Tag Archives: On Music

Like we did last summer: Top 20 Rock Musicals

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on July 5, 2025)

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Ah, July 4th weekend. Nothing kicks off Summer like an all-American holiday that encourages mass consumption of animal flesh (charcoal-grilled to carcinogenic perfection), binge drinking, and subsequent drunken handling of explosive materials. Well, for most people. Being the semi-reclusive weirdo that I am (although I prefer the term “gregarious loner”), nothing kicks off summer for me like holing up for the holiday weekend with an armload of my favorite rock ‘n’ roll musicals. For your consideration (or condemnation) here are my Top 20. Per usual, I present them in no ranking order. For those about to rock…I salute you.

American Pop – Within the realm of animated films, Ralph Bakshi’s name may not be as universally recognizable (or revered) as Walt Disney or Studio Ghibli, but I would consider him no less of an important figure in the history of the genre. During his heyday (1972-1983) the director pumped out 8 full-length feature films (Fritz the Cat, Heavy Traffic, Wizards, et. al.) using his signature blend of live-action, rotoscoping, and  traditional cel animation.

In his 1981 film American Pop, director Bakshi  and screenwriter Ronni Kern ambitiously attempt to distill the history of 20th Century American popular music (essentially from Vaudeville to Punk) in 90 minutes. The narrative is framed via the triumphs and travails of four generations of a Russian-Jewish immigrant family (all of whom are involved one way or the other in the music business). Intelligently written, beautifully animated, with an eclectic soundtrack (everything from “Swanee” to “Pretty Vacant”).

Bandwagon – A taciturn musician, still reeling from a recent breakup with his girlfriend, has a sudden creative spurt and forms a garage band. The boys pool resources, buy a beat-up van (the “Band” wagon, get it?) and hit the road as Circus Monkey. The requisite clichés ensue: The hell-gigs, backstage squabbles, record company vultures, and all that “art vs commerce” angst; but John Schultz’s crisp writing and directing and mostly unknown cast carry the day.

Indie film stalwart Kevin Corrigan stands out, as does Chapel Hill music scene fixture Doug McMillan (lead singer of The Connells) as a Zen-like road manager (the director is one of McMillan’s ex-band mates). The original soundtrack is an excellent set of power-pop (you’ll have “It Couldn’t Be Ann” in your head for days). Anyone who has been a “weekend rock star” will recognize many of the scenarios; any others who apply should still be quite entertained.

The Commitments – “Say it leoud. I’m black and I’m prewd!” Casting talented yet unknown actor/musicians to portray a group of talented yet unknown musicians was a stroke of genius by director Alan Parker. This “life imitating art imitating life” trick works wonders. In some respects, The Commitments is an expansion of Parker’s 1980 film Fame; except here the scenario switches from New York to Dublin (there’s a bit of a wink in a scene where one of the band members breaks into a parody of the Fame theme).

However, these working-class Irish kids don’t have the luxury of attending a performing arts academy; there’s an undercurrent referencing the economic downturn in the British Isles. The acting chemistry is superb, but it’s the musical performances that shine, especially from (then) 16-year old Andrew Strong, who has the soulful pipes of someone who has been smoking 2 packs a day for decades. In 2007, cast member/musician Glen Hansard co-starred in John Carney’s surprise low-budget hit, Once, a lovely character study that would make a perfect double bill with The Commitments.

Dance Craze – In the book Reggae International, a collection of essays compiled by Stephen Davis and Peter Simon, sub-culturalist Dick Hebdige writes about the UK’s short-lived yet highly influential “2-tone” movement of the early 1980s:

Behind the fusion of rock and reggae lay the hope that the humour, wit, and style of working-class kids from Britain’s black and white communities could find a common voice in 2-tone; that a new, hybrid cultural identity could emerge along with the new music. The larger message was usually left implicit. There was nothing solemn or evangelical about 2-tone. It offered an alternative to the well-intentioned polemics of the more highly educated punk groups, who tended to top the bill at many of the Rock Against Racism gigs. […]

Instead of imposing an alienating, moralising discourse on a popular form (alien at least to their working-class constituency), bands like the Specials worked in and on the popular, steered clear of the new avant-gardes, and stayed firmly within the “classical” definitions of 50s and early 60s rock and pop: that this was music for Saturday nights, something to dance to, to use.

In 1981, a concert film called Dance Craze was released. Shot in 1980 and directed by Joe Massot (The Song Remains the Same), it was filmed at several venues, showcasing six of the most high-profile bands in the 2 Tone Records stable: Bad Manners, The English Beat, The Bodysnatchers, Madness, The Selector, and The Specials.

I’d heard about this Holy Grail, but it was a tough film to catch; outside of its initial theatrical run in the UK (and I’m assuming very limited engagements here in the colonies) it had all but vanished in the mists of time…until a 2024 restoration and re-release of the film.

This film is nirvana for genre fans; all six bands are positively on fire (this is music for Saturday nights-I guarantee you’ll be dancing in your living room).  Thanks to cinematographer Joe Dunton’s fluid “performer’s-eye view” camerawork and tight editing by Ben Rayner and Anthony Sloman, you not only feel like you are on stage with the band, but you get a palpable sense of the energy and enthusiasm feeding back from the audience.

Expresso Bongo– This 1959 British gem from Val Guest undoubtedly inspired Julien Temple’s Absolute Beginners– from the opening tracking shot giddily swooping through London’s Soho district coffee bar/music club milieu, to its narrative about naive show biz beginners with stars in their eyes and exploitative agents’ hands in their wallets. Laurence Harvey plays his success-hungry hustler/manager character with chutzpah. The perennially elfin Cliff Richard plays it straight as Harvey’s “discovery”, Bongo Herbert.

The film includes performances by the original Shadows (Richards’ backup band), featuring guitar whiz Hank Marvin (whom Jeff Beck and Jimmy Page have cited as a seminal influence). The smart, droll screenplay (by Julian More and Wolf Mankowitz) is far more sophisticated than most of the U.S. produced rock’ n ’roll musicals of the era (films like The Girl Can’t Help It and Rock Rock Rock do feature priceless performance footage, but the story lines are dopey).

A Hard Day’s Night– This 1964 masterpiece has been often copied, but never equaled. Shot in a semi-documentary style, the film follows a “day in the life” of John, Paul, George and Ringo at the height of their youthful exuberance and charismatic powers. Thanks to the wonderfully inventive direction of Richard Lester and Alun Owen’s cleverly tailored script, the essence of what made the Beatles “the Beatles” has been captured for posterity.

Although it’s meticulously constructed, Lester’s film has a loose, improvisational feel; and it feels just as fresh and innovative as it was when it first hit theaters all those years ago. To this day I catch subtle gags that surprise me (ever notice John snorting the Coke bottle?). Musical highlights: “I Should Have Known Better”, “All My Loving”, “Don’t Bother Me”, “Can’t Buy Me Love”, and the fab title song.

Hedwig and the Angry Inch – It’s your typical love story. A German teen named Hansel (John Cameron Mitchell) falls for a G.I., undergoes a less than perfect sex change so they can marry, and ends up seduced and abandoned in a trailer park somewhere in Middle America. The desperate Hansel opts for the only logical way out…he creates an alter-ego named Hedwig, puts a glam-rock band together, and sets out to conquer the world. How many times have we heard that tired tale?

But seriously, this is an amazing tour de force by Mitchell, who not only acts and sings his way through this entertaining musical like nobody’s business, but directed and co-wrote (with composer Steven Trask, with whom he also co-created the original stage version).

