey Women and Way Down East – neither of which sold all that well. It wasn’t for lack of trying, however, the band touring far and wide and opening for folks like ZZ Top, Freddie King, the Allman Brothers, John Mayall, the Kinks, and others, and they received rave reviews from Creem magazine. But the horrible album cover art and an obvious lack of label support sank the bands hopes and they broke up rather badly in 1973.

Somewhere down the line – most likely when Free Will/Jukin’ Bone frontman Whiting was touring with Kim Simmonds and Savoy Brown – the Italian reissue label Akarma took an interest in the 1970s-era rockers and licensed the band’s early demos for CD reissue. However, this double-live Free Will album comes courtesy of The Grail Record Productions, and although I don’t know if they have any connection to Akarma, the set was licensed from Free Will guitarist Mark Doyle (who is evidently the keeper of the Free Will/Jukin’ Bone flame), so it’s a legit effort. 

Free Will’s Live At the Jabberwocky 1970 captures the band performing a red-hot pair of sets at a long-gone Syracuse NY venue, evidently sourced from a reel-to-reel soundboard recording and offering sound typical for such antiquated technology. What the performance lacks in sonic quality, however, it more than makes up for in energy, inspiration, and talent. The set-list is a curious mix of blues and R&B standards with a handful of pretty cool original songs as well as a couple of “poppier” cover tunes thrown in for good measure. By the tail-end of the band’s second set, they begin to let their freak flag fly with longer and longer takes on tunes like Memphis Slim’s “Mother Earth” (which sounds like early Led Zeppelin) and Chris Youlden’s “Needle and Spoon” (from Savoy Brown’s 1970 album Raw Sienna, an obvious major influence on Free Will).

Live At the Jabberwocky 1970 opens with Roy Brown’s 1947 jump-blues hit “Good Rockin’ Tonight,” delivered with a slow blues grind that’s heavy on bass and circular guitar riffs, the mid-tempo song tailor-made for onstage pyrotechnics. Jimmy Reed’s “Big Boss Man,” a 1961 blues-shuffle that has been recorded by everybody from Elvis Presley to Mercury Rev, is provided some appropriately greasy guitar interplay behind Whiting’s growling, Howlin’ Wolf styled vox while Albert King’s “The Hunter” offers up all the menace of the original with Doyle’s guitar driving the deep-rooted groove. The band delivers a subtle take on James Taylor’s “Country Road,” playing up the song’s folkish leanings with an inspired Whiting vocal and lush backing instrumentation. They dip into the Jimmy Reed songbook again with “Bright Lights, Big City,” augmenting the song’s Chicago blues roots with scorching guitar and swells of instrumentation.

A cover of former Manfred Mann frontman Mike D’Abo’s “Handbags and Gladrags” (listed incorrectly in the album credits) is one of a few oddball song choices here…British singer Chris Farlowe had the original chart hit with the song in 1967 (produced by D’Abo), which would inspire Rod Stewart to cover the tune a couple of years later (with D’Abo on piano) to little or no commercial success. Whiting manages to wring every ounce of emotion out of the lyrics with a fine performance while the band eschews loud and rowdy for a more nuanced instrumental backdrop. A cover of British singer, songwriter, and actor Anthony Newley’s “Candy Man” is another outlier, the band taking the signature Sammy Davis, Jr song and beating it into a slow-burning blues-rock dirge with uranium-heavy guitars and sly vocals that completely change the vibe (if not the original intention) of the lyrics.  

Side three’s cover of Savoy Brown’s “Needle and Spoon” and the following “Free Will Boogie” (patterned after the aforementioned band’s “Savoy Brown Boogie” and incorporating tunes by Carl Perkins, Little Richard, and Jerry Lee Lewis, among others) provide nearly 23 minutes of pure booger-rock cheap thrills. Both songs feature extended jams displaying the band members’ instrumental skills (including Whiting’s honkin’ sax), both include plenty of razor-sharp fretwork and chooglin’ rhythms, and both performances come to a conclusion before you tire of hearing them. Ditto for the side four band jam “Dink Soup,” a nasty lil’ stinker with a low-slung groove, Whiting’s brassy saxwork, rolling percussion, and an overall sound that was a couple years ahead of its time, when it would have fit perfectly on FM radio playlists.   

The original material on Live At the Jabberwocky 1970 makes one sit up and take notice. Playing in the same hard rock sandbox as contemporaries like Free, Cactus, and Humble Pie, given the proper producer and some creative nurturing, the band could have ridden its songs up the charts (or at least onto FM radio). “Someplace Is Something” is a lively lil’ shuffle with slinky vocals that beat Jo Jo Gunne to the punch by a couple of years while side two’s opener, “Carry Me Home,” gets funky with some fine chicken pickin’ and a complex rhythmic backdrop that descends into a lovely chaotic mess by the end. The set-closer, “Ridin’ With the Devil,” showcases all of the band’s potential in an exhilarating seven-minute roller-coaster ride of night and day ambiance fueled by explosive, locomotive percussion, thunderbolt bass riffs, and manic guitar-mangling.  

The band’s lyrics aren’t readily discernible on this live recording, but Whiting’s vocals are impressive, the band is tight, and Doyle is an imaginative and entertaining guitarist – i.e. the band was rock ‘n’ roll clay reading for molding by the right production/label team. Sadly, it was not to be, for while Free Will was a promising gang of young hard rockers, their RCA signing, name change, and lackluster LP releases derailed whatever forward momentum the band had created with its electrifying live performances. They would get the original gang back together in 2017 to record a new album, Unfinished Business, for Akarma Records and they would be inducted into the Syracuse Music Hall of Fame at the same time. In the annals of “what could have been” in rock ‘n’ roll, Free Will were one of the good ‘uns.  Grade: B+  

For more info on Free Will, check out the Jukin’ Bone website

Bonus view: