Tag Archives: On Music

The sun is the same: 10 Essential Albums of 1973

May 1, 2023 Dennis Hartley 1 Comment

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on April 29,2023)

It should be obvious to anyone following my weekly scribbles at Hullabaloo (great googly moogly…have I been doing this for 17 years?!) that I primarily write about film. I love writing about film. But my first love (we never forget our first love) was music. My first published piece ever was a review of King Crimson’s A Lark’s Tongue in Aspic, in 1973. Granted, it was for my high school newspaper and upwards of dozens read it, but for that brief shining moment…I was Lester Bangs (in my mind). Now that I think about it…Digby was the editor of that paper (that’s how we originally became friends-Journalism class in our senior year).

That was 50 years ago. And Digby’s still my editor. I don’t understand what’s happening.

And you run, and you run to catch up with the sun but it’s sinking
Racing around to come up behind you again
The sun is the same in a relative way but you’re older
Shorter of breath and one day closer to death

Oh. Thanks for clearing that up.

Speaking of 50-year anniversaries-1973 was an outstanding year for music. Distilling a “top 10” was crazy making (if I hadn’t allowed myself the “next 10” at the bottom , my head would have exploded). If I have “overlooked” one of your favorites…it’s duly noted. In alphabetical order:

Alladin Sane-David Bowie

How does one follow a stone classic like Ziggy Stardust and the Spiders from Mars? Just a walk in the park for David Bowie…swinging an old bouquet. A very strong set, bolstered by Mick Ronson’s distinctive guitar pyrotechnics and some of pianist Mike Garson’s finest work (particularly on the more ethereal numbers like “Lady Grinning Soul” and the title cut). While Bowie’s so-called “Berlin period” was still several years down the road, there is a Weimar cabaret energy to the self-reflective “Time”, which is one of the album’s showstoppers.

Choice cuts: “The Jean Genie”, “Time”, “Panic in Detroit”, “Alladin Sane”, “Lady Grinning Soul”, “Cracked Actor”.

Catch a Fire-Bob Marley and the Wailers

While this was their fifth studio effort, Catch a Fire (their debut on Chris Blackwell’s Island Records) arguably marked the first awareness of Bob Marley and the Wailers for many music fans in the U.S. (they were already well-known in Jamaica and gaining popularity in the U.K.). The original sessions were recorded in Kingston in 1972; Blackwell remixed the 8-track masters and had session players add clavinet and additional guitar parts to several tracks. The songs are some of the best in their catalog. It’s a true group effort, with Peter Tosh taking lead vocals on the two songs he composed – “400 Years” and “Stop That Train”. If you haven’t heard them, I recommend seeking out the original mixes, which I think are more compelling.

Choice cuts: “Concrete Jungle”, “Kinky Reggae”, “Stop That Train”, “Slave Driver”, “400 Years”, “Stir it Up”.

Dark Side of the Moon – Pink Floyd

Talk about a shoo-in (I’d probably have to hire a 24-hour security detail if I failed to include this one). The now-iconic prism design that adorns the album’s cover is apt; there is something elemental about this set that (obviously) captured the imaginations of millions of listeners (to date, the album has sold over 45 million copies). Pink Floyd may not have invented prog-rock, but they unarguably raised the bar for the genre with this entry.

Choice cuts: All of them?

Montrose-Montrose

Clocking in at just over 30 minutes, this self-titled debut comes in like a lion and goes out like…a lion. Led by guitarist extraordinaire Ronnie Montrose (formerly of the Edgar Winter Group), the hard-rocking quartet was propelled by a tight rhythm section (Denny Carmassi on drums and Bill Church on bass) and a young up-and-coming lead vocalist named Sammy Hagar. The album benefits from dynamic production by Ted Templeman, who also worked with Van Halen, the Doobie Brothers, and Van Morrison (prior to forming Montrose, Ronnie Montrose played on Morrison’s Tupelo Honey album, and the songs “Listen to the Lion” and “St. Dominic’s Preview”).

I had the pleasure of seeing Ronnie Montrose perform twice; circa 1981 in San Francisco with Gamma, and 2011 in Seattle. Sadly, in 2012, he took his own life. He had beat prostate cancer but battled chronic depression. That last time I saw him perform, he was in an ebullient mood; graciously chatting with fans afterwards and clearly having a great time rocking some classics from the first album (with a young vocalist who sounded uncannily like Sammy Hagar). He was an astonishing player and an inspiration to me as a guitarist.

Choice cuts: “Rock the Nation”, “Bad Motor Scooter”, “Space Station #5”, “Good Rockin’ Tonight”, “Rock Candy”, “Make it Last”.

The New York Dolls– The New York Dolls

In a new Showtime documentary about former New York Dolls lead singer David Johansen by Martin Scorsese and David Tedeschi called Personality Crisis: One Night Only (recommended!), Dolls super-fan Morrissey observes, “They only made two studio albums; and for a group that did so little really, and existed for such a short amount of time, their impact has been extraordinary. And the music, because it was such fantastic pop music, it just seemed to me like the absolute answer to everything. Which of course…too dangerous.”

What did he mean by “too dangerous”? For one, the Dolls were a bit too much, too soon for many rock music fans, likely befuddled by the band’s Frankenstein construct of fey posturing, campy attire, New Yawk attitude, and garage band sound. To be sure, Bolan and Bowie had already injected androgyny into the zeitgeist, but the Dolls were still pretty over the top for 1973. In hindsight, their descendants are legion, ranging from The Ramones to Måneskin.

Musically, they were pop-punk before “punk” was a known quantity. Their eponymous debut album (produced by Todd Rundgren) has held up remarkably well; songs that, while rooted in R&B, 50s rock, and 60s pop, are most decidedly not your father’s R&B, 50s rock and 60s pop.

Choice cuts: “Personality Crisis”, “Looking for a Kiss”, “Lonely Planet Boy”, “Trash”, “Bad Girl”, “Private World”, “Jet Boy”.

Quadrophenia-The Who

Never content to rest on his laurels, Peter Townshend set out to compose yet another rock opera in 1973-and pulled it off with this epic double album, the Who’s follow-up to the excellent Who’s Next (which itself rose from the ashes of a fizzled Tommy-like project called Lifehouse). A musical love letter to the band’s first g-g-generation of rabid British fans (aka the “Mods”), Quadrophenia gets inside the head of Mod Jimmy (embodied by Roger Daltrey’s powerful and emotive vocals). Lavishly produced, with all band members in fine form. The album spawned a 1979 film version directed by Franc Roddam, with a Who soundtrack.

Choice cuts: “The Real Me”, “Cut My Hair”, “The Punk and the Godfather”, “I’m One”, “I’ve Had Enough”, “5:15”, “Bell-Boy”, “Dr. Jimmy”, “Love, Reign o’er Me”.