Help! – Compared to its predecessor (see above), this is a much fluffier affair, from a narrative standpoint (Ringo is being chased by a religious cult who wish to offer him up as a human sacrifice to their god; hilarity ensues). But still, it’s a lot of fun, if you’re in a receptive mood. The Beatles themselves exude enough goofy energy and effervescent charm to make up for the wafer-thin plot line.

Marc Behm and Charles Wood’s script has a few good zingers; but the biggest delights come from director Richard Lester’s flair for visual invention. For me, the best parts are the musical sequences, which are imaginative, artful, and light years ahead of their time (essentially the blueprint for MTV, which was still 15 years down the road).

And of course, the Beatles’ music was evolving in leaps and bounds by 1965. It has a killer soundtrack; in addition to the classic title song, you’ve got “Ticket to Ride”, “You’ve Got to Hide Your Love Away”, “The Night Before” and “I Need You”, to name a few. Don’t miss the clever end credits!

Jailhouse Rock-The great tragedy of Elvis Presley’s film career is how more exponentially insipid each script was from the previous one. Even the part that mattered the most (which would be the music) progressively devolved into barely listenable schmaltz (although there were flashes of brilliance, like the ’69 Memphis sessions).

Fortunately, however, we can still pop in a DVD of Jailhouse Rock, and experience the King at the peak of his powers before Colonel Parker took his soul. This is one of the few films where Elvis actually gets to breathe a bit as an actor (King Creole is another example).

Although he basically plays himself (an unassuming country boy with a musical gift from the gods who becomes an overnight sensation), he never parlayed the essence of his “Elvis-ness” less self-consciously before the cameras as he does here. In addition to the iconic “Jailhouse Rock” song and dance number itself, Elvis rips it up with “Treat Me Nice” and “(You’re So Square) Baby I Don’t Care”.

Ladies and Gentlemen, the Fabulous Stains A punk version of A Star is Born. This 1981 curio (initially shelved from theatrical distribution) built a cult base, thanks to showings on USA Network’s Night Flight back in the day. As a narrative, this effort from record mogul turned movie director Lou Adler would have benefited from some script doctoring (Slap Shot screenwriter Nancy Dowd is off her game here) but for punk/new wave nostalgia junkies, it’s still a great time capsule.

Diane Lane plays a nihilistic mall rat who breaks out of the ‘burbs by forming an all-female punk trio with her two cousins (played by Marin Kanter and then-15 year-old Laura Dern). They dub themselves The Stains. Armed with a mission statement (“We don’t put out!”) and a stage look possibly co-opted from Divine in Pink Flamingos, this proto-riot grrl outfit sets out to conquer the world (and learn to play their instruments along the way).

Music biz clichés abound, but it’s a guilty pleasure, due to real-life rockers in the cast. Fee Waybill and Vince Welnick of The Tubes are a hoot as washed up glam rockers. The fictional punk band, The Looters (fronted by an angry young Ray Winstone) features Paul Simonon from The Clash and Steve Jones and Paul Cook of the Sex Pistols.

The Phantom of the Paradise – To describe writer-director Brian DePalma’s 1974 horror schlock-rock musical take-off on The Phantom of the Opera as “over the top” would be understatement.

Paul Williams (who composed the memorable soundtrack) chews all the available scenery as ruthless music mogul “Swan”, a man with a curious predilection for insisting his artists sign their (somewhat long-term) contracts in blood. One who becomes so beholden is Winslow (William Finely) a talented composer hideously disfigured in a freak accident (and that’s only the least of his problems). Jessica Harper plays the object of poor Winslow’s unrequited desire, who is slowly falling under Swan’s evil spell.

Musical highlights include the haunting ballad “Old Souls” (performed by Harper, who has a lovely voice) and “Life at Last”, a glam rock number performed by “The Undead”, led by a scene-stealing Gerrit Graham camping it up as the band’s lead singer “Beef”.

Quadrophenia –The Who’s eponymous 1973 double-LP rock opera, Pete Towshend’s musical love letter to the band’s first g-g-generation of most rabid British fans (aka the “Mods”) inspired this 1979 film from director Franc Roddam. With the 1964 “youth riots” that took place at the seaside resort town of Brighton as catalyst, Roddam fires up a visceral character study in the tradition of the British “kitchen sink” dramas that flourished in the early 1960s.

Phil Daniels gives an explosive, James Dean-worthy performance as teenage “Mod” Jimmy. Bedecked in their trademark designer suits and Parka jackets, Jimmy and his Who (and ska)-loving compatriots cruise around London on their Vespa and Lambretta scooters, looking for pills to pop, parties to crash and “Rockers” to rumble with. The Rockers are identifiable by their greased-back hair, leathers, motorbikes, and their musical preference for likes of Elvis and Gene Vincent.

Look for a very young (and much less beefier) Ray Winstone (as a Rocker) and Sting (as a Mod bell-boy, no less). Wonderfully acted by a spirited cast, it’s a heady mix of youthful angst and raging hormones, supercharged by the power chord-infused grandeur of the Who’s music.

Rock and Roll High School – In this 1979 cult favorite from legendary “B” movie producer Roger Corman, director Alan Arkush evokes the spirit of those late 50s rock’ n’ roll exploitation movies (right down to having 20-something actors portraying “students”), substituting The Ramones for the usual clean-cut teen idols who inevitably pop up at the prom dance.

I’m still helplessly in love with P.J. Soles, who plays Vince Lombardi High School’s most devoted Ramones fan, Riff Randell. The great cast of B-movie troupers includes the late Paul Bartel (who directed several of his own films under Corman’s tutelage) and Mary Waronov (hilarious as the very strict principal.) R.I.P. Joey, Dee Dee, Johnny and Tommy.

The Rocky Horror Picture Show– The decades have not diminished the cult appeal of Jim Sharman’s film adaptation of Richard O’Brien’s original stage musical about a hapless young couple (Barry Bostwick and Susan Sarandon) who stumble into the lair of one Dr. Frank-N-Furter (Tim Curry) one dark and stormy night.

Much singing, dancing, cross-dressing, axe-murdering, cannibalism and hot sex ensues-with broad theatrical nods to everything from Metropolis, King Kong and Frankenstein to cheesy 1950s sci-fi, Bob Fosse musicals, 70s glam-rock and everything in between. Runs out of steam a bit in the third act, but with such spirited performances (and musical numbers) you won’t notice. O’Brien co-stars as the mad doctor’s hunchbacked assistant, Riff-Raff.

Stardust – Michael Apted directed this 1974 sequel to Claude Whatham’s 1973 film That’ll Be the Day. David Essex reprises his role as restless seeker Jim MacLaine, who has finally found his true passion: music.

The first third traces MacLaine’s  Beatle-like rise to fame with his beat combo “The Stray Cats” (it’s a safe bet Brian Setzer and band mates saw this film back in the day and “re-appropriated” the name).

With massive success comes the inevitable backstage squabbles and jealousies; eventually MacLaine is surrounded by music company weasels and yes-men whispering in his ear to dump his “backup” band and pursue a solo career as a rock god (who can say “no” to that?). Then comes the inevitable decline: too much drugs, sex and rock ‘n’ roll excess.

One of the best (and most realistic) films ever made about the music business. Clever casting of a number of veteran UK rockers like Adam Faith, Dave Edmunds, Keith Moon, Marty Wylde and Paul Nicholas adds greatly to the authenticity.

