Records To Die For

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Robert Schryer

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John Fogerty: Revival
Fantasy FCD-30001 (CD). 2007. John Fogerty, prod.; Robert Ludwig, Kevin Dean, Dave Colvin, engs. DDD.? TT: 40:41

This album's title works as both a nod to Creedence Clearwater Revival's legacy and to truth in advertising. Revival was a return to form for John Fogerty—to the sort of catchy, barroom-friendly tunes he became famous for but could no longer write. Add to its musical themes equal parts nostalgia and political outrage, and you've got a country-rock album to revitalize the troops. Revival reflects a comfortable juncture in Fogerty's personal life, and in his identities as both ex-CCR frontman and evolving solo artist. Every song here is a well-crafted gem—contemporary, but imprinted with the past to remind us where we've all been.

Soul Coughing: Irresistible Bliss
Slash CDW 46175 (CD). 1996. Soul Coughing, Steve Fisk, prods.; David Kahne, prod., eng.; Chris Shaw, Tchad Blake, engs. ADD ? TT: 45:19

Released in the summer of 1996, this second full-length album from NYC-based Soul Coughing, whose members met as performers at Manhattan's famed nightclub Knitting Factory, is a swank-and-swagger, beat-thumpin', white-funk slice of pop that stylistically sounds so of its time that, two decades later, it's hard to believe it could still sound fresh and original. But it does, thanks to its mix of irrepressible bass grooves, inspired musical excursions, trippy studio effects, and singer Mike Doughty's frenetic quasi-raps. It's not perfect, but when it hits its mark—which is often—it's king of the hill. Irresistible bliss indeed.

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Jason Victor Serinus

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Leontyne Price: Prima Donna Assoluta
Bizet: Carmen. Mozart: Così fan tutte. Puccini: Madama Butterfly, Il Tabarro, Tosca.
Verdi: Aida, Ernani, Il Trovatore, La Forza del Destino, Un Ballo in Maschera.
Leontyne Price, soprano; many other singers; Herbert von Karajan, Erich Leinsdorf, Zubin Mehta, Thomas Schippers, conductors; various orchestras
Sony Classical 531134 (22 CDs). 1962–1971/2016. Remastered in 24/96 (Madama Butterfly in DSD64). Robert Russ, prod.; Andreas K. Meyer, Rebekah Wineman, Martin Kistner, Hansjörg Seiler, Mark Donahue, mix, mastering. ADD. TT: 19:41:00

Although soprano Leontyne Price was not the first African-American to break the color barrier in opera—Todd Duncan sang Tonio at New York City Opera in 1945, Helen L. Phillips joined the Metropolitan Opera Chorus in 1947, and Mattiwilda Dobbs and Marian Anderson sang leads at La Scala and the Met in 1953 and 1955—she was the first to appear on TV, in 1955, and then at a string of opera houses, beginning with San Francisco. Fueling her triumphs was one of the most sensual, soaring, luxurious sopranos on record, with a dramatic component ideal for Verdi and Puccini. At last, 10 of Price's glorious complete opera recordings have been digitally remastered, including the essential Carmen (with Franco Corelli), the second and most wonderful of her three Il Trovatores, and her second Aida. An indispensable tribute to a great artist who this year turns 90.

Elisabeth Schwarzkopf: The Complete Recitals 1952–74
Elisabeth Schwarzkopf, soprano; various singers, orchestras, conductors
Warner Classics 553028 (31 CDs). 1952–74/2015. Walter Legge, orig. prod.; Allan Ramsay, Christophe Hénault, Simon Gibson, Andrew Walter, remastering. ADD. TT: 24:77:00

Not only did Elisabeth Schwarzkopf (1915–2006) possess one of the finest lyric sopranos of her time, she also reigned as one of the supreme postwar champions of lieder and art song. She was unceasingly coached to perfection by her British husband, EMI record producer Walter Legge, and championed by conductors Furtwängler and Karajan; her EMI recitals began with an irreplaceable Schubert disc with pianist Edwin Fischer, and ended with two Schumann cycles. While Schwarzkopf's arch mannerisms can infuriate, virtually every time you wish she'd get out of her head and sing from the heart, she wins you over with her vocal and interpretive brilliance. These are all of Schwarzkopf's commercial recitals for EMI, including two live recordings, with Furtwängler and Gerald Moore, all superbly remastered in 24/96.