Suzi Quatro-Suzi Quatro

Detroit native Suzi Quatro didn’t consciously set out to be the groundbreaking and influential artist that she turned out to be. She just wanted to rock…and “rock” she does on this high-energy debut album. Music was in her blood…her first gig was playing bongos in her dad’s jazz band at age 8. She formed her first band at 15, an all-female outfit (eventually called Cradle) that included her three sisters. British producer Mickie Most happened to catch a performance and instantly saw her star potential, helping Suzi sign with a UK label.

Not unlike the New York Dolls, her influence was ultimately more impactful than her albums (she is most famously lauded by Joan Jett as her chief inspiration). This album still sounds fresh and fun, chockablock with straight-ahead rockers and catchy power-pop (many written by Nicky Chinn and Mike Chapman, who also composed a number of songs for The Sweet).

Choice cuts: “48 Crash”, “Glycerine Queen”, “Can the Can”, “Shine My Machine”, “Primitive Love”. “I Wanna Be Your Man”.

Solid Air-John Martyn

A near-masterpiece of (mostly) acoustic guitar-based jazz-folk by a gifted singer-songwriter. Martyn is accompanied by bassist Danny Thompson (formerly of Pentangle). I had a chance to see the late Scottish musician perform at a now-defunct club called The Backstage in Seattle back in the mid-90s. It was just Martyn and a stand-up bass player; Martyn primarily accompanied himself on acoustic, but played a Les Paul through a delay unit on several tunes. A minimal setup, but it was easily the best live performance I have ever seen by any solo artist or band. Not only was Martyn’s playing and singing superlative, but he was an absolute riot in between songs (he had a lot of Scottish jokes). Quite an experience-like this album.

Choice cuts: “Solid Air”, “Over the Hill”, “May You Never”, “Don’t Wanna Know”.

Spectrum-Billy Cobham

In the wake of Miles Davis’ groundbreaking 1970s album Bitches Brew, a new musical sub-genre emerged. “Fusion” (as it came to be labeled) had one foot in rock and the other in jazz. The Bitches Brew roster is legend: including future members of Weather Report (Wayne Shorter, Joe Zawinul), Return to Forever (Chick Corea, Lenny White) and The Mahavishnu Orchestra (John McLaughlin and Billy Cobham).

Drummer Billy Cobham’s first solo project turned out to be influential in its own right (most famously cited by Jeff Beck as the chief catalyst for his lauded 1975 release Blow by Blow). Cobham recruited some heavyweight players for Spectrum, including guitarist Tommy Bolin, fellow Mahavishnu Orchestra alum Jan Hammer on keys, and veteran session bassist Leland Sklar. Crisp production by Ken Scott.

Choice cuts: “Quadrant 4”, “Stratus”, “To the Women in My Life”.

Twice Removed From Yesterday-Robin Trower

After a 4-year stint with Procol Harum (1967-1971), guitarist Robin Trower left so that he could fully realize the expansive soundscapes he hinted at in the ethereal “Song For a Dreamer”, which appeared on the final album he did with the band, Broken Barricades. Recruiting bassist/vocalist James DeWar and drummer Reg Isadore, he released this compelling set in 1973.

Unfairly dismissed by some as a Hendrix clone, Trower not only developed a distinctive texture and tone, but has proven himself as one of the greatest players ever (well, in my book). Granted, the album does feature Hendrix-ish riff-driven numbers, but evenly balances the mix with beautiful, transporting ballads, carried along by DeWar’s sublime, whiskey-soaked vocals. One of those albums I still listen to on a regular basis.

Choice cuts: “I Can’t Wait Much Longer”, “Daydream”, “Hannah”, “I Can’t Stand It”, “Twice Removed from Yesterday”.

Bonus Tracks!

Here are 10 more gems from 1973 worth a spin:

3+3-The Isley Brothers

Abandoned Luncheonette-Hall & Oates

Band on the Run-Paul McCartney & Wings

Goodbye Yellow Brick Road-Elton John

Houses of the Holy-Led Zeppelin

Lark’s Tongue in Aspic-King Crimson

Mott-Mott the Hoople

Raw Power-The Stooges

Selling England by the Pound-Genesis

Witness-Spooky Tooth

Remember-it’s only rock ‘n’ roll. Now get on your bad motor scooter and RIDE!

Behind the Music, Documentary, On Music, Rock 'n' Roll

Roots, Rock, Ridicule: The Mojo Manifesto (***)

March 6, 2023 Dennis Hartley Leave a comment

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on March 4, 2023)

How do I describe Mojo Nixon to the uninitiated? Psychobilly anarchist? Novelty act? Social satirist? Performance artist? Brain-damaged? Smarter than he looks? The correct answer is “all of the above.” “Mojo Nixon” is also, of course, a stage persona; an alter ego created by Neill Kirby McMillan Jr., as we learn in Matt Eskey’s The Mojo Manifesto: The Life and Times of Mojo Nixon (available on digital platforms March 17^th). My gateway to Nixon’s oeuvre was via “The Dr. Demento Show”, a weekly syndicated program we aired at the radio station I was working at back in the 1980s. The song was called “Elvis is Everywhere.”

Elvis is everywhere, man!
He’s in everything.
He’s in everybody…
Elvis is in your jeans.
He’s in your cheeseburgers
Elvis is in Nutty Buddies!
Elvis is in your mom!

It wasn’t so much the hilariously absurd stream-of-consciousness lyrics, as it was the unbridled commitment to the vocal that hooked me right away. Who was this guy? Turns out I wasn’t the only person sitting up and paying attention. While Nixon and his partner-in-crime Skid Roper (aka Richard Banke) already had a modest cult following and several albums under their belts, it was the surprise popularity of that 1987 single (and its accompanying video) that brought him to the attention of MTV viewers and to the public at large.

However, his follow-up “Debbie Gibson is Pregnant with My Two-Headed Love Child” put him at odds with MTV execs, who flat-out refused to air the video without several proposed edits. In a response emblematic of his perennially tenuous relationship with the business end of the music biz, Nixon shrugged and moved on (that period was the beginning of the end for MTV as we had known and loved it anyway).

The fact that he has stuck to his guns throughout his career is what most endears him to his ardent fans. Indeed, if anything, he doubled-down on the cheeky celebrity lawsuit-baiting with tunes like “Stuffin’ Martha’s Muffin” (referencing MTV VJ Martha Quinn), “Don Henley Must Die”, “Orenthal James (Was a Mighty Bad Man”, “Bring Me the Head of David Geffen”…well, you get the idea. Eskey’s equally cheeky documentary (opening with “Chapter Five”) begins in 1990, with footage of Nixon in the studio recording Otis, his first “solo” album after parting ways with Skid Roper, then moves the timeline back from there.

McMillan recalls growing up in Danville, Virginia. His parents were progressive liberals, which likely contributed to his activism at a relatively young age (he was arrested at 14 for protesting a local leash law). Later in college, he majored in poly-sci, but found himself becoming increasingly disillusioned with the idea of punching a clock. He moved to England for a spell, vowing to find a niche in London’s burgeoning punk scene (he ended up busking in the underground in order to survive, singing rockabilly standards).

