THE WHO - TEENAGE WASTELAND

Back in March 2023 I reviewed Edoardo Genzolini's excellent book on The Who, Concert Memories From The Classic Years 1964 to 1976 which can be read by following the link. I also gave a brief overview on the band's career so won't repeat that here.

Schiffer Publishing has now published his second book on The Who, Teenage Wasteland, that looks at the concerts played in 1968 and 1976 at Winterland in San Francisco.

Winterland, located on the corner of Post Street and Steiner Street in San Francisco, opened in June 1928 as the New Dreamland Auditorium, an ice skating rink that could also be converted into a seated entertainment venue. It was built at a cost of $1 million which is equivalent to around $17 million today. In the 1930s the building was renamed Winterland and during the 1930s and 1940s hosted many events including the Shipstads and Johnson Ice Follies, a production of the Fiolies Bergere, boxing tournaments and tennis matches.

In September 1966 concert promoter Bill Graham began renting the venue for concerts due to its capacity, which was larger than the nearby Fillmore Auditorium. His first double bill was Jefferson Airplane and the Paul Butterfield Band. With the Fillmore closing in 1971 regular shows were held at Winterland. 

Rock acts that have appeared at Winterland include The Rolling Stones, Cream, Yes, Fleetwood Mac, The Band, Deep Purple and The Who. Many live albums have been recorded at the venue most notably Frampton Comes Alive (Peter Frampton), The Last Waltz (The Band), Live At Winterland (Jimi Hendrix) and Live Cream (Cream). A few concert films were also made at the venue, The Last Waltz, The Grateful Dead Movie and the Sex Pistol's The Filth And The Fury.

Winterland closed on New Year's Eve 1978/New Year's Day 1979 with an eight-hour concert by the Grateful Dead, New Riders of the Purple Sage and The Blues Brothers. Like so many iconic music sites the venue was pulled down and replaced by apartments in 1985. Fortunately we still have the live albums, concert films and books to remind us what a great venue it was.

Teenage Wasteland opens with a look at The Who's first time in San Francisco back in 1967 and covers their first concerts in America at the Fillmore along with a look at the Fillmore Seminars, a series of seminars about the music industry organised by Bill Graham. Moving onto 1968 the book gives more information about concerts at the Fillmore on 22 February before looking in detail at their first gigs at Winterland in February of 1968.

The Who played two sets on 23 February and a further two the following day and these are covered in detail with a wealth of photos and a text giving a background to the shows.

Their set-list for these concerts saw them open with Substitute and included Pictures Of Lily, Happy Jack, I'm A Boy, I Can See For Miles, I Can't Explain and My Generation. 

It would be eight years before they returned to Winterland for concerts and this period is covered in a chapter that covers the years between, that would find the band achieve a status they could have only ever dreamed about when they started out.

They released a number of classic albums including Tommy, Quadrophenia and Who's Next along with a number of hit singles. There was also a live album, Live At Leeds and a number of compilations, Direct Hits, Odds & Sods, The Story Of The Who and Meaty Beaty Big & Bouncy.

In 1976 they returned to San Francisco once again to play at Winterland. Concerts on both 27 and 28 March are covered in the book with a mix of colour and black and white images both on and off stage, although there is no accompanying text to this section of the book.

At these shows they performed a set that included I Can't Explain, Substitute, Squeeze Box, Magic Bus, Pinball Wizard and My Generation closing with Won't Get Fooled Again.

Within the 256 pages are over 400 images, mainly black & white although there are many in full colour. Besides the many great live shots there are backstage images and memorabilia including tape boxes and boxes of slides and negatives taken at the shows. The book is printed on high-quality gloss paper which shows off the photos at their very best.

Once again author Edoardo Genzolini has amassed an amazing amount of information about the shows and this period of the bands career and his dedication and enthusiasm is evident in every single page.

Looking through the hundreds of photos you start to wish that you had been part of the audience at one of these shows... or maybe you were there in the audience. Like his previous book on The Who, this book will be well received by fans and anyone who has an interest in the rock music of the 1960s and 1970s.

With thanks to Victoria Hansen at Schiffer Publishing Ltd for providing a review copy of the book. 

THE BIG JIVE ALL DAYER - 2024

The first Big Jive All Dayer in Worthing, presented by the jive/swing band The Jive Aces, was held in February 2013 and has become an annual event in my home town. Having attended most of these, except for those that were cancelled during the Covid pandemic, I was pleased to be invited back to the latest event to cover it for my Instagram profile and here on my blog.

