New Cheap Trick Album, Bang Zoom Crazy…Hello, Planned For April

Cheap Trick Bang Zoom Crazy HelloBack in December, Robin Zander let loose that the new Cheap Trick album would be a throwback to the early and classic Cheap Trick sound. That new album is called Bang Zoom Crazy…Hello. For Cheap Trick fans, this could be exciting news. The best part is that the new Cheap Trick album now has a release date.

Bang Zoom Crazy…Hello is on the calendar for April 1 via Big Machine Records.

[UPDATE] Volume Four: The Polydor Singles 1966 – The Who 45 RPM 7″ Singles Box For May

The Who The Polydor SinglesCurrently, there are three vinyl 45 RPM Boxset volumes in the market for The Who. Those are The Brunswick Singles, The Reaction Singles, and The Track Singles. All of these provide 7″ 45RPM vinyl singles of The Who releases. The next volume will be The Polydor Singles. The wait is over.

On May 6, Geffen Records will release The Polydor Singles Box with fifteen 7″ 45s to complete the four volume collection. This set completes the intended coverage of the labels that The Who have been affiliated with and the singles that were released. The Polydor singles cover the later years (see vinyl single coverage below). All discs are heavy-grade vinyl 45RPM replicated from their original UK release issues.

The Box will provide a 20-page booklet filled with information about each single release.

The Polydor Years Box


Volume Four: The Polydor Singles  1975-2015 – The Who

01. Listening To You/See Me, Feel Me
b/w Overture
02. Squeeze Box
b/w ‘Success Story’
03. Who Are You
b/w Had Enough
04. Long Live Rock
b/w I’m the Face, My Wife (live)
05. 5.15
b/w I’m One
06. You Better You Bet
b/w The Quiet One
07. Don’t Let Go The Coat
b/w You
08. Athena
b/w A Man Is A Man
09. Eminence Front
b/w It’s Your Turn (This single was scheduled for release in the UK. Sleeves were printed but it was never released. It was to have been Who 7.)
10. Twist and Shout (live)
b/w I Can’t Explain (live)
11. Won’t Get Fooled Again / Bony Maronie (Live at Young Vic)
12. Join Together
b/w I Can See For Miles and Behind Blue Eyes (All three tracks live from 1989 US tour)
13. Real Good-Looking Boy
b/w Old Red Wine
14. Wire & Glass (EP) with
Sound Round, Pick Up The Peace, Endless Wire, We Got A Hit, They Made My Dream Come True, Mirror Door.
Polydor 1702801. Released 24 July 2006
15. Be Lucky
b/w I Can’t Explain (remix)



In Memoriam: Paul Kantner (Jefferson Airplane/Jefferson Starship)

January of 2016.

Apparently was not finished.

Just when you thought the dust had settled from the list of recent high profile deaths, we hear of another legend moving on.

On Thursday, Paul Kantner died from an apparent shutting down of his system. He was 74. While that seems like a good lease on life, at this day and age, it appears that it’s much too soon. Kantner’s contribution to this grand old show called Rock and Roll was his time with Jefferson Airplane, and later, Jefferson Starship. It was his formation of the band, which led to more than a few offshoots (Hot Tuna, Papa John Creach, Starship, and a myriad of solo outings), that help start the whole psychedelic Rock genre. Especially for that, Kantner is as important to Rock and Roll as he was to the band’s directions. To this day, Psychedelic Rock is still a strong genre (check out The Black Angels to begin).

Paul Kantner was once married to Grace Slick.

Like the personalities that preceded him in death, his passing is mourned.

Paul KantnerRIP

Paul Kantner


58CD/1DVD John Williams – The Guitarist – The Complete Columbia Album Collection Box In March

John Williams The GuitaristWhen you’re a prolific guitarist like John Williams, it’s safe to say that he has a lot of respected and much-loved music under his name. And with over 40 years in the business of creating exquisitely beautiful guitar works , it’s not impossible to have a lot of available music to acquire. There’s not much that can be said about John Williams that isn’t already known, more or less, so I’ll spare you the history. What is important to note is that Sony Classical has decided to honor the master, who celebrates his 75th birthday in April.

John Williams was once a member of Sky, a progressive band of the late ’70s, into the ’80s, which helped contribute to his visibility in a Rock setting. However, much of his work is within the Classical realm.

