ROCK • A • RAMA

ROCK • A • RAMA

This month’s Rock-A-Ramas were written by Michael Davis, Craig Zeller and Jon Young

VARIOUS ARTISTS The Golden Archives Series (Rhino)

Why does a reissue get reissued? To get remastered for better sound and remarketed for better sales, presumably. At least that seems to be the case for these eight Rhino reissues. Six of these bands were contemporaries of the now-famous-again Monkees, so you can hear why many of us thought of the Monkees as just another group on the radio at the time. There’s the Beau Brummels, notable folk-rock pioneers; and the Turtles, probably the closest to the Monkees in terms of pop sensibilities and use of outside material. There’s the Bobby Fuller 4, who updated Buddy Holly’s sound for the mid-’60s, and the Standells, who took Them and the Animals out to the garage for good. For a bit more soul, there’s the Spencer Davis Group, featuring Steve Winwood as a teenager high on Ray Charles, and Love, with the brilliant (for a while) songs and singing of Arthur Lee. The other two packages stretch back a little further: the alwayswelcome Everly Bros, and first-generation Chicano rocker Richie Valens, who’ll get his chance at posthumous stardom when his film bio comes out later this year. These all clicked the first time around; now it’s your choice to decide which ones will remain influential in the ’80s. M.D.

VARIOUS ARTISTS The Sun Story (Rhino)

Justly renowned for superior reissues, Rhino Records has performed a badlyneeded public service with The Sun Story. This flawless two-disc delight compiles some of the greatest hits from Sam Phillips’s immortal Memphis-based label, which specialized in blues first, then switched to rockabilly in the mid-’50s, sparking the whole darn rock ’n’ roll era. (Your life would be different today if Sam hadn’t been around!) Just sample these boss tracks: Billy Riley’s “Flyin’ Saucers Rock ’n’ Roll,” “Good Rockin’ Tonight” by Elvis, Carl Perkins, “Blue Suede Shoes,” Johnny Cash’s “Folsom Prison Blues,” “Great Balls Of Fire” from Jerry Lee Lewis, and other super hits, plus such lowdown precursors as Junior Parker’s “Mystery Train” and Rufus Thomas’? “Bear Cat.” Some may quibble about omissions, since we’re barely scratching the surface, but The Sun Story is a wonderful collection o’ sounds. J.Y.

BO DIDDLEY Bo Diddley (MCA-Chess)

Go Bo Diddley (MCA-Chess)

MCA is going full steam ahead with its Chess series and hurray for that. Here we have Bo Diddley’s first two albums back in print, and, like the recent Chuck Berry compilations (as indispensable as they are inconsistent), it’s the cream of a reissued crop. Bo, always an under-appreciated pioneer, is still as primal as ever and his churning, burning beat remains an immortal thrill. Bo Diddley reads like a Greatest Hits roster; Go Bo Diddley has at least one classic (“Crackin’ Up”), some frantic minor efforts and a lost masterpiece (“Don’t Let It Go”). Grab some maracas and shake, baby, shake. C.Z.

FRANKIE LYMON Frankie Lymon/The Teenagers (Murray Hill)

Wisely subtitled “For Collectors Only,” this amazing five-record set offers a fascinating chronicle of Frankie Lymon’s sad career. In ’56, he was the pint-sized boy soprano wonder of doo-wop, thanks to the soaring “Why Do Fools Fall in Love”; by ’58, he was washed up, cutting mainstream pop junk like “Up Jumped A Rabbit.” The set’s 62 titles cover all the classic tracks with the Teenagers, including worthy alternate takes, plus the best of the declining years. Even Lymon’s dire efforts—and there are a number—hold a weird fascination after you’ve experienced his early greatness. An impressive piece of work. J.Y.

THE 5TH DIMENSION Anthology (1967-1973)

(Rhino)

The 5th Dimension was one of those dependable AM groups that everyone took for granted. This double set is a finer invitation to go back and investigate all the quality pop they racked up. Always ace interpreters (Mamas & Papas, Association) they brought out the best in songwriters like Jimmy Webb and especially Laura Nyro. Their up up-andaway harmonies and smart vocal arrangements often worked wonders and could yield endless pleasure (I’m thinking of “Stoned Soul Picnic” and “Workin’ On A Groovy Thing”). Heartbreak vocalist Marilyn McCoo was the secret weapon. Her matrimonial desires on “Wedding Bell Blues” and the break-up devastation of “One Less Bell To Answer” are damn near overwhelming. C.Z.

VARIOUS ARTISTS Legendary Masters Series (EMI America)

Slipshod oldies compilations are the norm, so it’s a pleasant shock to discover collections assembled with care. EMI America offers four such treasures in the revived Legendary Masters line, famed for stellar Fats Domino and Eddie Cochran sets, plus one lesser batch. Rock Me All Night Long draws on the post-World War II catalogue of California’s Aladdin Records, showcasing the cool boogie woogie of Amos Milburn (“Chicken Shack Boogie”), r&b jokester Louis Jordan (“Messy Bessy”), Shirley and Lee (“Let the Good Times Roll”), and Thurston Harris (“Little Bitty Pretty One”), Clap Your Hands And Stomp Your Feet emphasizes the bluesy New Orleans grooves of Fats, Smiley Lewis, Bobby Mitchell, and other hep cats. It Will Stand captures the influential early ’60s output of Mint Records, starring Benny Spellman (“Fortune Teller”), Ernie K-Doe (“MotherIn-Law”), Jessie Hill (“Ooh Poo Pah Doo”), Aaron Neville, et.al. Itchy Twitchy Feelings serves up Sue Records efforts by Ike and Tina Turner (“A Fool In Love”), Ivey Fox (“Mockingbird”), the Poets (“She Blew A Good Thing”), and so forth. Finally, More Hits, More Often is a hodgepodge, but does include good stuff by Dick and Dee Dee, Jan and Dean, the Ventures, etc. You could do worse. J.Y.