Past guests at the Big Jive All Dayer have included Si Cranstoun, The Swing Commanders, The Three Belles, Earl Jackson Band, Laura B & Her Band, Miss Annie & The Midnight Shift, Bamboozle, Mike Sanchez & The Portions, Dylan Kirk & The Killers, Gina Haley and King Pleasure & The Biscuit Boys.

This years guests were Lynette Morgan & Her Blackwater Valley Boys, The Velvet Candles and Phil Haley & His Comments. Joining The Jive Aces on stage were Noelle Vaughn, Laura B., Pat Reyford, DiMarco and a very special guest, more on which later.

As always a great selection of music was provided by the DJs which this year were, The Duke, Swinging Rockin' Daddy and Eight-Beat Mac.

Doors opened at 1pm and the venue was soon packed with couples, dressed in their best vintage outfits, already on the dance floor while others settled down at the tables spread alongside the dance floor.

Following a few classic tracks from the DJ it was time for the first act. Jive Aces frontman, Ian Clarkson, strolled on stage and welcomed the packed venue to a day and evening of great music and fun. Mentioning that it was seventy years since the release of Rock Around The Clock he invited onto the stage Phil Haley & His Comments.

This four-piece band, with guitar, bass, saxophone and drums are one of the top rock 'n' roll tribute bands in the UK and as well as covering some of the greatest records from the 1950s they also perform many of their own songs. They have built up a following that has seen them play in countries including France, Finland, Germany, Holland and as far afield as Australia.

Opening with Shake, Rattle And Roll they soon had the crowd dancing and singing along. Their set included many of Bill Haley's greatest hits... Don't Knock The Rock, R.O.C.K., Rock-A-Beatin' Boogie, Rockin' Through The Rye and See You Later Alligator. 

All four are excellent musicians and were each given the chance to show of their skills with guitar, saxophone, bass and drum solos.

They avoid being tagged as just another tribute band performing many of their own songs which fitted well in their set alongside the 1950s classics.

More hits followed with Flip, Flop And Fly, Dim, Dim The Lights and I'm Gonna Sit Right Down And Write Myself A Letter just a few of the standouts. They brought their part of the show to a close with the song that started it all, Rock Around The Clock.

More music from the DJs gave the audience a chance to take a refreshment break at the bar and do some shopping.

For those looking for a new outfit there were a number of stalls selling vintage dresses, shirts and shoes and if you needed to add any music to your collection there was a great selection of Jive Aces CDs/vinyl along with music from some of the featured bands. I even managed to add a few more CDs to my ever growing collection.

My taste in music covers most styles and I was looking forward to the western swing and country music of the next act on stage, Lynette Morgan & Her Blackwater Boys.

With Lynette on guitar and vocals she is supported by a four-piece band of guitar, bass, fiddle and pedal steel guitar creating the authentic western-swing style.

Opening with Roadside Diner, one of the many original songs they performed, the dance floor soon filled up again. They continued with a mix of originals, classic country and western swing including All Night Boogie, Patsy Cline's Let The Teardrops Fall, Walk Right In, Tennessee Saturday Night and one of their final songs was Teenage Boogie, originally written and recorded by Webb Pierce back in 1956.

With another break and more records spun by the DJs I took the opportunity to get some fresh air and a bite to eat in town. 

Back to the live music and fans of doo-wop and the vocal groups of the 1950s were in for a treat when the Velvet Candles hit the stage. This four piece group comprising three guys and one gal are from Barcelona and the three guys looked the part in their sharp white suits.

Formed in 2008 when they used to sing acapella on the streets of Barcelona they have gained a following which has seen them perform at clubs and festivals in Spain, Germany, Italy and the United Kingdom.

Their music bought back memories of some of the greatest doo-wop and vocal groups of the past including The Platters, The Penguins, The Crew-Cuts and The Clovers.

Opening with Ko Ko Mo (I Love You So) they took the audience back to the 1950s with Ding Dong Daddy, Sixteen Tons, Besame Mucho and The Way You Look Tonight. Of course no doo-wop act would be complete without Sh-Boom, originally recorded by The Chords, Frankie Lymon & The Teenagers hit  Why Do Fools Fall In Love and The Diamonds Little Darlin, and the Velvet Candles did not disappoint with their versions of the songs.

