Musical Homonyms: Hideaway

Believe me. Fame isn't all it's cracked up to be. Especially if you're a rock star. So let me make a suggestion: while you're busy strumming your tennis racket and practicing your guitar god faces in the mirror, take a moment to consider what you will need when super stardom really strikes: condoms, a personal pharmacist and ...a hideaway.

Here are three hideways to get you in the right frame of mind.

Hideaway #1




Eric Clapton of John Mayall's Bluesbreakers grabs the spotlight in this masterful Freddie King cover (with a bit of Jimmy McCracklin's "The Walk" slipped in for fun). It's so good Mayall decides to go with the album title Blues Breakers With Eric Clapton instead of the original title Come On Feel My Goatee.

Hideaway #2




How's this for a catchy name : Dave Dee, Dozy, Beaky, Mich and Tich. It worked wonders for this UK pop sensation who, between 1965 and 1969,  spent more weeks in the UK singles chart than The Beatles if you believe everything Wikipedia tells you."Hideaway" was a Top 10 hit in 1966.

Hideaway #3

 .

Rock doesn't get much more theatrical than it did on 1973's Cockney Rebel debut The Human Menagerie. It's an absolute delight! And it sold... absolutely nothing. But no worries for the band. As Steve Harley and Cockney Rebel,  they hit #1 in the UK two years later with "Come Up and See Me (Make Me Smile)"

MUSICAL HOMONYMS: ALL OR NOTHING AT ALL

This was always going to be a tough assignment. I mean, let's be honest, we could all do "Hallelujah" or "Angel", and some may curse me as I write that, but SMM is all about digging a tad deeper. (Crosses fingers that the Boss won't take umbrage at my new boy, relative, gaucheness.) So, rather than "All or Nothing", cos you all know that, how's a bit of classic jazz and a bit of classic rock'n'roll, 80s style, and add the "At All."

John Coltrane: All or Nothing at All
Purchase (single track)

No introduction for the 'Trane. Bit of a latecomer to bebop me, as it all seemed atonal yet samey to my rockist ears, until I came to an epiphany. Stuff all this earnest head nodding, fingers a clicking in eyes-shut reverie. Jazz. Is. Dance. Music. That's right. Throw your head back and your arms out. Smile. Daaaance. (I'm struggling to convince my girlfriend of this, but bear with me. Try it!) When it suddenly kicks in, it will all be understood. Problem solved. I love it. This, from 1962, is wonderful, from the drum intro, percussive piano, then suddenly, marvelously, the horn. I'm weaving in my seat, on my chair, as this glides all over and around me.Join me? Of course there are lashings of other versions, with vocals, of this tune, with both Frank Sinatra and Diana Krall coming closest to mind, with my bestest singer, Mr Chet Baker, not far behind.. They're good, but why embellish the unnecessary?

Marshall Crenshaw: All Or Nothin' At All
Purchase (whole Lp, but well worth the investment!!)

You couldn't get much different than with Mr Crenshaw, an out and out classic rock 'n' roller with hints of Buddy Holly about his stylisations. Always tastefully tunesome, somehow a shame he has always seemed somewhat of an also run, at least perhaps thus avoiding the overkill of mass acclaim. I like him and this is a good example of his style. However, in just the same way that the Coltrane is a cover, or "standard" as that genre will have it, so too this is not of Crenshaw's pen, but being a mid period, E Street Band on leave, Springsteen, from "Human Touch" (And pedants will cite there is no g at the end of "Nothin", but I am nothin' if not too well brought up to ignore such a criticism, not least as I have only realised this point at this stage, 3 paras down. Live with it. Sue me. Either way, it's great.)

Musical Homonyms: Crazy

Patsy Cline: Crazy
[purchase]

The wedding was memorable, and not only because it was one of the last “friend” weddings that we attended. One of my wife’s college friends got married way out on the north shore of Long Island and it was refreshingly laid back. The bride and groom arrived at the reception from the church in a small plane while the rest of us gathered on the shore and greeted them. I have a memory of shooting baskets with my kids during the reception.

But this is about the night before, when there was a very relaxed party at a house on Shelter Island. It was a dark night, and the liquor was flowing. There was a karaoke machine, and people were using it. As I may have previously mentioned, as much as I love music, I cannot create music (unless you count some bad drumming). My singing is, let us say, problematic (or “off-key” as some have said). On the other hand, my wife and kids can sing quite well and even play instruments. The musical talent gene clearly flows from my wife’s side of the family. In fact, until very recently, and only after more than a few glasses of liquid courage, I would not sing karaoke in public. At this party, though, both my wife and young daughter took up the microphone eagerly. My daughter tossed off a great version of “That’ll Be The Day,” by Buddy Holly, and my wife sang “Crazy.”

Her performance blew everyone away. She has an incredible voice, pure, sweet and with a range that is astonishing. But once she finished college, she pretty much stopped performing, which is a shame. She recently started to perform with a local choir, singing classical music, and I’m pushing her to do more with folk and rock, and we will see how that goes.

