Don't have a lot of time this week, so my posts will probably be pretty quick. Today I'll leave you with a great clip from 1971 from the BBC of Neil Young in his prime doing one of my favorite songs of his, "Don't Let It Bring You Down." Enjoy.
Tuesday, August 5, 2008
Friday, August 1, 2008
Dez's Favorite 100 Rock/Pop Albums, #'s 60-56
I am becoming more convinced that vinyl is the true music fan’s medium. It continues to sadden me as I watch the de-evolution of music's presentation (vinyl to CD to MP3). There are several arguments in vinyl’s favorite, but I’ll leave you with a seemingly superficial one. In the days of vinyl, the cover and inside artwork was an essential part of the whole package. It got reduced with the CD, and now with downloads and MP3’s it is all but meaningless. That is a real shame, because the excitement and complete world created by a great record used to start with the visuals, even before you got the wrapper off. For example, with this week’s selections, the iconic gatefold photo on #58 was as much a part of that album’s mystique and power as anything; while the artist at #57 took great care in creating interesting cover art for his early records.
60. Whiskeytown – Stranger’s Almanac, 1997
Although the much beloved alt-hero Ryan Adams releases a new album every five minutes to seemingly more and more orgasmic praise from fans and critics alike, I think he perfected his alt-country style with his early band Whiskeytown. Most of his material since has been variations on the same themes explored here. His albums are still good, don’t get me wrong, but none of them have really improved on #60. He delivers his usual blend of solid country-tinged rockers (“Yesterday’s News”, “16 Days”) and stark, gorgeous weepers (“Inn Town”, “Avenues”, “Houses on the Hill”). The exhibits on #60 are the best of both of his signature styles. And the fact that here he is still a part of a band and merely the first among equals means that Adams’ musical excesses are kept in check.
59. The Kinks – The Kinks Are the Village Green Preservation Society, 1968
Peter Townshend and The Who may get more credit for mastering the ‘rock concept album,’ but my money is on Ray Davies as the true genius of the form. This lovely pastoral masterpiece was overlooked when it was released, but in recent years critics and fans alike now look back on it as a milestone; as a truly great record from its era, but very much outside of its era. Ray himself cheekily refers to it as “the most successful flop of all time.” Townshend raved “For me, Village Green Preservation Society is Ray’s masterwork. It’s his Sgt. Pepper, it’s what makes him the definitive pop poet laureate.” Part of why it was not big at the time and yet sounds fresher today than many of its more famous contemporaries is that Ray Davies was not interested in hippie flower power BS or protest music. Or to be more precise, Davies’ music was a very different type of “protest music.” Davies’ best songs often are drenched in nostalgia for simpler and more prosperous days of yore in an England currently in economic decline; it is a theme he returns to again and again throughout his career. So this largely pastoral acoustic record looks back to an idealized Britain that probably never really existed. And I must stress: Britain. The Kinks are the most English of the British Invasion bands. Part of this was a matter of circumstance. Around this time, The Kinks were banned from touring the United States due to a nasty dispute between Davies and the musician’s union in the States. Davies commented, “The American ban had a profound effect on me, driving me to write something particularly English, in a way that made me look at my own roots rather than my American inspirations.” It is infused with warm nostalgia and sharp humor, such as the tongue-in-cheek cultural manifesto of the title track, where Ray makes his stand. The catchy “Picture Book” has gotten play in recent years in TV commercials, I love the line: “Picture book, of people with each other / To prove they loved each other, a long time ago.” This is one of those albums that you’ve probably overlooked. You shouldn’t. God save The Kinks.
58. Bruce Springsteen – Born to Run, 1975
The ultimate street opera record from The Boss. This was also an essential hit for him, because Columbia Records was about ready to drop him if he didn’t deliver a smash record on his third try. Boy, did he come through in the clutch. This was the last record where he created multi-part, complex compositions. After #58, he would streamline his sound for a more direct approach that was more effective in some ways, but also lost some of the early grandeur of life on E Street. “Thunder Road” and the title track are his two greatest anthems, and the former really captures his famous car/relationship/escapist imagery:
“All the redemption I can offer, girl, is beneath this dirty hood
With a chance to make it good somehow, hey, what else can we do now?
Except roll down the window and let the wind blow back your hair
Well the night’s busting open, these two lanes will take us anywhere
We got one last chance to make it real
To trade in these wings on some wheels
Climb in back, heaven’s waiting down on the track…”
“Backstreets” is an epic tune about friendship. One of my favorite tunes is “Meeting Across the River,” a devastating story-song about the long shot, desperate hopes of one of the Jersey shore losers he captured so well in his early writing. Finally, “Jungleland” is Springsteen at his most operatic and grandiose, clocking in at almost 10 minutes, it realizes all of the promise that Bruce showed in his early days as the "rock and roll savior" (to quote a particularly famous review from the time). It also closes the door on the first era of Springsteen's music, he would never write something quite as musically ambitious as "Jungleland" again.
Above: Born to Run (complete gatefold shot shown) is rightfully honored in the rock pantheon as one of the all time greats.
