Jem Records has released a tribute to Ray Davies as latest in a series which salutes the work of great songwriters in rock including John Lennon, Brian Wilson, and Pete Townshend.
Ray is the leader of The Kinks (who disbanded in 1996) and is a national treasure in Britain (he was knighted in 2017).
The Kinks (which included Ray’s talented brother Dave) should have been at the forefront of the “British Invasion” triggered by The Beatles coming to America. But due to a silent ban by the American Federation of Musicians from 1965-69, The Kinks are less well known in the U.S. than their contemporaries, The Beatles, The Who and the Rolling Stones.
If you need an introduction, Ray could be compared to Bruce Springsteen; both write poignant songs about their country and culture. Whereas Bruce leans towards songs about the travails of the working class and the downtrodden, Ray’s catalog is rife with unapologetic nostalgia for the glory days of the English Empire. Like Bruce, Ray is a keen observer of people and a master storyteller – albeit with a cutting wit.
This tribute album was built the same way as the others in the series. JEM recording artists like The Midnight Callers, The Weeklings and The Anderson Council picked their favorite Ray Davies tracks and created their take of the song. Many of the 13 songs were recorded at Vibe Studios in New Jersey where Kurt Weil of The Grip Weeds (who also contributed 2 tracks) acts as producer and engineer.
There is no lack of source material, as Ray’s catalog spans some 40 albums. The Kinks have been covered before – e.g. Van Halen had massive success with “You Really Got Me” and “Where Have All The Good Times Gone”. I appreciated some of the deep cuts that were selected over signatures like “Waterloo Sunset”, “Shangri-La” or “Autumn Almanac” (untouchable masterpieces all).
Some standouts on the album:
“Do You Remember Walter” (The Anderson Council) Probably one of the best songs Ray ever wrote, this song is about the pain and sadness of growing apart from a childhood friend – and perhaps about the gradual loss of most everything around you but the memories. Peter Horvath’s strong vocals and a pounding rock rhythm lend the song newfound muscle. The original intro (stolen for the ELO song “Mr Blue Sky” by the way) is inexplicably tamed down but the choruses evoke a teary eyed anger that only a broken relationship can produce. Excellent.
“Days” (Lisa Mychols & Super 8) A fascinating multi-layered reinterpretation of the song led by Lisa’s angelic vocals. The slightly menacing tone of Ray’s original crescendo has been replaced with joyful affirmations that invite grace.
“I Need You” (The Cynz) Super strong and sassy vocals make this reinterpretation of the B side of the 1965 45 “Set You Free” a standout. Do I miss the sound of Dave’s guitar from the original – yes. But The Cynz have taken us from the 60’s to the 80’s and left me wanting more with their artful cover.
“Picture Book” (The Airport 77’s) The original was a bit of a romp which sounds like it was recorded “live” in one take. Now the song has been made meatier with tighter vocals – without losing the playfulness. A new ear worm is born.
“See My Friends” (The Grip Weeds) This song of loss and displacement gets thudding analog oomph, transforming it from sad lament to an ominous dirge. This is like the Who’s “I Can See For Miles” meets The Beatles’ “Tomorrow Never Knows” as performed by The Smithereens. Just wow:
There is also a perfect rendition of “David Watts” (The Gold Needles) . No reinterpretation but I don’t care – it’s just like the original but with modern production quality.
The CD has a punchy sound with crystal clear vocals, which allowed me to pick out some lyrics I’d never understood before. This compilation gets my thumbs up.
(Originally posted on Digby’s Hullabaloo on August 12, 2023)
You’ve heard the one about cockroaches and Cher surviving the Apocalypse? You can add this item to that list: Maxell UD XL-II 90 cassettes. I was going through some musty boxes the other day and found a stash of mix tapes that I’ve had since the 70s and 80s. I’ll be damned if they didn’t sound just as good as the day I recorded them (My theory is that they are manufactured from the same material they use for “black boxes”).
I was into putting together “theme sets” long before I got into the radio biz. My mix tapes were popular with friends; I’d make copies on demand, and name them (of course). One of my faves was “The Oh My God I am So Stoned Tape”. I don’t think that requires explanation; I mean, it was the 70s and I was a long-haired stoner music geek.
Nearly 50 years later, I’m still putting together theme sets. It is my métier. Kind of sad, really (grown man and all). Anyway …turn off the news (it’s depressing!), turn down the lights, do some deep breathing, and let “The Oh My God I am So Stoned Tape 2023” wash anxiety away. I’ve sequenced the songs in a manner designed to sustain a certain mood-so for maximum effect, I suggest that you listen to it in order. Enjoy!*
*Herbal enhancement optional
Van Morrison – “Coney Island”
Peter Frampton – “Fig Tree Bay”
The Jam – “English Rose”
The Dream Academy – “Indian Summer”
Kevin Ayers – “Puis Je?”
Mark-Almond Band – “Girl on Table 4”
John Martyn – “Solid Air”
Carole King – “Only Love is Real”
Brian Auger’s Oblivion Express – “All the Time There Is”
(Originally posted on Digby’s Hullabaloo on May 13th, 2023)
(Engaging sheepish mode). I’ve lived in Seattle 30 years…yet the “ambient metal” band Earth (led in numerous iterations by guitarist Dylan Carlson) somehow slipped under my radar. I felt a bit redeemed when I learned in Clyde Petersen’s documentary that they’re more well-known outside of the Northwest. Moody, experimental, and hypnotic (not unlike Earth’s epic drone pieces), Petersen’s film is, at its heart, an elegiac paean to that ephemeral moment Seattle ruled the music world.
(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!
(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 17th). 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.
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.
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 Something There to Remind Me (BurtBacharach, Hal David) – Sandie Shaw
This was a #1 hit in the UK for Shaw back in 1964.
Baby, It’s You (BurtBacharach, 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? (BurtBacharach, Hal David) – Dionne Warwick
Warwick’s version is, of course, definitive.
God Give Me Strength (BurtBacharach, 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 (BurtBacharach, Hal David) – Aretha Franklin
Another definitive rendition. Three words: Queen of Soul.
The Look of Love (BurtBacharach, 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 (BurtBacharach, 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 (BurtBacharach, 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 (BurtBacharach, 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 (BurtBacharach, 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 (BurtBacharach, Hal David) – Jackie DeShannon
This peaked at #7 in 1965. Covered by many artists, but DeShannon’s version rules.
The Windows of the World (BurtBacharach, 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 (BurtBacharach, 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.
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 machinethat 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.
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
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
“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)
(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
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
🙏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
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
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
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.