Frankly, every time we have been invited to a karaoke party, she waits until the appropriate moment, steps to the stage and demolishes everyone else with a smoldering version of Patsy Cline’s classic. It also happens to be a great song, written by Willie Nelson, who was finding it difficult early in his career to make it—his songs were considered too complex and too jazzy for the country music world of the time. But once Patsy Cline released her version of “Crazy,” it opened doors for Nelson, and led to his ultimate success and recognition as both a singer and songwriter, not to mention political and marijuana legalization activist.

As long as there are singers, I suspect that people will be singing that song, and probably ripping off Patsy Cline. More recently, another song with the same title became ubiquitous. The Gnarls Barkley song simply swept aside everything in its path, becoming a huge hit. Based on music from spaghetti westerns, it is catchy and irresistible, even to those of us who aren’t generally fans of the style. It couldn’t be less like the Patsy Cline tune, but it is equally great. Which is crazy.

 

STAGE BANTER: BILL KIRCHEN

Hot RodLincoln

Purchase (yup,the whole record!!)

Well, this couldn't get more serendipitous, especially given my earlier admitted woes around submitting to this theme. Bill who, you say? Who TF is that, he looks like a bank manager? Actually, of course, I underestimate you, dear Reader(s), of course you know who Bill is. Bill Kirchen was the lead guitarist, frequent singer and occasional trombonist, and a good one, in Commander Cody and his Lost Planet Airmen, frequently writing much of the material. This unruly bunch of misfits drifted to California in the late 60s, playing a pure mix of truckstop country, rockabilly and western swing, making the Grateful Dead look like a bunch of frat boys, albeit in full Nashville gear. My childhood was as far from S.F. as you can get, yet I loved these guys, once I got over the shock just how diversively hardcore their brand of country was. I even saw them, as they toured Europe in 76, with the outcome producing an LP with perhaps the worst cover ever. But perhaps one of my favourite live LPs, a small grouping along with Van Morrison's "Too Late to Stop Now" and the Burritos' "Last of the Red Hots." Here's the cover

Well, our Bill is still going, one of the finest exponents of twang out there. And he has just put out a sort of "greatest hits revisited", the songs that he ends up playing and being expected to play when he gets out on the road. And it includes the song in the vid. Please make an exception and watch this one, as it is an astonishing expose of his skill, effortlessly pulling off the styles of myriad guitar heroes, and some others maybe just mentioned in dispatches. With one guitar, and precious few pedals. seriously clever stuff. Uncertain if this counts as "banter" or whether it is just part of his show, but I am uncertain of the join. I'm looking forward to the new release, and am commending its investigation, as my purchase link. I will be buying it, as I am intrigued to see that this includes a version of this song, but with added keyboard cameos from the styles of the famous. Can't wait! (I ought to get a freebie for this unashamed infomercial, but hey, SMM is strictly for loss and not for profit.)

Just realised, I haven't mentioned the song, it's "Hot Rod Lincoln", an elderly standard from Midwest truckstop jukeboxes, that the Lost Planet Airmen made their own. Bill has now wrested it away from his forebears and makes it even more his and his only. Enjoy!

Stage Banter: The Decemberists

[purchase the original, banter-free version]

I have previously written about seeing The Decemberists with my family in 2007 in Amsterdam at the Paradiso, and how the band reenacted the 1667 Battle of Chatham, a successful Dutch attack on the British Navy. Such flights of fancy are common with this band, which seems on a mission to use every odd word in the thesaurus, whose songs often read like the most horrid parts of Dickens, and which has a keen appreciation of history and mythology.

There is also no question that they enjoy putting on a show, and they often interrupt the music for stories, historical reenactments and general hijinks. Which, when added to the great music, makes them an incredible band to see live. Although the band is currently in self-described “collective stasis” and its members are working on other projects, there is hope that they will ultimately reunite and tour again.

The video above is one that I recently discovered, and it is of the very Battle of Chatham reenactment at the Paradiso that we attended. A shaky, audience video taken with archaic 2007 technology, it gives the viewer a very good sense of what it was like that night, as Colin Meloy led the band and audience through the thrilling sea battle, during its performance of “A Cautionary Song,” a sweet ditty which warns a child to appreciate his mother’s hard work in whoring herself out to a boatload of sailors in order to get money for food.

During the video, my bald head, reflecting the lights, can clearly be seen—in the center of the frame, behind the other bald guy wearing what looks like a blue shirt—and at times my slightly taller son’s full head of hair makes an appearance. So, not only did this video record one of my favorite examples of stage banter, it has allowed me to relive a fun experience from more than six years ago.

Stage Banter : Jim "Dandy" Mangrum

[Purchase]

Awwwwwright we gonna do one more tune right heah!