57. Peter Gabriel - Peter Gabriel (aka 'III', aka ‘melt’), 1980
Many critics view Gabriel’s third solo effort as his best record, and that is hard to argue against (although I prefer some others, as you will see). This is where he really begins to indulge his love of world music (years before Paul Simon’s Graceland, by the way). Gabriel also instituted some other innovations that gave #57 its unique sonic textures, such as forbidding his drummers from using any cymbals during recording. But what it always boils down to with a great record is that this is a hell of a set of tunes. “No Self Control” and “Intruder” are effectively brooding, “I Don’t Remember” and “And Through the Wires” rock (at least by Gabriel standards), single “Games Without Frontiers” is a quirky classic, “Family Snapshot” is very interesting lyrically, while the majestic and skeletal “Biko” brings together everything he was trying to accomplish with this record in stunning fashion. Gabriel has always displayed a theatrical quality in his writing and performance, in that he tells interesting stories and enjoys taking unusual perspectives in many of his songs, such as “Intruder," where he sings creepily in whispers from the perspective of a burglar with a strong voyeuristic fetish. And then the dynamic “Family Snapshot” is sung from the perspective of Lee Harvey Oswald awaiting Pres. Kennedy’s motorcade. #57 is sonically groundbreaking, but the songs are also some of the most interesting lyrically of Gabriel's career.
Above: A typically striking album cover from Peter Gabriel. Gabriel did not title his first four records, preferring to just have his name and an image on the covers. He once said that he viewed them as “different issues of the same magazine.” The record company understandably wanted actual titles to promote, so Gabriel eventually gave in (sort of), naming later albums with short, one word titles (So, Passion, Us, Up, and so forth.)
56. James McMurtry – Where’d You Hide the Body, 1995
He definitely has the genes to be a great songwriter, McMurtry is the son of an English professor and writer Larry McMurtry. True to his heritage, McMurtry is a fantastic Texas storyteller, delivering his tunes in a deadpan talk/sung voice reminiscent of Lou Reed (but slightly more tuneful) and usually backed with an earthy band. “Iolanthe” is a southern gothic piece, while “Down Across the Delaware” is a devastating look at a relationship that has lost all fire and connection (“we communicate through post-it notes on the refrigerator”). The title track is an angry yet empathetic attempt to reach out to an emotionally distant lover. But the highlight among many is the moody “Rachel’s Song”, a tune about regrets, mistakes and bad habits handed down through the generations. If you’re a fan of Texas songwriters, McMurtry is one of the best, and #56 is his best effort.
60. Whiskeytown – Stranger’s Almanac, 1997
Although the much beloved alt-hero Ryan Adams releases a new album every five minutes to seemingly more and more orgasmic praise from fans and critics alike, I think he perfected his alt-country style with his early band Whiskeytown. Most of his material since has been variations on the same themes explored here. His albums are still good, don’t get me wrong, but none of them have really improved on #60. He delivers his usual blend of solid country-tinged rockers (“Yesterday’s News”, “16 Days”) and stark, gorgeous weepers (“Inn Town”, “Avenues”, “Houses on the Hill”). The exhibits on #60 are the best of both of his signature styles. And the fact that here he is still a part of a band and merely the first among equals means that Adams’ musical excesses are kept in check.
59. The Kinks – The Kinks Are the Village Green Preservation Society, 1968
Peter Townshend and The Who may get more credit for mastering the ‘rock concept album,’ but my money is on Ray Davies as the true genius of the form. This lovely pastoral masterpiece was overlooked when it was released, but in recent years critics and fans alike now look back on it as a milestone; as a truly great record from its era, but very much outside of its era. Ray himself cheekily refers to it as “the most successful flop of all time.” Townshend raved “For me, Village Green Preservation Society is Ray’s masterwork. It’s his Sgt. Pepper, it’s what makes him the definitive pop poet laureate.” Part of why it was not big at the time and yet sounds fresher today than many of its more famous contemporaries is that Ray Davies was not interested in hippie flower power BS or protest music. Or to be more precise, Davies’ music was a very different type of “protest music.” Davies’ best songs often are drenched in nostalgia for simpler and more prosperous days of yore in an England currently in economic decline; it is a theme he returns to again and again throughout his career. So this largely pastoral acoustic record looks back to an idealized Britain that probably never really existed. And I must stress: Britain. The Kinks are the most English of the British Invasion bands. Part of this was a matter of circumstance. Around this time, The Kinks were banned from touring the United States due to a nasty dispute between Davies and the musician’s union in the States. Davies commented, “The American ban had a profound effect on me, driving me to write something particularly English, in a way that made me look at my own roots rather than my American inspirations.” It is infused with warm nostalgia and sharp humor, such as the tongue-in-cheek cultural manifesto of the title track, where Ray makes his stand. The catchy “Picture Book” has gotten play in recent years in TV commercials, I love the line: “Picture book, of people with each other / To prove they loved each other, a long time ago.” This is one of those albums that you’ve probably overlooked. You shouldn’t. God save The Kinks.