Starstruck-Gillian Armstrong primarily built her rep on female empowerment dramas like My Brilliant Career, Mrs. Soffel, High Tide, The Last Days of Chez Nous and Charlotte Gray; making this colorful, sparkling and energetic 1982 trifle an anomaly in the Australian director’s oeuvre. But it’s a lot of fun-and I’ve watched it more times than I’d care to admit.

It does feature a strong female lead , free-spirited Jackie (Jo Kennedy) who aspires to be Sydney’s next new wave singing sensation, with the help of her kooky, entrepreneurial-minded (and frequently truant) teenage cousin Angus (Ross O’Donovan) who has designated himself as publicist/agent/manager. Goofy, high-spirited and filled to the brim with catchy power pop (with contributions from members of Split Enz and Mental as Anything). Musical highlights include “I Want to Live in a House” and “Monkey in Me”.

Still Crazy– Q: What do you call a musician without a girlfriend? A: Homeless! If that old chestnut still makes you chortle, then you will “get” this movie. Painting a portrait of an “almost great” 70’s British band reforming for a 90’s reunion tour, Brian Gibson’s 1998 dramedy  Still Crazy does Spinal Tap one better (you could say this film goes to “eleven”, actually).  Unlike similar rock ‘n’ roll satires, it doesn’t mock its characters, rather it treats them with the kind of respect that comes from someone who genuinely loves  the music.

Great performances abound. Bill Nighy stands out in a hilarious yet poignant performance as the insecure lead singer of Strange Fruit. Prog-rock devotees will love the inside references, and are sure to recognize that the character of the “lost” leader/guitarist is based on Syd Barrett. Still, you don’t need to be a rabid rock geek to enjoy this film; its core issues, dealing with mid-life crisis and the importance of following your bliss, are universal themes.

Foreigner’s Mick Jones and Squeeze’s Chris Difford are among the contributors to the original soundtrack. I also recommend Gibson’s 1980 debut Breaking Glass (a similar but slightly darker rumination on music stardom). Sadly, the director died at age 59 in 2004.

Tokyo Pop –This 1988 film is a likable entry in the vein of other 80s films like Starstruck, Breaking Glass, Desperately Seeking Susan, Smithereens and The Fabulous Stains. Star Carrie Hamilton’s winning screen presence helps to buoy the fluffy premise. Hamilton (who does her own singing) plays a struggling wannabe rock star who buys a one-way ticket to Tokyo at the invitation of a girlfriend. Unfortunately, her flaky friend has flown the coop, and our heroine is stranded in a strange land. “Fish out of water” misadventures ensue, including cross-cultural romance with all the usual complications.

For music fans, it’s a fun time capsule of the late 80s Japanese music scene, and the colorful cinematography nicely captures the neon-lit energy of Tokyo nightlife. Director Fran Rubel Kuzui (who co-wrote the screenplay with Lynn Grossman) later directed the 1992 feature film Buffy the Vampire Slayer and went on to serve as executive producer for the eponymous TV series. Sadly, Hamilton (Carol Burnett’s daughter) died of cancer at age 38 in 2002.

Tommy –There was a time (a long, long, time ago) when some of my friends insisted that the best way to appreciate The Who’s legendary rock opera was to turn off the lamps, light a candle, drop a tab of acid and listen to all four sides with a good pair of cans. I never got around to making those arrangements, but it’s a pretty good bet that watching director Ken Russell’s insane screen adaptation is a close approximation. If you’re not familiar with his work, hang on to your hat (I’ll put it this way-Russell was not known for being subtle).

Luckily, the Who’s music is powerful enough to cut through the visual clutter, and carries the day. Two band members have roles-Roger Daltrey as the deaf dumb and blind Tommy, and Keith Moon has a cameo as wicked Uncle Ernie (Pete Townshend and John Entwistle only appear briefly).

The cast is an interesting cross of veteran actors (Oliver Reed, Ann-Margret, Jack Nicholson) and well-known musicians (Elton John, Eric Clapton, Tina Turner). Musical highlights include “Pinball Wizard”, “Eyesight to the Blind” “The Acid Queen” and “I’m Free”.

True Stories – Musician/raconteur David Byrne enters the Lone Star state of mind with this subtly satirical Texas travelogue from 1986. It’s not easy to pigeonhole; part road movie, part social satire, part long-form music video, part mockumentary. Episodic; basically a series of quirky vignettes about the generally likable inhabitants of sleepy Virgil, Texas. Among the town’s residents: John Goodman, “Pops” Staples, Swoosie Kurtz and the late Spalding Gray.

Once you acclimate to “tour-guide” Byrne’s bemused anthropological detachment, I think you’ll be hooked. Byrne directed and co-wrote with actor Stephen Tobolowsky and actress/playwright Beth Henley (Crimes of the Heart, Miss Firecracker). The outstanding cinematography is by Edward Lachman. Byrne’s fellow Talking Heads have cameos performing “Wild Wild Life”, and several other songs by the band are in the soundtrack.

Tribeca 2025: Sun Ra: Do the Impossible (***)

By Dennis Hartley

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How does one describe Sun Ra’s music? Whether you label it “free jazz”, “avant-garde”, “experimental”, or “free-form”…to the uninitiated ear, it might as well be music from outer space. That perception would suit its creator just fine, because he was from Saturn, after all.

I should probably back up a moment.

Herman Poole Blount was actually born in Birmingham Alabama, and as we learn in Christine Turner’s bio of the late jazz pioneer, was a natural musician. He starting playing piano as a child and was composing and sight reading by his early teens. The “Saturn” quotient entered his personal mythology at some point in his 20s or 30s (the timeline was subject to change, depending on to whom he was recounting his story of being “teleported” to the planet, where alien beings instructed him to speak to the world through his music).

The veracity of this story is moot; because whatever (or whoever) sparked this visit from the Muse, from that moment forward Sun Ra dedicated every waking minute of his life to not only push his musical boundaries, but to create a simpatico cosmology that embraced elements of philosophy, quantum physics, and Black consciousness.

Turner mixes recollections from former members of the Arkestra, historians, music scholars, and archival Sun Ra interviews with amazing performance footage to paint a fascinating (if not definitive) portrait of a unique artist whose true origin remains a bit of a mystery. I’m compelled to quote my favorite line from Close Encounters of the Third Kind: “Einstein was probably one of them.”

Tribeca 2025: Billy Idol Should Be Dead (***)

By Dennis Hartley

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Jonas Åkerlund ‘s rock doc is a fairly straightforward portrait of William Michael Albert Broad, noted member of the Bromley Contingent. Okay…you know him better as Billy Idol, and “The Bromley Contingent” (which featured future members of The Clash and Siouxsee and the Banshees, among other seminal punkers) was basically an unofficial fan club that followed the Sex Pistols around on their earliest UK gigs. Billy, of course, was destined for bigger things, so he did not remain a mere fanboy for long.

Mixing archival footage with present-day ruminations from Idol (still alive!) Åkerlund retraces the rocker’s trajectory from co-founder of  Generation X (one of the first punk bands to perform on the BBC’s Top of the Pops program) to MTV superstar and beyond.

The price of fame is paid in full along the way; sex, drugs, and rock and roll takes its toll…but like some kind of sneering, leather-clad Energizer Bunny, Idol somehow just keeps going, and going. The present-day Idol is thoughtful, self-reflective, and surprisingly candid about where he’s been and where he’s headed. Being partial to Idol’s pre-MTV output, I found his punk era to be the most absorbing portion of the doc, but overall it should be an enjoyable ride for fans.