        We gonna wind it so far up it's gonna take us all sun up to unwiiiind

                                                         -Jim "Dandy" Mangrum,
                                                             Black Oak Arkansas


In May of 1973 there were two million reasons why Atco Records thought radio stations should play the new Black Oak Arkansas single "Hot And Nasty" b/w "Hot Rod". That's how many people the hillbilly-embracing Southern Rock band attracted to more than 125 concerts they'd played since the previous May. The new singles came off of their Gold album Raunch 'N'Roll Live, recorded at the Paramount Theater in Seattle.

Gawd, it's laughably awful now but back then front man Jim "Dandy" Mangrum was a sex symbol. Fans loved the long-haired, shirtless carnival barker who made hilarious little speeches between lewd songs overflowing with sexual innuendo.

Well, he wasn't really a carnival barker . But you can be sure every carnival barker since 1973 has imitated Mangrum's growling stage banter. Hell, half the people you hear holding a live mic at any event in the rural South sound like Mangrum .



The Black Oak Arkansas run ended in 1977. The following year another front man with long flowing blond hair, sideburns, spangles and an aversion to shirts growled into the microphone in front of stadiums full of fans.

His name was David Lee Roth.

As a bonus:
Mangrum shows off his tour bus "Cli-Ty" which , when the AC isn't running, can sometimes get a little warm. Mangrum points out "When we had that thang painted black, it was hotter than a woman's you-know-what."

STAGE BANTER: FAIRPORT CONVENTION

Sir Patrick Spens
Purchase link (more versions than you can shake a stick at)

Well thanks, Boss, have you any idea how difficult this is? Stage banter? Jeez, so I have been to a show or two over my 40 years of irregular gigging, and I mean irregular, but, WTF, how do I do this? I am no fan of live LPs, they seldom matching the studio version or the 4D live experience, where senses other than auditory drench the feed, and the youtube doesn't exctly concentrate on the intro's over the songs. So I e-mailed and said I'd take a raincheck on this one. This post reveals the reception that I got......

So, who does good banter? To be fair, this ought to be right up my street, as the folk canon is filled with witty raconteurs, remembering that both Billy Connolly and Steve Martin began as musicians, or, more accurately, as banjo players, their intros gradually taking over from the plucking and strumming. And Jackie Leven, whom I featured some weeks back, he was also a consummate story teller, a marvellous tale about the death of Sting coming to mind. Could I find it? Could I hell... could I find any early musical Connolly or Martin, blending banjo and blether? Nope, not that either. Then I remembered.....

Fairport Convention, the doyens of  British folk-rock, still going since time immemorial, or 1967 at least, with a revolving door of members dipping in and out, where able, as the grim reaper has also taken his toll. Anyhow, with one sole original member in Simon Nicol, if one discounts his time off for good behaviour in the late 70s/early 80s, and others racking up 20 - 30 years of service, in keeping with the folk tradition, they have always given as much importance to the progeny of any song, explaining either it's history or making up some equivalently preposterous nonsense thereabouts. It really doesn't matter, and with Mr Nicol they have an exemplary front man, with the modulated and melodious tones of  the family doctors son that he is. And does my example demonstrate this?

Um, no, as it comes from the year dot, but, hey, listen to it and delight. It is really rather good. You will have to take my word as to their banter. Or better, mosey down to Cropredy, their yearly festival in rural Oxfordshire, early August, and see what I mean. (What do you mean, it's in England. Of course it's in England, but the wife of one of the ex-members of the band can sort you out most years, with her L.A. based travel company: Mrs Richard Thompson (Yes, that one.)

Not a lot more to say, but, given my clip is so very old, can they still cut it? Be my judge. From December last year.

Stage Banter: Garrison Keillor

[purchase]

I imagine that most of the posts for our new theme will be introductions to songs, but I could not see letting the theme go by without featuring Garrison Keillor. Keillor is the host of the (usually) weekly radio show on NPR, A Prairie Home Companion. The show features many musical guests from the world of folk music especially, but notable exceptions include Emmy Lou Harris and Nancy Griffith. By all reports, this is a show that many musicians love to appear on, and some come back every chance they get. It certainly sounds that way, based on the quality of the performances.

Garrison Keillor hosts the show and sets the tone. Companion is modeled after old-time radio shows that featured a mix of music and friendly monologues from the host, and this is where Keillor shines. The show takes place in the fictional town of Lake Wobegone, Minnesota. Lake Wobegone is a Norwegian-American Lutheran enclave, (got all that?), and Keillor presents the local news every week. This is really Keillor’s humorous and affectionate tribute to the small town America that exists partly in the American Midwest, and partly in Keillor’s imagination. You can tell that Keillor grew up around people who either lived this way or wanted to remember a fanciful version of their past. Keillor’s gift is to find a wonderful dry humor in this, while never making fun of his subjects. He may tweak them for their foibles, but he remains someone they would want to tell their stories to. The video I have posted comes from a show from January of this year, and Keillor addresses the question, “How cold was it?” This monologue is not collected anywhere, so my purchase link is for an older album that does a great job of showing you what a complete program is like.