58. Bruce Springsteen – Born to Run, 1975
The ultimate street opera record from The Boss. This was also an essential hit for him, because Columbia Records was about ready to drop him if he didn’t deliver a smash record on his third try. Boy, did he come through in the clutch. This was the last record where he created multi-part, complex compositions. After #58, he would streamline his sound for a more direct approach that was more effective in some ways, but also lost some of the early grandeur of life on E Street. “Thunder Road” and the title track are his two greatest anthems, and the former really captures his famous car/relationship/escapist imagery:
“All the redemption I can offer, girl, is beneath this dirty hood
With a chance to make it good somehow, hey, what else can we do now?
Except roll down the window and let the wind blow back your hair
Well the night’s busting open, these two lanes will take us anywhere
We got one last chance to make it real
To trade in these wings on some wheels
Climb in back, heaven’s waiting down on the track…”
“Backstreets” is an epic tune about friendship. One of my favorite tunes is “Meeting Across the River,” a devastating story-song about the long shot, desperate hopes of one of the Jersey shore losers he captured so well in his early writing. Finally, “Jungleland” is Springsteen at his most operatic and grandiose, clocking in at almost 10 minutes, it realizes all of the promise that Bruce showed in his early days as the "rock and roll savior" (to quote a particularly famous review from the time). It also closes the door on the first era of Springsteen's music, he would never write something quite as musically ambitious as "Jungleland" again.
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Above: Born to Run (complete gatefold shot shown) is rightfully honored in the rock pantheon as one of the all time greats.
57. Peter Gabriel - Peter Gabriel (aka 'III', aka ‘melt’), 1980
Many critics view Gabriel’s third solo effort as his best record, and that is hard to argue against (although I prefer some others, as you will see). This is where he really begins to indulge his love of world music (years before Paul Simon’s Graceland, by the way). Gabriel also instituted some other innovations that gave #57 its unique sonic textures, such as forbidding his drummers from using any cymbals during recording. But what it always boils down to with a great record is that this is a hell of a set of tunes. “No Self Control” and “Intruder” are effectively brooding, “I Don’t Remember” and “And Through the Wires” rock (at least by Gabriel standards), single “Games Without Frontiers” is a quirky classic, “Family Snapshot” is very interesting lyrically, while the majestic and skeletal “Biko” brings together everything he was trying to accomplish with this record in stunning fashion. Gabriel has always displayed a theatrical quality in his writing and performance, in that he tells interesting stories and enjoys taking unusual perspectives in many of his songs, such as “Intruder," where he sings creepily in whispers from the perspective of a burglar with a strong voyeuristic fetish. And then the dynamic “Family Snapshot” is sung from the perspective of Lee Harvey Oswald awaiting Pres. Kennedy’s motorcade. #57 is sonically groundbreaking, but the songs are also some of the most interesting lyrically of Gabriel's career.
Above: A typically striking album cover from Peter Gabriel. Gabriel did not title his first four records, preferring to just have his name and an image on the covers. He once said that he viewed them as “different issues of the same magazine.” The record company understandably wanted actual titles to promote, so Gabriel eventually gave in (sort of), naming later albums with short, one word titles (So, Passion, Us, Up, and so forth.)
56. James McMurtry – Where’d You Hide the Body, 1995
He definitely has the genes to be a great songwriter, McMurtry is the son of an English professor and writer Larry McMurtry. True to his heritage, McMurtry is a fantastic Texas storyteller, delivering his tunes in a deadpan talk/sung voice reminiscent of Lou Reed (but slightly more tuneful) and usually backed with an earthy band. “Iolanthe” is a southern gothic piece, while “Down Across the Delaware” is a devastating look at a relationship that has lost all fire and connection (“we communicate through post-it notes on the refrigerator”). The title track is an angry yet empathetic attempt to reach out to an emotionally distant lover. But the highlight among many is the moody “Rachel’s Song”, a tune about regrets, mistakes and bad habits handed down through the generations. If you’re a fan of Texas songwriters, McMurtry is one of the best, and #56 is his best effort.
Thursday, July 31, 2008
H-Town Welcomes the 'Tru Warier'
ABOVE: The Houston Rockets are (probably) the proud new employers of one Ron Artest. Here he fights with fans in Detroit (at the time, he was an Indiana Pacer).
Although not official until mid-August, it appears that The Houston Rockets will have pulled off one of the most lop-sided trades in the NBA since...well, since the Lakers got Pau Gasol. I will argue that the Rockets potentially just got a bigger difference-maker than Gasol. Maybe. That all depends on whether Ron Artest can stay out of jail or other types of trouble long enough to stay on the basketball court. But the Rockets basically gave up the janitor at the Toyota Center to get him. What were the Sacramento Kings thinking? The big question is will the NBA actually allow this trade to go through?
The details of the trade: the Rockets send Bobby Jackson (whom I like, but at best he is a reliable back-up), Donte' Greene (who has a lot of potential, but years away) and a first round pick in 2009 to the Kings in exchange for Ron Ron.
The up side for Houston? When his head is in the game, Artest is one of the best defensive players in the league. Tenacious as hell, he gives the Rockets a player who can defend the hottest player on the opposing team. The Rockets now have an instant defender to throw at Kobe, Ginobili, Paul, etc. Artest is flexible, able to play three positions. He can get hot from the three, and last season he averaged over 20 points a game, over 5 rebounds and over 3 assists. He brings a mental toughness and outlaw attitude that, frankly, the sometimes mentally soft Rockets sorely need. He can be our resident thug to mix things up on the court. The up side is huge, and immediately makes the Rockets a contender for the top spot in the West.
