Lesson: Lesson In Love

Paul Carrack: Lesson In Love 

[purchase] 

Of course, the musically knowledgeable readers of Star Maker Machine know who Paul Carrack is. But, on the off chance that you’ve stumbled across this blog and don’t think you know who Paul Carrack is, I bet that you do. 

That great song by Ace, “How Long”? Sung by Carrack. “Tempted,” one of Squeeze’s most well-known songs? Carrack on lead vocals. Remember Mike + the Mechanics? Their songs “Silent Running (On Dangerous Ground)” and “The Living Years,” among others? Paul Carrack is the singer. Did you like Roger Waters’ albums Radio Kaos and The Wall—Live in Berlin? Carrack sang lead on some of the tracks. And he’s released a bunch of solo albums. 

In 2013, Record Collector magazine stated that “if vocal talent equalled financial success, Paul Carrack would be a bigger name than legends such as Phil Collins or Elton John.” Clearly, it doesn’t, and he isn’t. 

Oh, Carrack also plays keyboards well enough to have been briefly in Squeeze, mostly to play, not sing, and also in Roxy Music (which was a surprise to me), and has backed Nick Lowe. He’s been a studio or touring musician for acts as diverse as Elton John, The Smiths and B.B. King, and has had songs recorded by artists as different as Diana Ross, The Eagles and Jools Holland. Check out his Wikipedia page for more details. 

In 1981, after his stint in Squeeze, Carrack joined up with Nick Lowe, former (and future) Rumour guitarist Martin Belmont, bassist James Eller and drummer Bobby Irwin, to form Noise to Go, which, like how Rockpile backed both Lowe and Dave Edmunds, was created to back Carrack and Lowe on solo albums. The band also played on one album by Carlene Carter, Lowe’s then-wife (and June Carter’s daughter and Johnny Cash’s stepdaughter). 

Carrack’s 1982 solo album, Suburban Voodoo, featured this group of musicians, and was produced by Lowe.  It is a very good album, was a modest chart success and got fairly good reviews at the time. Most reviews of the album fail to mention “Lesson In Love,” which is a song that I’ve enjoyed since I first heard it back in the day (and it did hit the Billboard Rock Chart). It’s got a bouncy feel, great organ playing by Carrack, and features his clearly underrated blue-eyed soul vocals. “I Need You,” a soulful ballad from the album, was a minor hit, but I like our featured song better. 

Noise to Go backed Lowe on 1982’s Nick The Knife, and after Eller departed, were renamed “Nick Lowe and His Cowboy Outfit,” releasing two albums (and also backing John Hiatt on part of Riding With The King). After that, Carrack joined up with Roger Waters, then Mike + Mechanics, worked as a session musician and as part of a number of different collaborations (not all of which led to recorded music), with musicians from many genres, including King Crimson's Tony Levin, Timothy B. Schmidt and Don Felder of the Eagles, Ringo Starr, Beth Nielsen Chapman and Eric Clapton. And he even jumped back into Squeeze briefly. 

Carrack periodically released solo albums, with occasional, limited, chart success, and the fact that in 2012 he was the subject of a BBC Four documentary called Paul Carrack: The Man with the Golden Voice, indicates that despite his relative anonymity to the general public, Carrack is respected by critics and his fellow musicians, across a wide spectrum of styles. 

So, if you knew who Paul Carrack was, maybe you learned more about him. And if you didn’t think you knew who he was, did I win my bet that you actually did?

Spirit: Spirit in the Sky

purchase [greenbaum]

I was on a Lufthansa flight this past week where the film offerings included a bunch of films I'd already seen, and <Rocketman> - the Elton John bio, which I hadn't seen.

After I consumed that, further entertainment also included a made-for-TV short about Elton John, which, not having had my fill and with few choices, I also watched.
Included in the TV short was information I did not previously know - something about Elton as a prolific session musician in the mid- to late 60s. There was a reference to Norman Geenbaum's Spirit in the Sky.A little research shows that Elton did <certified> session work on that one and maybe quite a lot more [see the link].

Norman Greenbaum's Spirit in the Sky. Consider the idea of Spirits in the Sky. What kind of spirits? Where else might you find spirits besides "in the sky"? In the ground (but not yet risen  from their graves?). In your mind, of course. And in your soul. But mostly in the air/sky - you know ... where ghosts tend to float. OR .. it being the be-witching season ... maybe knocking at your door. What might Greenbaum have been thinking? Are there Internet links that enlighten us 50 years after the song came out?