For an encore they treated the audience to the upbeat Jump Children, originally recorded by The Flamingos.

Following yet more great music it was time for The Jive Aces, dressed in their trademark yellow suits, to take the stage.

Opening with Good Rockin' Tonight, one of Elvis Presley's earliest releases on the Sun Records label, they followed with one of their own compositions, La Dolce Vita, Smile, written by Charlie Chaplin and recorded by Nat King Cole in 1954, Jackie Wilson's Reet Petite and their current single, La Vie en Rose, originally a hit for French songstress Edith Piaf. The song, which also featured Grazia Bevilacqua on vocals and accordion, has given The Jive Aces a number one on The Heritage Chart. 

Ian then introduced Noelle Vaughn, an English jazz singer with a rich, sultry voice and great stage presence, who joined them on stage for Got What It Takes and Razzle Dazzle before taking the solo spot for a fantastic rendition of I Need A Man.

More well-known songs followed... Hound Dog, with Ian giving his best Elvis impression, Singing In The Rain, Bring Me Sunshine and for me the highlight, a fun performance of the Dean Martin hit That's Amore, another song to feature the lovely, and talented, Grazia Bevilacqua on vocals and accordion. The chemistry between her and Ian is amazing and the look on his face, and the way both he and Alex looked at their watches, when she stole the moment playing an extended solo on the accordion was priceless and had to be seen to be appreciated.

It was at this stage in the proceedings that a special guest was announced and to great applause out walked 1950s singer Laurie London who is best known for his gospel and novelty songs.

Following a rockin' version of Eddie Cochran's Twenty Flight Rock he sang his only hit record, He's Got The Whole World In His Hands, the most successful record by a British artist in the 1950s in the United States, where it reached number one, sold over one-million and was awarded a gold disc by the RIAA (Record Industry Association of America) in 1958. The whole audience sang along and you could tell how much he was enjoying being on stage again.

The Jive Aces set closed with Tiger Man and an instrumental version of the Hank Williams classic Jambalaya, during which both John Fordham and Alex Douglas left the stage and moved onto the dancefloor to delight the crowd with their musicianship and antics.

More music, more dancing. more drinking and more shopping then it was time for the final act of the day... The Jive Aces Revue.

The Jive Aces invited many of the acts back on stage, including The Velvet Candles and Noelle Vaughn, along with Pat Reyford, DiMarco and Laura B, all making their first appearance of the day, for a final selection of songs which gave each artist the chance to shine individually and as part of the group. 

With little room to move the whole ensemble performed the song that closes many of The Jive Aces shows, Louis Prima's 1956 jazz swing classic, Jump, Jive And Wail. With each artist taking a lead and managing to jump at the appropriate times, especially piano player Vince Hurley whose antics always bring a smile to my face, it looked chaotic but was a fun and amazing way to bring the show to a close.

As the evening drew to a close, and people started to head home, the DJ continued spinning some great music, a few couples remained on the dance floor while the band members and stage-hands started dismantling the stage and packing their gear away.

I said my goodbyes to everyone and made my way home for a well-deserved rest as I had been on my feet for most of the day, only sitting down a couple of times in the bar and when I went into town to grab a bite to eat. The next few days were busy going through more than 600 photos I took, a few of which are featured here and I will be posting more on my Instagram page (@peterlewry) over the next week or two. I had a fantastic time and look forward to next year.

All that is left for me to say is a big thank you to everybody involved in yet another great event. I have to say a big thank you to Grazia for organising my ticket, to all the members of The Jive Aces and those from the other bands that I had the opportunity to talk to, and in a few cases have a photo taken together,  during the day.

A CHRISTMAS GIFT FOR YOU

Last year I wrote about one of my favourite Festive albums, Elvis' Christmas Album and the article can be read here... Christmas With Elvis.

Now it's that time of year again and the opportunity to write about another of my favourites... A Christmas Gift For You, an album that is sixty years old this year.

 

The album was produced by legendary producer Phil Spector who was best known for his innovative recording techniques and use of dense orchestral sounds that would make him one of the most influential and successful producers of the 1960s.

He began his career in 1958 and penned the number one single To Know Him Is To Love Him, by The Teddy Bears, of which he was a founding member. The song was inspired by the wording on his father's grave which read 'To Know Him Was To Love Him.'

