For nearly 20 years, Guilderland, NY-based Wounded Bird Records has been quietly reissuing a plethora of CD titles that are generally geared for collectors but most definitely appeal to causal music lovers as well. Not a label to focus on one genre, Wounded Bird has just about every musical style covered – from OC punks Agent Orange to Jazz legend Joe Zawinul. In between, you’ll find releases by the golly-ricious Jim Nabors, Hard Rock heroes Montrose, former Eagles members Don Felder, Joe Walsh and Timothy B. Schmidt and way too many others to list. In the early days, Wounded Bird was a straight reissue label – no bonus tracks or liner notes. However, over the years, they’ve started adding bonus material to some of the releases, which makes them even more exciting.
Peggy Lee had been a successful jazz vocalist for 33 years before she went into the studio to cut LET’S LOVE for Atlantic Records in 1974. With a career dating back to 1941, Peggy was still a respected jazz vocalist even though her albums weren’t selling as well as they once had. When Capitol Records dropped her in 1972 after 15 years of continuous service (2-3 albums per year), some may have thought that Lee would have spent the rest of her career playing nightclubs and appearing on Jerry Lewis telethons, but luck was always on Peggy’s side. And this time, her lucky charm was the cute Beatle, Paul McCartney, who penned and produced the album’s title track. By this time, Peggy was in her mid-50s and her vocal performances were far more subdued and intimate, which lent themselves perfectly to this lovely, lilting melody. Sounding like something penned for the McCARTNEY or RAM album, the song is a haunting gem and definitely worth the price of the album alone. Thankfully, there are plenty of other great tracks to enjoy on LET’S LOVE. Melissa Manchester’s “He Is The One,” the Stylistics’ classic “You Make Me Feel Brand New” (penned by Thom Bell and Linda Creed), Irving Berlin’s “Always” and the Dave Grusin/Peggy Lee co-write “The Heart Is A Lonely Hunter” are other highlights. While the album might be classified as Jazz, there are definitely elements of Soul, Funk and Pop spread evenly over the tracks. Unlike many modern Jazz artists, Lee was open to taking chances and working outside the box during her career. In fact, her next album would consist of Leiber and Stoller covers! With musical assistance from Lee Ritenour, Dave Grusin, Harvey Mason, Chuck Rainey and others, LET’S LOVE is a fine addition to Lee’s vast catalog and certainly of interest to McCartney/Beatles collectors!
NOTE: This Wounded Bird reissue reproduces the Rhino Handmade edition and includes four bonus tracks from the same sessions including an alternate version of the title track.
Peace, love and pancakes,
Stephen SPAZ Schnee
Milwaukee’s Plasticland – founded by Glenn Rehse and John Frankovic (who has since left the band) – have remained unjustly overlooked for years… yet they have also been absolutely adored by critics off and on since they first formed some 36 years ago. The band has managed to stay on the fringe of the Alternative Rock scene but have never been fully treated like the Psych-Rock/Garage icons that they are. And I’m sure this review isn’t going to inspire a mass pilgrimage to the record store but if it piques the interest of a few of you, then we’re getting somewhere! Even though they signed to the esteemed Enigma Records in 1984, Plasticland couldn’t be bothered to cater to the mainstream. Their blend of Acid, Garage and Psych Rock wasn’t merely a tribute to the sounds that they loved – it was obvious that this music was part of their DNA. The band was capable of writing catchy songs with a built-in atmosphere that sounded both retro and modern at the same time. Perhaps that is why their recordings remain timeless today. Plasticland are to Psyche what The Fleshtones are to Frat/Garage Rock and The Cramps are to sweaty, swampy, primitive Rock ‘n’ Roll. They could have sold out in their early days and become ‘the new R.E.M.’ like a host of their contemporaries. Thankfully, they chose to stick to their guns and remain Plasticland.
For 50 years, David Lindley has been one of the most respected – and commercially overlooked – musicians in Rock music. Sure, he made a name for himself with the completely original Psych outfit Kaleidoscope back in the ‘60s and he has been one of the most in-demand session musicians since the ‘70s (Jackson Browne, Warren Zevon, Rod Stewart, Graham Nash, The Youngbloods, Bruce Springsteen, Rickie Lee Jones, etc.) yet he has never received his due as a solo artist. However, his output has been so eclectic over the years that some of us are still trying to catch up! Do yourself a favor and read up on his career on Wikipedia or elsewhere on the ‘net. For now, I’m going to focus on a few of his ‘80s solo releases…