A look at the lyrics seems to indicate what you'd expect:
... a friend in Jesus ...
... they lay you to rest ...
... Never been a sinner, never sinned ...

Pretty solidly related to standard "holy" spirit and such. All the same, it seems incongruous that a message of this sort should have made the charts in the late 60s. Maybe it wasn't the message but rather the medium. (That bass beat ... or ...?)
Musically, the song is fairly 60s: and it's really the only song Greenbaum "made it with" - the rest of his career appears to have been seriously below the level of this song.

And so - established that Elton John did some session work,, his version of the song (must have liked it enough to do so ....)

Cutlery that cuts: Slash (of GNR)

purchase [Live and Let Die]

Now ... guns aren't knives but they have the potential to inflict the same kind of mayhem.
Of course I know of/about, and I listen (rarely) to Guns 'N Roses, but I have not previously delved much deeper down their path. As said before, that's one of the side benefits of blogging for SMM: you might learn something new each time you post. And that I did. Fame, rancor and more.

So: it's Slash. Slash being a viable extension to the knives, forks (and no longer, spoons) theme. Actually born Saul Hudson (and apparently picking up the nickname from Hollywood actor Seymour Cassel on account of Saul's teenage personality), the moniker comes, apparently, from his inclination towards being everywhere - slashing left and right in his endeavors.

While in LA in the mid 80s, Saul/Slash met up with and formed GNR with Axl Rose and the rest of the band. Moving on later, he set up more than one band on his own including Snakepit, BluesBall and Velvet Revolver.

Know him or not, fan of his or not, he is listed among the top guitar players of all time by Guitar World, Rolling Stone and more. It's his solo from <November Rain> that gets the most pointers, so we'll go with that: a/the cut above.

November Rain aside, there's also <Live and Let Die>, which for me, places the man and the band near the top of any list of songs to know. Hard to beat 007. At least attempting so.

(IN)DEPENDENCE: ALONE AGAIN OR (?)

Shhh, can you hear that? No, me neither. Not even the sound of a dropped 'H' is assailing my ears. Which is nice, if sort of lonely. While the membership of this merry band of bloggers gets ever smaller, sorry, more select, I'm sort of wondering where my buddies are. I suspect it is summer holiday time in Tarrytown and I know Turkey is short of one of us right now, possibly explaining why I am here instead, but I could do with a hand. Or two. Mind you, this is probably the only way I can gain any sway in the year end stats.......

I love this song, as good as any a reason to give it a hammering. It came first to my ears as a wee boy, it, 'Forever Changes' by Love, being one of the few records owned by my big sister's boyfriend, later husband. (The others were 'Honky Chateau' by Elton John, 'Please to See the King' by Steeleye Span and something, possibly a 'Greatest Hits', by Cream, a good if limited selection.) I didn't take to some of the noisier tracks of 'Forever Changes' but really liked the two written by Bryan Maclean, this one and 'andmoreagain', learning this fact as I devoured the sleeve notes. To be fair, I loved it until the strings and trumpet came in, trumpet being the devil's horn to my youthful ear, only later appreciating the additions as a masterstroke. Apparently the idea of Arthur Lee, guitarist and singer on most, maybe all of the rest of the tracks, and, arguably, leader of the band, later if not necessarily then, it is the hook that has stuck over the years. Lee had reason for the upper hand at that stage, being the only musician with any great competence, the original of the song cut with Maclean's vocal and the Cutting Crew, the famed session team, on backing, much as with the Byrds initial forays into the recording studio. This apparently left Maclean in tears, with Bruce Botnick, yes, that one, the engineer, then allowing the band a second crack at it themselves, the intervening frantic rehearsals cutting the much needed mustard at the second attempt, with added harmony vocals from Lee. (Much as I have tried, I cannot find that earlier version, but Maclean did record it again, later in his career.)

It has had a few covers over the years, most tending to replicate, understandably, the trumpet. Calexico, the mariachi influenced tex-mex collective fronted by Joey Burns and John Covertino, go a whole step further and give it even more of a centrepiece. They play Cambridge Folk Festival next month in the UK, I guess mainly to promote their 2nd album with Iron & Wine, but I will be sorely disappointed if they don't play it. (I'll let you know.)