Stage Banter: Jeff Tweedy

[purchase Sunken Treasure, which includes more Tweedy banter]

The theme this week is Stage Banter. I know that when I go to a concert, I like it when the performer talks to the audience—it makes it seem like he or she is having fun, and we often learn something about the artist. Of course, some performers are better at this than others. Some performers readily regale the audience with stories and anecdotes and some drop amusing quips but others simply seem to have trouble even telling you the name of the song or introducing the band.

A few weeks ago, I attended the Clearwater Festival on the Hudson River, and for the most part, the music was memorable. But I also know that my experience was improved by hearing Judy Collins’ tales about the various protest marches she participated in and her arrests, or how her apartment in New York seemed to host a revolving door of fellow folkies. And Mavis Staples’ stories of playing for Martin Luther King, and her statement that even an injured knee wouldn't keep her from performing. And gruff voiced Jason Isbell asking the sign language interpreter to tell the crowd that he sounded like the smooth, soulful Solomon Burke—and his story about how back in his Drive-By Truckers days, another interpreter just stopped signing when faced with a particularly ribald Mike Cooley song.

It has been said that some comedians say funny things, and others say things funny (note the use of the passive voice, so that I don’t have to find an actual quote), and the same is true of stage banter. Jeff Tweedy is one of those guys who says things funny, and it doesn’t seem like he is trying. It is a matter of timing, of inflection, and of course content.

For those who don’t know, Tweedy and Jay Farrar were members of the band Uncle Tupelo, another of those bands that are more influential than they were popular in their day (which is referenced in the clip). Tweedy and Farrar were high school friends who bonded over their shared tastes in music. After Tweedy joined Farrar and Farrar’s older brothers in a band, Jeff and Jay continued to play together in various groups which ultimately became Uncle Tupelo. That band was best known for its blending of punk with more traditional Americana music (although that term wasn’t around yet). Their debut album No Depression gave a name to the emerging sound, sometimes also called “alt-country.”

Initially, Farrar was the dominant personality in the band, doing more of the songwriting, lead singing and guitar. Tweedy played bass and was, if you will pardon the reference, the “Other Guy.”  As time went on, however, Tweedy began to take a more assertive role in the band. And like so many friends who have one thing in common, it turned out that Tweedy and Farrar really had very little in common. Much has been written about Uncle Tupelo’s split, but based on what I have read, it seems like both protagonists are difficult personalities who have to share the blame. Farrar claims that Tweedy was resentful of his talent and tried to hit on his girlfriend, while Tweedy has asserted that Farrar was domineering, refused to treat him as an equal and even refused to sing harmony on his songs. Farrar quit the band, passing the word to Tweedy through their manager, and a farewell tour resulted in more fighting and recrimination.

Farrar formed Son Volt and Tweedy formed Wilco. Although most critics seem to agree that Son Volt’s first album was better than Wilco’s, since then Tweedy’s and Wilco’s popularity and critical acclaim have outstripped Farrar’s and Son Volt’s. Personally, I’m a fan of both bands, and I think that they have both put out excellent music. Son Volt was even better than I expected at their Clearwater performance, but Wilco has become, to me, one of the best around. Having seen both bands a few times, I can attest to the fact that Tweedy’s stage banter is usually brilliant, while Farrar seems to avoid talking on stage as much as possible.

The enmity and hostility between Jay and Jeff has continued. The odds on a Uncle Tupelo reunion, or seeing, say, Farrar sit in at a Wilco concert, seem unfortunately pretty slim. I was struck by that at Clearwater, where I saw former band mates Jason Isbell and Patterson Hood play together, and I later saw pictures of them hanging out together watching Son Volt from backstage.

Which is all background to the clip, in which Tweedy tells a story of being on vacation in Mexico, and finding out that Farrar is staying on the same beach. I won’t ruin the clip by describing it—as I said, Tweedy has a gift for saying things funny, and I won’t do it justice—but Jeff’s mumbling recreation of their awkward greeting after 10 years of silence is priceless.

The Other Guy(s): Jefferson Airplane

Jefferson Airplane: Chauffeur’s Blues
[purchase]

Obviously, I like this theme, so I’m back with a third entry. And to pile it on, it is about two “other guys,” one of whom isn’t a guy.

When I was in high school, my friend Chris and I worked our way back from the then-popular Jefferson Starship through the discography of the Jefferson Airplane. I remember hours spent in the cutout bins at Korvette’s in Nanuet flipping through records to find their music. If you are a casual fan of the band, you know about Grace Slick’s powerful vocals, and maybe even Marty Balin’s blue-eyed soul singing or Paul Kantner’s folkier sounds. Or maybe you are a fan of their interesting harmonies, or the few songs that Jorma Kaukonen sang before moving full time to Hot Tuna. Four vocalists is pretty good for a single band, and these days it is rare to find a popular group that allows more than one, or sometimes two, singers to take regular lead vocals.