The down side? Well, the guy is absolutely insane. He was the main instigator of the infamous Detroit Brawl that derailed the Indiana Pacers for years and has a relatively long rap sheet. Speaking of rap, he has at times indicated that he might be more interested in pursuing his rap music career than play basketball. Fortunately his one album flopped, so that pipe dream may have died by now. But he wants to win, has something to prove, and if anyone can have success "handling" Artest, it is coach Rick Adelman.
BELOW: For some reason, Ron Artest's, excuse me, the Tru Warier's album My World failed to set the rap world on fire. He explains why everyone is against him in the track, "Haterz" ("David Stern, damn, David Stern! / I gotta teach you 'bout the ghetto / there's some things you should learn")
But with the Rockets, it all really depends on the health of Yao Ming (who seems to be as fragile as a piece of fine china) and Tracy McGrady (who's self-confidence and mental toughness is about as reliable as Yao Ming's ankles). But this is the first time that they have been able to bring in a third, complimentary NBA All-Star calliber player to help Yao and T-Mac vs. just good role players. Plus the addition of three point specialist Brent Barry...I like the Rockets' chances. If T-Mac and Yao stay healthy. I'll say that again, if T-Mac and Yao stay healthy.
In the end, I'd put a starting line-up of Yao, McGrady, Artest, Alston and Scola (with someone like Shane Battier coming off the bench) against any NBA team out there. I am ready for the season to start.
Wednesday, July 30, 2008
Ch-Ch-Ch-Changes
What a month. I figured I’d take a break from the important stuff (music, movies, USA For Africa) and talk about life on a smaller scale. My wife and I both had dramatic changes in our work lives. She left her old law firm for a new one, getting a decent raise in the process. Cool.
I’ve been kind of drifting for awhile now. I am an attorney, but I’ve been on my own for almost a year doing contract work vs. working for any firm. There are many attorneys who make a decent living doing just that, but it’s not for me. Being an attorney full time is really not for me, to be honest. My wife is great at it, in part because she really enjoys doing it. I never enjoyed doing it.
So, I got a position teaching Government and Debate (that’s where the law degree comes in handy) at a great high school here in San Antonio. I couldn’t be happier. I taught high school before going off to law school, but ever since I left, I often thought back to how much I enjoyed it. So, my plan is to teach, and then continue to do a little legal work on the side for some extra cash. I much prefer doing law part time when I want to vs. doing it full time because I have to.
Toby – (see here and here for previous Toby posts) is not doing so good. He took a turn for the worse earlier this week, his little kidneys just can’t do the job, and Monday we were minutes away from putting him down. I mean, standing-in-the-vet’s-office-looking-over-papers-as-to-what-to-do-with-his-remains close. But we are trying one last ditch intensive round of treatments. And before you lecture me on putting him through unecessary pain and suffering, the type of kidney problems he is having is not painful. If he were in pain (or when he starts having pain), we're done. But right now he is just low energy and very tired. I go to the vet a couple of times a day and hang out with him. He seems appreciative. So, send out some more prayers or thoughts or good vibes or whatever his way, and let's hope that we don't have a new GNABB obituary post any time soon.
OK. We’ll get back to the politics, music, astute cultural observations, movies, true stories of the Canadian military, etc. next time! By the way, I have my original USA For Africa LP, and in it is an order form for USA For Africa T-shirts, bandanas, and other paraphernalia. The photos with the models are priceless, 80’s hairstyles and fashions to the extreme. I was thinking of sending off for a T-shirt. Think they’d still send one?
-Dez
I’ve been kind of drifting for awhile now. I am an attorney, but I’ve been on my own for almost a year doing contract work vs. working for any firm. There are many attorneys who make a decent living doing just that, but it’s not for me. Being an attorney full time is really not for me, to be honest. My wife is great at it, in part because she really enjoys doing it. I never enjoyed doing it.
So, I got a position teaching Government and Debate (that’s where the law degree comes in handy) at a great high school here in San Antonio. I couldn’t be happier. I taught high school before going off to law school, but ever since I left, I often thought back to how much I enjoyed it. So, my plan is to teach, and then continue to do a little legal work on the side for some extra cash. I much prefer doing law part time when I want to vs. doing it full time because I have to.
Toby – (see here and here for previous Toby posts) is not doing so good. He took a turn for the worse earlier this week, his little kidneys just can’t do the job, and Monday we were minutes away from putting him down. I mean, standing-in-the-vet’s-office-looking-over-papers-as-to-what-to-do-with-his-remains close. But we are trying one last ditch intensive round of treatments. And before you lecture me on putting him through unecessary pain and suffering, the type of kidney problems he is having is not painful. If he were in pain (or when he starts having pain), we're done. But right now he is just low energy and very tired. I go to the vet a couple of times a day and hang out with him. He seems appreciative. So, send out some more prayers or thoughts or good vibes or whatever his way, and let's hope that we don't have a new GNABB obituary post any time soon.
