There aren’t a lot of bands that can claim to have been around for a full five decades – that’s half a century, people – but The Hollies can, thanks to Allan Clarke continuing to fight the good fight ever since founding the band with Graham Nash back in 1962. (Actually, Clarke and Nash had played together prior to that, but it was in ’62 that they first called themselves The Hollies.) Although Bobby Elliott can’t claim to have been there at the very, very beginning of the band, no one can say that he hasn’t been around the block a few times with them, having come aboard in August 1963. As the band prepares to release a collection to celebrate their anniversary – 50 AT FIFTY, which hits stores on October 21 – Elliott took some time to chat with Rhino about some of the highlights of his time with the band, including a backstage chat with Bruce Springsteen and having an unexpected elevator encounter with one of the funniest and most famous trios of all time.
With his traveling exhibit of artifacts from throughout his career having finally traveled to our shores (it’s currently on display at Chicago’s Museum of Contemporary Art) and the announcement that he’s got a new song on the way – “Sue (Or In A Season of Crime),” which will be included on his upcoming greatest-hits collection, Nothing Has Changed – there’s only one way to describe the current climate: everything’s coming up Bowie!
To keep things consistent for you David Bowie devotees, we’ve got a couple of new releases that’ll keep that smile on your face a bit longer, starting with a very cool 7” picture disc of “Knock on Wood,” a 2005 Tony Visconti mix of the in-concert version which appears on David Live. On the flip side, you’ll find another David Live track, “Rock ‘N’ Roll With Me,” which is also one of Visconti’s ’05 mixes. If you don’t recognize the picture which graces the A-side, then you must never have seen the original French single, since that’s where the shot could originally be found, but the photo on the B-side is a rarely-seen shot of Bowie from ’74, so it’s highly probably that it’ll be the first time you’ve laid eyes on it.
This week’s Mono Mondays release comes from the catalog of a top-notch vibraphonist, back when your average musician knew right off the top of his or her head exactly what a vibraphonist was. Kids, if you’re not in the know, you can see a vibraphone by clicking here…and once you’re done taking a gander, be sure to come back here and continue your education by learning a bit about Milt Jackson and his 1957 album, Plenty, Plenty Soul.
The story of Milt Jackson – known to his friends and fans as “Bags” – goes a little something like this: he was discovered by Dizzy Gillespie, who hired him for his sextet in 1946, soon found himself working with the likes of Woody Herman, Thelonious Monk, and Charlie Parker, and within half a decade, he, pianist John Lewis, bassist Ray Brown, and drummer Kenny Clarke had founded the group that would come to call itself the Modern Jazz Quartet.
2 of the "Greats" are getting vinyl upgrades this week. Read all about it here:
Aretha Franklin, Amazing Grace: This may surprise you as much as it surprised us – we first read it on Wikipedia, and it shocked us so much that we made sure to find another source to confirm it – but as of 2013, this 1972 live gospel album was the biggest selling album of Aretha’s entire recording career. (Perhaps needless to say, it is also the biggest selling live gospel album, period.) Recorded at the New Temple Missionary Baptist Church in Los Angeles with the assistance of Rev. James Cleveland and the Southern California Community Choir, Amazing Grace even managed to spawn a minor hit single via Franklin’s take on Marvin Gaye’s “Wholy Holy.”
Hey, kids, remember VHS? (Geez, you know you’re old when you’ve outlived jokes about Beta and reached a point where even VHS has become a punchline…)
Once upon a time, way back in 1995, Morrissey released a concert video on VHS entitled Introducing Morrissey, a performance which found the former Smiths frontman delivering a 15-song set consisting of tracks from his then-current album, Vauxhall and I, his previous effort, Your Arsenal, and several numbers which were – or certainly would become – familiar to his fans from his singles and B-sides. For reasons which we probably could find out but aren’t going to take the time to research, this performance has been languishing in our vaults and has never before been made available on DVD, but at long last, before the format becomes completely obsolete, we’re finally getting around to it. You’re welcome, Morrissey fans!