BUDDY HOLLY Legend (MCA)

This is almost the same line-up that appeared on 20 Golden Greats back in 1978. The difference is that this is stretched out over four sides. At five cuts a side, that’s a bit skimpy. There’s no arguing with the selections though, and it’s clear once again that Buddy Holly remains one of rock ’n’ roll’s premier practitioners. His emotional directness and the uninhibited warmth of his songs sound as fresh and inventive now as the day he first stepped into a studio in Clovis, New Mexico and rocked his wonderful heart out. Always a pleasure to rock around with Ollie Vee. Remastered from original stereo and mono master tapes. Bravo. C.Z.

VARIOUS ARTISTS Atlantic Honkers: A Rhythm & Blues Saxophone Anthology

BIQ JOE TURNER Rhythm & Blues Years (Atlantic)

At long last, Atlantic Records is starting to treat its massive catalogue of classic r&b with a little respect. Last year’s 14-disc history started the ball rolling, and these five two-record sets continue the archaeology. Honkers features post-World War II sax stars like Frank Culley and Willis Jackson, who bridged the gap between big bands and rock ’n’ roll with driving dance music. Jivers expecting pure raunch should look elsewhere; these guys are more polished than the era’s wildest cats. You also get a whole smokin’ side of King Curtis’s spiffy rock sax, including his nifty 1967 hit “Memphis Soul Stew.” Ranging from ’51 to ’59, Turner’s records capture the mammoth Basie veteran at his swaggering, high-powered best. Whether packaged as r&b, rock or pop, Big Joe remained a peerless blues shouter: swingin’, good-humored, and always in command. Like an urbane Muddy Waters, if you will. J.Y.

JAY & THE AMERICANS All Time Greatest Hits (Rhino)

Laugh if you, like but these clowns had at least two Hall of Fame efforts amidst all the schlock that most people remember them for. I’ll grant you that their remakes of classics like “This Magic Moment” and “Walkin’ In The Rain” were strictly throwaway; but what about the steamy lust and betrayal of “Come A Little Bit Closer” and the thumb-nosing toughness of “Livin’ Above Your Head”? And what about the Hall Of Fame? “Let’s Lock The Door (And Throw Away The Key)” goes into rocketin-my-pocket overdrive and cries out for a Springsteen cover. And then there’s the ever tumultuous “Cara Mia.” Why these boys never played the Met is beyond me—this is the greatest opera ever recorded. C.Z.

LITTLE RICHARD Little Richard’s Greatest

Hits—Recorded Live (Epic)

The Explosive Little Richard (Epic)

Both of these were released 20 years ago, which is to say a decade after Richard’s incendiary prime. Explosive reflects the soul man style that was prevalent in ’67; unfortunately Richard rarely commands the material (sock-it-to-me exception: “I Don’t Want To Discuss It”) and ballads were never his forte. The hits package is pretty much a series of pale reminders that are no match for those brilliantly crazed originals. Too much forced frenzy and schtick banter. Check out 1984’s The Essential Little Richard (Specialty-Murray Hill) for the ultimate assemblage of pulverizing Penninam mania. Ooh! My soul. C.Z.

BILL DEAL & THE RHONDELLS The Best Of Bill Deal & The Rhondells (Rhino)

Unattractive, badly dressed, and very white, Bill Deal & The Rhondells nevertheless managed to sound like a stylish black r&b combo during a brief moment of glory. In 1969, this underrated eight-piece (half of it brass) chalked up three Top 40 entries: the ska(!?!)-tinged “May I”; the sweaty “What Kind Of Fool Do You Think I Am,” originally a smash for the groovy Tams; and “I’ve Been Hurt,” another rock-steady goodie. They’re all here, of course, on this typically well-documented Rhino package, plus a pretty hot “Harlem Shuffle” and a bizarre reading of “Hey Bulldog.” Now how about a Swingin’ Medallions collection! And John Fred & His Playboy Band! J.Y.

THE BEACH BOYS Made In U.S.A.

(Capitol)

Capitol never gets tired of repackaging Beach Boy hits, and, strangely enough, I never get tired of listening to them. This roughly chronological overview does a fair job of covering everything from those heady days of youth (“I Get Around” is still their best statement of purpose) to their adult explorations (“Caroline, No” is still unforgettable in its finality) to their twilight years (“Getcha Back” shows they’ve still got some feeling in them). Needless to say, these last two decades have yielded precious little gold, but, in their prime, these guys ruled their own universe. Wonder if Brian Wilson still worries about what’ll happen when he grows up to be a man.C.Z.