Sony Classical will release a 58CD Box with the addition of a DVD to complete the set. The box will provided an expansive project that brings all of his classical works (57 titles in all) to one place, all remastered. It is equally important to note that 60 pieces of his original works will be presented here for the first time on CD. The booklet should be impressive as well.

The additional CD is a special issue of his well-loved 1993 Seville concert. The added DVD will be the entire show in video form. The DVD will include a bonus documentary of John Williams as well.

John Williams – The Guitarist – The Complete Columbia Album Collection is targeted for March 4. I’d post the inclusions but man what an undertaking that would be. It’s everything, folks, classically related. And – at under $170 for the entire set, it’s kind of a steal!

John Williams - The Complete Album collection


The Cars Get Complete Albums Box and ‘Best Of’ This Year

CARS The Elektra Years 1978-1987When the late ’70s arrived and bands were beginning to usher into the world a new generation of style, one of the bands that led the way was The Cars. Their first album, simply titled The Cars, produced three essential songs (“Good Times Roll”, “My Best Friend’s Girl”, “Just What I Needed”). While The Cars went on to produced a wealth of singles, it is those three that are representative of not only that band but that period.

The Cars released seven excellent albums that include their most recent, Move Like This, released in 2011. After the band’s sixth album, Door To Door, released in 1987, they disbanded.  But the band left behind a legacy of music and a representation of the times. In short, they became an integral part of history.

On March 11, Rhino and Elektra Records will team to release a 6CD Box of their first six, all with Benjamin Orr in the mix. The Box is being called The Elektra Years: 1978-1987. All of the albums will be remastered and, no doubt, a richly designed booklet included (I hope!).

The Cars Box Layout

Later in the year, an eighteen-track ‘best of’ will arrive (see track-list below). That single disc album is being called Moving In Stereo – The Best Of The Cars. It’s scheduled for May 6. Sadly, it will contain a variation of a track from the Move Like This set, which was released by Hear Music. It’s too bad Rhino didn’t acquire the rights to a song or two off The Cars’ last album, Move Like This, considering the unlikely chance of another coming from the band. Move Like This is a fine album!

Moving In Stereo The Best Of The Cars

Moving In Stereo: The Best Of The Cars – The Cars

01 – Just What I Needed
02 – Since You re Gone
03 – Let s Go
04 – You Might Think
05 – Shake It Up
06 – Drive
07 – Tonight She Comes
08 – My Best Friend s Girl
09 – Don t Tell Me No
10 – You re All I ve Got Tonight
11 – I m Not The One (Single Mix)
12 – Candy-O
13 – Heartbeat City
14 – Touch And Go
15 – Moving In Stereo
16 – Dangerous Type
17 – Sad Song (new Zdar Mix)
18 – Everything You Say (Live)

Both sets will be released on CD, DD, and vinyl LP versions.

New Iggy Pop Album, Post Pop Depression, Ready For March

Iggy Pop Post Pop DepressionI’m most amazed at the boundless energy that kicks out from the being of Iggy Pop. Long energized as the leading focus of The Stooges, and of his own legendary solo years as he wandered from America to the UK and other parts Europe, most notably Berlin, Iggy Pop is one of our more perfect and fully embodied realizations of the phenomenon known as Rock and Roll. When I hear about a new tour, or a new album from our more revered statesman of Rock, I always take notice.

On March 18, Concord Records via Loma Vista label (Iggy Pop has never been without an interested big label), Iggy Pop will release his next album, Post Pop Depression. The new album is produced by Josh Homme of Queens Of The Stone Age fame. In addition to producing the album, Homme is also an integral part of Post Pop Depression. The band used for this album is rounded out by Dean Fertita (Queens Of The Stone Age/Dead Weather), and Matt Helders (Arctic Monkeys). In fact, they all take center stage on the cover of the album. Good ole Iggy Pop!

The new album is being preceded by a single, “Gardenia”. Post Pop Depression will have nine tracks (Thanks, Iggy, for increasing the worth of the album by offering only nine well attended to tracks!). If the ’80s New Wave-ish sounding “Gardenia” (heard below) is any indication of the content of Post Pop Depression, then fans will be treated to gold! The second track (“Break Into Your Heart”) from the album has ALREADY been released as well and can be accessed at this link.

Post Pop Depression will be issued on CD, DD, and vinyl LP.