Following his time as an apprentice working with songwriters Jerry Lieber and Mike Stoller he co-founded Philles Records. He was only 21 and became the youngest record label owner at the time. Among the hit records he produced were Da Doo Ron Ron and Then He Kissed Me (The Crystals), Be My Baby (The Ronettes), River Deep, Mountain High (Ike & Tina Turner) and You've Lost That Lovin' Feelin' (The Righteous Brothers). All featured his trademark 'Wall of Sound.'

The 'Wall of Sound', in simple terms, was a technique that captured the musicians live and embraced chaos and oversaturation. Spector chose not to record instrumental pieces with the minimum of interference and preferred to let the sonics of the studio define the sound. He allowed sounds to bounce around the room to create a dense sonic sound that was rich with complex overtones. The musicians that worked with Spector were a major part of the sound and became known as 'The Wrecking Crew.'

Among those session musicians who earned the name 'The Wrecking Crew' and would work on Spector's Christmas album were Hal Blaine (drums), Tommy Tedesco (guitar), Leon Russell (guitar), Barney Kessel (guitar), Jimmy Bond (bass), Ray Pohlman (bass), Al De Lory (piano), Don Randi (piano) and Frank Capp (percussion). There was also the brass section that featured Roy Caton (trumpet), Steve Douglas (baritone saxophone) and Jay Migliori (saxophone).

He picked his regular artists of the period for the album and bought together The Crystals, The Ronettes, Darlene Love and Bob B Soxx and The Blue Jeans for the recordings.

The Crystals were formed in New York City and were one of the defining acts of the girl group era. In 1963 the members were Patricia Wright, Dolores Kenniebrew, Dolores Brooks and Barbara Alston. Between 1961 and 1964 they charted with There's No Other (Like My Baby), Uptown, He's Sure The Boy I Love, He's A Rebel, Da Doo Ron Ron and Then He Kissed Me. Despite the success and steady flow of hit singles with Spector there were tensions which resulted in them leaving Philles Records and signing with Imperial Records. One reason was the decision by Spector to devote more of his time to The Ronettes. They released two albums, Twist Uptown and He's A Rebel, both produced by Spector.

Consisting of Veronica Bennett (later known as Ronnie Spector), her sister Estelle Bennett and cousin Nedra Talley, The Ronettes had sung together since they were in their teens when they were known as The Darling Sisters. A short spell with Colpix Records in 1961 was followed by their signing with Spector's Philles Records in March of 1963 where they changed their name to The Ronettes. Their hits included Be My Baby, Baby I Love You, (The Best Part Of) Breakin' Up and Walking In The Rain. They released one album, Presenting The Fabulous Ronettes Featuring Veronica, in 1964 with tracks including their singles along with Chapel Of Love, How Does It Feel?, So Young and When I Saw You.

Darlene Love, born Darlene Wright on 26 July 1941, was the lead singer of the girl group The Blossoms and also recorded as a solo artist. She started recording with Spector, who renamed her Darlene Love, in 1962. She sang lead on He's A Rebel and He's Sure The Boy I Love, both credited to The Crystals. Her vocals can also be heard on songs by Bob B. Soxx and The Blue Jeans including Why Do Lovers Break Each Others Hearts and Not Too Young To Get Married. Under her own name, and as part of The Blossoms, she released several singles including Hard To Get, Today I Met The Boy I'm Gonna Marry and Wait 'til My Bobby Gets Home. In 1968 she worked with The Blossoms on Elvis Presley's 1968 Comeback TV Special.

Bob B. Soxx and The The Blue Jeans were a vocal trio, originally formed as a vehicle for the lead vocals of Bobby Sheen who used the stage name Bob B. Soxx. The other two members were Darlene Love and Fanita James, both members of The Blossoms. As mentioned earlier it was Darlene Love who provided the lead vocals on Why Do Lovers Break Each Others Hearts and shared the lead vocals with Sheen on Not Too Young To Get Married. They also shared vocals on the trio's only album, Zip-A-Dee-Doo-Dah. However, it is Sheen who was featured as lead vocalist on the trio's contributions to the Christmas album. By late-1963 they were dropped by Philles Records and ceased to exist, although Sheen would go on to record for Capitol Records using his real name.

Sessions ran during September and October 1963 at Gold Star Studios in Hollywood with Spector producing, Larry Levine engineering and Jack 'Specs' Nitzsche arranging all the tracks.

