Vince Taylor & His Playboys - "Vince Taylor Rocks" Vinyl, Compilation, 2017 (Not Now Music)

Vince Taylor is an extreme version of Gene Vincent. He's a British subject that lived in the U.S., and then went back to London to make records, and eventually became a massive star in France. Vince went insane due to Acid and whatever else. He became a hero to David Bowie, who based his Ziggy Stardust character on specific characteristics of Mr. Taylor. Finding Vince Taylor recordings is not impossible, but a difficult journey. "Vince Taylor Rocks!" is probably the easiest to find, but also includes both his French and British recordings. "Brand New Cadillac" is the only composition by Vince, and it's a classic. Clash recorded it, and therefore their version is more known to the general public. Otherwise, Vince covered the early rock n' roll hits of such artists like Little Richard, Chuck Berry, and Eddie Cochran. What makes Vince unique is that he takes the imagery and sensuality of early Rock n' Roll and makes it into a personal statement. From the YouTube footage, one gathers that Vince was probably one of the great performers in that field of music. To me, he's essential that he is a Kenneth Anger image of rock, and fueled Bowie's imagination. But also, his recordings are a total delight. Seek Vince Taylor, and you will find bliss. 

Manfred Mann - "Radio Days Vol. 1: Live At The BBC 64-66" 2XVinyl, LP, Compilation (Creature Music)

A fascinating compilation of the band, Manfred Mann, from the years 1964 to 1966.  These are the years that featured the amazing Paul Jones on vocals and some compositions. What I find interesting about Manfred Mann is that they are basically jazz and blues musicians who also did pop.  Yet, there is no tension between the music categories with this band.  Perhaps because they could always expose their roots as well as recording the perfect pop hit, such as "Pretty Flamingo." 

The BBC recordings are all live, and it shows how the band expanded within the two years of their existence with Jones.   Everything from "Parchman Farm" (Paul going solo here) to an amazing jazz arrangement of The Yardbirds' "Still I'm Sad."  There is also a series of interviews with the band that are amusing but also compared to other bands of that era, Manfred Mann is solidly grounded in their roots.  Pop, jazz, and the occasional Dylan song all seems natural in the band's hands. 

The Byrds - "The Columbia Singles '65-'67" 2xVinyl, Compilation, Mono, 2002 (Columbia/Sundazed Music)

As a kid (around 10-years old) I had the first Byrds album with "Mr. Tambourine Man" which was a huge radio hit in the Los Angeles area.   I liked it, but I never loved the record or song. Still, the presence of the 12-string lead guitar and the perfect harmonies of the band was and still is appealing to my ears.  I never took to the band full-on, and I think it's due to my prejudice against David Crosby.  I never liked his hair or his fashion sense.  Even to this day, I have a problem with him on the cover of this compilation.  His cape really bugs me.  The others in the band had a nice style, but Crosby seems to have the annoying talent of standing out.  In a sense like Brian Jones, but David is not Brian.  I tried to like him, and his songs.  And at times, I can bear his work, but his strength is within the Byrds format.   When he's singing vocals with Gene Clark or Jim (Roger) McGuinn it is really something of great beauty.  When he sings with Stills and Nash, I find his vocals really irritating.   Like a shadow-boxer, I come in and out of The Byrds world but never fall into the thought of their greatness.  Until hearing this compilation. 

This is a collection of singles from 1965 to 1967, all Mono.  In that singular format (both single and mono) is where their great strength lies.  I'm not a tech-head in the sense I can tell a difference between album cut and these recordings, but they all sound puncher and oddly enough more texture in sound.  Both A and B sides are here, and it tells a tale of the band at its best.  After Crosby and Gene Clark left the band, I stopped listening to them. I know there are fans of the later recordings, but at this time, I haven't investigated those albums/songs.   What I like about these recordings is the harshness of McGuinn's guitar against the sweet vocals that bring up the tension.  Noise/sweetness for me is a perfect cocktail, and the early Byrds captures that sense of fragile beauty very well.  Also, the excellent presence of Gene Clark, who is really the 'star' of the band, is quite magnificent in those years.   A superb collection and I think this would be the perfect introduction to The Byrds.  More so than their individual albums. 

V.A. - "The Freakbeat Scene" 2 x Vinyl, LP, Compilation, 2019 (Decca)

I'm a firm believer in book publishers as well as record labels.  If the label has some history or vision, I will buy that record.  Decca, which is enormous, always been of some interest to me.  Especially anything released in the 1960s and British.   Decca this year and the previous 12 months have been releasing these compilations focusing on the Mod and Psychedelic British 45 rpm singles, that if one tries to trace down would be very expensive and time-consuming.  So, the Decca compilations are very good and overall excellent for the pocketbook.  "The Freakbeat Scene is 25 songs by various bands, that mostly failed in getting that hit.  This is a collection of songs that didn't even get close to getting airplay in the UK, or on the charts.

Still, genius is in the details, and there is a lot of brilliant series of moments on this double-album.  Some are so-so, but that only adds to the excitement when you hear an incredible song.  Freakbeat by definition is the crazy part of The Who when their guitar goes all feedback, Keith Moon is slashing at the drum cymbals, and distorted bass.  On the other hand, The Who is not on this compilation, but we do have The Small Faces, who are always magnificent.  Beyond that, everyone here is very obscure.   Which is not to say that their recording deserves a wider (and wilder) audience, but fate is sometimes someone asleep at the wheel or the entrance to success.