Post Pop Depression – Iggy Pop
Track List:

01 Break Into Your Heart
02 Gardenia
03 American Valhalla
04 In the Lobby
05 Sunday
06 Vulture
07 German Days
08 Chocolate Drops
09 Paraguay


New Santana Album With Classic Early Lineup For April

SANTANA IV reunites legendary band lineup - new studio album out April 15, 2016 (PRNewsFoto/SANTANA)
SANTANA IV reunites legendary band lineup – new studio album out April 15, 2016 (PRNewsFoto/SANTANA)

When the band Santana made their debut into the stream of Rock and Roll, still in its infancy, back in 1969, they gave us “Evil Ways” from their magnificent first album. In short time, the band, named after Carlos Santana, delivered another album, Abraxas (1970), that provided “Oye Como Va”, the cover of Peter Green’s “Black Magic Woman”, and an FM favorite, “Samba Pa Ti”. By 1971, the band had added the incredible guitar of Neal Schon (Journey), and released III. That album gave us “No One To Depend On”. And thus began the legend of Santana.

Now, I’m a big fan of III’s follow-up, Caravanserai (1972), and other subsequent albums from Santana. But with Caravanserai, a huge change in musical style had given us quite a different band than the first three albums would hint at. The rest is history.

Recently, we’ve been given great news that the band that helped make III will be reunited to make IV. IV is the next chapter in what can be called an expansive Santana career. It brings back Gregg Rolie (keyboards), Neal Schon (guitar), Michael Schrieve (drums), and Michael Carabello (percussion). Joining them will be current Santana band members, Karl Perazzo (percussion), and Benny Rietveld (bass). Vocalist Ronny Isley will guest on two tracks.

The new album, titled IV, to align itself with the classic three albums period, will be filled with sixteen new tracks. The first song from the album, “Anywhere You Want To Go” will be issued as a prelude to IV’s release, on February 5. The album itself is scheduled to be issued on April 15.

Here’s to waiting for what might become a classic! Here’s to IV!

IV – Santana

01 – Yambu
02 – Shake It
03 – Anywhere You Want To Go
04 – Fillmore East
05 – Love Makes The World Go Round (Feat: Ronald Isley)
06 – Freedom In Your Mind (Feat: Ronald Isley)
07 – Choo Choo
08 – All Aboard
09 – Suenos
10 – Caminando
11 – Blues Magic
12 – Echizo
13 – Leave Me Alone
14 – You And I
15 – Come as You Are
16 – Forgiveness


Volume Four: The Polydor Singles 1966 – The Who 45 RPM 7″ Singles Box For May

Currently, there are three vinyl 45 RPM Boxset volumes in the market for The Who. Those are The Brunswick Singles, The Reaction Singles, and The Track Singles. All of these provide 7″ 45RPM vinyl singles of The Who releases. The next volume will be The Polydor Singles. The wait is over.

On May 6, Geffen Records will release The Polydor Singles Box with fifteen 7″ 45s to complete the four volume collection. The actual tracklist and cover art offerings are not yet available.

When the actual track-list becomes available, I will update this short post.

Polydor Sleeve

Talia’s Overflow Notes: Thoughts On The Passing Of Mic Gillette Of Tower Of Power

Mic GilletteI was originally not going to do a tribute column for Mic Gillette because I think of the entire horn section for Tower Of Power and not just one individual.  And in doing this tribute, I can’t say that I remembered Mic’s name, but you had better believe that I remember the original Tower Of Power horn section that I grew up on during the time period of 1970 through 1974.  So, instead of waiting for a few more members to pass on, I am going to do this right now because I love them so much.

Tower Of Power was a band of seismic strength for those of us who grew up in the Bay Area during the ’70-’74 time period.  While all of the attention, even in the wake of the immediate post-’60s period, was being paid to San Francisco, those of us who really knew our stuff knew that the East Bay gave us some equally great music too.  In the ’60s and the very early ’70s, we got Creedence Clearwater Revival.  Tower Of Power was the other huge band which came from the East Bay that any serious music fan identified with back then.  Just like the title of their first album would suggest, they were my East Bay Grease guys.  They brought the Funk with their brand of Soul and they pushed hard  With all due respect to so many other bands throughout the nation, you looked to Tower Of Power for where to get a blueprint and then go from there.  They had respect from fans and they had it from musicians from around the world.  If you were a name and you needed a horn section to bring the goods, then they were the ones to help you back up your good name.

