Howard Jones - Live At The O2

On March 24, 2024, forty years after he opened for OMD in Cardiff and Liverpool, Howard Jones played the O2 Arena in London as their special guest.  Live At The O2 documents his performance that night, with vocals that are as strong as ever and the band consisting of Nick Beggs (bass), Robin Boult (guitar), Dan Clarke (keyboards) and Robbie Bronnimann (keyboards and tech) sounding great (sadly, this would be the last performance featuring the 31-year-old Clarke, who passed away from cardiac arrest on July 28).  Jones has had numerous hits during his career (these include nine UK top 20 singles and five US top 20 singles), and they are well represented here.  Some, like “New Song” and “What Is Love”, stick pretty close to their original sound with the ever-present infectious bounce, as does “Pearl In Shell”, which is a little fuller and meatier here, and “Like To Get To Know You Well”, with its soulful groove and a great guitar solo.  Jones mentions bringing back the electronic element on “Hide & Seek” after playing it on piano for years, and to me it’s a highlight of the set.  It opens with a really nice piano intro and is a dark and haunting tune that’s a nice change of pace.  In addition to the hits, Jones also touches on his more recent albums with “The One To Love You”, from 2019’s Transform, which hearkens back to his earlier synth-based work, but with a modern-day edge, and "The Human Touch" from 2015's Engage that finds him embracing EDM.  The EDM vibe also carries over on one of his early hits, “You Know I Love You … Don’t You?”, giving the 1986 tune a completely new sound.  Also included is a solid cover of Kajagoogoo’s “Too Shy”, featuring some really great bass work from Beggs, who was an original member of that band.  The set closes with a strong version of “Things Can Only Get Better” and a high, energy raved up version of the song labeled Remix.  Live At The O2 shows without a doubt that Jones still has it.  

(Cherry Red Records)

The Vanrays - Hey! Alright Now

Following last year's full-length release Put It Out, Vancouver's The Vanrays are back with their new EP Hey! Alright Now.   It is an insanely infectious collection of tunes that mesh soulful R&B with gritty garage rock, a sound that is in full effect in both the horn-driven title track that opens the EP and “Another Man”.  “Survivors” has a slower, slinky R&B groove full of garage rock organ and fuzzed out guitar, while “Queen of Breaking Hearts” adds a touch of doo wop and some Shangri-Las styled spoken word vocals.  The bouncy R&B of "Lightning" has a bit of a dark and dirty soul groove and brings us to the closing cut and highlight of the EP, “Ghosts”, a gorgeous, slow burning soul tune with a powerhouse vocal performance from Spencer McKinnon.  Fans of old school soul and R&B and garage rock alike will find plenty here to entertain them and get them on the dance floor.    

(The Vanrays)

Frank Sidebottom - Little Box of Bobbins - Frank's Fantastic Anthology 1985-1993  

The original idea for Frank Sidebottom, alter ego of the late Chris Sievey, was for him to be a superfan of the Freshies, Chris’ band at that time.  His first appearance was a spoken-word track on their 1984 EP.  He then started using the character in videos that promoted the band and Frank started gaining a cult following.  Over the ensuing years he released numerous EP’s, albums and singles and also appeared regularly on TV and radio, including his own Frank Sidebottom’s Proper Tell Show in B/W.  Little Box of Bobbins is the new three CD box set containing 109 cuts, compiled from the two out of print compilations ABC & D… The Best Of… from 1999, and E, F, G & H. The Best Of… Volume Two from 2009, along with a third disc containing 36 tracks that have previously never been released on CD.  Those songs are comprised of 16 taken from the EP’s he released in 1985 and 1986 on the EMI sub-label Regal Zonophone, and 20 previously unreleased live performances taken from the Sievey audio archive that were recorded between 1985 and 1988.

I have to admit that I knew very little about Sidebottom, largely from pictures I have seen online and on social media, and also having recently seen the excellent 2018 documentary Being Frank: The Chris Sievey Story, but I completely missed out on him when he was out there doing his thing (it also seems like he really didn’t make much of an impression in the US).  While his quirky, offbeat, at times a bit experimental, music is definitely not for everyone, the box set is a fun collection of his unique covers (Sex Pistols, Madonna, Queen, Beatles, The Smiths, Kylie Minogue, Beastie Boys and so many more), originals and comedy bits, and it’s obvious from the audience reactions and singalongs on the live tracks that those who did get it absolutely loved him.  Sadly, Sievey passed away in 2010, but now thanks to Cherry Red a new generation has a chance to discover the unique world of Frank Sidebottom.  