A leaf on a windy day: RIP Brian Wilson

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on Jun 11, 2025)

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The music world has lost a giant today. Since the news broke, it seems all the superlatives have been used up describing Brian Wilson’s genius, so I thought I’d let the music do the talking. And rather than slapping together a playlist of The Beach Boys greatest hits (too easy), it feels more appropriate to celebrate Wilson’s legacy via artists who have taken inspiration from him. In tribute, here are 15 covers and originals that channel his spirit.

The Beatles – “Back in the U.S.S.R.” – Granted, this may be cheating a bit, considering that (as the story goes) Beach Boy Mike Love overheard Paul McCartney working on this tune when they were both studying under the Maharishi Mahesh Yogi in India and suggested that “[what Paul] ought to do is talk about the girls all around Russia, the Ukraine, and Georgia.” And so it came to pass. Then again, The Beatles didn’t give a tip o’ the hat to just anybody, you know.

First Class – “Beach Baby” – UK studio band First Class was the brainchild of singer-songwriter Tony Burrows, who also sang lead on other one-hit wonders, including “Love Grows Where My Rosemary Goes” (The Edison Lighthouse), “My Baby Loves Lovin’” (White Plains), and “United We Stand” (The Brotherhood of Man). This pop confection was a Top 10 song in the U.S. in 1974.

Matthew Sweet and Susanna Hoffs – “The Warmth of the Sun” – A lovely cover from Sweet and Hoffs’ Under the Covers, Vol. 1 collaboration album. The original version (featuring one of Brian Wilson’s most gorgeous melodies) was on the 1964 album Shut Down Vol 2. Atypically introspective and melancholy for this era of the band, it had an unusual origin story. Wilson and Mike Love began work on the tune in the wee hours of the morning JFK was assassinated; news of the event changed the tenor of the lyrics and vocal performances.

Todd Rundgren – “Good Vibrations” – A near carbon copy of the Beach Boys’ brilliant 1966 hit, which famously took Wilson 7 months to produce (in four studios). This cut is from Rundgren’s 1976 album Faithful, which features one side of originals and the other devoted to “faithful” covers of 60s tunes.

10cc – “The Dean and I” – Imbued with shades of “Wouldn’t It Be Nice” (particularly on the bridge) and typically cheeky lyrics, this cut is from 10cc’s eponymous 1973 debut album.

Roy Wood – “Why Does Such a Pretty Girl Sing Those Sad Songs” – This uncanny homage is taken from the former Move front man’s 2nd solo album Mustard, released in 1975. I wager this one could pass as an original Brian Wilson composition in a blindfold test!

The High Llamas – “Over the River” – Band founder/keyboardist Sean O’Hagan has never made a secret of his admiration for Brian Wilson, hence I could have picked any number of his compositions to include. This instrumental, featured on the band’s 1998 Cold and Bouncy album, rings of Wilson’s Smile era.

Me First and the Gimme Gimmes – “Sloop John B.” – This fun punk-pop cover of a Pet Sounds cut cleverly tips its hat to the Beach Boys and The Ramones!

The Raspberries – “Cruisin’ Music” – The Raspberries go beach cruisin’ a la Wilson, from their 1974 album Starting Over.

Ken Sharp – “Girl Don’t Tell Me” – Ken Sharp is a sort of power pop Renaissance man; in addition to releasing a number of singles and albums, he has authored/co-authored 18 music books-including tomes on Cheap Trick, The Raspberries, The Small Faces, and Rick Springfield. This song was the B-side of the Beach Boys’ 1965 hit “Barbara Ann”; Sharp’s cover incorporates Beatle influences.

Martin Newell – “Miss Van Houten’s Coffee Shoppe” – Despite the fact that he writes hook-laden pop gems in his sleep, and has been doing so for five decades, endearingly eccentric singer-musician-songwriter-poet Martin Newell (Cleaners From Venus, Brotherhood of Lizards) remains a selfishly-guarded secret by cultish admirers (of which I am one). This bouncy number suggests some heavy Brian Wilson influence.

Los Lobos – “Sail on Sailor” – This fabulous cover is from Los Lobos’ 2021 album Native Sons, which paid tribute to L.A.-based artists.

The Dukes of Stratosphear – “Pale and Precious” – It’s hard to miss the Brian Wilson influence in this cut, taken from the band’s 2nd album Psonic Psunspot (this “band” was actually a nom de plume for an XTC side project).

Flo & Eddie – “Keep it Warm” – Here’s another one that could pass for a Wilson original (well…satirical lyrics aside), by ex-Turtles/Mothers of Invention members Howard Kaylan and Mark Volman, from their 1975 album Illegal, Immoral, and Fattening.

David Lee Roth – “California Girls” – No one could ever accuse the former Van Halen front man of being camera-shy. This remains one of the most memorable 80s videos, and also holds up as a great arrangement of one of Brian Wilson’s signature compositions.

Previous posts with related themes:

Brian Wilson: Long Promised Road

Love and Mercy

Living in the 70s: Borrowed Time-Lennon’s Last Decade (**1/2)

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on April 26, 2025)

Fame (fame) what you like is in the limo
Fame (fame) what you get is no tomorrow
Fame (fame) what you need you have to borrow

– from “Fame” by David Bowie (backing vocal by John Lennon)

I’ll never forget the first time I saw Billy Wilder’s Sunset Boulevard-although I wish I could.

Allow me to explain.

I was all of 24, living in San Francisco. I didn’t own a VCR (they were exorbitantly priced), so I was still watching the tube in (*shudder*) real time. Perusing the TV Guide one December evening, I was excited to spot  Sunset Boulevard on the schedule for 8pm (I believe it was airing on independent Bay Area station KTVU).

For the uninitiated, Gloria Swanson’s turn as a fading, high-maintenance movie queen mesmerizes, William Holden embodies the quintessential noir sap, and veteran scene-stealer Erich von Stroheim redefines the meaning of “droll” in a tragicomic journey down the Boulevard of Broken Dreams (I’ve seen it many times since).

At any rate, I was comfortably ensconced on the couch, really digging the film (despite myriad commercial breaks). Approximately 20 minutes into the broadcast, the station unceremoniously cut away from the film for a news bulletin: former Beatle John Lennon had been shot and killed in New York City.

It was eerie kismet, as the film opens with the shooting death of the protagonist/narrator (played by Holden), and is ultimately a rumination on the dark side of fame.

Being an avid Fabs fan, it kind of harshed my mellow. Still does, actually-whenever the subject comes up.

It’s hard to believe that was 45 years ago (5 years longer than Lennon’s lifespan). Over the ensuing decades, there has certainly been no shortage of documentaries and biopics covering Lennon’s life and work. At this point, I think I’ve seen most of them.

Consequently, one would assume that there are very few secrets, revelations and angles left to explore. Yet, 2025 has seen the release of no less than two new Lennon documentaries (and the year is still young).

First, there’s One to One: John and Yoko:

I haven’t seen it yet (it will be available to rent on streaming platforms beginning on May 9th).

This is the other doc (more on that in a moment)…

Directed by Alan G. Parker, Borrowed Time promises to “…set the record straight on the truth behind many famous Lennon moments, brought to life by rare archive footage, including never-before-seen interviews.”

So does it deliver? Well, in a fashion. As Lennon himself once implored, “All I want is the truth…just gimme some truth.” In context of the director’s approach, you may have to settle for “benefit of the doubt”.

I make that qualification because the lion’s share of screen time is devoted to talking heads. As promised, there are indeed “never-before-seen interviews” with former musical collaborators (Vinny Appice and Earl Slick), as well as music industry insiders, presenters, writers, and journalists (the BBC’s “Whispering” Bob Harris, Anthony DeCurtis, Barry Miles, Pamela Des Barres, Apple Records CEO Tony Bramwell, et.al.).