The film traces how McMillan came up with his “Mojo Nixon” alter-ego, which provided a perfect foil to embody his divergent inspirations Hunter S. Thompson, Woody Guthrie, 50s rockabilly, and The Clash. It also delves a bit into how Nixon’s political stance began to lean more toward the libertarian side:

Also on hand to commentate (contemporary and archival) are Jello Biafra, Country Dick Montana, Kinky Friedman, Winona Ryder, John Doe, and others (the epilog reveals that his former creative partner Skid Roper declined to participate in the production of the documentary; which leaves you wondering what the story is there…perhaps the venerable “creative differences”?). Not unlike Nixon himself, Eskey’s portrait may be manic at times, but it’s honest, engaging, and consistently entertaining.

On Music, On Politics

Tell me why: A therapeutic mixtape

February 15, 2023 Dennis Hartley Leave a comment

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on February 14, 2023)

In a 2016 piece about the mass shooting at Orlando’s Pulse nightclub, I wrote:

But there is something about [Orlando] that screams “Last call for sane discourse and positive action!” on multiple fronts. This incident is akin to a perfect Hollywood pitch, writ large by fate and circumstance; incorporating nearly every sociopolitical causality that has been quantified and/or debated over by criminologists, psychologists, legal analysts, legislators, anti-gun activists, pro-gun activists, left-wingers, right-wingers, centrists, clerics, journalists and pundits in the wake of every such incident since Charles Whitman perched atop the clock tower at the University of Texas and picked off nearly 50 victims (14 dead and 32 wounded) over a 90-minute period. That incident occurred in 1966; 50 years ago this August. Not an auspicious golden anniversary for our country. 50 years of this madness. And it’s still not the appropriate time to discuss? What…too soon?

All I can say is, if this “worst mass shooting in U.S. history” (which is saying a lot) isn’t the perfect catalyst for prompting meaningful public dialogue and positive action steps once and for all regarding homophobia, Islamophobia, domestic violence, the proliferation of hate crimes, legal assault weapons, universal background checks, mental health care (did I leave anything out?), then WTF will it take?

Well, that didn’t take:

Morning dawned Tuesday on East Lansing to a rattled Michigan State University campus hours after a mass shooting left three dead and five others critically injured.

An alert was sent at 8:31 p.m. Monday, telling students to “run, hide, fight” with a report of shots fired at Berkey Hall and at the MSU Union.

Two people were killed at Berkey Hall, said university Interim Deputy Police Chief Chris Rozman. The gunman then moved to the MSU Union, where another was killed.

Students were told to shelter in place as authorities searched for the gunman. The 43-year-old suspect was Anthony McRae, Rozman said at a news conference Tuesday. McRae was found off campus early Tuesday before he could be arrested; he had died from what appeared to be a self-inflicted gunshot wound. […]

McRae was not affiliated with the university, and authorities didn’t know early Tuesday why he came to MSU.

“We have absolutely no idea what the motive was,” Rozman said.

“Absolutely no idea” indeed. As in, I have absolutely no idea why our legislators cannot seem to take even one tiny infinitesimal step forward on enacting sensible gun reform. Well…I have some idea:

Every single shooting could be one of the last. Instead we continue the endless debate that drives the inaction which brought us here. Until we start making our response to these shootings finding common ground and acting like we did after Parkland- this won’t end. https://t.co/IbNHEqA11g

— David Hogg ☮️ (@davidhogg111) February 14, 2023

And today, Michigan’s governor (as any decent and compassionate leader reflexively does) has donned the mantle of Consoler-in-Chief:

Too many of us scan rooms for exits when we enter. Many have gone through the grim exercise of figuring out who would be our last call. Last night, kids at MSU made those calls. They worried for their lives, their friends, their fellow Spartans

We can't keep living like this. pic.twitter.com/SgDgQ3CbD1

— Governor Gretchen Whitmer (@GovWhitmer) February 14, 2023

It appears the governor and I are of like mind:

School hijinx in America, then and now. (L) 1950s: How many students can you fit in a phone booth? (R) 2023: How many students can you fit in a safe room? #GunControlNow #GunReformNow pic.twitter.com/cD38Bf5HlK

— Dennis Hartley (@denofcinema5) February 14, 2023

Saddest of all, the MSU shootings occurred on the eve of a grim anniversary:

As I sit here crying for my family & our loss of Jaime 5 years ago in Parkland, I'm watching the press conference in Michigan where treating physician is crying. Gun violence breaks families & breaks communities. BEFORE IT IS YOUR LOVED ONE, DEMAND WE FIX THIS ONCE & FOR ALL.

— Fred Guttenberg (@fred_guttenberg) February 14, 2023

You remember Parkland, right? In my review of the 2020 documentary After Parkland, I wrote:

So where are we at today, in the two years since a gunman opened fire with a semi-automatic rifle at Stoneman Douglas High, killing 17 people and wounding 17 others in just 6 minutes? According to a 2019 AP story, a report issued in February of last year by a student journalism project “…concluded that 1,149 children and teenagers died from a shooting in the year since the massacre at Marjory Stoneman Douglas High School,” citing that the stats cover “school shootings, domestic violence cases, drug homicides and by stray bullets”. Mind you, nearly another year has passed since that report was released. […]

The most powerful moments [in After Parkland] are in the beginning, which contains a collage of real-time cell phone audio of the Parkland incident. The chilling sounds of automatic gunfire and students screaming in pain and terror made me think of the Martin Luther King quote ” Wait has always meant Never ”. If every lawmaker was locked in chambers and forced to listen to that audio on a continuous loop until they passed sensible gun reform, perhaps they would all finally reach their breaking point.

You know what “they” say-we all have a breaking point. When it comes to this particular topic, I have to say, I think that I may have finally reached mine. I’ve written about this so many times, in the wake of so many horrible mass shootings, that I’ve lost count. I’m out of words. There are no Scrabble tiles left in the bag, and I’m stuck with a “Q” and a “Z”. Game over. Oh waiter-check, please. The end. Finis. I have no mouth, and I must scream.

Something else “they” say…music soothes the savage beast. Not that this 10-song playlist that I have assembled will necessarily assuage the grief, provide the answers that we seek, or shed any new light on the subject-but sometimes, when words fail, music speaks.

As the late great Harry Chapin tells his audience in the clip I’ve included below: “Here’s a song that I could probably talk about for two weeks. But I’m not going to burden you, and hopefully the story and the words will tell it the way it should be.” What Harry said.