Founded by David S. Gold and Stan Ross, Gold Star Studios was an independent studio that opened in October 1950 on Santa Monica Boulevard. The studio name was a mix/combination of the names of the two owners. It was a unique studio with custom-built recording equipment, echo chambers and was a popular studio for many years. Among those who recorded there were The Righteous Brothers, Sonny & Cher, Eddie Cochran, Brian Wilson and The Beach Boys, whose work there included the Pet Sounds album, the hit single Good Vibrations and the abandoned Smile project. 

The sessions weren't without their problems. Spector took the best track away from Ronnie (his wife) claiming she couldn't sing it to his standards and it wasn't emotional enough while other performers had issues about the sessions. However, there were just as many positive comments, with Levine recalling that Spector would regularly "do stand up comedy for 20 minutes at a time" when things were going well, while Darlene Love remembers them all receiving gifts from him.

Levine also recalled that the spoken introduction to Silent Night could have been very different. "The first time he did it, he used foul language, something like, 'I made this record for you, cocksuckers!'"

A Christmas Gift For You (Philles 4005) was released on 22 November 1963 and a month later peaked at #13 on the Billboard Magazine year-end, weekly Christmas Albums sales chart.

It failed to make any impression on the Billboard album chart at the time and this has been blamed on the fact that it was released the same day that President John F. Kennedy was assassinated. As Nitzsche explained at the time, "The album never really took off. I think some of that had to do with the world after the Kennedy assassination. It affected the public. No one really wanted to celebrate Christmas in December 1963."

However, in December 2018 the album entered the Billboard 200 Album Chart for the first time reaching a respectable #12. The album would return to the chart in January 2021, reaching #12 again, and over the next two years it would chart again, reaching #10 in 2022 and achieving its highest placing the following year when it peaked at #8.

In 2003 Rolling Stone listed the '500 Greatest Albums of All Time' and A Christmas Gift For You was placed No. 142, keeping the same rating a few years later in 2012 on a revised list. It was also ranked the Greatest Christmas album of all time in the magazine in 2019.

Pitchfork ranked it the 130th greatest album of 1960, not bad when you consider the quantity and quality of albums released in that decade.

The album opens with the Irving Berlin classic White Christmas, made famous by Bing Crosby in the films Holiday Inn and White Christmas. Crosby's version, which reached number one in 1942, 1943 and 1944, sold more than 50 million copies. It has been stated that there are more than 500 recorded versions of the song.

White Christmas is the first of four songs performed by Darlene Love on the album. Her other contributions are Marshmallow World, Winter Wonderland and the only original song on the album, Christmas (Baby Please Come Home), a song written by Brill Building songwriters Ellie Greenwich and Jeff Barry along with Phil Spector. It was released as a single although it never achieved the chart success it deserved. Written in 1949 by Carl Sigman and Peter DeRose, Marshmallow World was first recorded by Bing Crosby in 1950. The song is about winter but doesn't actually mention Christmas although it is now classed as a festive song. Winter Wonderland is another winter themed song that has become a Christmas standard. Written by Felix Bernard and Richard V. Smith, it has been recorded by many artists including Perry Como, Elvis Presley, Dolly Parton, Bob Dylan and many others.

The Ronettes are featured on three tracks, Frosty The Snowman, Sleigh Ride and I Saw Mommy Kissing Santa Claus. Written by Walter 'Jack' Rollins and Steve Nelson, Frosty The Snowman is a popular Christmas song first recorded by Gene Autry in 1950. It was written for Autry after his success the previous year with Rudolph The Red-Nosed Reindeer. Another popular song for the festive season is Sleigh Ride, originally an orchestral piece written by Leroy Anderson during a heat wave in 1946. A few years later the lyrics, about riding in a sleigh and other wintertime activities, were written by Mitchell Parish. With music and lyrics by British songwriter Tommie Connor and first recorded in 1952 by Jimmy Boyd, I Saw Mommy Kissing Santa Claus is yet another popular Christmas song. Its the  story of a young boy who sees his mother kissing Santa Claus under the mistletoe and wondering how his father will react, not realising that his father was actually Santa Claus. The song caused some concern and it was condemned by the Roman Catholic Church in Boston who believed it described an adulterous encounter. However, after a meeting with the Archdiocese, the ban was lifted.