The Damned were and are punks as seen by a cartoon illustrator, a vibrant and lively force on the scene for over 40 years. Never as infamous as the Sex Pistols or as name-checked as the Clash, they were actually the frontrunners, their debut single being the first of the class of '77 to get a release, of course on Stiff records. A number of personnel changes over the years, members leaving and, sometimes, returning, the one constant has been Dave Vanian, the draculike on vocals. Their style has gradually morphed into drawing on proggier aspects, with All Again Or ushering in this period.

Finally, ignoring rather more mundane runouts, such as the Boo Radleys and Sid 'n' Suzy, a more leftfield version comes from Sara Lov, erstwhile collaborator with neo-classical/electronica artist, Dustin O'Halloran. For the soundtrack of a movie and later appearing also on a tribute to that particular film maker, Wes Anderson, it remembers just enough of the original, ahead of launching into a new and delightful space. And no trumpet. Which, oddly enough, I find myself missing. Like I am now dependent on it.

Love Calexico Damned Lov

Songs From Movies About Musicians: Tiny Dancer

Elton John w/ Stillwater: Tiny Dancer

[purchase]

By conceit and definition, Cameron Crowe's 2000 semi-autobiographical timepiece Almost Famous uses a quite specific, carefully curated set of older songs as soundtrack fodder, the better to establish and maintain both the innate historicism of the cinematic summer of '73 it depicts, and the tonal tension of just-out-of-reach coolness that the film explores as it meanders through the intimate and often hilariously naive tour bus chronicles of reputation-on-the-verge and be-true-to-thyself challenges through the perspective of a 15 year old budding music journalist who misrepresents himself to Rolling Stone to garner an all-expenses-paid journey through America alongside fictional band-on-the-rise Stillwater. Indeed, the music used is so inherently integral to the film, it's no surprise to find that the official soundtrack was awarded the 2001 Grammy Award for Best Compilation Soundtrack Album; though the published product includes less than a third of the songs heard throughout the movie, the 17-track result offers stunning capture of time, tone, and topic in ways that befit the movie majestically.

But unlike most of the other songs in the film, Elton John's Tiny Dancer - at over six minutes, the longest song on the soundtrack, and arguably the one with the longest screen time and significance as well - also serves the narrative explicitly, in multiple ways. Lyrically, it's a perfect match: the song is directly about a groupie, a seamstress for the band who loves the music man, and sings along to the words from the crowd in performance as if they were poetry for her alone. And in many ways, the song provides the emotional climax of the film itself, serving to prompt a slow-build highway sing-along that doesn't so much resolve the building tensions of the groupies and musicians that storm around our narrator as it releases those tensions to the wind, trading them for the unifying factor that transcends and bonds the group - which is to say, the shared love of song and subject, which must be experienced in the heart and in the moment always.

I'm sure there's a word for soundtrack songs which the characters can hear, and react to - as distinct from songs which merely accompany the story, and lend their layers of meaning from overhead. But even if there isn't, this moment, which Rolling Stone Magazine lists as #11 on its list of the The 30 Greatest Rock & Roll Movie Moments (and, I suspect, only rates so low because it would seem smug and self-centered for RS to place a cinematic milestone about its own magazine at the top of the list), provides the prototype, the idealized incidence of how to do it right. And so today we share the song with context: the scene itself, with a tip of the hat to Crowe for making sure the music matters, and still does...and a bonus coversong, for those who want to hear every note, done live and lovely by tender geekpop sentimentalist Ben Folds, recorded just a year or two after the film was released, and thus perhaps at least partially in homage to the movie itself.

STEEL: B.J. Cole

Or what my wife calls slidy steel. Too obvious, too literal? Well maybe, but I cannot let this pass, the instrument being my favourite musical sound, as well as being a great way to pep up lack-lustre material: go ask Dylan*! But who or what to feature, as there are way too many wonderful players to give each a shout.

Born and bred in the UK it was never something I had knowingly heard until my teens, until a sideways lurch from my love of the Byrds led me to the Flying Burrito Brothers. I was hooked by those searing, sweeping shards of glissando, melancholia on max. For a while, the mere presence of steel was enough to draw me in, my understanding of the instrument leading me away from Kleinow to Perkins, from Rhodes back to Maness, taking in the heights of Emmons and Leisz along the way. Seemingly a near impossible instrument to play, needing co-ordination of fingers, hands, knees and feet, all working against each other, it has escaped an exclusively country music manifestation and has infiltrated other genres. Which is, eventually, where I get to the titular player.