“Family Snapshot” – Peter Gabriel

“Friend of Mine” – Jonathan & Stephen Cohen (Columbine survivors)

“Guns Guns Guns” – The Guess Who

“I Don’t Like Mondays” – The Boomtown Rats

“Jeremy” – Pearl Jam

“Melt the Guns” – XTC

“Psycho Killer” – The Talking Heads

“Saturday Night Special” – Lynyrd Skynyrd

“Sniper” – Harry Chapin

“Ticking” – Elton John

On Music

How quick they pass: RIP Burt Bacharach

February 10, 2023 Dennis Hartley Leave a comment

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on February 9, 2023)

Well, here we go again:

One of the most accomplished pop music composers of the 20th century, Burt Bacharach, has died at age 94. The musical maestro behind 52 top 40 hits including “Alfie,” “Walk on By,” “Promises, Promises,” “Raindrops Keep Fallin’ on My Head,” “What the World Needs Now is Love” and “Do You Know the Way to San Jose?,” Bacharach had an untouchable run in the 1960s and 1970s with a wide range of pop, R&B and soul artists. According to the Associated Press, Bacharach died on Wednesday (Feb. 8) at his home in Los Angeles of natural causes.

Working with lyricist partner Hal David, Bacharach and David were dubbed the “Rodgers & Hart” of the ’60s, with a unique style featuring instantly hummable melodies and atypical arrangements that folded in everything from jazz and pop to Brazilian grooves and rock.

Many of their songs were popularized by Dionne Warwick, whose singing style inspired Bacharach to experiment with new rhythms and harmonies, composing such innovative melodies as “Anyone Who Had a Heart” and “I Say a Little Prayer.”

Bacharach’s music cut across age lines, appealing to teens as well as an older generation who could appreciate the Tin Pan Alley feel of some of David’s lyrics. His fresh style could keep the listener off balance but was intensely moving, defying convention with uplifting melodies that contrasted the often bittersweet lyrics.

Granted, he was 94, and enjoyed a long and productive life, but this is another one that hurts (we’ve had a string of them lately). I realize it’s generational; as I Tweeted today:

With all due respect to Mike Myers, it's weirdly disheartening to see "Austin Powers" trending with "Burt Bacharach" (why not "Casino Royale","What's New, Pussycat?", "Butch Cassidy", "The Boys in the Band", "Arthur", et. al.?). Or perhaps I'm THAT f**king old.

— Dennis Hartley (@denofcinema5) February 9, 2023

And get off my lawn. I guess I AM that f**king old, which became abundantly clear after I received a number of replies schooling me on a thing or two…prompting this apologia:

Here’s what “the kids” were referring to:

At any rate, the Bacharach/David catalog is a rich vein of pure pop for now people of any generation; which is why their songs can play any room-from cocktail lounges to mosh pits.

That said, the recording artist most synonymous with the legendary songwriting team is Dionne Warwick. Bacharach, David, and Warwick had an amazing chemistry. Here’s a clip from a 1970 episode of The Kraft Music Hall, which illustrates why Bacharach and Warwick were such a perfect match of composer/arranger and recording artist…the easygoing rapport, mutual respect, and the creative inspiration each took from the other is palpable.

Casual brilliance. Like most pop geniuses…he made it look so easy. A much harder task is picking my 10 favorite Bacharach songs, so I’ve cheated a bit and made it an even dozen.

Always Someone There to Remind Me (Burt Bacharach, Hal David) – Sandie Shaw

This was a #1 hit in the UK for Shaw back in 1964.

Baby, It’s You (Burt Bacharach, Luther Dixon, Mack David) – Smith

This early Bacharach hit had previously been covered by The Shirelles and The Beatles in the early 60s, but I’ve always loved this swampy blues version, with a seductive and soulful lead vocal by Gale McCormick. It made the U.S. top 5 in 1969.

Do You Know the Way to San Jose? (Burt Bacharach, Hal David) – Dionne Warwick

Warwick’s version is, of course, definitive.

God Give Me Strength (Burt Bacharach, Elvis Costello) – Kristin Vigard

This version (sung by Kristin Vigard) appears in the sleeper Grace of My Heart. Allison Anders’ 1996 film features a knockout performance by Illeana Douglas. Elvis Costello recorded a version for Painted From Memory, his 1998 collaboration album with Bacharach-but curiously, Vigard’s beautiful interpretation remains unavailable in any other format.

I Say a Little Prayer (Burt Bacharach, Hal David) – Aretha Franklin

Another definitive rendition. Three words: Queen of Soul.

The Look of Love (Burt Bacharach, Hal David) – Dusty Springfield

Dusty Springfield’s breathy delivery and the most laid-back sax solo in the history of recorded music make this one really special. This version memorably graced two film soundtracks: Casino Royale (1967), and The Boys in the Band (1970).

Make it Easy on Yourself (Burt Bacharach, Hal David) – The Walker Brothers

Scott Walker’s mellifluous baritone makes this a winner. The 1965 single topped the UK charts at #1, and peaked at #16 on the Hot 100 Chart in the U.S.

Raindrops Keep Falling on my Head (Burt Bacharach, Hal David) – B.J .Thomas

Bolstered by its utilization for a memorable (if oddly incongruous) scene in Butch Cassidy and the Sundance Kid, this song hit #1 in the U.S. and Canada in late 1969.

This Guy’s in Love With You (Burt Bacharach, Hal David) – Herb Alpert

Herb Alpert was never in love with his own voice, but his laid-back performance (and subtle trumpet work) struck a chord with millions of record-buyers, which handily pushed this to #1 on the Billboard charts in 1968. Bacharach arranged.

Walk on By (Burt Bacharach, Hal David) – The Stranglers

I was torn on this one, because I love Isaac Hayes’ epic version equally (featured on his classic 1969 album Hot Buttered Soul, which I wrote about here). But I decided to go with The Stranglers, who released this fab version in 1978. Shades of the Doors’ “Light My FIre”.

What the World Needs Now (Burt Bacharach, Hal David) – Jackie DeShannon

This peaked at #7 in 1965. Covered by many artists, but DeShannon’s version rules.

The Windows of the World (Burt Bacharach, Hal David) – Dionne Warwick

Warwick has declared this haunting, moving antiwar statement to be her personal favorite from her own catalog. Unusually political for a Hal David lyric, it was released in 1967.

Bonus Track!

Bacharach Medley (Burt Bacharach, Hal David) – The Carpenters

Say what you will about the Carpenters…but their Bacharach medley was killer-bee. No Autotune here, kids…absolutely live. Harmonies pitch-perfect as the studio version, AND she’s keeping perfect time.

Guest Post, On Music

A breath rippling by: Jem Records Celebrates Pete Townshend

January 28, 2023 Dennis Hartley Leave a comment

By Bob Bennett

You’ve heard of The Who….. with their malevolent live performances, smashed guitars and record-setting sound volumes.

Never was a band composed of more diverse personalities. They literally fought on stage at times and yet when the anarchy came together, they were the best live band in the world. The Who was no accident, it was a purpose-built mod meets rocker machine that was terrifying to witness up close and yet could touch the teenage soul instantly like a kind word from a stranger. The Who never had a Top 10 hit* in the US, but you didn’t doubt their power because your dad or someone’s brother was really into them.