The genius track here is by a band called The Fairytale, and it's "Run & Hide."  A very ugly song lyric about a girl who is 'bad' and the male singer sounds psychotic, still a remarkable record.  I have their other three songs in other collections and formats since they only released two 45 rpm singles.  Then they disappeared.   In fact, most of the bands here disappeared, but there were some successes in later life, for instance, Chris Squire and Peter Banks who were members of Yes, but here they're The Syn.  And although there is no clue to the future sound of Yes, still an excellent record. Even a young Marc Bolan has a song here, but one would not recognize the Bolan vocal, until the chorus where you can hear that vibrato in his voice.

The mystery track here is by Shel Naylor, which one suspects is Dave Davies of the Kinks, with Jimmy Page on guitar.  Naylor himself is a phantom.  In fact, this album is full of ghosts and spirits.  "Come on Back" by Paul & Ritchie & The Cryin' Shames is a Joe Meek production.  So that's always good.   It's excellent that Decca, such a mega-label, still had the nerve to release somewhat weird records.

Twinkle - "Golden Lights" Vinyl, LP, Compilation, 1996, UK (RPM Records)

Twinkle is the ultimate 1960s British teenager, who is also a songwriter and pop singer.  Born wealthy, and had a sister who wrote for the British music fan magazines of that time, knew and went out with a lot of rock n' roll people.  Never released an album, but a series of 45 rpm singles, Twinkle's music is remarkable.  An excellent lyricist, one of her great songs is "Golden Lights," which is a fantastic groupie-like view of a loved one whose name is in the neon lights of a theater. It's visual power, and beautiful melody is pop-divine. 

"Terry" is about a boy who dies on a motorcycle.  It is just as great as any The Shangri-Las' recording, and the difference is that it's quiet in a British manner compared to the Shadow Morton world of East Coast cinematic sounds. There is even a version of Serge Gainsbourg/France Gall's "A Lonely Singing Doll."  This 17-song compilation doesn't have a weak link. 

If a comparison is to be made, I think of Gillian Hills, who also wrote her songs, as well as being an iconic figure both in the UK as well as in France.  A remarkable collection of pop music.  

The Kinks - "The Kink Kronikles" 2 x Vinyl, Compilation, 1972 (Reprise)

I have always loved The Kinks since I first heard their music in 1964, but it was in the late 60s and early 1970s where I became a fanatic fan.  Their album from 1968 "The Village Green Preservation Society" opened me up in an emotional manner that to this day was a unique experience for me.  I have heard people taking a walk and finding God in their lives, and correspondingly, this is what happened to me with respect to The Kinks.   Throughout the early 1970s, I went to see the band play at the Santa Monica Civic numerous times.  As a teenager, I was liberated at the thought of Ray Davies acting 'camp' in front of an audience, but also his sharp lyrical writing skills of telling a story, or observing a life that's quiet, yet full of emotional meaning.  "The Kink Kronikles" was heaven sent for the American fan because it added Kinks songs that were not available to the U.S. market at the time of its release (1972).

For the first time, I heard songs "Deadend Street," "Autumn Almanac," and "Did You See His Name?"   I don't know how I missed these songs in the first place, but by late 1966 and early '67, the Kinks sort of disappeared in the U.S. marketplace.  "The Kinks Kronikles" is an excellent compilation of those years, and it shows the genius of Ray Davies but also the sound and vision of the band, as they focus on the little things in life that are significant in one's life.  "Lola" a song about gender confusion on the dance floor has enough detail in its story to be a novella.

More important this is an album for the Kink fanatic, and usually, this double-record was passed among other fans, in a secret society of lovers of this type of music.  John Mendelsohn's liner notes describe precisely what made the Kinks a fantastic force in one's life.  For those who are not familiar with the magic that is The Kinks, this is a magnificent collection that will wet your hunger for more.

Morrissey - "This is Morrissey" Vinyl, LP, Compilation, 2018 (Parlophone/Regal)

This is the Morrissey I love.   Not the guy who is giving opinions out like he's a Donald Trump, but the brilliant songwriter, performer, and quite aware of recorded music history.  "This is Morrissey" is a new compilation of music of his the late solo 1980s/early 1990s material.  Seeing this album, I know there are traces of the great wit/artist that is still with us.  As if one who either reads Discogs as a narrative or is a fan of Morrissey, there are a lot of compilations of his music out in the market.  On one level, and on a surface one at that, it seems he floods the market of releases perhaps for the financial stake in doing so.  Which may be true, but it is also the aesthetic of Morrissey to do a compilation album like this.

The label, Regal is very old school compilation where they released music by an artist, and usually not expensive to purchase on a consumer front.  "This is Morrissey, just cost me under $20, and the selection of his music is excellent.  I'm not sure if Morrissey himself selected the songs/tracks or someone from his record label/management, but whoever did an excellent job.  The key tracks to purchase "This is Morrissey" is the Ron Mael/Russell  Mael remix of "Suedehead," which is really the bastard child of Sparks and Morrissey. It's already a beautiful song, but Ron and Russell give it another dimension, and in their mix, they make it into a Sparks piece - but still in spirit, very much of Morrissey.  It is one of the great re-mix recordings, just because it's not a DJ overshadowing the artist, but another artist's approach to something that is already fantastic. It is never meant to replace the original.  The other great song here is "Whatever Happens, I Love You," which initially was on another compilation album, and I'm not sure if it was ever released as a single, or b-side, but it is one of the Morrissey classics.  Beautiful production, and just a wonderful Alain Whyte collaboration with the singer. 

Morrissey's brilliance is not always just the music.  His witty appreciation for the practices of record labels from the 1960s and so forth is very much honored here with this release.  It's Morrissey looking back at his past, and his habitual record buying practices.  So yes, one may have these songs in different formats, but I feel Morrissey is sincere in that he wants to present these collections as an art object, or a work to be admired or thought of in such manner. Even the liner notes which are in French shows an absolute love for the medium.  And this is the Morrissey I love.