OK. We’ll get back to the politics, music, astute cultural observations, movies, true stories of the Canadian military, etc. next time! By the way, I have my original USA For Africa LP, and in it is an order form for USA For Africa T-shirts, bandanas, and other paraphernalia. The photos with the models are priceless, 80’s hairstyles and fashions to the extreme. I was thinking of sending off for a T-shirt. Think they’d still send one?
-Dez
Monday, July 28, 2008
Feed the World...
I was wondering, which of the All-Star tunes written to raise money for starving Ethiopians in the mid-80's was most effective? Which tune by concerned pop stars most inspires you to give?
I think the British effort is the grooviest, but you be the judge. Below are your choices...
"Do They Know It's Christmas?" - Band Aid (Britain)
"We Are the World" - USA For Africa (USA)
"Tears Are Not Enough" - Northern Lights (Canada)
A fun game to play with each of these is to see how many singers you can name that are featured.
BONUS: This one is awesome. "We're Stars" - Hear 'n Aid (80's metal stars)
I think the British effort is the grooviest, but you be the judge. Below are your choices...
"Do They Know It's Christmas?" - Band Aid (Britain)
"We Are the World" - USA For Africa (USA)
"Tears Are Not Enough" - Northern Lights (Canada)
A fun game to play with each of these is to see how many singers you can name that are featured.
BONUS: This one is awesome. "We're Stars" - Hear 'n Aid (80's metal stars)
Drinks with a Canadian
Last night my wife and I went out and had drinks with her friend and her friend’s new boyfriend. The boyfriend was a Canadian. Normally if I meet someone from a different country, I am somewhat intrigued and like to ask questions and learn about their experiences and culture. But, come on. This was Canada. Aren't they just like us, just less important? He was on the liberal side, and made a few typical America-hating comments that are common for liberals to make, regardless of nationality, and I let slide something to the effect of “when was the last time Canada was relevant for anything other than giving us Bryan Adams and for having a health care system that everyone can afford but that nobody wants to use?” To my surprise his Canadian pride swelled up, and he proceeded to give me a quick primer on Canada’s contributions to the world, ending it with “that’s a typical Texan attitude.” (I especially enjoyed when he got to Canada’s military accomplishments, and he had to reach back to World War I.)
I’ve got nothing against Canada, our northern neighbor and its people are the most like us, just friendlier. I’ve enjoyed visits to Prince Edward Island and Toronto. But there is a long tradition of jesting (even among Canadians) regarding Canada’s relative insignificance in world affairs (South Park, ‘Canadian Bacon’, and so forth). Canadians are not angry people, so I had no fear of him starting a Canadian Jihad or anything. Sure enough, he quickly cooled down and he became the polite and witty Canadian that I would expect, and we had a lovely evening. I especially enjoyed our in depth conversation regarding Canadian rock bands (from The Tragically Hip to Neil Young), as my wife and her friend’s eyes glazed over. The guy was interesting, he had been a music writer and DJ in Halifax, Nova Scotia for awhile. We smoked cigars and talked all things Canada, and promised to get together soon and hang out some more, so all is good.
In honor of my new Canadian friend, I decided to investigate further, and here are some interesting Canadian facts:
• Not to be outdone by USA For Africa’s “We Are the World” and Band Aid’s “Do They Know It’s Christmas?” (Britain), Canada’s music elite got together and recorded “Tears Are Not Enough” under the moniker Northern Lights to do their part to save Ethiopia in the mid-80’s. The song is tucked away on the second side of the USA For Africa album. Such Canadian music greats as Bryan Adams, Corey Hart, Geddy Lee, Gordon Lightfoot and Mike Reno (of Loverboy) gave their estimable talents to the project. John Candy, Eugene Levy and Paul Shaffer were amongst the chorus singers. Below: Canada's finest entertainers gather as Northern Lights to tell us that "Tears Are Not Enough" to feed starving Ethiopians.
• It is illegal in Canada to pay for any item 26 cents or more in all pennies.
• Canadians have a life expectancy 2-3 years longer than Americans
• The games of basketball and hockey were invented in Canada, and the baseball glove was also first designed in Canada
• According to the UN, Canada has the highest quality of life in the world
So, I salute our Canadian neighbors and celebrate our longstanding friendship with them. But…
Our relations are not all peaches and cream. At times there are Canadian/U.S. tensions. What follows is an actual radio exchange between the Canadian and U.S. militaries off of Newfoundland in 1995:
CANADIANS:
Please divert your course 15 degrees to the South to avoid a collision.
AMERICANS:
Recommend you divert your course 15 degrees to the North to avoid a collision.
CANADIANS:
Negative. You will have to divert your course 15 degrees to the South to avoid a collision.
AMERICANS:
This is the Captain of a US Navy ship. I say again, divert YOUR course.
CANADIANS:
No, I say again, you divert YOUR course.
AMERICANS:
This is the aircraft carrier USS Lincoln. The second largest ship in the United States Atlantic fleet. We are accompanied by three destroyers, three cruisers, and numerous support vessels. I demand that you change your course 15 degrees north...
I say again...That's one-five degrees north.... or counter-measures will be undertaken to ensure the safety of this ship!