Feeding the machine was the songwriter, Pete Townshend, a skinny brooding art student who ripped off the power chord sound of The Kinks to produce their first hit, “Can’t Explain.” It was no love song he had penned, or maybe it was. Pete was an enigma in interviews, simultaneously self-effacing and brutally caustic. In the age of flower power, he was the punk who smashed Abbie Hoffman with his guitar while The Who were assembling to play at Woodstock and Abbie grabbed a band mike to address the crowd.

While other quartets were writing sunny pop songs that climbed the charts with perfect harmonies, Pete was in his bedroom studio channeling a young man’s feelings about rejection, unrequited love, fashion, freedom and political rage. He was/is a multi-instrumentalist who delivered perfectly crafted demo tapes to The Who which would be faithfully executed like a hammer hitting a nail or like a car-sized pinball careening through a canyon of monstrous bumpers and lights. The songs were the stuff of violent nightmares and achingly tender dreams.

He said “You can go sleep at home tonight If you can get up and walk away” (Pete Townshend, “Who Are You”)

Off stage, Pete was hermit-like in his slavish devotion to the craft of song writing. He learned to recognize what songs were “Who songs” and which were something else. Pete created a 9 minute mini-opera and then invented the rock opera with Tommy. His “Who songs” were sung by a golden-haired street tough with blue eyes, but behind the songs was Pete ever trying to capture the perfect note and shine a light on the demons that prowl invisibly through our world. Over time, Pete’s solo recordings outnumbered his “Who songs” (albeit with overlaps).

Jem Records Celebrates Pete Townshend was released in August 2022 (following 2 similar compilations for Brian Wilson and John Lennon). The formula is brilliant: new bands creating fresh takes of their favorite Pete Townshend compositions. Jem credits Pete Townshend with creating the power pop genre, and that’s high praise from a company that over a 50 year span broke bands like The Rolling Stones, The Kinks, ELO, The Cure, Genesis into the US market.

Their President, Marty Scott, has created a beautifully crafted paean to his favorite musician that will delight fans (old and new). Did I mention Marty is the guy who brought Cheap Trick to fame by pressing 10K copies of a concert recording that he simply entitled Cheap Trick Live at Budokon? 3 million pressings later…..

Opening the album is a hauntingly familiar sound that is comforting and yet different. It is the opening sequence of Baba O-Riley (the “Teenage Wasteland” song) expertly rendered on a mandolin rather than on Pete’s Lowry organ. When the 42 layered tracks of Lisa Mychol’s vocals came in, the hair on the back of my neck stood up. Sally, take my hand!

Next, is a track from Tommy called “I’m Free” played by The Grip Weeds. Keith Moon’s fat drum sound is perfectly replicated within a muscular analog band sound — these guys own the New Jersey studio where many tracks on the album were produced. They artfully capture the “swing” of the song in a way that reminded me of how both Pete and Keith would often play unabashedly just off the beat.

A couple of tracks later, Nick Piunti delivers a suitably beefy version of “The Seeker” with a wonderfully staccato opening using what must be P-90 “soapbar” pickups on a Gibson SG Special like Pete often played. If you are the type who listens to the words …the names of the muses that Pete consulted in the song (e.g. Bobby Dylan and Timothy Leary) have been changed to Little Steven and another DJ(?). The swagger here is palpable and reminiscent of the brawniness of the early 70’s Who, when Pete was strutting across stages in his white jumpsuit and Doc Marten boots.

There are 14 tracks total, each providing a familiar yet weirdly great take on songs that you may know by heart. It’s like listening to an alternate reality where The Who took Pete’s demo tapes as a starting point rather than replicating them. It also revealed (for me) hidden bits of lyrics I’ve previously missed. This respectful compilation – complete with excellent liner notes and mod “target” artwork – will be a permanent part of my collection, and I laughed when I realized that the opening and closing tracks are identical to Who’s Next!

*Pete’s had a “Top 10” hit called “Something In The Air” (performed by Thunderclap Newman) which reached #1 in the UK for 3 weeks in 1969. His “Let My Love Open The Door” broke the Top 10 as a solo effort in 1980.

On Music

This Byrd has flown: RIP David Crosby

January 23, 2023 Dennis Hartley Leave a comment

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on January 21, 2023)

In his Jeff Beck tribute last week, music industry maven Bob Lefsetz observed:

And [Beck’s] death was so sudden. At 78. May sound old to you, but then you’re probably not a baby boomer. I mean the end is always looming, but you always believe it’s at some distant point in the future, when in truth it’s closer than you think.

But it’s even weirder than that. The giants are falling. The building blocks of not only the British Invasion, but classic rock, are passing. The icons and the secondary players. But they were all major players to us, music was everything. Not only was it soul-fulfilling, it told you which way the wind blew. And the hits were not all the same and new ones popped up all the time, it was a veritable smorgasbord of greatness.

Falling like dominoes. To paraphrase The Giant in Twin Peaks: “It is happening again.”

I don’t know what to say other than I’m heartbroken to hear about David Crosby. David was an unbelievable talent – such a great singer and songwriter. And a wonderful person. I just am at a loss for words. Love & Mercy to David’s family and friends. Love, Brian pic.twitter.com/Hjht7LeGiv

— Brian Wilson (@BrianWilsonLive) January 19, 2023

God bless David Crosby and peace and love to all his family peace and love Ringo 😎✌️🌟❤️🌈🍒🎶🥦☮️ pic.twitter.com/7wNvVDkO57

— #RingoStarr (@ringostarrmusic) January 20, 2023

David Crosby stuck to his guns. A difficult and gifted man. Whose talent and taste was immense. His harmonious voice still echoes in Laurel Canyon. A proud man who said what he said, and felt what he felt with no apology. A brilliant songwriter, and an American Icon, RIP. pic.twitter.com/lwL5emAdQ3

— Michael Des Barres (@MDesbarres) January 19, 2023

“Difficult and gifted” would be a fitting epitaph. But with Crosby, the “gift” far out-trumped the “difficult”. No matter how bad things got for him, that heavenly, crystalline voice never faltered. In fact, his pipes were so pure and pitch perfect that while I can always isolate Stills, Nash, and Young’s individual parts in those patented harmonies…try as I might, I can never “hear” Crosby. I know he’s in there, somewhere-but I’ll be damned if I can detect his contribution. Yet, I would notice if he were not there.

He was one of the best harmony singers that I have never heard.

Crosby was not only an ideal “middleman” for facilitating lovely harmonies, but an essential catalyst for several iconic bands that sprang from the Laurel Canyon scene of the 1960’s. In my review of the 2019 documentary Echo in the Canyon, I wrote:

“The Byrds were great; when [The Beatles] came to L.A. [The Byrds] came and hung out with us. That 12-string sound was great. The voices were great. So, we loved The Byrds. They introduced us to a…hallucinogenic situation, and uh…we had a really good time.”

– Ringo Starr, from the 2019 documentary Echo in the Canyon

Someone once quipped “If you can remember anything about the 60s, you weren’t really there”. Luckily for Ringo and his fellow music vets who appear in Andrew Slater’s documentary Echo in the Canyon, they’re only required to “remember” from 1965-1967.