(Cherry Red Records)

Jesse Johnson - Jesse Johnson Revue / Shockadelica / Every Shade Of Love

After teaching himself to play guitar at the age of fifteen, Jesse Johnson played in various funk and rock bands in his home state of Illinois.  In 1981, following the encouragement of a singer and a drummer from another local band, Midnight Express, at twenty-one he moved to Minneapolis.  On his second day in town he met Morris Day, who was playing drums in the band Enterprise and invited him to join them.  Day was friends with Prince, who was planning on featuring him in one of his side projects and introduced the two of them.  The side project was part of Prince's desire to write and produce for a diverse range of acts he created.  He asked Johnson to join this band and along with Day, Jimmy “Jam” Harris, Monty Moir, Terry Lewis, and Jellybean Johnson, they became The Time.  From 1981 to 1984 they released three albums, but those years were fraught with conflicts between the band and Prince, which eventually resulted in the band breaking up in 1984 after recording their third album, Ice Cream Castle.  Johnson was also frustrated with his time in the band, and didn't even play on any of their songs until "Gigolos Get Lonely Too" on the second album.  Having said that, he did do some writing and producing for some of the other bands around Prince, including Vanity 6 and Sheila E. With aspirations to have a solo career, he signed a deal with A&M Records and ended up releasing three albums for the label.  This new two-CD release combines those three releases along with a handful of bonus tracks.

The band on the debut album from Jesse Johnson’s Revue included Mark Cardenas on keys and Gerry Hubbard on bass, both former members of The Time, along with Michael Baker on guitar, Tim Bradley on keys and Bobby Vandell on drums.  The influence of both Prince and The Time is very strong throughout the album, which opens with the first single “Be Your Man”, a song that hit number 4 on the R&B charts (61 on the Billboard Hot 100) and is an infectious funky R&B tune enhanced with some really cool, spacey synths.  “I Want My Girl”, was another hit from the album (7 on the R&B charts and 76 on the pop charts) and is a slower ballad with an extremely catchy chorus and some short instrumental sections with some really cool “fluttery” synths.  The midtempo “She Won’t Let Go” and more upbeat “Just Too Much” are a couple of synth-driven funk tunes, the latter of which is notable for its popping bass.  The influence of The Time and Prince is especially strong on the dance tune “Let’s Have Some Fun”, while “Can You Help Me” adds a little bit of a rock edge to the funk.  The final two tracks are my favorites from the debut, largely because their sound really sets them apart.  The slower “Special Love” is a smooth, laid-back ballad with the synths taking on more of an electropop sound, while “She’s A Doll” is funky, but more on the rock side with more guitar and weird, often distorted keys.    

For his second album, Shockadelica, Johnson dropped the Revue name and released it as a solo album.  After opening with the straight-ahead Minneapolis funk of “Change Your Mind”, “Crazay”, the album’s first single and biggest hit of his career (number 2 on the R&B charts), found him teaming up with the legendary Sly Stone for a bass popping, synth driven slab of hook heavy funk.  Written by Pepe Willie for his band 94 East (a Minneapolis band that one point included a pre solo career Prince), “Do Yourself A Favor” has shown up on some early recordings by that band and was also recorded by Prince for 1999, but ended up being released as a bonus track years later.  Credited here as a co-write by Willie and Johnson, it’s a bouncy pop tune with squeaky synths that sounds almost identical to the Prince recording.  Driven by an interesting thick bass, a funky dance beat, synths and a scorching guitar solo, “She (I Can’t Resist)” was another hit, peaking on the R&B charts at 28.  With its synth blasts and more Sheila E styled percussion, “Addiction” is a taut, somewhat faster paced track followed by “Tonite”, a soulful Prince like slow jam, and the midtempo funk of singalong dance track “Burn You Up”.  With a subject matter that unfortunately still resonates very much today, “Black In America” closes the album out and is a powerful, largely acoustic guitar driven, folk tune fleshed out with some simple percussion and synth washes.        