CANADIANS:
We are a lighthouse. Your call.
Friday, July 25, 2008
Dez's Favorite Rock/Pop Records, #'s 65-61
I try to avoid this, but every once in awhile I'll have the "representative pick." This is a rather strange species where a band's output may be so consistent that you could put one of several of their releases in a spot. It usually occurs where the band's sound doesn't really change from record to record, but at the same time a lot of their catalogue qualifies as greatness. In that instance, it makes more sense to pick the very best representative vs. picking two or three records that, while great, are fairly repetitious of each other in sound and feel. #62 below is one of those. It doesn't happen much, in fact, #62 is the only one that immediately comes to mind, but it is possible it happened a couple of other times.
65. The Mermen – The Amazing California Health and Happiness Road Show, 2000
The Mermen are San Francisco’s premiere nouveau-surf band. I know that might not sound too impressive, but there are a surprising number of surf bands that come out of the Bay Area. It is surf music meets psychedelia meets raga meets lounge cool meets…whatever. I played this disc for a friend one time, and he commented that the music is so vivid that it is like a score to a film. I couldn’t agree more. Jim Thomas and the band open things up with the appropriately titled “Unto the Resplendent”, and then move deftly through a dizzying array of styles and genres, such as “White Trash Raga” (raga), “Sway” (moody ambience), “Emmylou Rides Clarence West and Then South” (country rock), “To Be Naked and French Is Always Hard” (Ennio Morricone-like noir), “Bare White” (lounge/psychedelic hybrid), “Little Stinky Kitty” (hard surf). When you are dealing with instrumentals, you can always be a bit more creative with song titles! The highlights come at the end, though. “Heart Beatitude” is stark and gorgeous, with an interplay between acoustic and electric guitars playing repetitive yet slowly developing intertwined lines. Finally, “Burn” rocks on for 15 epic minutes. It is what I mean by this music being cinematic. As I listen to this song, I can see a story unfold of the surfer out alone in the midst of a hurricane swell, catching the ultimate wave, then falling, deeper and deeper…and then he either drowns and comes out in another dimension or makes it back to the surface (with a reprise of “Unto the Resplendent” at the end). Now, I have no idea if this story is accurate or not, after all this is all instrumental music, but the point is that the music is so vivid that you can create your own storylines and images to go along with it. Unfortunately #65 is hard to find these days in hard copy, it is out of print and the cheapest used copy on Amazon was going for over $50.00 the last I checked. Although, you can download it at their website. A close runner-up is the brutal A Glorious Lethal Euphoria.
64. Bob Dylan – Blood on the Tracks, 1975
Along with Springsteen’s Tunnel of Love and Beck’s Sea Change, this is my favorite album that addresses relationships, and particularly their untidy end. Here Dylan turns his unmatched songwriting to matters of the heart, and he delivers a wonderful set of songs featuring his acoustic guitar on top of a solid yet loose band. He is alternatively bitter and tender throughout this set, often within the same song. Listening to these heartbreaking tunes, you are tempted to call #64 the most personal album in his entire repertoire. But Dylan being Dylan, he has always maintained that these songs are not autobiographical. But even his own son, singer Jakob Dylan, asserts that #64 is about Dylan's separation from his wife. In “Idiot Wind”, Dylan’s invective is palpable:
“Idiot wind, blowing every time you move your mouth
Blowing down the backroads headin’ south
Idiot wind, blowing every time you move your teeth
You’re an idiot, babe
It’s a wonder you still know how to breathe”
But he does not save himself from the same harsh analysis:
“Idiot wind, blowing through the buttons of our coats
Blowing through the letters that we wrote
Idiot wind, blowing through the dust upon our shelves
We’re idiots, babe
It’s a wonder we can even feed ourselves”
On the flip side, in “If You See Her, Say Hello”, he shows regret and understanding when remembering a lost love:
“If you get close to her, kiss her once for me
I have always respected her for busting out and getting free
Oh, whatever makes her happy, I won’t stand in the way
Though the bitter taste still lingers on from the night I tried to make her stay”
A song of remarkable emotional understanding, he is heartbroken yet admits that sometimes it is worse to stay together than it is to part ways. On top of all of that, my favorite Dylan song, “Tangled Up In Blue,” opens the record.
ABOVE: Blood on the Tracks is one of Dylan's most cohesive records
63. INXS – Listen Like Thieves, 1985
#63 was their first hit in the States, although they were already a favorite in their homeland of Australia. INXS perfected dance-style rock, and although they used synthesizers, they were still primarily a guitar/bass/drums outfit. Frontman Michael Hutchense was possibly the most magnetic persona in 80’s pop/rock. This record is full of their typical mix of seductive hits, like the funky single “What You Need” and the uplifting “Shine Like It Does”. My favorite INXS tune is “Kiss the Dirt”, which epitomizes that sexy, mysterious yet accessible feel that they did so well. A superior 80’s pop/rock record, and better than the more celebrated follow-up, Kick.