That is the specific time period that Slater, a long-time record company exec, music journalist and album producer chooses to highlight in his directing debut. His film also focuses on a specific location: Laurel Canyon. Nestled in the Hollywood Hills West district of L.A., this relatively cozy and secluded neighborhood (a stone’s throw off the busy Sunset Strip) was once home to a now-legendary, creatively incestuous enclave of influential folk-rockers (The Byrds, Buffalo Springfield, Mamas and the Papas, et.al.). […]

Frankly, there aren’t many surprises in store; turns out that nearly everybody was (wait for it) excited and influenced by The Beatles, who in turn were excited and influenced by The Byrds and the Beach Boys, who were in turn inspired to greater heights by the resultant exponential creative leaps achieved by the Beatles (echo in the canyon…get it?) […]

One comes away with a sense about the unique creative camaraderie of the era. Roger McGuinn once received a courtesy note from George Harrison that the main riff he used for the Beatles’ “If I Needed Someone” was based on the Byrds’ “Bells of Rhymney”. Apparently, McGuinn was totally cool with that. […]

According to Stephen Stills, there was so much musical badminton going on at the time that a little unconscious plagiarism now and then was inevitable. In one somewhat awkward scene, Dylan asks Eric Clapton about the suspiciously similar chord changes in Stills’ song “Questions” (by Buffalo Springfield) and Clapton’s “Let it Rain”. After mulling it over for several very long seconds, Clapton shrugs and concurs “I must have copped it.”

Crosby was right there, at the epicenter. As Michael Des Barres noted, he “stuck to his guns”, wearing the ethos of 60s counterculture idealism and political activism on his sleeve until his dying day. From my review of the 2008 documentary Déjà Vu:

Cracks about geriatric rockers aside, it becomes apparent that the one thing that remains ageless is the power of the music, and the commitment from [Crosby, Stills, Nash, and Young]. Songs like “Ohio”, “Military Madness”, “For What it’s Worth” and “Chicago” prove to have resilience and retain a topical relevance that does not go unnoticed by younger fans. And anyone who doesn’t tear up listening to the band deliver the solemnly beautiful harmonies of their elegiac live show closer, “Find the Cost of Freedom”, while a photo gallery featuring hundreds of smiling young Americans who died in Iraq scrolls on the big screen behind them, can’t possibly have anything resembling a soul residing within.

Adieu to a musical icon. Here are 10 of my favorite Crosby songs. Feel free to tear up.

What’s Happening?!?! – The Byrds (written by David Crosby; from Fifth Dimension)

Triad – The Byrds (written by David Crosby; from The Notorious Byrd Brothers)

Guinevere – Crosby, Stills, & Nash (written by David Crosby; from Crosby, Stills, & Nash)

Wooden Ships – Crosby, Stills, & Nash (written by David Crosby, Paul Kantner, and Stephen Stills; from Crosby, Stills, & Nash)

Déjà Vu – Crosby, Stills, Nash, & Young (written by David Crosby, from Déjà Vu)

Almost Cut My Hair – Crosby, Stills, Nash, & Young (written by David Crosby, from Déjà Vu)

Laughing – David Crosby (written by David Crosby; from If I Could Only Remember My Name)

Have You Seen the Stars Tonight? – The Jefferson Starship (written by Paul Kantner and David Crosby; from Blows Against the Empire)

Whole Cloth – Crosby & Nash (written by David Crosby; from Graham Nash David Crosby)

In My Dreams – Crosby, Stills, & Nash (written by David Crosby; from CSN)

On Music, Tribute

The Alchemist: RIP Jeff Beck

January 12, 2023 Dennis Hartley Leave a comment

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on January 11, 2023)

Goddam it all, anyway. This one hurts.

On behalf of his family, it is with deep and profound sadness that we share the news of Jeff Beck’s passing. After suddenly contracting bacterial meningitis, he peacefully passed away yesterday. His family ask for privacy while they process this tremendous loss. pic.twitter.com/4dvt5aGzlv

— Jeff Beck (@jeffbeckmusic) January 11, 2023

The music world has lost one of its greatest vocalists. That is not a typo. Jeff Beck could make a guitar speak, in every sense of the word. He rarely stepped up to the mic during the course of his 60+ year career, but whenever he set his fingers to a fret board, he told you a story; sometimes joyous and life-affirming, sometimes sad and melancholy…but it never meandered into masturbatory self-indulgence. Every note held import, serving a distinct narrative that had a beginning, a middle, and an end.

Like all great artists, he 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).

He made it appear easy as an oil change, but I’m sure he put in his “10,000 hours” of practice at some point (when he wasn’t tinkering with his cars, which was his “happy place” off stage). I’ve been playing guitar for 50 years, and no matter how closely I’ve studied his fingers in concert videos, I am stymied as to how he wrestled those sounds from his axe. All I know is that it had something to do with the whammy bar, volume knobs, thumb-picking, and a magic ring. It’s some kind of alchemy way beyond my ken.

I saw Beck in L.A. with The Jan Hammer Group, circa 1976 at the Starlight Amphitheater. I was in the nosebleed section, but I. was. mesmerized. A command performance.

You’ve heard the term “musician’s musician”? The Twitter tributes confirm he was.

His technique unique. His imaginations apparently limitless. Jeff I will miss you along with your millions of fans. Jeff Beck Rest in Peace.https://t.co/4h1DfXXmWI

— Jimmy Page (@JimmyPage) January 11, 2023

🙏Now Jeff has gone, I feel like one of my band of brothers has left this world, and I’m going to dearly miss him. I’m sending much sympathy to Sandra, his family, and all who loved him. I want to thank him for all our early days together in Jeff Beck Group, conquering America. pic.twitter.com/UareDAdtZ9

— Ronnie Wood (@ronniewood) January 11, 2023

1/2
Jeff Beck was on another planet . He took me and Ronnie Wood to the USA in the late 60s in his band the Jeff Beck Group
and we haven’t looked back since . pic.twitter.com/uS7bbWsHgW

— Sir Rod Stewart (@rodstewart) January 11, 2023

I was totally shocked to hear the very sad news of Jeff Beck’s passing. Jeff was such a nice person and an outstanding iconic, genius guitar player – there will never be another Jeff Beck. His playing was very special & distinctively brilliant! He will be missed. RIP Jeff -Tony pic.twitter.com/i6BGdqTUKU

— Tony Iommi (@tonyiommi) January 11, 2023

And how can we forget his Antonioni moment?

Even from somewhere out there in the ether, he’s expressing what I’m feeling right now, as I listen to my favorite Beck instrumental. Rest in peace, maestro. Rave on.