Mic Gillette was a member of the band that brought us “Sparkling In The Sand” from East Bay Grease, “You’re Still A Young Man” and “What Is Hip?”, “Down To The Nightclub” from Bump City and “So Very Hard To Go” from the self-titled Tower Of Power.  Gillette played on the latter two albums I’ve mentioned.   This was the golden era of Tower Of Power.  A lot of pride emanated from this band during this time period.  They became the musical identity of the East Bay and they went hand in hand with the rise of the Oakland Raiders football club.  Between the both of them and the incredible amount of great Soul singles I was listening to on the radio during this time, this all became one in my eyes.  I didn’t just look at San Francisco with a glimmer in my eye.  I always had room in my heart for my East Bay grease guys too.  A ton of us were smart to never turn our backs on the East Bay musicians.  They were giving it their all and with as much of the sense of being special as any of the San Francisco and South Bay bands.

Tower Of Power defined the word diversity in my eyes.  They were a multi-ethic band.  Though they still exist as a band to this very day, they have undergone a ton of permutations over the years.  For those of us who grew up back then and listened to those great singles of theirs from the ’70-’74 period, they were one of the faces of people who used to say that diversity in a band and among the fan community was a great thing.  It made us better.  They were one of those bands who reminded us that snobbery had no place in great music.  That East Bay strength, man.  It gave me strength down in the South Bay because, as far as I was concerned, there was no North, South, East or Western Peninsula.  There was the Bay Area and we were all connected.  We were all one.  It was the only thing I cared about back then.  If you were giving me some great music, you got my support.  Tower Of Power was the real deal and Gillette was one of the ones who gave us such a strong band.  When I listen to “You’re Still A Young Man”, I am listening to the definition of great horns.  The same thing goes for whenever I listen to the terrific East Bay Grease album.  Whenever I get the news that one of the great Bay Area musicians has passed on, I feel like I’ve lost one of my own kin.  Gillette is no exception.  Those first few permutations of Tower Of Power could not be topped.

–Steve Talia

Talia’s Overflow Notes: California Country Heartbreaks: Thoughts On The Passing Of Glenn Frey

Glenn FreyWhen I first heard “Take It Easy” in the Summer of 1972, I had no idea that I was already having a line drawn for me which was tracing lineages of the Country-Rock movement before my very eyes. For myself, my first big connection to Rock and Country was through the “Chestnut Mare” single from The Byrds and Mike Nesmith’s “Joanne” (as well as the Magnetic South and Loose Salute albums of his) back in the Fall of 1970. The thing with me was that I would take years to learn that the lineage for that connection went back to Bob Dylan and then to The Byrds in the ’60s.

The amazing thing about California back then (after two years of being in Eugene, I moved back to the Bay Area in August of ’72) was that it became a more blatant combination of the leftovers of the ’60s and the then current time we were living in. The conservative and the liberal elements of both music and the combination of generational experiences were coming together in a unique blend. In other words, it was becoming a confused blur. My generation was developing a unique combination of all of our influences. From the time that first single of theirs came out in 1972 to the solid two year period where the entire Hotel California album dominated everybody’s lives from when it came out in late ’76 clear through most of 1978, Californians were Eagles fans whether they showed it or not. You didn’t even have to be from L.A. to be a bit possessive of them. The entire state eventually got really possessive of them. At the time that “Take It Easy” was released, you could not tell who were Eagles fans. They became more obvious as the decade wore on.

Yeah, there were the Country redneck guys who took them to heart because they decided they liked the Rock, but they didn’t like everything else that went with it. They always made me scratch my head because the Eagles were Rock and Roll and everything that went with it as far as stardom and culture went. But those guys always looked the other way when it came to realizing their own paradoxes. By the time the Joe Walsh Era of the band was already well underway in 1975, you could spot the guys with the cowboy hats who would tell you they loved the Eagles, but that they weren’t listening to Rock radio. Where I lived, most of those guys were listening to a station known as KFAT-FM in Gilroy, California and were taking Rock elements and forming what would be known in the early ’80s as Outlaw Country to go with the Country music they were already listening to and aligning it with their own brand of politics. In many cases, it was a scary combination-Rock, Country, conservative politics and a good share of heavy drinking and drugs to add spice to the proceedings.