62. Creedence Clearwater Revival – Cosmo’s Factory, 1970
John Fogerty and his band were ridiculously great and productive in the late 60’s. From 1968 through 1970, CCR released an astounding six (!) records, all of which are tight as hell and full of rock classics (I generously don’t discuss 1972’s dismal kiss-off Mardi Gras, aka “Fogerty’s Revenge,” which Fogerty sabotaged on purpose to spite his estranged bandmates. A great rock story in its own right.) On a different day, I might have slipped Green River, Willy and the Poor Boys or Bayou Country in this slot. Although they emerged from San Francisco at the same time as many other legendary late 60’s bands, CCR immediately stood apart from their hippie and psychedelic brethren with a focus on tight singles and an Americana vision that owed more to the bayous of Louisiana than the psychedelia of the West Coast. In many ways, Fogerty was a throwback to an earlier era. He sounds like he would be more comfortable chillin’ in Sun Studios with Elvis and Johnny Cash in the mid-50’s vs. hanging out with hippies in the Haight. Sure, they gamely tackled the occasional extended jam that was requisite for any self-respecting 60’s rock band, but you can tell that the heart of CCR is more in the perfectly crafted three and a half minute radio rock and roll single. In that arena, John Fogerty had no equal in the late 60’s. #62 opens with the blistering jam “Ramble Tamble”, then moves right into a set of tight rocking covers (“Before You Accuse Me”, “Ooby Dooby”). It also features a sprawling 11-minute jam on Marvin Gaye’s “I Heard It Through the Grapevine” where Fogerty flexes his guitar muscle. But it is really six tunes (three singles and their accompanying b-sides) that make the heart of #62: the boogie of the screaming “Travelin’ Band”, the blazing riffs of “Up Around the Bend”, the bayou gloom and doom of “Run Through the Jungle” (a favorite that Springsteen often covers onstage), the back porch stomp of “Lookin’ Out My Back Door”, the social commentary of the pretty “Who’ll Stop the Rain” and the haunting closer “Long As I Can See the Light”. For what it’s worth, author and respected music superfan Stephen King declares that #62 is the greatest rock and roll record ever made. CCR was basically John Fogerty (as Fogerty will often tell people, trying to minimize his bandmates' contributions as much as he can), but you really can’t underestimate the grooviest rhythm section around at the time in brother guitarist Tom Fogerty, bassist Stu Cook and drummer Doug Clifford.
61. The New Pornographers – Twin Cinema, 2005
A Canadian supergroup of sorts, the Pornographers are a collection of notable Canadian indie artists who come together to record and occasionally tour in various combinations. The most involved members are Carl Newman (who seems to be the chief songwriter and de facto leader), Dan Bejar and New Country chanteuse Neko Case. The sound is firmly in the genre of power pop, with sweeping melodies, catchy hooks and singalong choruses. This is not to say that the music lacks substance; the lyrics are often interesting, the musicianship is uniformly superb, the arrangements tricky, and the vocals varied and engaging (especially whenever Neko takes the mic). This is one of those records where, to paraphrase the immortal words of Spinal Tap manager Ian Faith, “every track could be a hit!” Modern power pop does not get much better than this.
65. The Mermen – The Amazing California Health and Happiness Road Show, 2000
The Mermen are San Francisco’s premiere nouveau-surf band. I know that might not sound too impressive, but there are a surprising number of surf bands that come out of the Bay Area. It is surf music meets psychedelia meets raga meets lounge cool meets…whatever. I played this disc for a friend one time, and he commented that the music is so vivid that it is like a score to a film. I couldn’t agree more. Jim Thomas and the band open things up with the appropriately titled “Unto the Resplendent”, and then move deftly through a dizzying array of styles and genres, such as “White Trash Raga” (raga), “Sway” (moody ambience), “Emmylou Rides Clarence West and Then South” (country rock), “To Be Naked and French Is Always Hard” (Ennio Morricone-like noir), “Bare White” (lounge/psychedelic hybrid), “Little Stinky Kitty” (hard surf). When you are dealing with instrumentals, you can always be a bit more creative with song titles! The highlights come at the end, though. “Heart Beatitude” is stark and gorgeous, with an interplay between acoustic and electric guitars playing repetitive yet slowly developing intertwined lines. Finally, “Burn” rocks on for 15 epic minutes. It is what I mean by this music being cinematic. As I listen to this song, I can see a story unfold of the surfer out alone in the midst of a hurricane swell, catching the ultimate wave, then falling, deeper and deeper…and then he either drowns and comes out in another dimension or makes it back to the surface (with a reprise of “Unto the Resplendent” at the end). Now, I have no idea if this story is accurate or not, after all this is all instrumental music, but the point is that the music is so vivid that you can create your own storylines and images to go along with it. Unfortunately #65 is hard to find these days in hard copy, it is out of print and the cheapest used copy on Amazon was going for over $50.00 the last I checked. Although, you can download it at their website. A close runner-up is the brutal A Glorious Lethal Euphoria.