Cult Movie, Documentary, Drug Culture, On Music

2023: A Spliff Odyssey

January 9, 2023 Dennis Hartley 1 Comment

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on January 7, 2023)

Dreadlocks can’t smoke him pipe in peace
Too much informers and too much beast
Too much watchie watchie watchie, too much su-su su-su su
Too much watchie watchie watchie, too much su-su su-su su

-from “Tenement Yard”, by Jacob Miller

Happy New Year! How about some good news? Via News Nation/Nexstar:

After voters in several states approved recreational marijuana in 2022, the U.S. heads into the new year with nearly half of states having full legalization.

The biggest changes are in the Northeast, where the legalization of recreational pot is new in several states. Rhode Island and New York kicked off sales in December 2022. Connecticut will allow sales to adults aged 21 and older on Jan. 10, 2023. Maryland is preparing to allow adult use starting July 1.

Missouri also voted to legalize recreational marijuana in November. Dispensaries there are still working to get permitted, so recreational sales aren’t expected to start until February 2023 at the earliest. […]

By the end of 2023, a few more states could be added to the list of green states. Oklahoma will vote on the issue in March. The Ohio state legislature is also considering a bill to legalize the use and sale of recreational weed.

Voters in three states – Arkansas, North Dakota and South Dakota – rejected legalizing weed in the November election. Medical use is legal in all three states.

Only three states have no public-use marijuana program of any kind (neither medical or recreational) according to the National Conference of State Legislatures: Idaho, Kansas and Nebraska.

Nice to see more states joining the “over-the-counter”-culture, with a new shopping list: Milk, bread, eggs, and ganja. In Washington state, we’ve been smoking our pipes in peace since 2014. Well…relatively peacefully. There are still a few bugs in the system:

(via The Center Square)

According to an unofficial tracker by greater Seattle area cannabis retailer Uncle Ike’s, there have been at least 100 armed robberies of Washington state pot shops in 2022, the most in the past decade.

The 10-year high in armed robberies at Evergreen State marijuana stores comes at a time when a federal banking bill aimed at stopping pot store stick-ups failed to pass the Senate.

The spotlight intensified on the issue earlier this year when one of those armed robberies turned lethal. Twenty-nine-year old employee Jordan Brown of Gig Harbor was shot and killed on March 19 when two teens allegedly robbed the World of Weed dispensary in Tacoma.

“It’s certainly a sobering figure,” Aaron Smith, co-founder and executive director of the National Cannabis Industry Association, said of the increased number of armed robberies at pot shops in Washington. “With crime on the rise and our industry disproportionately affected due to outdated federal banking regulations forcing state-licensed cannabis providers to operate cash heavy businesses, it’s absolutely shameful that another year is passing with Congressional failure to pass the SAFE Banking Act.”

It’s widely accepted that Washington’s marijuana shops are targeted because they are all-cash businesses.

Cannabis is legal in Washington, among other states, but federal law still classifies cannabis – along with heroin and cocaine – as a Schedule 1 drug with a high potential for abuse and little to no medical benefit. That makes it difficult for federally regulated financial institutions to work with state-legal cannabis businesses.

The bipartisan marijuana banking bill known as the Secure and Fair Enforcement, or SAFE, Banking Act would allow marijuana dispensaries to use credit cards, debit cards, and other banking services instead of being cash only.

The bill was supported by Washington state Gov. Jay Inslee and Washington State Attorney General Bob Ferguson.

In an April op-ed in The Tacoma News Tribune, Inslee and Ferguson said Congress ought to “immediately…pass the SAFE Banking Act which would, at long last, allow cannabis retailers to more easily use common cashless payment options such as credit and debit cards.”

The federal legislation passed the House but stalled in the Senate and was not included in the $1.7 trillion omnibus spending bill that passed Congress [in late December].

“This threat to public safety and private property would largely be avoidable with some Congressional action,” Smith continued, “and we’re going to keep working on safe and fair banking until we win.”

That means trying again with the incoming Congress.

“We do expect to see the bipartisan SAFE Banking Act reintroduced in the next Congress and hope that both parties can work together to finally resolve this problem by passing the bill,” Smith said. “Support for cannabis reform is growing a lot slower in Congress than it is among the voting public, but it is moving in the right direction.”

Considering recent events in the House …let’s keep those fingers and toes crossed. Oy.

So I thought I would welcome the newest forward-thinking states to our cannabis club by sharing my picks for the top five Rasta movies, in alphabetical order…seen?

Countryman– Writer-director Dickie Jobson’s 1982 low-budget wonder has it all. Adventure. Mysticism. Political intrigue. Martial Arts. And weed. Lots of weed. A pot-smuggling American couple crash land their small plane near a beach and are rescued by our eponymous hero (Edwin Lothan, billed in the credits as “himself”), a fisherman/medicine man/Rasta mystic/philosopher/martial arts expert who lives off the land (Lothan, who passed away in 2016, was a fascinating figure in real life).

Unfortunately, the incident has not gone unnoticed by a corrupt, politically ambitious military colonel, who wants to frame the couple as “CIA operatives” who are trying to disrupt the upcoming elections. But first he has to outwit Countryman, which is no easy task (“No one will find you,” Countryman assures the couple, “You are protected here.” “Protected by who?” the pilot asks warily. “Elements brother, elements,” says Countryman, with an enigmatic chuckle). I love this movie. It’s wholly unique, with a fabulous reggae soundtrack.

The Harder They Come– While the Jamaican film industry didn’t experience an identifiable “new wave” until the early 80s, Perry Henzel’s 1973 rebel cinema classic laid the foundation. From its opening scene, when wide-eyed country boy Ivan (reggae’s original superstar, Jimmy Cliff) hops off a Jolly Bus in the heart of Kingston to the strains of Cliff’s “You Can Get It If You Really Want”, to a blaze of glory finale, it maintains an ever-forward momentum, pulsating all the while to the heartbeat riddim of an iconic soundtrack. Required viewing!

Rockers– Admittedly, this island-flavored take on the Robin Hood legend is short on plot, but what it may lack in complexity is more than compensated for by its sheer exuberance (and I have to watch it at least once a year). Grecian writer-director Theodoros Bafaloukos appears to have cast every reggae luminary who was alive at the time in his 1978 film. It’s the tale of a Rasta drummer (Leroy “Horsemouth” Wallace) who has had his beloved motorcycle stolen (customized Lion of Judah emblem and all!) by a crime ring run by a local fat cat.

Needless to say, the mon is vexed. So he rounds up a posse of fellow musicians (Richard “Dirty Harry” Hall, Jacob Miller, Gregory Isaacs, Robbie Shakespeare, Big Youth, Winston Rodney, et. al.) and they set off to relieve this uptown robber baron of his ill-gotten gains and re-appropriate them accordingly. Musical highlights include Miller performing “Tenement Yard”, and Rodney warbling his haunting and hypnotic Rasta spiritual “Jah No Dead” a cappella.