Santa Claus Is Coming To Town is The Crystals first contribution and they also take the lead on Rudolph The Red-Nosed Reindeer and Parade Of The Wooden Soldiers. Written by John Fred Coots & Haven Gillespie, Santa Claus Is Coming To Town was first recorded by Harry Reser and his Band and covered by more than 200 artists including, Frank Sinatra, Bing Crosby, The Temptations, Neil Diamond and Bruce Springsteen. Rudolph... was composed by Johnny Marks in 1939 and based on the story of the same name. Gene Autry had a number one hit with the song in 1949. Based on the instrumental piece Parade Of The Tin Soldiers, written by German composer Leon Jessel in 1897 as a popular jaunty march, Parade Of The Wooden Soldiers gained its slightly different title in 1911 when Russian impresario Nikita Balieff chose it for his vaudeville revue and altered the title. It remained an instrumental piece until 1922 when Ballard MacDonald wrote the English lyrics.

Bob B. Soxx and The Blue Jeans perform two more songs, The Bells Of St. Mary's and Here Comes Santa Claus. The former was written back in the 1910s and revived by Bing Crosby in the film of the same name. Featured in a scene at a Christmas Pageant, it has become known as a Christmas song despite having no lyrical connection with the season. Here Comes Santa Claus was written and originally recorded by Gene Autry back in 1947.

The closing track on the album is Silent Night which features all four artists and an introduction by Phil Spector. My all-time favourite Christmas song, it was written by Franz Xaver Gruber and Joseph Mohr in 1818 with the original German title of Stille Nacht, Heilige Nacht. It is a beautiful ending to the album.

Reviews were scarce and at the time the UK music paper New Musical Express failed to print any review. However, many years later they did write, "It's impossible to imagine the festive musical canon without it. Despite largely consisting of covers, the joy that exudes from Spector's production ensures his take on the songs is the only one worth bothering with."

In 2013, Darlene Love commented, "Christmas meant a lot to Phil. It was one of the biggest projects he ever took on, because it was something that had never been done before."

The front cover featured a group photo of all the artists looking festive and a list of the tracks. It is unknown who took the photo as there is no credit.

The reverse featured sleeve-notes by Spector, part of which read, "Can twelve great Christmas songs be treated with the same excitement as original pop material of today: sang by four of the greatest pop artists in the country: produced with the same feeling and sound that is featured on the hit singles of these artists, without losing for a moment the feeling of Christmas and without destroying or invading the sensitivity and the beauty that surrounds all of the great Christmas music? Until now, perhaps not. But I am quite sure that after you listen to this album you will agree that the answers to these questions are found in every groove of this album."

In the years following the albums original release it has been re-issued many times on vinyl and CD on different labels.

It was first re-issued in 1972 by Apple Records with a different cover art, an image of Spector dressed as a heavily bearded Santa Claus and wearing a 'Back to Mono' button. The album also received a new title, Phil Spector's Christmas Album. This issue of the album reached #6 on Billboard's Christmas Album Sales Chart in December 1972, its highest chart placing. In the same year it made its debut on the UK Albums Chart and would re-enter the charts in 1983, peaking at #19.

In 1974 it was re-released on Warner Spector, the first to feature a stereo mix of the songs although they used the same cover as the one used on the Apple release, complete with the Back To Mono badge! 

Additional re-issues included, a stereo version on Pavilion, a short-lived imprint of CBS, in 1981, Impression (1983), Passport (1984) and Rhino (1987). In 2009 the Sundazed Label put out a vinyl copy of the album.

The album made its first appearance on CD in 1987 on Rhino mastered by Bill Inglot and Ken Perry restoring the original mono mix. Further CD issues occurred in 1987 on Chrysalis and in 1989 on ABKCO. The latter restored the original title, artwork and mono mix and was remastered by Spector and Levine.

When Sony Music took over the distribution rights to the Philles Records catalogue in 2009 they re-released the mono album, newly remastered by Bob Ludwig, on its Legacy Recordings imprint. Three years later they issued a two-CD set with a new remastering of the album by Vic Anesini on disc one and a selection of non-festive Spector hits and rarities on the second.

Despite all the critical acclaim the album received and the amount of times it has been re-issued over the years, I'm surprised there has never been a special or definitive edition. It is unknown if any other Christmas songs were recorded during the sessions or if any outtakes exist but it would be great to have a two-disc version with extensive liner notes, photographs and memorabilia... I can always dream.