Cole is english. That alone used to be remarkable in its own right, but his list of sessions reveal the degree with which he is held in international acclaim. Put off by the ubiquity of "plain" guitar, and intrigued by the 'Sleepwalk' of Santo and Johnny, he sold all his toy trains to buy, first, a lap steel, then retrading up to the full pedal steel experience. Initially orthodox, applying country tropes to a standard heavy rock framework, in the band Cochise, it was really after their demise that he found his feet (knees, hands and fingers.) Big breakthrough, arguably, was his appearance on Elton Johns's equivalently breakthrough album, 'Madman Across the Water', on standout track, 'Tiny Dancer'.

But it is his more exotic excursions into ambient, jazz and electronica that really crystallise for me the enormity of his talent. Here are examples of each:

                                         Pavane pour une enfante défunte ('Transparent Music' 1989)

                                         Chasing a dream ('Lush Life' 2009)

                                         Hipalong hop ('Stop the Panic' 2000)

These are but tasters for the horizons he expands, alone and in collaboration, yet still as likely to turn up, in a tiny club, playing still alongside old chums like Terry Reid or Hank Wangford. I have certainly travelled cross-country for the opportunity to see the sidesman, not the singer. But pride of place in the Cole canon has to be this performance, with R.E.M., as part of a british TV special. Never has Country Feedback fed so far back into emotion. Listen and weep.

Spoilt for choice? Go here for more information.

*P.S. Dylan's current go-to steelman? Charlie Herron.

Blood: Love lies Bleeding

purchase [Love Lies Bleeding]

Back in the early 70s, I just about wore out the grooves listening to Goodbye Yellow Brick Road. ("Wore out the grooves" harks back to the time when people spun a vinyl disk on a motor-driven turntable, scratching the ridged surface of the plastic with a diamond stylus: the more you played/re-played the music, the more likelihood of your permanently wearing down the ridges/grooves.)

The first song off the album, "Funeral for a Friend" segues directly into "Love Lies Bleeding" and the two are considered and generally performed as a single piece, although Elton has commented that they were separate pieces that just fit back to back because one ends in the key of A and the other begins in A. Together, they make up a powerful start to a powerful album. His best.

As for the lyrics (Bernie Taupin) - if you go beyond the driving piano/guitar/drums (there are no lyrics to Funeral), it's not the happiest Valentines Day message:

The roses in the window box

Have tilted to one side

Everything about this house

Was born to grow and die

As I revisit Yellow Brick Road on account of the theme relevance, I recall that there are several of my favorite (and I am not an overboard Elton John fan)/several of his best pieces all on this one the album: "Candle in the Wind," "Saturday Night's Alright," "Bennie and the Jets," "Your Sister Can't Twist," and of course, "Yellow Brick Road "...

Starting a little before Yellow Brick Road, but almost inseparable ever since, Elton John's go-to guitar player is Davey Johnstone. Similarly, beating the drums on this version  is the inseparable Nigel Olsson (see his name prominently displayed on the front-facing bass drum). Both of them adding vocal embellishments here.

 

(Goodbye Yellow Brick Road)

The Oscars: Candle in the Wind

Randy Reer/Drakytown: Candle in the Wind
[download free from SoundCloud]

You have to dig beyond the first few pages of Google links to find any reference to “candle in the wind” that isn’t related to Elton John. The juxtaposition of those particular words may not have been his originally, either; however, it is the title of T. H. White’s fourth book from The Once and Future King series that was published between 1939 and 1958.

One source notes that Elton John’s writing partner, Bernie Taupin, took his inspiration for the lyrics from the short life of Janis Joplin. He is quoted as saying that the song could be about any “.. actor, actress, musician … who died young … It’s a beauty frozen in time.”  When he was criticized for re-writing the lyrics in 1997 for Princess Diana’s funeral, he apparently remarked, “it would serve you much better to get up in the morning, look in the mirror, and say, 'I wonder what I can do today to really make a difference.' “ The fact is that all of our lives resemble a burning candle.

The version here is one of many renditions you can locate at SoundCloud, and I chose it because it is a cover by someone I’ve never heard of that is freely downloadable – partly in light of the fact that, while we honor actors, actresses and such this week, it is also their “guardian” (in the form of the MPAA and associates) that has made the work of SMM bloggers that much harder – to no one’s real benefit.