But the Airplane had even more singers. The Jefferson Airplane discography (not including live albums, solo projects and compilations) consists of 7 albums released between 1966 and 1972 (plus a reunion album from 1989). And although Kantner, Kaukonen and bass player Jack Casady were constants, Slick joined after their first album, Balin was there at the start, but left before the sixth album was done, and there were a number of drummers and other members that played with the band.

So, before Grace Slick, there was Signe Toly Anderson (no relation to previous “Other Guy” subject Jon). In the early days of the band, and on their debut record, Jefferson Airplane Takes Off, her role was mostly to sing backup and harmony. She left the band in 1966, following the birth of her daughter Lillith (and possibly because other members of the band didn’t get along with her husband.) On October 15, 1966, the Airplane played the Fillmore, and at the end of the show, Balin announced that Anderson was leaving the band. Anderson’s farewell to the audience is a classic Sixties statement—“I want you all to wear smiles and daisies and box balloons. I love you all. Thank you and goodbye.” The band then played “Chauffeur’s Blues,” with Anderson on lead vocals, followed by one more song. The next night Slick performed with the band.

Anderson returned to Oregon, where she raised a family and sang with a jazz band before suffering from a number of health problems. She has made occasional appearances at reunion shows, with the KBC Band (Kantner, Balin, Casady), and with later incarnations of Jefferson Starship.

Jefferson Airplane: Pretty As You Feel
[purchase]

Fast forward to 1970, when the Airplane were recording the followup to their last great record, Volunteers. Drummer Spencer Dryden, who had joined the band after the first record, had left, ultimately to end up in the New Riders of the Purple Sage.  He was replaced by Joey Covington, a self-taught drummer who had played with Hot Tuna, in unrecorded performances. Then Balin left the band, and they were looking to replace his material on the album, which became Bark. Covington was jamming one night with Kaukonen, Casady, Carlos Santana and percussionist Michael Shrieve on a piece that was given the working title of “Shitty As You Feel,” and little was expected of it. But the engineer, Pat “Maurice” Ieraci thought otherwise, and the title was changed to something more printable. Slick and Kantner overdubbed vocals, Papa John Creach added some fiddle, and a good song emerged. “Pretty As You Feel,” with Covington’s lead vocal, was released as a single and hit 60 on the Billboard chart, the last charting single for the Jefferson Airplane.

Covington left the band in 1972 for a relatively obscure solo career and as a sideman, and passed away last month at the age of 67 in a car accident.

THE OTHER GUY: Keith Moon

The Who: "Bell Boy"
[Purchase]

For this entry in the Other Guy theme, you could almost say it's the Other Other Other Guy. Yes, when it comes to the Who, Roger Daltrey was the lead singer, Pete Townshend (The Other Guy) sang the songs that Roger couldn't interpret the way Pete heard them in his head (at least that's the way I've always figured it), and then John Entwistle (The Other Other Guy) would sing his one composition per album. But unlike the Beatles, where Ringo always had a song per album as well, Keith Moon typically didn't sing on Who albums.

But on "Bell Boy," from the Who's classic 1973 double-LP concept album, Quadrophenia, Moon took the lead for a good chunk of the song. Daltrey starts things off by setting the scene for Moon's entrance, letting you know that he (in the character of Jimmy, from the album's storyline), has found that his idol, "Ace Face," is now a bell boy at a resort hotel ("I can see The Face coming through the haze/I remember him from those crazy days"), no longer the anti-authority figure he had been as leader of the Mods. And then in comes Moon as Ace Face himself, singing in a gruff Cockney accent, bemoaning his current situation. Obviously, Moon is hamming it up, so his singing isn't really as off as this might lead one to believe. In fact, while he's thinking back wistfully ("Some nights I still sleep on the beach/Remember when stars were in reach") you can hear him channeling his inner Townshend. Clearly it's a part that would have otherwise been sung by Pete -- but Moon handles it quite well, showing that he did in fact have some melodic range, even if it was rough around the edges.

Townshend has said that he tried to get Moon to sing the song more seriously, but that Moon simply couldn't help mugging for the part, so he gave up trying to get him to do it any other way. And he should be glad he did, as it's certainly one of the most memorable songs on a very memorable album -- and, it should be added, has one of the greatest power-chord riffs in the Who's repertoire. Moon's moment in the vocal spotlight was no throwaway tune, by any means.

The Other Guy : Mick Ralphs

[Purchase]

In the movie Almost Famous, Lester Bangs tells Cameron Crowe's stand-in "1973 is a dangerous time for rock n roll".

It was certainly a dangerous time for Mott the Hoople. The hard rocking, all-straight band suddenly found fame with the David Bowie penned and produced  glam rock gay anthem "All the Young Dudes", a #37 hit in the US. They toured like mad but couldn't escape the pop music pundits labeling them a Bowie band.

