The Substitute 1996

A collection of 18 of Gloria's hits including 'I Will Survive' and more…

A collection of 18 of Gloria's hits including 'I Will Survive' and more…

A collection of 18 of Gloria's hits including 'I Will Survive' and more…

Dallas-based guitarist, singer, and songwriter Bob Kirkpatrick may not be a household name, but he's been quietly building an audience for the last 30 years in clubs around Texas, Mississippi and Louisiana. Although he hadn't recorded in 23 years prior to 1996's Going Back to Texas, Kirkpatrick has long been a regional star in the Texas triangle, but since he has always made family his first priority, his recording/blues career fell somewhere down the ladder. Kirkpatrick, born in 1934 in Haynesville, LA, became interested in music at age six, starting out on piano and switching to guitar. Kirkpatrick worked with Ivory Joe Hunter while attending school at Grambling, doing some road dates, but it wasn't until he saw B.B. King in 1958 that he became a true convert to the blues.

This double CD is pretty similar in sound and content to the expanded Live at Leeds album, except there's much more from Tommy, and a few semi-obscure numbers like "I Don't Even Know Myself," "Water," and "Naked Eye." Hardcore Who fanatics seem to prefer Live at Leeds, which was recorded only a few months before this material. That viewpoint is understandable: the performances are sharper on Leeds, and if you're not a big-league fan, that single-disc set is a more economical survey of the band in concert during this era. If you do like the Who a lot, though, Isle of Wight is worth having. The sound and performances are decent, although be aware that the band's on-stage version of Tommy omits some decent songs from the opera, such as "Sensation" and "Underture."

Dizzy Gillespie albums are sometimes criticized for being silly, never for lacking stamina. Pleyel Jazz Concert 1953 is no exception to this rule, though it would certainly be understandable if it were. The live recording, issued and repackaged at least three times since the late '90s, dates from a period when Gillespie was in Paris and as busy as God, as musicians like to say in reference to the deity, not the European noise music band. If datebooks kept by people nicknamed Dizzy are to be trusted, the bebop kingpin had during a previous 48-hour period cut albums for two different competing firms, one involving a string orchestra. About ten collections have been published involving this material. Meanwhile, his rhythm section cut an album on the same day of the Pleyel Concert Hall event, also reissued at least three times and representing the sole effort by pianist Wade Legge as a leader…

One imagines that this collection was aimed at the total neophyte listener - taken in any other context, this is an odd collection of single sides by one of the premiere singles bands of the 1960s and early '70s. Does it start at the beginning, with either "I'm the Face" or "I Can't Explain"? No. Does it encompass many of the freestanding singles issued by this band through 1972? No. Does it even offer any of the less well-known single sides from that period? No - apart from the three-and-a-half-minute single edit of "Won't Get Fooled Again," which was hardly a sterling example of the format or the genre. Instead, listeners get all of the most familiar hits, albeit in their original mono mixes where relevant: "Substitute," "I'm a Boy," "Pictures of Lily," "I Can See for Miles," "Pinball Wizard," "Squeeze Box," etc.