However, their stories are purely anecdotal; the backstage tales are engaging enough at first, but by the 2-hour mark they began to feel redundant and were not necessarily revelatory. Archival interviews help mix things up a bit, but overall it’s a static affair.

Then there’s the elephant in the room: zero Lennon music. I realize it can be challenging and/or simply too cost-prohibitive to secure permission to utilize copyrighted material in a film; but when you try to paint a portrait of an artist without any paint on your palette, more often than not you are likely to end up with an empty canvas.

Note: the version I previewed is the 134-minute theatrical cut that will be opening in the U.K. only on May 2. However, there is a 3.5 hour director’s cut out on the same date, which will be streaming for a month on the Icon Film Channel and also available to subscribers of the Amazon Prime Video Channels.

 

Angel dust Byrons: A Rock ‘n’ Noir mixtape

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on March 8, 2025)

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Heard about the restaurant on the Moon? Great food…no atmosphere.

Yeah, I know. You rolled out of your crib in hysterics the first time you heard that one. But let’s face it – “atmosphere” is essential; not just for breathing, but for setting a mood.

I’ve curated a noir mixtape that is all about atmosphere; 20 songs evoking dark alleys, rain-slicked streets, low-rent rooms, beautiful losers, and broken dreams. In other words, this ain’t no party, this ain’t no disco. Besides …everyone knows tough guys don’t dance.

BARRY ADAMSON: The Man With the Golden Arm – Prolific, genre-hopping UK musician-composer-producer Barry Adamson’s brilliant 1988 arrangement of the theme from Otto Preminger’s eponymous 1955 noir is a tad down-tempo compared to the film version (written by Elmer Bernstein and originally performed by Richard Maltby & His Orchestra), but nonetheless compelling.

STAN RIDGWAY: Drive, She Said – Harry Chapin’s “Taxi” meets Edgar G. Ulmer’s Detour in this cinematic cabby’s tale from the former Wall of Voodoo lead singer.

THE ALLIES: Emma Peel – The Allies were an early 80s power pop band from Seattle who should have gone places. Unrequited love in the sickly glow of a cathode ray.

Emma, I’ll be your Steed
I’ll be all you ever need
If I cry and if I bleed
Will it help me?

ELVIS COSTELLO: Watching the Detectives – Another two-dimensional dream. She’s filing her nails while they’re dragging the lake… Damn, that’s cold.

THE DOORS: Riders on the StormThere’s a killer on the road. Distant thunder, the cascading shimmer of a Fender Rhodes, a desolate tremolo guitar and dangerous rhythms.

JULEE CRUISE: Summer Kisses, Winter TearsAnd nothing can light the dark of the night/Like a falling star. Somehow, that’s less than reassuring. Ms. Cruise’s Elvis cover is nothing, if not atmospheric.

BLUE ÖYSTER CULT: Then Came the Last Days of MayWasn’t until the car suddenly stopped/In the middle of a cold and barren plain… A tragic tale of a drug deal gone terribly, terribly wrong.

STEELY DAN: Don’t Take Me Alive – I’m on the lam, but I ain’t no sheep.

Got a case of dynamite
I could hold out here all night
Yes I crossed my old man back in Oregon
Don’t take me alive

CHICO HAMILTON QUINTET: Sidney’s Theme (from The Sweet Smell of Success)Alexander Mackendrick’s 1957 film noir is one of the most vicious and cynical ruminations on America’s obsession with fame and celebrity (the sharp Clifford Odets/Ernest Lehman screenplay drips with venom). Many scenes take place in a jazz club, featuring performances by the Chico Hamilton Quintet. “Sidney” is the character played by Tony Curtis; he’s a smarmy and furtive press agent who sucks up to Burt Lancaster’s JJ Hunsecker, a powerful NYC columnist who can launch (or sabotage) show biz careers with a flick of his poison pen.

WAS (NOT WAS): Somewhere in America (There’s a Street Named After My Dad) – Our luckless protagonist is trapped in an asphalt jungle; dreaming of a pleasant valley Sunday.

At night only crickets
No prowlers, no sirens
No pinky ring hustlers
No angel dust Byrons
No bars on the windows
No saber-toothed neighbors
Just good simple folks
In a rainbow of flavors

THE LOUNGE LIZARDS: Harlem Nocturne – The Lounge Lizards were formed in the late 70s by actor-musician John Lurie (sax) and his brother Evan (keys), backed by a revolving door of players until the group’s dissolution in 1998. This cover of Earle Hagen and Dick Rogers’ standard evokes smoky lounges, shady dealings, and last calls.

MICHAEL FRANKS: Nightmoves – An instrumental version of this moody piece (composed by Michael Smalls) played under the opening credits for Arthur Penn’s eponymous 1975 neo-noir. Michael Franks later wrote lyrics for it and released a vocal version, which appeared on his 1976 album “The Art of Tea”. Featuring the great Larry Carlton on guitar.

I keep you in frame and I whisper your name till the picture fades
The feeling is already gone, I don’t know why I’m going on
Can’t remember the ending

DAVID BAERWALD: A Secret Silken World – I don’t know what war-torn region of the human soul Baerwald visited in order to find the characters for this story, but I don’t ever want to go there, even just to snap a few pictures.

The seats of his car were like a woman’s skin
Made me think about all those places I’ve been
It made me understand murder and the nature of sin
I leaned back and I listened to his music

AL STEWART: Broadway Hotel – According to Al Stewart, “It’s a very strange song. It’s about a woman who checks into a hotel in order to be alone. She’s alone for a little while and she orders room service. The man who comes up and brings the trey begins a lengthy relationship with her. They lock themselves in the room for about a week and then they order room service.” Oh, what does he know about it? I’m still picturing the flickering light of a neon sign stabbing through the blinds of the hotel room window…

You’re seeking a hideaway
Where the light of day
Doesn’t touch your face
And a door sign keeps the world away
Behind the shades
Of your silent day.

MICK RONSON: Slaughter on 10th Avenue – Richard Rogers originally composed this moody piece to accompany the eponymous ballet featured in Rogers and Hart’s 1936 stage musical On Your Toes. The song was revived in Robert Laven’s 1957 film noir, Slaughter on 10th Avenue…which, despite co-opting the title of the ballet from On Your Toes, had a completely different plot line (adapted from William Keating’s autobiography). A long, strange trip from a 30s ballet to a 70s rocker, but the late great guitar god of glam makes it sing.

ROY BUDD: Get Carter Main Theme – Easily vying for the crown as the best British gangster film of all time (or perhaps a tie with The Long Good Friday), Mike Hodges’ 1971 neo-noir Get Carter (adapted from Ted Lewis’ novel Jack’s Return Home ) was a superb showcase for star Michael Caine. It also featured a fab soundtrack by British jazz pianist Roy Budd. This main theme plays over the opening credits, click-clacking in syncopation with Caine’s train ride to Newcastle (as Caine kills time in the coach car reading a Raymond Chandler novel). Perfect.

COCKNEY REBEL: Mirror Freak –Steve Harley’s enigmatic tale of skins, spivs, and other assorted night creatures.

Oh you’re too cute to be a big rock star
But if you’re cool you may not push it too far
Oh just believe in yourself and take a tip from the elf
And sing a boogie to the image fatale

GIL SCOTT-HERON: Pieces of a Man – Everyone has their breaking point. Gil Scott-Heron’s soulful vocal, Brian Jackson’s transcendent piano, the great Ron Carter’s sublime stand-up bass work, and the pure poetry of the lyrics render a heartbreaking tale.