For 1973's Mott, Ian Hunter pushed the band to prove they could produce a great album on their own. He may have pushed a little too hard. Keyboardist Verden Allen had already left before sessions began in February. After the recording,  founding member and guitarist Mick Ralphs would depart to form Bad Company with his childhood friend, Paul Rodgers of Free.

But before he did, Ralphs took eight minutes in the spotlight to shine on this classic cut from Side Two of 1973's Mott."I'm a Cadillac" is all Mott with its heavy, chiming guitar sounds and sexually charged lyrics. Then, at about three minutes in, the electric guitars drop out and Ralphs steps up to the front with "El Camino Delo Roso", a Spanish guitar showcase.




With Rodgers, Mick Ralphs found someone who could reach the high notes on a song he'd just written called  "Can't Get Enough", soon to be a worldwide #1 hit. Bad Company also recorded Ralphs's All the Young Dudes showcase "Ready For Love" on the 1974 debut which sold 5 million copies. That year Ian Hunter left Mott after being hospitalized for physical exhaustion and eventually pursued a moderately successful solo career.

Mott the Hoople still play reunion gigs. There's a week of them coming up in the UK in November.

The Other Guy: Walter Becker

Steely Dan: Slang of Ages

Steely Dan: Slang of Ages (live)

[purchase]

Steely Dan got their start forty years ago, but they only qualified for this week’s theme with their last studio release, 2003’s Everything Must Go. Until then, Donald Fagen always handled all of the lead vocals. One thing that becomes clear from listening to Fagen’s solo work is that, with Steely Dan, he is usually singing the words of Walter Becker. Becker has a cynicism and a sense of irony that are missing when Fagen writes for himself.

One stock character in Becker‘s writing is the sexual predator. You find him, in various forms, in Everyone‘s Gone to the Movies and Cousin Dupree, just to name two. Slang of Ages features him in a less threatening form. Here, he is a down-on-his-luck would-be Lothario, trying to pick up a woman in a bar. This character is not Becker, but rather someone he wants us to see and understand. We don‘t have to like him, and we are even allowed to laugh at his misadventures. But the laugh must be a nervous one, because the character shows us urges we try to deny in ourselves. The way the song is written, it is even possible that the entire encounter takes place only in the narrator‘s mind. In the end though, it does not matter if it is real or not; we have still seen what Becker wanted to show us.

Becker speak/sings his way through most of the lyric here. He can carry a tune when he needs to, but this delivery suits the character. Nevertheless, based on the evidence of this performance, Donald Fagen is certainly the more expressive singer. There is no sign that Steely Dan has any intention of doing any further albums, although they continue to tour. It may be that they decided that Becker should take this vocal because it would be his last chance to do so in the studio with Steely Dan.

I found a nice fan-made slide show for this song. As a bonus, I have also included a live version, also from 2003. The live video should have cut off thirty seconds before it does, however; the song that Donald Fagen begins to introduce at the end, if you’re wondering, is Peg.

The Other Guy: Jon Anderson

[purchase]

I’m working on a King Crimson related post for another blog, and it reminded me that, in King Crimson terms, Jon Anderson is the other guy. Crimson is a band that, if anything, is consistent in its inconsistency— its history is filled with constant turnover in personnel and styles, with Robert Fripp as the only member who has been in every incarnation of the band. Most histories of King Crimson seem to refer to musicians leaving because they didn’t like or understand the music, which raises the question of why they joined in the first place. Wikipedia reports that there are over fifteen-hundred releases on which members and former members of King Crimson appear.

The band’s third album, Lizard, was a departure from the first two, with greater jazz influences, and Greg Lake’s powerful vocals being replaced by Gordon Haskell’s more ethereal style. But the song “Prince Rupert Awakes,” was too high for Haskell, so Jon Anderson, of Yes, was enlisted to sing, his only contribution to the Crimson oeuvre.

On the other hand, when it comes to Yes, in my mind, Anderson is the guy, despite the fact that Yes has had membership turnover that rivals King Crimson. But despite the fact that Anderson was replaced as lead vocalist by "other guys" Trevor Horn, Benoit David and Jon Davison (the latter two having been vocalists in Yes tribute bands before moving up to the major leagues) who attempt to mimic the original, there can be no question that for that band, Anderson is affirmatively the guy.

The Other Guy: Brian May

Queen: 39
[purchase]

As much as Mick is associated with the Stones, Freddie Mercury’s soaring vocals are synonymous with Queen. And yet, most Queen albums included at least one, sometimes more, songs sung by the other members of the band, typically guitarist Brian May and bassist Roger Taylor. Both men could certainly sing, but neither had a voice with the distinctive qualities of Mercury. Of course, few vocalists do, so that is not really a criticism.

I’ve been a fan of Queen since high school, and like many my age listened to their classic A Night at the Opera many, many times. As much as “Bohemian Rhapsody” blew my teenage mind, and the rest of the album was enjoyable (including the Taylor-sung “I’m in Love with my Car,”) something about "’39," sung by May, has stuck with me through the years.

