The Whimsy

With Revolver, the Beatles made the Great Leap Forward, reaching a previously unheard-of level of sophistication and fearless experimentation. Sgt. Pepper, in many ways, refines that breakthrough, as the Beatles consciously synthesized such disparate influences as psychedelia, art song, classical music, rock & roll, and music hall, often in the course of one song. Not once does the diversity seem forced – the genius of the record is how the vaudevillian "When I'm 64" seems like a logical extension of "Within You Without You" and how it provides a gateway to the chiming guitars of "Lovely Rita." There's no discounting the individual contributions of each member or their producer, George Martin, but the preponderance of whimsy and self-conscious art gives the impression that Paul McCartney is the leader of the Lonely Hearts Club Band.

Although this 21-track compilation is credited to the 23rd Turnoff, in fact it's a combination of recordings by the Kirkbys, the mid-'60s Merseybeat group led by Jimmy Campbell, and the 23rd Turnoff, the more psychedelic band they evolved into in 1967. It reveals Campbell as perhaps the most unheralded talent to come out of the Liverpool '60s rock scene, as he was a songwriter capable of both spinning out engaging Merseybeat and - unlike almost every other artist from the city, with the notable exception of the Beatles – making the transition to quality, dreamy psychedelia. Both sides of all three of the Kirkbys' 1965-1966 singles are here, as well as a bunch of unreleased recordings and outtakes by the group, all written or co-written by Campbell. While there's no obvious hit among them, they're catchy, Beatles-influenced tracks, showing some folk-rock and Revolver influence on the later efforts…

Rick Wakeman's third solo album is among his best, as he employs his vast array of keyboards to their full extent, musically describing the characters pertaining to the days of King Arthur's reign. With orchestra and choir included, although a little less prevalent than on Journey, he musically addresses the importance and distinguishing characteristics of each figure through the use of multiple synthesizers and accompanying instruments…

Rick Wakeman's third solo album is among his best, as he employs his vast array of keyboards to their full extent, musically describing the characters pertaining to the days of King Arthur's reign. With orchestra and choir included, although a little less prevalent than on Journey, he musically addresses the importance and distinguishing characteristics of each figure through the use of multiple synthesizers and accompanying instruments. "Lady of the Lake" is given a mystical, enchanted feel, perpetrated by a more subtle use of piano and synthesizer, while the battle of "Sir Lancelot and the Black Knight" is made up of a barrage of feuding keyboard runs and staccato riffs, musically recounting the intensity of the duel.

It’s been a decade since we last heard from Marnie Stern, and in her absence, the indie music world has become overrun with an army of anti-Marnies i.e. corporate clones making banal playlist rock lacking in the whimsy, creativity, and virtuosity that made Stern’s take on rock music such a singular sound in the late 2000s. But when Stern’s guitar bursts in like a shower of stardust on The Comeback Kid, her long-awaited follow-up to 2013’s The Chronicles of Marnia, it’s like no time has passed. Marnie Stern is back—and not a moment too soon.