Pieces of that letter
Were tossed about that room
And now I hear the sound of sirens
Come knifing through the gloom

They don’t know what they are doing
They could hardly understand
That they’re only arresting
Pieces of a man

HENRY MANCINI: Theme from Peter Gunn – I didn’t realize until recently that Peter Gunn was streaming on Prime Video. I didn’t see it during its original run (being that I was 2 years old when the series premiered in 1958). I’ve been digging that crazy jazz and noir vibe (goes down easy in tightly-scripted 27-minute installments, which makes for a perfect nightcap). Of course I’ve always loved the theme song (who doesn’t?), which features one of the greatest guitar riffs of all time. Despite myriad cover versions, Henry Mancini’s original still rules.

ROBYN HITCHCOCK: Raymond Chandler Evening – And with this selection, our coda, have a pleasant one.

It’s a Raymond Chandler Evening,
And the pavements are all wet,
And I’m lurking in the shadows
‘Cause it hasn’t happened yet.

Bonus Track!

TONY POWERSDon’t Nobody Move (This is a Heist) – This seedy nighttime crawl through the streets of New York leans toward wry comedy, but is noir-adjacent. The 1982 video was a fan favorite on USA’s Night Flight (which is where I first saw it).

They wuz towin’ me away
Cuz I don’t have
Diplomat plates
While this diplomat I know
Is smugglin’ “H”
Into the states
I said “lemmee have
The ticket ‘n the car –
Save me a trip”
So they hauled me in
For giving them
Some unauthorized lip…

Nineteen Forever: 10 Essential Albums of 1975

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on February 1, 2025)

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1975. Smack in the middle of the Me Decade. President Gerald R. Ford was stumbling around the White House after taking the reins from Richard M. Nixon, who had made his Watergate-weary exit the previous year to slink back to his castle by the sea (not unlike mad King Lear). Former Nixon advisors John Mitchell, Haldeman, and John Ehrlichman were convicted and sentenced for their involvement in the Watergate coverup. The country was in a recession, and people were lining up for hours at the gas pumps due to an OPEC-imposed oil embargo.

And yet…were we not entertained? The top 5 highest-grossing films of the year (domestically) were Jaws, One Flew Over the Cuckoo’s Nest, The Rocky Horror Picture Show, Shampoo, and Dog Day Afternoon. Saturday Night Live premiered in October (as NBC’s Saturday Night), hosted by a coked-out George Carlin. The top 5 TV shows were All in the Family, Laverne & Shirley, Maude, The Bionic Woman, and Rich Man, Poor Man. People were spending their hard-earned bucks on Pet Rocks (don’t ask). Those were heady days.

Yeah, I know. “OK, Boomer”.

I was all of 19 years old in 1975. That was the year I visited L.A. for the first time, while still living in Alaska. I went with a friend, a fellow music geek who had grown up there. He introduced me to his “holy trinity” of record stores: Tower Records on the Strip, Aron’s on Melrose (their sidewalk sales were legend), and of course, the original Rhino Records store on Westwood Boulevard. I went absolutely nuts with the vinyl hunting (I remember flying back north with about 150 LPs in tow). We didn’t have record stores like that in Fairbanks.

50 years later, I’m still listening to a lot of that music haul (as I write this, in fact). Does that point to the quality of the music, or simply an adherence to nostalgia? As I wrote last year:

“They” say that your taste in music is imprinted in your high school years. Why do you suppose this is? Is it biological? Is it hormonal? Or Is it purely nostalgia? According to a 2021 study, it may have something to do with “arousal, valence, and depth”. Say what?

 Have you wondered why you love a particular song or genre of music? The answer may lie in your personality, although other factors also play a role, researchers say.

Many people tend to form their musical identity in adolescence, around the same time that they explore their social identity. Preferences may change over time, but research shows that people tend to be especially fond of music from their adolescent years and recall music from a specific age period — 10 to 30 years with a peak at 14 — more easily.

Musical taste is often identified by preferred genres, but a more accurate way of understanding preferences is by musical attributes, researchers say. One model outlines three dimensions of musical attributes: arousal, valence and depth.

 “Arousal is linked to the amount of energy and intensity in the music,” says David M. Greenberg, a researcher at Bar-Ilan University and the University of Cambridge. Punk and heavy metal songs such as “White Knuckles” by Five Finger Death Punch were high on arousal, a study conducted by Greenberg and other researchers found.

 “Valence is a spectrum,” from negative to positive emotions, he says. Lively rock and pop songs such as “Razzle Dazzle” by Bill Haley & His Comets were high on valence. Depth indicates “both a level of emotional and intellectual complexity,” Greenberg says. “We found that rapper Pitbull’s music would be low on depth, [and] classical and jazz music could be high on depth.”

 Also, musical attributes have interesting relationships with one another. “High depth is often correlated with lower valence, so sadness in music is also evoking a depth in it,” he says.

“They” may be right…I graduated in 1974, and the lion’s share of my CD collection/media player library is comprised of (wait for it) albums and/or songs originally released between 1967-1982.

OK, enough with the science already. I just wanna dance. Here are my top 10 album picks of 1975, with an additional 10 appended (to temper the hate mail that I’m going to get anyway).

And just remember kids…it’s only rock ‘n’ roll.

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T.N.T. – AC/DC

AC/DC is one of those bands that came roaring out of the gate with a such a perfect formula that it required no additional tweaking for the life of the product. Consequently, you only really need one of their albums in your collection to adequately represent the entire catalog. For me, it’s this 1975 Australian release (their second studio effort). It may be simple, balls-out four chord hard rock…but it’s the right four chords that fans (apparently) never tire of. There’s something elemental about their sound that compels you to crank it to “11” and scream along with no inhibitions (my neighbors hate me). R.I.P. Bon Scott and Malcolm Young.

Choice cuts: “It’s A Long Way to the Top”, “Rock and Roll Singer”, “Live Wire”, “T.N.T.”.

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Ambrosia-Ambrosia

I imagine this choice may raise a few eyebrows, as most casual listeners likely (and understandably) primarily associate Ambrosia with well-worn Adult Contemporary radio staples like “How Much I Feel”, “You’re the Only Woman”, and “You’re the Biggest Part of Me”. However, their eponymous 1975 debut, while definitely sporting a slick L.A. studio veneer, could easily be cross-filed in the “prog rock” section. Led by gifted singer-songwriter-guitarist David Pack, the quartet delivers a strong set with chops musicianship and lovely harmonies

Choice cuts: “Nice, Nice, Very Nice”, “Time Waits for No One”, “Holdin’ on to Yesterday”, “Drink of Water”.

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Futurama – Be-Bop Deluxe

Formed in the UK in the early 70s by eclectic (and prolific) guitarist-singer-songwriter Bill Nelson, Be-Bop Deluxe defied categorization, flitting between art-rock, electronica, glam and prog. This 1975 release (their sophomore effort) is no exception, and chock full of great tunes. Nelson’s solo career (under various monikers) began in the 70s and is still going strong (dozens and dozens of albums in his catalog…this guy is like Picasso, he never slows down!).

Choice cuts: “Maid in Heaven”, “Sister Seagull”, “Music in Dreamland”, “Jean Cocteau”.

