Album Reviews

If any Byrds music deserves to be heard stripped of its vocals, it's the exploratory jazz and raga influenced instrumental tracks produced for the Fifth Dimension sessions. Having fallen under the influence of Ravi Shankar and John Coltrane, the band spent long nights in the studio jamming, finally producing its epic “Eight Miles High” along with the rest of the album, some of which was not quite as accomplished.

Baby boomers no more appreciated Sam Cooke’s slick conquest of the Jewish supper club set when it was first recorded and issued on RCA Victor in 1964—the same year Cooke died—than they did Bobby Darin’s. To some teens at the time, “You Send Me,” and “Splish Splash,” were theirs, but this dated style Copacabana review was their parents’. In retrospect, the million plus seller “You Send Me,” was much closer to easy listening than to rock’n roll, and while Darin’s foray into the teen market with tunes like “Splish Splash, and “Dream Lover,” was explicit to the point of being exploitive, Cooke’s chart success with songs like “Chain Gang,” was far more subtly drawn. Perhaps that’s because, having already succeeded as a gospel singer with the Soul Stirrers, and as a soul star on the black “chitlin’ circuit,” he was less in need of pop stardom. Darin may have roamed, but it was within a more limited territory, until events of the ‘60s—musically and otherwise— shattered his slick showbiz pretenses.

Donovan may claim to not be a Dylan wannabe, but when you listen to "Catch the Wind," this compilation's opener, his claim rings hollow. It's so Dylan, so "Chimes of Freedom," and so derivative, there's no escaping the Dylan in him.

The new Live at The Matrix, 1967: The Original Masters super deluxe box set that features early live recordings by The Doors as captured on the cusp of their impending, immense fame is a wonderful historic document on vinyl — and a crucial crossroads moment. Issued for the first time in as complete form as possible — and from better sources than what’s been previously available — these semi-professional recordings give us a glimpse of this legendary L.A. band just before they broke out as international music sensations. Read Mark Smotroff’s in-depth review to see if Live at The Matrix, 1967 deserves a place in your collection. . .

The big band era was over and Duke Ellington was past his most creative years by the time this set was recorded, but the year was 1960 and no doubt the art of recording was reaching a pinnacle. If you have any doubts, check out this Classic reissue cut from the three track original.