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David Sokol

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The Beach Boys: Today! & Summer Days (and Summer Nights!!)
Capitol CDP 7 93694 2 (CD). 1965/1990. Brian Wilson, prod.; Chuck Britz, eng.; Joe Gastwirt, digital remastering; Mark Linnett, digital remastering, reissue compilation & coordination. AAD? TT: 67:19

When the Beach Boys' Today! entered the Billboard album chart in March 1965, the Beatles' "Eight Days a Week" had just ended its run atop the Hot 100. It was a time of blossoming musical possibilities, and although Brian Wilson and the Beach Boys had been turning out hits since 1962, mostly about surfing and girls, Today! marked a giant creative step forward for them. Essentially, it's structured between side 1, mostly hits—"Dance, Dance, Dance," "When I Grow Up," and a quirky early version of "Help Me Ronda" (sic)—and the ballad-heavy side 2, which sounds like the template for the fabulous Pet Sounds, which followed a year later. Wilson's meticulously crafted arrangements and gorgeous melodies and harmonies abound. Clocking in at 2:30, "Kiss Me, Baby" might be the finest song about teenage angst and redemption ever written.

In his liner notes to this 1990 CD, reissue compiler and coordinator Mark Linett explains how numerous tapes were auditioned "in order to find the original album masters," and that "no remixing was attempted." This to-die-for twofer also includes Today!'s follow-up, Summer Days (and Summer Nights!!), released in late June 1965, with such hits as "California Girls" and its sublime B side, "Let Him Run Wild"—as well as the single "The Little Girl I Once Knew" and several alternate takes. (Vol.39 No.3)

Brian Wilson: Live at the Roxy Theatre
Brimel 1001 (2 CDs). 2000. Brian Wilson, prod.; Mark Linett, eng., mix. AAD? TT: 94:46

Brian Wilson released his self-titled first solo album in 1988, but it then took him nearly a dozen years before launching his first tour, and this musical souvenir of those performances, recorded during two shows at the Roxy, the venerable Sunset Strip club, is an underappreciated gem. Not only is Wilson in fine voice, backed by a crack 10-piece band that included members of the Wondermints, but his selection of 28 songs is a perfect mix of lighthearted banter, Beach Boys hits and album tracks, and later solo material. Beginning with a punched-up version of "The Little Girl I Once Knew," the set continues with poignant versions of "Don't Worry Baby," "Good Vibrations," "Love and Mercy," and even a good-natured snippet of the Barenaked Ladies' "Brian Wilson," which segues into the lovely "'Til I Die." The sound is sparkling and intimate throughout. The cozy Roxy seats only about 500, but this remarkable and timeless recording will make you feel as if you were there that historic weekend. (Vol.23 No.10)

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John Swenson

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Mark Bingham: I Passed for Human
Sky Ranch SR 652305 (CD). 1989. Mark Bingham, Hal Willner, prods.; Don Christensen, Brenden Harkin, engs. TT: 46:57

Weird scenes inside the gold mine, ca 1989, from a musician and producer who would help shape improvised music and songwriting in New Orleans music for the next 25 years. "New Orleans was a place where I could play music and enjoy doing it and musicians had friends other than musicians and artists, people who actually worked for a living as plumbers and carpenters. It was real." One of the highlights is an extraordinary instrumental, "Blood Music," featuring John Mooney on slide guitar, John Scofield on lead guitar, and Jon Cleary on organ. Cleary and Scofield wrap things up with a gorgeous turn.

The Neville Brothers: Yellow Moon
A&M CD5240 (CD). 1989. Daniel Lanois, prod., mix; Malcolm Burn, eng., mix; Mark Howard, Charles Brady, engs.; George Horn, mastering. AAD. TT: 53:01

Arguably the Nevilles' greatest record, Yellow Moon was the soundtrack for that year in New Orleans. Cyril's contributions stand out: "My Blood," a passionate plea to end apartheid in South Africa, was an instant anthem picked up by numerous other bands and frequently heard during Jazz Fest; "Sister Rosa," a tribute to American Civil Rights heroine Rosa Parks, struck a similar chord. Art's title track has gone on to become a New Orleans classic. (Vol.12 No.7, Vol.29 No.2)