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Blow By Blow – Jeff Beck

Like all great artists, guitar maestro Jeff Beck (who left us in 2023) was loathe to dawdle too long in a comfort zone; he never stopped exploring, pushing the boundaries of his instrument ever-further with each performance (whether on stage or in the studio). While he was generally relegated to the “rock” section, he could slide effortlessly from blues, boogie, and metal to funk, R & B, soul, jazz and fusion (more often than not, all within the same number). A perfect case in point is this outstanding instrumental album (which went platinum). Inspired by Billy Cobham’s influential 1973 album Spectrum, Beck set out to explore new textures and soundscapes within the realm of jazz-rock fusion. He enlisted legendary producer-arranger George Martin to helm the sessions (to great effect). Stevie Wonder contributed two songs.

Choice cuts: “She’s a Woman”, “Cause We’ve Ended as Lovers”, “Thelonius”, “Freeway Jam”.

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Marcus Garvey – Burning Spear

A highlight of the 1978 cult film Rockers is a scene featuring Winston Rodney warbling his haunting and hypnotic  Rasta spiritual “Jah No Dead” a cappella, backed only by the gentle lapping of the nighttime tide. A true Rastafarian to the core, Rodney (aka Burning Spear) is on a par with Jimmy Cliff and Bob Marley as one of the seminal artists of roots reggae music. This 1975 release is one of his best.

Choice cuts: “Marcus Garvey”, “Slavery Days”, “Red, Gold, and Green”, “Jordan River”.

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HQ – Roy Harper

Idiosyncratic English folk-rocker Roy Harper has always marched to his own drum, but has nonetheless garnered a rep as a “musician’s musician”, noted as an inspiration by the likes of Ian Anderson, Pete Townshend, Kate Bush, and Led Zeppelin (the latter band gave him a musical nod with their song “Hats Off to Roy Harper”, which appeared on Led Zeppelin III). This 1975 effort is my favorite Harper album, which features guitarists Chris Spedding and David Gilmour. Gilmour was working on Pink Floyd’s Wishing You Were Here album in an adjoining studio, and (as the story goes) was returning a favor to Harper for contributing the lead vocal to “Have a Cigar”. Roger Waters apparently had developed a throat malady during the sessions, and Harper offered to step in (Waters reportedly still carries a grudge for allegedly not having been consulted-but then again he has a rep for being a cranky fellow).

Choice cuts: “The Game (Parts 1-5)”, “The Spirit Lives”, “When an Old Cricketer Leaves the Crease”.

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Dreamboat Annie – Heart

After paying their dues playing the bar band circuit in Seattle and Vancouver B.C. for several years, gifted siblings Ann and Nancy Wilson and band mates built up a loyal following, becoming known for their searing Led Zeppelin covers. Dreamboat Annie is an astonishing debut, a perfect set of dynamic rockers that run the gamut from the whisper to the thunder. While the album was released in 1975, it was on a small label that didn’t have wide distribution, so it wasn’t until the chart success of the album’s first single release “Magic Man” in 1976 that the band really broke big nationally. And the rest, as they say, is history.

Choice cuts: “Magic Man”, “Crazy on You”, “Dreamboat Annie”, “Sing Child”.

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Physical Graffiti – Led Zeppelin

With this sprawling two-record set, Led Zeppelin continued to draw from the well of Delta blues, English folk, heavy metal riffing and Eastern scales that had come to define their sound. This time out, however, they really pulled out all the stops…tossing in everything from country honk to pop and hard funk. And it worked; this is Zeppelin at their creative zenith (subsequent albums had their moments, but it was kind of a slow downhill slide from here).

Choice cuts: “Houses of the Holy”, “The Rover”, “Bron-Y-Aur”, “In My Time of Dying”, “Kashmir”, “Ten Years Gone”, “Night Flight”, “Black Country Woman”.

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Mind Transplant – Alphonse Mouzon

Alphonse Mouzon made his bones playing drums in Larry Coryell’s Eleventh House, one of the pioneering jazz-rock fusion bands of the early-to-mid 70s (powering through impossible time signatures with dazzling speed and accuracy on a par with Billy Cobham’s work with The Mahavishnu Orchestra). For this (mostly instrumental) solo project, he recruited top flight players, including guitarists Lee Rittenour and Tommy Bolin. One of the best genre entries.

Choice cuts: “Mind Transplant”, “Some of the Things People Do”, “Nitroglycerin”, “Golden Rainbows”,

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Horses – Patti Smith

Being a bit ahead of its time in many ways, Patti Smith’s debut album has aged like a fine wine. Backed by minimalist musical arrangements, Smith’s poetry (sometimes recited, sometimes sung) is by turns raw, confessional, and enigmatic, but compelling at every turn. Some of the cuts border on invocations (the first time I heard “Birdland” I was mesmerized, but as soon as it ended I vowed to never again listen to it alone, in the dark). This is not background music.

Choice cuts: All of them. Bring a friend.

Bonus Tracks!

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Here are 10 more gems from 1975 worth a spin:

Artful Dodger – Artful Dodger

Born to Run – Bruce Springsteen

Evening Star – Fripp & Eno

Flat as a Pancake – Head East

Free Hand  – Gentle Giant

Katy Lied – Steely Dan

Metropolitan Man – Alan Price

Teaser  – Tommy Bolin

Tomorrow Belongs to Me – The Sensational Alex Harvey Band

The Tubes – The Tubes

Previous posts with related themes:

10 Essential Albums of 1970

10 Essential Albums of 1971

10 Essential Albums of 1972

10 Essential Albums of 1973

10 Essential Albums of 1974

Blu-ray reissue: Let’s Get Lost (****)

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on January 25, 2025)

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Let’s Get Lost (Kino Classics)

The life of horn player/vocalist Chet Baker is a tragedian’s dream; a classic tale of a talented artist who peaked early, then promptly set about self-destructing. Sort of the Montgomery Clift of jazz, he was graced by the gods with an otherworldly physical beauty and a gift for expressing his art. By age 24 he had already gigged with Stan Getz, Charlie Parker and Gerry Mulligan. He began chasing the dragon in the 1950s, leading to jail time and a career slide.

There are conflicting versions of the circumstances that led to a brutal beating in 1968, but the resultant injuries to his mouth impaired his playing abilities. While he never kicked the substance abuse, he eventually got his mojo back, and enjoyed a resurgence of his career in his final decade (he was only 58 when he died).

The nodded-out Chet Baker we see in Bruce Weber’s extraordinary warts-and-all 1988 documentary (beautifully shot in B&W) is a man who appears several decades older than his chronological age (and sadly, as it turned out, has about a year left to live). Still, there are amazing (if fleeting) moments of clarity, where we get a glimpse of the genius that still burned within this tortured soul.

One scene in particular, where Weber holds a close up of Baker’s ravaged road map of a face as he croons a plaintive rendition of Elvis Costello’s “Almost Blue”, has to be one of the most naked, heartbreaking vocal performances ever captured on film. Haunting and one-of-a-kind, this is a must-see. The film snagged a well-deserved 1989 Critics Prize at the Venice Film Festival.

Kino Classic’s 2025 Blu-ray edition sports a beautiful 4K picture restoration and newly remixed audio (noticeable improvements over Metrodome’s 2008 Region 2 DVD). The package also features a number of Weber’s short films. It would have been nice to include the two Weber-directed Chet Baker music videos that are on the 2008 DVD (which also contains two short films curiously not included on the Kino Blu-ray)…but that’s a minor quibble, as I was just happy to see this fabulous doc get an upgrade.