64. Bob Dylan – Blood on the Tracks, 1975
Along with Springsteen’s Tunnel of Love and Beck’s Sea Change, this is my favorite album that addresses relationships, and particularly their untidy end. Here Dylan turns his unmatched songwriting to matters of the heart, and he delivers a wonderful set of songs featuring his acoustic guitar on top of a solid yet loose band. He is alternatively bitter and tender throughout this set, often within the same song. Listening to these heartbreaking tunes, you are tempted to call #64 the most personal album in his entire repertoire. But Dylan being Dylan, he has always maintained that these songs are not autobiographical. But even his own son, singer Jakob Dylan, asserts that #64 is about Dylan's separation from his wife. In “Idiot Wind”, Dylan’s invective is palpable:
“Idiot wind, blowing every time you move your mouth
Blowing down the backroads headin’ south
Idiot wind, blowing every time you move your teeth
You’re an idiot, babe
It’s a wonder you still know how to breathe”
But he does not save himself from the same harsh analysis:
“Idiot wind, blowing through the buttons of our coats
Blowing through the letters that we wrote
Idiot wind, blowing through the dust upon our shelves
We’re idiots, babe
It’s a wonder we can even feed ourselves”
On the flip side, in “If You See Her, Say Hello”, he shows regret and understanding when remembering a lost love:
“If you get close to her, kiss her once for me
I have always respected her for busting out and getting free
Oh, whatever makes her happy, I won’t stand in the way
Though the bitter taste still lingers on from the night I tried to make her stay”
A song of remarkable emotional understanding, he is heartbroken yet admits that sometimes it is worse to stay together than it is to part ways. On top of all of that, my favorite Dylan song, “Tangled Up In Blue,” opens the record.
ABOVE: Blood on the Tracks is one of Dylan's most cohesive records
63. INXS – Listen Like Thieves, 1985
#63 was their first hit in the States, although they were already a favorite in their homeland of Australia. INXS perfected dance-style rock, and although they used synthesizers, they were still primarily a guitar/bass/drums outfit. Frontman Michael Hutchense was possibly the most magnetic persona in 80’s pop/rock. This record is full of their typical mix of seductive hits, like the funky single “What You Need” and the uplifting “Shine Like It Does”. My favorite INXS tune is “Kiss the Dirt”, which epitomizes that sexy, mysterious yet accessible feel that they did so well. A superior 80’s pop/rock record, and better than the more celebrated follow-up, Kick.
62. Creedence Clearwater Revival – Cosmo’s Factory, 1970
John Fogerty and his band were ridiculously great and productive in the late 60’s. From 1968 through 1970, CCR released an astounding six (!) records, all of which are tight as hell and full of rock classics (I generously don’t discuss 1972’s dismal kiss-off Mardi Gras, aka “Fogerty’s Revenge,” which Fogerty sabotaged on purpose to spite his estranged bandmates. A great rock story in its own right.) On a different day, I might have slipped Green River, Willy and the Poor Boys or Bayou Country in this slot. Although they emerged from San Francisco at the same time as many other legendary late 60’s bands, CCR immediately stood apart from their hippie and psychedelic brethren with a focus on tight singles and an Americana vision that owed more to the bayous of Louisiana than the psychedelia of the West Coast. In many ways, Fogerty was a throwback to an earlier era. He sounds like he would be more comfortable chillin’ in Sun Studios with Elvis and Johnny Cash in the mid-50’s vs. hanging out with hippies in the Haight. Sure, they gamely tackled the occasional extended jam that was requisite for any self-respecting 60’s rock band, but you can tell that the heart of CCR is more in the perfectly crafted three and a half minute radio rock and roll single. In that arena, John Fogerty had no equal in the late 60’s. #62 opens with the blistering jam “Ramble Tamble”, then moves right into a set of tight rocking covers (“Before You Accuse Me”, “Ooby Dooby”). It also features a sprawling 11-minute jam on Marvin Gaye’s “I Heard It Through the Grapevine” where Fogerty flexes his guitar muscle. But it is really six tunes (three singles and their accompanying b-sides) that make the heart of #62: the boogie of the screaming “Travelin’ Band”, the blazing riffs of “Up Around the Bend”, the bayou gloom and doom of “Run Through the Jungle” (a favorite that Springsteen often covers onstage), the back porch stomp of “Lookin’ Out My Back Door”, the social commentary of the pretty “Who’ll Stop the Rain” and the haunting closer “Long As I Can See the Light”. For what it’s worth, author and respected music superfan Stephen King declares that #62 is the greatest rock and roll record ever made. CCR was basically John Fogerty (as Fogerty will often tell people, trying to minimize his bandmates' contributions as much as he can), but you really can’t underestimate the grooviest rhythm section around at the time in brother guitarist Tom Fogerty, bassist Stu Cook and drummer Doug Clifford.
61. The New Pornographers – Twin Cinema, 2005
A Canadian supergroup of sorts, the Pornographers are a collection of notable Canadian indie artists who come together to record and occasionally tour in various combinations. The most involved members are Carl Newman (who seems to be the chief songwriter and de facto leader), Dan Bejar and New Country chanteuse Neko Case. The sound is firmly in the genre of power pop, with sweeping melodies, catchy hooks and singalong choruses. This is not to say that the music lacks substance; the lyrics are often interesting, the musicianship is uniformly superb, the arrangements tricky, and the vocals varied and engaging (especially whenever Neko takes the mic). This is one of those records where, to paraphrase the immortal words of Spinal Tap manager Ian Faith, “every track could be a hit!” Modern power pop does not get much better than this.
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