Until I started researching this post, I was under the apparently common mistaken impression that the song was about 1939 and the start of World War II. The wistful tone of the song fit with my belief that it was about someone looking back to the simpler times before the war, which devastated England beyond what we here in the States experienced.

Turns out, the song is about space travel.

The song, which May has described as “sci-fi skiffle,” tells the story of space explorers who head off on a journey and return a year later, only to find that a hundred years have passed, and everyone they knew is dead. Thus, the wistfulness.

In addition to being one of the greatest and most distinctive guitarists in rock music, Brian May is an astrophysicist. He was studying for his Ph.D when he decided to take a break to become a rock star. But he was no slacker, and in 2007, he finally completed his degree. Shortly thereafter, he was appointed Chancellor of Liverpool John Moores University, a mostly ceremonial position, allowing him to continue to tour and make guest appearances, including at the London Olympics. May has also co-written books on astrophysics and has an asteroid named after him. So, if he wants to write a song about space travel and “time dilation,” he has the musical and intellectual chops to pull it off.

Interestingly, although May sings the song on the album, in concert Mercury usually sang the lead.

THE OTHER "GUY": LORRAINE McINTOSH

Lorraine McIntosh (Deacon Blue) : Cover From the Sky
(purchase)

Good old wiki, I think, label Deacon Blue as one of the best unknown bands from Scotland. If they don't, they should, but with a disclaimer. For the truth is more they should or could have been, and I never quite know how they didn't make the grade. Apart fom the unknown bit, of course, at which they excelled. Cue angry and irritated of Dumfries pointing out their cumulative sales and hit singles etc etc, which is all well and good, but being world famous in Scotland, sadly, doesn't always equate to international fame and fortune. Go see Big Country, Runrig, The Fire Engines. Strangely, The Proclaimers did.

Deacon Blue sprang from nowhere during that amazingly fertile period for british  literate rock, mid to late '80s. If I look behind me at the groaning shelves, that period evokes Lloyd Cole and early to mid U2. Raintown, their first LP appeared in 1987, it's cover evocative, unsurprisingly, of a rainy day in Glasgow, if there is any other sort. But the songs were full of hope, the stand out for me being Chocolate Girl, positioned so that I just had to play side one time and time again. (Note to younger readers, records had 2 sides!). It wasn't until later on, as they started having hit singles and appearing on Top of the Pops that I gained the image of them. Rather than a standard issue half-hidden girly singer duo or trio, gyrating, semi-synchronised, on the sideline, this band had but one, right in the middle. And usually on a pedestal, woowooing and aaahing away, as her life depended upon it. This seemed undue prominence until I realised she was the girlfriend of the singer. Who also wrote the songs...... Hmmm.

Later came an EP of Bacharach songs, including a plaintive version of I'll Never Fall in Love Again, which, given I was in the throes of a doomed and inappropriate relationship at the time, somehow hit a chord. But the said girly singer sang a line all by herself. And I was rather taken with that. A bit like the shock when Phil Oakey lets one of his girlys, I forget which, sing in Don't You Want Me, except, on this occasion, actually carrying the tune. Or any tune.

In truth I went off them after that. The singles became too complicated and formulaic, too wordy and clever, at least for me. But I retained a candle for their brand and concept, so, when this topic came up, I wondered if she had ever been allowed out, totally alone. And I found this. It isn't bad, either, making me maybe feel I have judged them a little cruelly, but, is it not true, when the magic has gone, the magic has gone. Listen to to all three songs, and be the judge.

The Other Guy: Keith Richards

 

Keith Richards: You Got The Silver
[purchase]

The Other Guy theme is about that member of the band who doesn't do/rarely does the lead vocals. Keith Richards fits the bill. As I dug around for background info for this post, I came across an online resource that credits Richards with the main vocals in only about 20 of the hundreds of songs the Stones have recorded. Yes, he frequently sings background vocals, but that's not at all the same skill. Hence, the other man.

Away from the Stones, for example on his solo Talk is Cheap album from 1988, Richards is credited with the lead vocals, and you can catch him here doing the lead vocals with X Pensive Winos. Although it is noted that he sang in a (young) boys' choir for the Queen, today, his voice sounds kind of scratchy and he doesnt exactly shine at keeping a melodious tune (post-puberty voice change, no doubt). However, there are those few and far between times when his voice is a better choice for a Rolling Stones song than Jagger’s.

And this is one. Originally recorded for 1969’s Let It Bleed, the live version of You Got The Silver linked above is tagged as being only about a month old. Having dug for several hours to research my options, I have to say that this is one of the better showcases of the man's vocal talents that I was able to locate. His singing calls to mind the quality(?) of Bob Dylan's voice.

As an additional thought, if you consider the relationship between gold and silver/Jagger and Richards, I wonder if there is more to the choice of lead vocalist for this song than meets the eye.