Spector believed he could produce an album for the holiday season that would capture not only the essence of the Christmas spirit, but also be a pop masterpiece. An album that would stand alongside any work the artists had already recorded. He succeeded on every level, with all the artists recording some of their most memorable performances. A Christmas Gift For You is the album which all later festive releases would be judged.

I'll end this article with Phil Spector's words that led into the final track on the album, Silent Night...

Hello, this is Phil Spector, it is so difficult at this time

To say words that would express my feelings

About the album to which you have just listened

An album that has been in the planning for many, many months

First, let me thank all the people who worked so hard with me

In the production of this album and in my endeavour and desire

To bring something new and different to the music of Christmas

And to the recording industry which is so much a part of my life

Of course, the biggest thanks goes to you

For giving me the opportunity to relate my feelings

Of Christmas through the music that I love

At this moment, I am very proud of all the artists

And on behalf of all of them, The Crystals, The Ronettes

Darlene Love, Bob B Soxx and the Blue Jeans, and myself

May we wish you the very merriest of Christmases

And the happiest of New Years, and thank you so very much

For letting us spend this Christmas with you.

ROSANNE CASH - THE WHEEL

The Wheel was first released in 1993 and to celebrate thirty years since its initial release comes this new expanded edition The Wheel (30th Anniversary Edition) on the newly formed RumbleStrip Records. In this article we look back at the recording, release and commercial success of the original album, find out more about the formation of the new label and review this latest offering. I was fortunate to ask Rosanne about the new project and her answers form part of this article.

Rosanne Cash released her first album in 1978, the self titled Rosanne Cash, on the German label Ariola. The following year she signed with Columbia Records and between 1980 and 1990 released six more albums, Right Or Wrong, Seven Year Ache, Somewhere In The Stars, Rhythm & Romance, Kings Record Shop and Interiors.

During this period she also placed twenty-two singles on the country charts with ten of those reaching number one, including Seven Year Ache, My Baby Thinks He's A Train, I Don't Know Why You Don't Want Me, The Way We Make A Broken Heart, Tennessee Flat Top Box and Runaway Train.

By 1991 Cash had broken up with her husband Rodney Crowell, who had produced all her albums up to that point except for Interiors which Cash produced herself, and she relocated from Nashville to New York.

It was there that she began a creative relationship with songwriter, multi-instrumentalist and producer John Leventhal who she would eventually marry.

Credit: Pamela Springsteen

She started work on her next album on which she wrote, or co-wrote with Leventhal, all the songs which marked a new beginning for her.

Rosanne had written seven songs, The Wheel, You Won't Let Me In, Change Partners, Sleeping In Paris, From The Ashes, Roses In The Fire and If There's A God On My Side and had played them for Leventhal. She said they were elemental, full of references to the natural world... wind, fire, rain, moon and snow. She wasn't really sure what she was talking about but noticed she was using a lot of nature metaphors, many of them violent. Apparently Leventhal looked a little confused and finally said, "Okay, But are they good songs?"

Leventhal wrote the music on four more songs, Seventh Avenue, Tears Falling Down, The Truth About You and Fire Of The Newly Alive.

Recording took place at various studios in New York City with Cash and Leventhal producing. Leventhal played several instruments including guitar, mandolin, bass, keyboards and percussion. Additional musicians making an appearance on the album included Benmont Tench from The Heartbreakers and Steuart Smith of The Eagles. Cash invited Mary Chapin Carpenter, Patty Larkin, Marc Cohn and Bruce Cockburn to provide additional vocals. "The sessions were a thrilling mix of truly gifted people," remembered Rosanne.

The Wheel was released on 19th January 1993 and deserved to do much better in the charts. The album peaked at #37 on the Billboard Top Country Albums chart and #160 on the Billboard 200, certainly not a reflection on the material which was some of her strongest to date.

Two singles were released, Seventh Avenue and The Wheel, the former reaching #63 on the Canadian Country Charts and the latter #45 on the Billboard Adult Contemporary Chart.

Credit: Pamela Springsteen

The album may not have performed well on the charts but received critical acclaim from the music press. Reviews were positive with Rolling Stone commenting that the album, "makes her singer-songwriter shorthand a cathartic outlet, not merely a blunt weapon." They went on to say, "Most remarkable about these tightly scripted songs is Cash's resilience..."