It was the conception of what I would witness in the early ’80s everywhere-including Oregon. And then there were the guys like me who were combining everything they heard and formed it into a combination of everything imaginable. We were the music-heads. We were hippies. We were bohemians. We were artsy. We were politically liberal, but we grew up in generally conservative homes We were born in the ’60s and didn’t come of age until the ’70s. In that regard, we were lost in that we were stuck in between the ’60s and were pre-Punk at the same time. We were also not exclusive to any singular one of those descriptions of us I’ve just mentioned. We carried all of these elements around with us while a lot of people, knowingly or unknowingly, were beginning to take sides because of so much disillusionment which was permeating our lives back then. All of the music-heads just took what the Eagles were giving us as being something that was a long line of what became before us and was part of a great diversity we were lucky to have. The sad thing of it was that we all didn’t know that that very diversity was slipping out beneath us as radio began to undergo great changes by the time the decade ended. People began to choose sides-musical, personal & political because of the developing changes in radio and in our lives.

Unbeknownst to many, the Eagles became a dividing line for people as the decade wore on. And honestly, I consider it very lucky I got to live through the pre-Walsh Era if only because I remember the time period where people took the Eagles for what they were without their success being a signifier of some kind of political identity. I actually envy Glenn Frey in some regards. He didn’t have to see some of what was going on in the fan community. He likely became aware of it as time went on and the band’s staying power took hold. By the time Hotel California came out, I started seeing some of the division. There were the KFAT fan guys rejecting Hotel California but still listening to everything up to One Of These Nights. It was really strange. I kept up with the band clear through and including Hotel California and The Long Run and I just saw their music as their own evolution-no more, no less. Mind you, it was one hell of a great evolution. It had a pretty straight-forward trajectory which produced spectacular results.

Against all of this backdrop I’ve mentioned, I have to say that the Eagles really were a California band in my eyes. I viewed them through the unique California prism of having all of these elements colliding within myself and learning that I was going to have to examine each one of them for long periods of time in order to really figure out who I was. I can tell you that the songs where Glenn Frey had huge roles in them were ones that were major moments for me back in my California days. I do need to point out that the Don Henley-sung “Hotel California” would hold its greatest meaning to me for reasons which will be told in another column down the line. I can’t think of one of Frey’s that hit me bigger than “Tequila Sunrise”. I had all of those personal, musical and cultural elements slam into me when I used to be a hunter back then. I will still never forget this for as long as I live. It was the first time that it really started to hit me that I had to have the strength to reject some of the things that people were throwing on me occurred on a hunting trip down to an area down near King City which was in, I believe, Monterey County.

I got out of a small truck that a cousin of mine and my oldest brother were in as they started to get into a piece of property we were going to hunt in. It was1976 and yet the song from ’73 was going through my head. I had moment of clarity as the darkness was turning into the light of morning. I was watching the ground, in a very spooky way, light up in just the right way through trees. I could literally see a line from the sun forming on the ground and it was moving. “Tequila Sunrise” was playing in my head and I realized for a brief moment that perhaps I did not belong here out in nowhere and getting ready to do what I was going to do. It was the road to my realizing that I wasn’t a hunter and I had the music of the Eagles to thank for that. My own dividing line was beginning to develop. And I also used to really ruminate about the line where he sings about where “it’s a hollow feeling when it comes down to being friends/It never ends”. That line has grown on me over the years. With all of those girls, I never wanted to just be friends. Over time, the image of the sun that I saw creeping along on the ground became infused with the image of the adult sunrise of another hazy relationship and how so many people seem to think the ’70s was one long series of non-committal relationships for so many people.

When I think of “Lyin’ Eyes”, I heard a great song that introduced me to the women who were only out for financial security in a relationship. And damn! That song came to life before me as an adult decades later when I literally saw it happening to people around me. And when I used to listen to “New Kid In Town” either at home or on drives with my Dad to Santa Clara Broncos basketball games in ’77 and early ’78, I used to get reminded right there that Frey was harkening back to the earlier Eagles material from earlier in the decade. That song used to accompany me to the dances I used to go to in my first two years of High School when I was still in California. There’s a new kid in town? I felt like I was one when I was at those dances. Man! The competition was fierce. So Frey and Henley’s stuff was surrounding me through that whole time and the changes they brought. I hate like hell that the Eagles got caught in the middle of people creating divisions. Good music is good music. At least the music-heads got it right. We heard the liberal side line up with Country elements. And for the many heartbreaks we all went through, Glenn Frey gave us those small vignettes of hurt through some damned quality material. That’s where we all should have been paying more attention. Instead of those big issues dividing people, we should have been learning more about that girl in “Lyin” Eyes” so that we could have avoided her. That’s where people from all sides screwed up.

— Steve Talia