THE DEFINITIVE COLLECTION OF MARY WELLS

The Definitive Collection of Mary Wells

Mary Wells was supposed to be Diana Ross before Diana Ross was supposed to be Diana Ross.  But I suppose Diana and the rest of The Supremes were destined to be the premier girls of Motown.  Wells began her Motown career when she recorded her own song "Bye Bye Baby" and watched it hit number 8 on the R&B charts.  But, it was the Smokey Robinson-penned hit "My Guy" that brought her to number one and became an instant classic.  Wells had less success when she left Motown and went to 20th Century Fox and you can probably thank Motown head, Berry Gordy, for having a hand at that—he did NOT want his former artists to prosper without him.  But this compilation, The Definitive Collection, is essential listening for casual Motown fans who may not have listened to anything besides The Supremes, The Miracles and The Temptations.  Among the album's 17 songs are such addicting singles as "My Guy," "Laughing Boy," "The One Who Really Loves You," "Old Love (Let's Try It Again,) " "Two Wrongs Don't Make A Right," "What's The Matter With You Baby" and "Whisper You Love Me Boy."   I recommend checking out all of those songs if you are short on time.

The Definitive Collection of Mary Wells

LIVE: BLOW YOUR FACE OUT BY J. GEILS BAND

Live: Blow Your Face Out  By J. Geils Band

J. Geil's band formed in Boston in 1967.  A sextet, they developed a cult following and made several attempts to release a hit record.   For the most part, those attempts fell flat until 1980 when they reached number one with a song called "Centerfold."  Their following release—and their third live record—Showtime went gold and then, all of sudden, J. Geils Band started to implode.   It began when frontman Peter Wolf called it quits in 1983.  That was a pretty big loss and the rest of the band followed his lead in 1985.  

J. Geil's Band, decided to pack up their instruments and hit the road once again in 1999.  Then twice again in 2005.  Then thrice again in 2009.  2012 marked another reunion tour, but let's just say guitarist J. Geils refused to get on the bus  and the others left him behind.  Geils filed a lawsuit against his former bandmates, because he didn't appreciate the band's continued use of his name.  I can understand why he is pissed.  I'd be a little ticked off if Sean Penn or Harold Ramis started a blog called jamiedoesmusic.com

Anyway, we were supposed to talk about an album, weren't we? Well, remember when I told you that Showtime was the group's third live album in 15 years? That should indicate something, right? Actually, it does! 

This band absolutely kills it live! That's how they became a cult favorite.  Their repertoire consisted of originals, Doo Wop and Soul standards.  In many ways, it would be accurate to describe J. Geils Band as a bar band that played arenas.  

And when you listen to Live: Blow Your Face Out, the group's second live album, it's pretty clear why J. Geil's Band play such large venues.  In nearly 75 minutes, they never miss their mark.  It is an absolute party and the fun doesn't stop between songs.  Frontman Peter Wolf is hilarious! He used to be a Radio DJ, so it makes sense that he is as good at speaking as he is at singing.  

Live: Blow Your Face Out was never a hit at the cash register like Frampton Comes Alive.  But like Peter Frampton's seminal masterpiece, it's one of the best live albums of all time.  

Live: Blow Your Face Out By J. Geils Band

CLASH THE TRUTH BY BEACH FOSSILS

Clash The Truth By Beach Fossils

While Beach Fossils' eponymous 2010 debut taught us what an Indie version of Surf Rock would sound like if it was played through a tin can—the results were very successful, by the way—2013's Clash The Truth substitutes the surf rock for late 80's post punk textures similar to those by pre-Loveless My Bloody Valentine, Sonic Youth, This Mortal Coil and Jesus & Mary Chain.  The result is a stunning, melancholy, introspective record which could easily serve as the soundtrack for teenage stoners, a kid spending yet another day alone in his attic and girls folding jeans at Urban Outfitters.  That's a wide spectrum, but Clash The Truth has such an addicting sound, the perfect combination of mopey and exuberant, that it will likely move a lot of people—though probably not to the cash registers.

Clocking in at, in my opinion, the perfect album length (just over 35 minutes,) there are not any great songs on Clash The Truth.  That's not a digression, actually—there were not any great songs on their debut, either.  But, Beach Fossils succeed on a variety of good songs like "Careless," "Shallow" and "In Vertigo;" okay songs with lots of muscle and texture like "Generational Synthetic" and the title track; beautiful, acoustic songs like the charming, purposefully out-of-tune "Sleep Apnea" and the few somewhat haunting instrumental passages like "Modern Holiday," "Brighter" and "Ascension."

Do all these sonic changes and 14 new songs make Clash The Truth an improvement on Beach Fossils' debut? No, actually.  Rather, the album shows a new, different side to a band that sounded perfectly fine and comfortable doing what they were doing.  A better question is, do I prefer Clash The Truth to 2010's Beach Fossils.

Yes. 

Clash The Truth By Beach Fossils

And, why not?

Beach Fossils