Stepping Razor: Red X– Legalize it! Nicholas Campbell’s unflinching portrait of musician Peter Tosh (who co-founded the Wailers with Bob Marley and Bunny Wailer) is not your typical rockumentary. While there is plenty of music, the focus is on Tosh’s political and spiritual worldview, rendered via archival footage, dramatic reenactments, and excerpts from a personal audio diary in which Tosh expounds on his philosophies and rages against the “Shitstem. “

One interesting avenue Campbell pursues suggests that Tosh was the guiding force behind the Wailers, and that Marley looked up to Tosh as a mentor in early days (I suspect that it was more of a Lennon/McCartney dynamic). A definite ‘must-see’ for reggae fans.

Word, Sound, and Power – Jeremiah Stein’s 1980 documentary clocks in at just over an hour but is the best film I’ve seen about roots reggae music and Rastafarian culture. Barely screened upon its original theatrical run and long coveted by music geeks as a Holy Grail until its belated DVD release in 2008 (when I was finally able to loosen my death grip on the sacred, fuzzy VHS copy that I had taped off of USA’s Night Flight back in the early 80s), it’s a wonderful time capsule of a particularly fertile period for the Kingston music scene.

Stein interviews key members of The Soul Syndicate Band, a group of studio players who were the Jamaican version of The Wrecking Crew; they backed Jimmy Cliff, Bob Marley, Burning Spear, and Toots Hibbert (to name but a few). Beautifully photographed and edited, with outstanding live performances by the Syndicate. Musical highlights include “Mariwana”, “None Shall Escape the Judgment”, and a spirited acoustic version of “Harvest Uptown”.

Bonus tracks!

OK …if you’d rather chill, here’s a mixtape. Headphones and munchies on standby:

On Music

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

January 1, 2023 Dennis Hartley Leave a comment

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on December 31, 2022)

All is quiet, on New Year’s Day. Except for this mixtape (you may adjust your volume per hangover conditions tomorrow 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 Who – Got a feeling ’21 is gonna be a good year. OK, back to the drawing board …let’s make ’23 a better one.

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

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

“Year of the Cat” – Al Stewart – Old 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.

“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.

60's Counterculture, Behind the Music, Documentary, Rock 'n' Roll

And in the end: Revival69: The Concert That Rocked the World (***½)

December 26, 2022 Dennis Hartley Leave a comment

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on December 24, 2022)

“After the Plastic Ono Band’s debut in Toronto…John finally brought it to its head. He said, ‘Well, that’s it, lads. Let’s end it. And we all said ‘Yes’.”

-Ringo Starr, from The Beatles Anthology (2000)

In September 1969, scarcely a month after the heady smoke of Woodstock had cleared, another music festival of note took place a little farther up north. While it couldn’t boast a crowd of “half a million strong” (just a scant 20,000) The Toronto Rock and Roll Revival arguably one-upped Woodstock’s stellar roster with its headliner: The Plastic Ono Band.

I say “arguably”, because at the time, no one in the audience had ever heard of The Plastic Ono Band. Hell…even the members of The Plastic Ono Band had never heard of The Plastic Ono Band, because founders John Lennon and Yoko Ono didn’t come up with the name (or the concept) until the day before the group’s debut performance in Toronto. The booking was so last-minute and seat-of-the-pants that their first “rehearsal” occurred (literally) on the fly…while en route to the gig on a chartered jet from England.

Of course, everyone in the audience knew who John Lennon was; the Beatles were still at the height of their success and fame. What the public didn’t know at the time was that the Toronto gig arose at a serendipitous moment, when Lennon found himself at a critical crossroads in his professional life. He was 28 years old. The Beatles had released their swan song Abbey Road earlier that year, and the band was on the verge of disintegrating.

Granted, Lennon had already been quite active outside of the band. He and Yoko had become prominent counterculture figures, known for their political activism and advocacy for peace and social justice. In March 1969, the couple married and held a week-long anti-Vietnam War “Bed-In” protest, garnering much media attention. They released the experimental album “Unfinished Music No. 1: Two Virgins.” Lennon also published his book of poems and drawings In His Own Write, which became a best-seller.

Meanwhile, in private Lennon struggled with depression and addiction; he later admitted to heavy drug use during this time (he and Yoko were both chasing the dragon). Creative differences with his band mates, as well as increasingly bitter stalemates regarding certain business decisions, were undoubtedly adding to Lennon’s tsuris. In short, things within the Beatles organization weren’t getting better (it can’t get no worse). The Toronto concert turned out to be not only the tonic he needed for regaining his confidence as a performer (he hadn’t played for a large crowd since the Beatles had stopped touring in 1966) but fueled his decision to officially leave the Beatles just a scant 7 days afterwards.

Exactly how John & Yoko, along with the hastily assembled Eric Clapton, Alan White, and Klaus Voorman (not too shabby for a pickup band) ended up headlining the event makes for a fascinating backstage tale…and it is recounted with much aplomb in a breezy documentary from Rob Chapman called Revival69: The Concert That Rocked the World.

Archival interviews, private audio recordings, present-day recollections by participants like John Brower (festival organizer), Klaus Voorman, Alice Cooper, Rodney Bingenheimer, Geddy Lee (acid-dazed teenage attendee!), Shep Gordon, Robby Kreiger, Robert Christgau, et.al. and original 16mm concert/backstage footage shot by legendary documentarian D.A. Pennebaker (much of it previously unreleased) are all combined to great effect.

While The Plastic Ono Band’s appearance is of undeniable historical import, this was an all-day event, and the roster was impressive: Chuck Berry, Little Richard, Jerry Lee Lewis, Bo Diddley, Gene Vincent, Chicago, The Doors, and Alice Cooper are hardly what I’d consider “opening acts”. The Pennebaker footage is priceless, capturing electric performances with beautifully restored picture and sound. Unfortunately, Pennebaker’s original 1971 concert doc Sweet Toronto remains woefully scarce on home video; relegated to the odd unauthorized edition of less-than-stellar quality (paging the Criterion Collection).

Brower recalls how he came up with the idea for the festival while working as a promoter for the Rolling Stones’ 1969 North American tour. As his (at times hair-raising) narrative unfolds, it appears organizing such an event is easier said than done. At one point, with ticket sales looking dismal and only days to go before the heavily promoted event, he is ready to throw in the towel (at the risk of suffering serious bodily harm from dubious silent partners). However, an unlikely deus ex machina alights in the form of eccentric impresario Kim Fowley, who has a ballsy 11^th-hour brainstorm (with 20/20 hindsight, it was a rather brilliant one, actually).

The film is chockablock with fun facts. I had no idea this was the first rock concert where the audience held lit matches aloft (another brainstorm by Fowley, who encouraged the crowd to welcome John & Yoko onstage with their own light show). Alice Cooper and his longtime manager Shep Gordon finally confirm “the truth” behind the infamous “chicken incident” that occurred during his band’s performance (as God is his witness, Alice thought that chickens could fly).

The film is a treat for Lennon completists, and rock and roll fans in general. Currently, the film is only exhibiting in Canada, but hopefully will be distributed in the U.S. (or become available via streaming or physical media) at some point in the near future.

And on behalf of the band here at Hullabaloo…Happy Crimble, and Peace.