Having said I had never heard of the musician of my choice this week, what I do know is that there appears to be a “group” called Drakytown and that Randy Reer – from Leverkusen, Germany, may be the vocalist. A decent if not top of the line performance, but – hey … it’s free. And, the lyrics are altered as well.

As we wrap up our week of Presidents, the somewhat murky relationship between MM and JFK might be relevant. Marilyn Monroe never got an Oscar, but "Some Like It Hot" was nominated for several and she did get a Golden Globe Award for best actress.

Offbeat Holiday Music: Merry Christmas, Maggie Thatcher

Elton John: Merry Christmas, Maggie Thatcher

[purchase]

Here's a no-brainer for Songs Banned At The Mall, because we all know that politics is the third rail when it comes to Christmas themes. And this song's particularly nasty at that—nasty for a reason, though. It's from Billy Elliott, the Musical, sung by the striking British union miners, and you can read the historical details in relationship to the play in this (non-Wikipedia!) article. Thatcher, the Conservative Party prime minister at the time, waged and won a battle to break the political power of British trade unions by closing most of England's coal mines. Sir Elton John and Lee Hall, the lyricist for the 2005 musical, pull no punches in expressing exactly what the miners (and their children) thought of her.

Sir EJ's version was added to the rerelease of his own album, Peachtree Road.

Songs Called Songs: This Song Has No Title

Elton John: This Song Has No Title

[purchase]

I've mentioned elsewhere that I have mixed feelings for Elton John. I think he has put out a lot of crap in his career. But he was my first favorite artist when I was about 10 years old, and for that I'll always have a place for him in my library. Also, for every song that I dislike, there is another that's excellent.

This is one of the good ones.

Footwear: Red shoes edition

We've already had two posts on red shoes (Loretta Lynn's Little Red Shoes and Elvis Costello's Red Shoes), but there are plenty more out there. Quite why the fascination with red I do not know, but it's certainly a popular colour when it comes to footwear songs! I like to think, as a 'friend of Dorothy' that it's all about the magical ruby slippers in The Wizard of Oz...but, then again, perhaps not.

Whilst there are a load of songs about red shoes in particular, possibly the most famous 'shoe song' features a different colour...I'm truly surprised that no-one has posted it yet!

Chris Rea: Red Shoes [purchase]
(Not so much because it's a great song as because he comes from my home town!)

Tom Waits: Red Shoes By the Drugstore [purchase]

Sawyer Brown: Ruby Red Shoes [purchase]

Elton John: Ballad of the Boy in the Red Shoes [purchase]

Kate Bush: The Red Shoes [purchase]

Throwing Muses: Red Shoes [purchase]

David Bowie: Let's Dance [purchase]



N.B. The Raincoats also did a song called Red Shoes, but it's pretty awful, so that's why I didn't include it here!

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Little Black Book: Amoreena

Elton John: Amoreena

[purchase]

Lost, somewhere in the seventies - mom has two records in constant rotation at the Humphries household; Carol King's Tapestry and Elton John's Tumbleweed Connection. I have to admit not being a fan of Mr. John's music, except for this album. I know the guy is talented, he's just not my cup of tea. Amoreena's full of palpable lust and yearning, anyone that's been separated a great distance from a loved one can relate. Lately, I've been thinking how much I miss my lady...

New Theme: "My First..."

Elton John & Kiki Dee: Don't Go Breaking My Heart

[purchase]

I feel kind of bad putting up this song, after all the wide-ranging and cool music during our last theme, but...

Our theme this week is for the first music we bought. Specifically, the first music bought with our own money.

Obviously, were it limited to only the very first thing, we'd each get to post just once. What fun is that? You don't have to follow my lead, but I'm going to be revealing my first 45 (this one), my first LP, my first cassette, and my first CD. Oh! and since it just occured to me, I'm going to be posting on my first digital download too. But more on all them later...

I was about six years old when "Don't Go Breaking My Heart" was released. Like a bunch of other people I forked over my 79 cents, then proceded to drive my parents and siblings bonkers with the incessant replaying of a song as only a six-year-old can. If I never have, I'd like to apologize to them for that, now.

Anyhum... I'm going to leave this to that and move on...

Thanks to Six for letting me choose the theme this week. I look forward to hearing the songs that started out your love affair with music...I just hope it's not too embarassing for y'all!

"Don't Go Breaking My Heart" went to #1 in the UK and the USA