Entertainment Weekly wrote, "Rosanne Cash sounds as if she's lived every word she sings on The Wheel - and she probably has." Making their 'Best Of The Year' list they also said, "This crystal-clear, intensely sung record rings startingly true as it details the end of a marriage-and the renewal that can follow."

During the sessions Cash and Leventhal's relationship grew as she would later recall, "John and I grew closer with every session and by the end of the record we were a couple." In my interview with her she spoke more about their relationship, "This is the first of seven albums John and I have made together, and the record which began our relationship. We've been together for these thirty years now. I guess it all worked out!"

Credit: Vivian Wang

Recently Cash and Leventhal started their own record label, RumbleStrip Records, in partnership with Thirty Tigers. David Macias, founder of Thirty Tigers, spoke about the partnership, "I have listened to Rosanne Cash's music ever since Seven Year Ache came out, and I was working in record stores. She has continued to grow and push the boundaries of her creative powers. I respect her immenseley. She is a vital artist, and I am so thrilled that she has agreed to team up with Thirty Tigers."

Rosanne told me more about the label and why she decided to start the label. "My contract with Sony stipulated that I would get my master recordings back after thirty years, and they started coming back to me. I didn't anticipate how that would feel - it was powerful and moving to me to actually own my own master recordings for the first time. John and I started talking about what we could do with them, and the idea of forming our own record label, to re-release some of them seemed like a fun thing to do. We partnered with Thirty Tigers to distribute and do the administrative things we didn't know how to do!"

When asked why The Wheel was chosen as the first release on the new album she said, "It was the thirtieth anniversary year, 1993-2023, and it seemed like a special time to release it. It is remastered to modern sonic standards and, for vinyl fans, is out on vinyl for the very first time."

The first disc features the original album, remastered for this new release, and is a collection of introspective and confessional songs that follow the theme of love and relationships.

In her memoir Composed, Rosanne talked about the album. "The Wheel was a satisfying and truthful record, and conveyed, for me anyway, the crazy longing and lust of new love." Talking about the albums relative commercial failure she says, "I still have a lot of affection for it. It wasn't commercially successful, however, and I had to start thinking seriously about what I wanted to do with my life and how I could reinvent a forum for my work that was outside Top 40 radio, since that avenue was closing for artists like me."

The Wheel is a beautiful album with great lyrics, instrumentation and production. There isn't a poor track on the album and it is almost impossible to pick any favourites. However, if asked I would pick Seventh Avenue, Sleeping In Paris, The Truth About Me, Roses In The Fire and the title track.

The second disc features previously unreleased live recordings. From a 26 July 1993 appearance on Live At Austin City comes The Wheel, Seventh Avenue, Sleeping In Paris and two non-album tracks, Crescent City and I'll Change For You, The latter would eventually be recorded and released for her 2003 album Rules Of Travel.

From the 16 May 1993 Columbia Records Hour are Seventh Avenue, Roses In The Fire, The Truth About You, What We Really Want and The Wheel, all from The Wheel except for What We Really Want, a song originally released on Cash's 1990 album Interiors and also a Top 40 single. Also included from this show is a beautiful rendition of Wouldn't It Be Loverly?, a song written by Alan Jay Lerner and Frederick Loewe for the musical My Fair Lady. 

Most people who know me will realise that packaging is important to me and this new release certainly didn't let me down. Presented in a three-panel card sleeve with photos, memorabilia and notes from Rosanne along with a booklet of lyrics and more photos. A nice addition is the signed card that was included.

Seven Year Ache has always been my favourite Rosanne Cash album but The Wheel is a close second.

 

What of the future? I was fortunate to chat to Rosanne about future plans and she said, "I am definitely thinking about re-mastering and re-releasing other albums, but our next release is of John's first solo album! It is coming on January 26th."

Regarding the possibility of more previously unreleased material she commented, "The double vinyl set of The Wheel includes live performances, and I am definitely considering a full live album."

I hope that all her other Columbia albums receive the same treatment and that more previously unreleased material can be included... unreleased songs, alternate versions, demos and live recordings. I am sure we have a lot to look forward too.

The Wheel 30th Anniversary Deluxe Edition is available as a Deluxe Double CD, Vinyl and a Deluxe 180g Exclusive Marble Swirl Vinyl, all with a signed insert, and can be ordered from Rosanne Cash's website... https://shop.rosannecash.com/

With thanks to Rosanne Cash, John Leventhal and Danny Kahn for their help with this article.