And Bands: Eli et Papillon

Eli et Papillon: Train de Vie
[purchase]

I don’t speak French, but I know enough to know that “et” means “and.” I have written often about my son, and less about my daughter, which is just because my son and I seem to have more similar musical tastes, although maybe not really. I do love them equally, no matter what they may think. But I am always looking for a reason to mention my daughter, and when I came up with an idea in connection with this theme, I jumped on it.

My daughter is a young woman who has an intrepid streak and loves languages. Her goal in life, right now, is to live outside of the U.S. A French student in high school, she also started teaching herself Spanish and spent a summer in Ecuador. In college, she started studying Arabic, and is a Spanish major, studying last summer in Buenos Aires. She has taken a semester of Portuguese, and will be spending her junior year in Barcelona, studying Spanish and likely some Catalan.

The summer before her senior year, she attended the Middlebury Monterey Language Academy in Vermont, which is an immersion program, so the students are supposed to speak only their chosen language, in my daughter’s case, French. The students were cautioned that the only books they could bring would be in French, and any music they planned to have on their iPods had to be in French. So I started to look for music in that language for her. Along with the obvious Serge Gainsbourg, Carla Bruni, and the like, I found some French prog rock, some Cajun songs and a few other random things. She and her then-boyfriend found French ska and rap. But probably my favorite discovery was Eli et Papillon, a duo from Montreal, which my daughter also liked.

It turns out that “Eli” is not an old Jewish guy or a hipster kid from the Upper West Side, but is singer Elise Larouche, and “Papillon” is not Henri Charriere, but is multi-instrumentalist Marc Papillon-Ferland. They were offering their demo for free, and I snapped it up. It was well crafted music, somewhere between folk and pop, and Eli has a beautiful voice. It reminds me a little bit of Hem.

About a year ago, Eli et Papillon released a final version of their first CD, and they have fleshed out the songs a bit. The version of “Train de Vie,” which Google translates as “Lifestyle,” posted here is the new version, and it proves that you don’t need to have any clue what a song means to enjoy it.

And Bands: Geno Washington and the Ram Jam Band

[Purchase]

Any band that would put out a live album called "Hand Clappin', Foot Stompin', Funky-Butt...Live" is one you know you need to hear. So find it 'cuz this track from Geno Washington and the Ram Jam Band is from 1968's Shake a Tail Feather Baby!


       
  In the mid 60's The Air Force stationed Indiana native Geno Washington in England  where he met up with the Ram Jam Band. Together they recorded some of the finest, best selling and most frenzied live albums of the decade. In the 70's Geno left the UK to become a hypnotist. But he wasn't entirely forgotten. In 1980 Dexy's Midnight Runners hit #1 for two weeks in the UK with their tribute "Geno". That prompted a come back of sorts. Geno still performs every now and then.

  "Understanding" was the last track on side one of the '68 album so listen closely towards the end for a passionate prompt to flip the record to side two.

AND BANDS: Sniff 'n' the Tears

Sniff 'n' the Tears: "Driver's Seat"

[Purchase]

There are so many band names including the word "and" that it would be nearly impossible to arbitrarily decide on a good place to jump in here. It would more or less be a matter of closing your eyes and throwing a dart at a dartboard with all the names posted on it. Which actually isn't such a bad idea, but where to find a dartboard that large and the time to print out and cut up all those names . . . well, it just doesn't seem that do-able once you start to think about the logistics.

So instead, I'm approaching this from the angle of the most creative use of the word "and." Not typically a word that is used all that creatively, this narrows it down incredibly. Placement of the word might in fact be creative, such as "And You Will Know Us by the Trail of Dead," where it's the first word, or some band that has it at the end (can't think of one offhand at the moment).

However, my selection today is the band Sniff 'n' the Tears (yes, of course the "'n'" counts as an "and" as much as, say, an ampersand -- heck, it's "rock 'n' roll," after all). Here, it's used as a bit of a pun, simultaneously conjuring up "Sniff and the Tears" and "Sniffing the Tears" -- pretty clever. And really, a pretty good band name however you look at it. If only their name had carried over to a long and fruitful career -- unfortunately for them, as it turns out, despite the release of a couple more albums, they're a one-hit wonder if ever there was one.

"Driver's Seat" was released in 1979 on the debut Sniff 'n' the Tears album, Fickle Heart, and to this day I hear it frequently on the classic rock stations. And you know what? It's still a great song. The strummed acoustic guitar really makes it pop (and the vocals are pretty cool too). There's a nice guitar solo in there as well, although for some reason I suspect the work of a session musician (but any of you devoted SntT fans should feel free to correct me on that). "Driver's Seat" hit the Top 40 (which I recall well because it was during a time when I was young that I would listen to Casey Kasem every Sunday morning and keep a handwritten list of the songs tacked to my wall, including their chart movements from the previous week), but the original band broke up soon after the album's release and reformed versions never again found any chart success to speak of.

"And" that's that.