His final album for A&M was Every Shade Of Love, and while the funk is still very present throughout, there is often more emphasis on the electronic and rock elements.  Opening track “Love Struck” was another hit for him (4 on the R&B charts and 78 on the Hot 100) and is a very catchy funk tune with that Minneapolis sound, but with the addition of more electronic elements along with a shredding guitar solo.  Starting off with another guitar solo, “So Misunderstood” is another solid funk track with a bit more of a rock edge, including more great guitar work, and some electronic elements.  “I’m The One” takes the funk sound and meshes it with electronic beats reminiscent of bands like New Order and Art Of Noise.  “Color Shock” takes a similar path, but with less emphasis on the funk and more on the electronic side along with guitar.  For a complete change of pace, “Every Shade Of Love” is a bouncy, upbeat sunshine-y dance pop tune enhanced wonderfully with chirpy female background vocals and saxophone from Eddie Mininfield, who has worked with a who’s who of artists, including Prince, Sheila E, Stevie Nicks, Aretha Franklin, Stevie Wonder and many more.  Shifting more in the direction of his earlier work, “Everybody Wants Somebody To Love” is a more straight-ahead funky dance tune, while “I’m Just Wanting You” is a nice, slow burning bluesy ballad.  “Stop-Look-Listen” closes the album out and is a high energy, bouncy pop tune with a fast-paced electronic beat.  Also included here are five bonus tracks, which include a remix of “She (I Can’t Resist)”, an extended version of “Crazay” and an eight minute dance mix of “Love Struck”.  The remaining two tracks are his contribution to The Breakfast Club soundtrack, “Heart Too Hot To Hold”, an infectious pop duet with Stephanie Spruill and “Drive Yo Cadillac”, the b-side to “Crazay” that has a bit of a Prince vibe and an insanely infectious groove that makes you wonder why it wasn’t a single itself.  While you can see, Johnson had numerous hit singles during this era, and even though he never became the household name of some of the other artists around him at that time, these three albums are quite impressive, making this a really nice collection to have.  

(Robinsongs)

Upset Boy and the Queens - "Trying To Get To You" / "Think Too Much"

Initially formed by singer/songwriter/guitarist Chris Watts (Dirt Reynolds) and bassist Lulu Jones (ex-Thelma and the Sleaze) and rounded out by drummer Dan Dolive, Nashville's Upset Boy and the Queens have recently released their debut double A-Side single. "Trying To Get To You" is an alt country rocker with a bit of Replacements like raggedness and a strong power pop sensibility, while "Think Too Much" is driven by thick buzzing grungy guitar and a powerful, yet slower, almost hypnotic beat, that will lure you in with its hooks.  Quite an impressive debut, and one that definitely has me anticipating what's in store.  

(Sweet Cheetah Records)

Rain - Tomorrow Never Comes : The NYC Sessions 1967-1968

In late 1967/early 1968 the three-piece Rain, comprised of guitarist John Cannon, bassist Tom Caccetta and drummer Bugs Pemberton (former members of the US based band the Lost Souls and the English band The Undertakers), recorded a full album with producer Chris Huston (also a former member of The Undertakers).  The path from those earlier bands to Rain is littered with names like Brian Epstein, Jackie Lomax and The Beatles and involved numerous bands and band lineups.  This history is covered it great detail in the accompanying CD booklet.  Unfortunately, the album didn’t find a home and never made it past being an acetate.  Shortly after the album was recorded, they briefly changed their name to The Gypsy Wizards Band and recorded more studio sessions that unfortunately met the same fate.  They ended up going their separate ways in 1969.  Now, thanks to Grapefruit Records, the full album, along with six tracks recorded as The Gypsy Wizards Band have been released on this fantastic new CD Tomorrow Never Comes – The  NYC Sessions 1967-1968.  

The album opens with “Sapphire Skies”, a psychedelic track that is poppy, but still has a rock edge that’s especially evident in the guitar work, which at times sounds like it has a bit of a Hendrix influence.  “One Is All, And All Is One” is a more laid-back cut that adds some country to the psychedelia along with some great West Coast harmonies, while “No Deposit, No Return” is a more propulsive track that reminds me of the San Francisco psychedelic rockers of that era.  The melancholy “Sundrops” is pure Sixties sunshine pop bliss that sounds like it was a huge, missed opportunity for a hit single.  With a sound rooted in Merseybeat, “So Unhappy” adds a psychedelic edge and some great rocking Byrds-like guitars.  The Beatles influence is evident on the more straight-ahead “Didn’t Lie”, followed by “You Can’t Hide Your Love”, which is more of a mod rocker, but with a bit of that West Coast sound, especially in the harmonies.  The psychedelia is in full force on the next two songs, the swirling “Something Is Happening” and the slower, dreamy “Midnight Blue”, both of which are strongly reminiscent of The Beatles.  Closing the Rain album out is “You, You, You”, an edgier psychedelic rocker that really showcases Cannon’s guitar work.  The six bonus tracks here not only found them changing their name, but also largely shifting their sound.  They moved almost completely away from the psychedelia that made the Rain tracks so special, instead adding elements like horns and orchestration. Having said that there are several that really stand out including “The Brightest Light”, which still has a hint of the psychedelia, the flute heavy folk of “A Daily Thought”, the more straight-ahead rocker “She” and the experimental “In Deadication”.  This album is a fantastic discovery and thankfully it is now out in the world for everyone to hear.  

Grapefruit