L.A. is a feeling: A mixtape

By Dennis Hartley

(Originally posted on Digby’s Hullbaloo on January 11, 2025)

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Drivin’ down your freeways
Midnight alleys roam
Cops in cars, the topless bars
Never saw a woman
So alone, so alone

– from “L.A. Woman”, by The Doors

In my 2019 review of Jacques Demy’s 1969 drama Model Shop, I wrote:

George’s day (and the film) turns a 180 when he visits a pal who runs an auto repair shop and espies a lovely woman (Anouk Aimee) who is there to pick up her car. On impulse, he decides to follow her in his MG (yes, it’s a bit on the stalking side). He follows her high up into the hills over L.A., and then seems to lose interest. He stops and takes in a commanding view of the city and the valley beyond, deeply lost in thought.

In my favorite scene, he drives up into (Laurel Canyon?) to visit a friend who’s a musician in an up-and-coming band. George’s pal turns out to be Jay Ferguson, keyboardist and lead singer of the band Spirit (and later, Jo Jo Gunne). Ferguson (playing himself) introduces George to his band mates, who are just wrapping a rehearsal. Sure enough, the boys in the band are Ed Cassidy, Randy California, and Matthew Andes-which is the classic lineup for Spirit! The band also provided the soundtrack for the film.

After the band splits, Jay plays a lovely piano piece for George; a song he’s “working on”. After some small talk, George sheepishly hits Jay up for a loan. No problem, man. Jay’s got him covered. George delivers this short, eloquent soliloquy about Los Angeles:

I was driving down Sunset and I turned on one of those roads that leads into the hills, and I stopped at this place that overlooks the whole city; it was fantastic. I suddenly felt exhilarated. I was really moved by the geometry of the place…its harmony. To think that some people claim that it’s an ugly city, when it’s really pure poetry…it just kills me. I wanted to build something right then; create something. It’s a fabulous city.

It is a fabulous city…as far as I know. I don’t live there, but the “L.A.” that lives in my mind will always be a fabulous city. I’ve visited maybe 10 times in my life, and it’s always a fresh kick.

I was all of 19 years old in 1975 the first time I visited L.A., while still living in Alaska. I went with a friend, a fellow music geek who had grown up there. He introduced me to his “holy trinity” of record stores: Tower Records on the Strip, Aron’s on Melrose (their sidewalk sales were legend), and of course, the original Rhino Records store on Westwood Boulevard (as immortalized by Wild Man Fischer).

I actually remember picking up a copy of that 45, which Rhino was offering for free with any purchase. At any rate, I went absolutely ape shit (I remember flying back north with about 150 LPs in tow). We didn’t have record stores like that in Fairbanks. We returned the following summer for a rinse and repeat.

The L.A. music scene was a real eye-opener for me. I was there only a week or so for both trips (1975 and 1976), but was able to catch quite a few acts at The Roxy and The Troubadour (and possibly the Whisky A Go Go…I was in a Thai Stick haze at the time). I can’t recall which acts I saw which year, but the list includes Captain Beefheart, Nils Lofgren, The L.A. Express (with a surprise appearance by Joni Mitchell!), Kinky Friedman and the Texas Jewboys, Larry Coryell, Chunky, Novi & Ernie, Procter & Bergman, and others I’m fogging on.

My most recent visit was in 2019, to hang for a few days with my pal Digby and her husband. We took a road trip from Santa Monica to Santa Barbara to catch The Cult at the Bowl. I’d never been to Santa Barbara, so I was really digging the 90-mile drive along the Pacific Coast Highway. For locals, I’m sure the road signs you pass along the way are incidental, but for me, it was like “Ventura? As in Ventura Highway in the sunshine? Malibu? Redondo Beach?! Point Dume?! You mean…THE Point Dume? As in god damn you all to hell?”

I may not be a resident Angelino, but my heart certainly goes out to the people who have lost loved ones, homes and businesses in the unprecedented wildfires that continue to threaten life and property in the greater Los Angeles region as of this writing. Having been through a house fire where I literally lost nearly everything I owned, I can empathize. I was in my early 20s at the time, so I had the resilience of youth on my side and got back on track relatively quickly-but I think about people who are getting on later in life (like I am now) and how difficult it must be to lose everything and have to start over again. This too shall soon pass.

In the meantime, there are good vetted resources available if you want to help victims. And for this week’s post, I’ve curated a special mixtape as a musical love letter to that “fabulous city” that lives in my mind.

L.A. Woman – The Doors

To Live and Die in L.A. – Wang Chung

Nite City – Nite City

L.A. Dreamer – Charlie

Walking in L.A. – Missing Persons

Hollywood Nights – Bob Seger and the Silver Bullet Band

The Sixteens – The Sweet

Valley Girl – Frank Zappa and Moon Zappa

Los Angeles – X

Cracked Actor – David Bowie

Marie Provost – Nick Lowe

Celluloid Heroes – The Kinks

Sunset Boulevard – City Boy

Free-Fallin’ – Tom Petty

Ladies of the Canyon – Joni Mitchell

California Dreamin’ – The Mama’s and the Papa’s

California Girls – The Beach Boys

Mulholland Drive – October London

Straight From the Heart – George Duke

Ventura Highway – America

99 Miles From L.A. – Albert Hammond

I Love L.A. – Randy Newman

Redondo Beach – Patti Smith

Coming Into Los Angeles – Arlo Guthrie

All I Wanna Do – Sheryl Crow

Previous posts with related themes:

Chinatown

Criss-Cross

The Day of the Locust

The Decline of Western Civilization

Drive

Farewell, My Lovely

He Walked By Night

In a Lonely Place

Kiss Me Deadly

The Long Goodbye

The Loved One

The Mayor of the Sunset Strip

Miracle Mile

Mulholland Drive

Once Upon a Time in Hollywood

Rampart

Repo Man

The Runaways

Shampoo

To Live and Die in L.A.

Getting better all the time (can’t get no worse): A New Year’s Eve mix tape

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on December 28,2024)

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All is quiet, on New Year’s Day. Except for this mixtape (you may adjust your volume per hangover conditions New Year’s morning). Cheers!

“This Will Be Our Year” – The Zombies – Starting on a positive note. Lovely Beatle-esque number from the Odyssey and Oracle album.

You don’t have to worry
All your worried days are gone
This will be our year
Took a long time to come

At least…we can always hope, right?

“Time”David Bowie – A song as timeless as Bowie himself. Time, he’s waiting in the wings/He speaks of senseless things

1999″ – Prince – Sadly, it’s a perennial question: “Mommy…why does everybody have a bomb?”

“1921” – The WhoGot a feeling ’21 is gonna be a good year. OK, back to the drawing board …let’s make ’25 a better one.

“Time” – Oscar Brown, Jr. – A wise and soulful gem…tick, tock.

“New Year’s Day” – U2 – I know… “Edgy pick, Captain Obvious!” But it’s still a great song.

 “Year of the Cat” – Al StewartOld Grey Whistle Test clip. Strolling through the crowd like Peter Lorre, contemplating a crime

“Reeling in the Years” – Steely Dan – A pop-rock classic with a killer solo by Elliot Randall.

Encore! Fantastic live version from 2002. Randall and the backup band are on fire.

“New Year’s Resolution” – Otis Redding & Carla Thomas – Ace Stax B-side from 1968, with that unmistakable “Memphis sound”. Speaking of which… check out my review of the Stax music doc, Take Me to the River.

Same Old Lang Syne” – Dan Fogelberg – OK, a nod to those who insist on waxing sentimental. A beautiful tune from the late singer-songwriter.

Bonus track!

Not a “New Year’s song” per se, but an evergreen new year’s wish.