Jazz legend Charlie Haden, Van Dyke Parks, Benmont Tench, and Ringo's brother-in-law Joe Walsh all help Richie out on his 17th solo release. What can I say? It's what you think it sounds like, love it or leave it. He's a Beatle and I'm happy he's still making music, even if it isn't very good. And "Ringo 2012" isn't.
The Soul Rebels were one of the very first bands I saw live on my very first trip to the New Orleans' Jazz Fest. That may have something to do with why I love them so much. It was one of those "only in New Orleans" experiences.
I had been watching and enjoying the band when their roadie/manager, a gentleman no less frail than Gorilla Monsoon, thought I should be dancing a little bit more than my self-conscious head bob, so he picked me in a painful bear hug and started dancing, holding me in his arms like Cheetah. He finally let go and dropped me to the ground when my face turned the color of a Satsuma plum. The crowd roared and everyone continued moving and smiling for the remaining 30 minutes of their set.
Without that in your pocket, you might just hear another funky brass band, whooping it up New Orleans style...which is still all right by me. This is a really fine record. One of the Rebels best, with help from Trombone Shorty, Cyril Neville, Leo Nocentelli and Galactic's Ben Ellman.
It's still January, so worthy new releases are on the light side. There is a new Leonard Cohen CD, "Old Ideas," which I have yet to hear. But I'll confess to having no plans to listen. His "genius" has eluded me my whole life, and I'd rather not stir the pot with something unpleasant.
And Lana Del Rey's "thing" has also been released. The only thing positive about this is the title.
Finally...
Back in July, ACE UK released Lesley Gore's "Magic Colors." This was a record planned for release in 1967, but then canceled when the first single and title cut flopped. Newly remastered and bolstered with other singles from the era, "Magic Colors" shows Gore growing up a bit, and abandoning her teenage party-crying pop for the sunshine pop sound, more reminiscent of The Association and Harpers Bizarre.
Not everything works, and it makes sense that Mercury Records didn't want to let it out, but there are some interesting moments, especially the covers which include a medley of Spanky & Our Gang's "Lazy Day" and one hit wonder Keith's "98.6." There is also a version of "To Sir With Love," which Gore delivers a bit like Barbra Streisand...it doesn't work...and what Mojo mag calls "arguably the definitive version of How Can I Be Sure." You be the judge on that one. I'll take The Rascals.
I made a long overdue visit to the soon-to-be defunct Bleecker Bob's record shop this past weekend. You can read more about the closing HERE.
Friends had been sharing stories of this legendary hangout and I felt a bit left out. Most of their stories had been positive, yet all of mine had been terrorizing. One of the most memorable days of humiliation, though in retrospect, I probably deserved it, was when I had asked for the 12" remix of Nena's 80's novelty "99 Luftballoons." I had been DJing the Circle Line booze cruises at the time, and well, you needed the hits. Bob himself sold it to me, but not before shouting out in front of a packed house:
"Could we get a 99 Luftballoons 12 inch so this guy can put it up his ass?"
Really. I kid you not.
Another visit, less humiliating, but more aggravating, was when I had come in search of both LPs by East L.A. punkers The Plugz. Those records had gone out of print very quickly, and were not that easy to come by. Bob had both, on his wall, priced at $50 a pop. This was 1986. I wanted them, and you know when you want something....
I asked if he would take $80 for both and he agreed without incident. I left happy and continued east for more record shopping. I hit Sounds on St. Mark's Place, where I found both Plugz LPs priced at $5.99 and also at Free Being, around the block on Second Avenue, for $7.99. Of course, I stormed back to Bob's, and I was barely ackowledged, nevermind the price discrepancy.
The trip on Saturday was nothing like those days at all. Chris, the manager featured in the New York Times article, was alone behind the counter, and couldn't have been more helpful or pleasant with both regulars and tourists alike. I was suddenly shaken by the thought that still one more slice of the New York I once loved, will now be lost to yet another Starbucks. Not to mention, another record shop biting the dust.
I found a few gems, including a Split Enz record, the first Rickie Lee Jones, a lost soul classic that had been on my want list for ages by Tommy Hunt and a 1998 reissue of John's Children, Marc Bolan's pre-T. Rex band of psychos. All were reasonably priced, and Chris entertained me with very short stories on each, as he wrote me up. A lost art if you ask me.
It was a good visit. I never thought I'd say this but, I just might miss Bleecker Bob's.
In the meantime, this John's Children's album is amazing! Always loved the nugget "Midsummers Night's Scene," but I had no idea just how kooky and melodic the rest of it was.
But in light of some recent commentary, I have to set some rules.
Burning Wood is about music. In its 40 months of existence, it has rarely strayed from music. I encourage all of you to participate, to share your thoughts, your ideas and your words....about music. I've been known to shut down on occasion, when I feel like readership is at a low, or when it seems as if comments become light and interaction is down.
THIS IS NOT A FORUM FOR YOUR POLITICS
I allowed some comments out of respect for those involved, but I also see now, that I have fueled a fire that need not be fueled.
I don't mind negativity. I'm the poster boy for Pete's sake. But I try, at least, to keep it about the music, and when I get on something.... a record, an artist, a trend...I try to back up my negativity. I rarely...and you can try to prove me wrong if you have the time...just say, "Aahh this sucks." Your word is not the last word any more than mine is. But boy, do I love a good debate...about music.
RESPECT EACH OTHER
There have been many occasions when readers have left comments that have rubbed me the wrong way. And I've said something. This is my blog. I'm allowed. But I've always been respectful to readers. I may not have shown respect to Eric Clapton or those fuckheads the Fleet Foxes, but I have never been disrespectful to readers. Yet readers, hiding behind the safety of anonymity, have no issue being disrespectful to me and other readers.
IF YOU DON'T LIKE WHAT'S HERE, YOU DON'T HAVE TO KEEP READING.
If you're unhappy with the music I post and the artists I write about, why do you keep coming back here?
There is a lot of music on this blog. There is also a lot of love, for which I am grateful. But I will no longer accept or publish comments that have nothing to do with music.
Again, my apologies to all for not being a very good referee.
As per me, I've latched on to a handful of songs this past week. And while 5 hours of Dylan covers owned my ears for the last 3 days, I did manage to spin the following 4 songs an obsessive number of times in between "Hattie Carrols."
•Last Glittering Thrill by The Thousand Pities, a band from Montclair, New Jersey whose CD was released back in March but only just found its way to my CD player, is doing all the right things by me. I'm loving the record, "Believe In Sound," but I'm REALLY loving this tune. (And that chorus!)
•I Don't Like It But I've Got To Do It by Pugwash is yet another in what seems like an endless supply of infectious tunes by this pop genius, aka Thomas Walsh from Dublin, who should be as famous as Paul McCartney, or at the very least, Mike McGear.
•Your Closest Friends by John Dunbar hit home like a wrecking ball. It's lyrically clever, and twisted in the very best way. Musically, it's perfect pop candy, like the rest of "Comeuppance, See Me Sometime," the album in which it appears.
•Summer '68 from Pink Floyd's "Atom Heart Mother," has worked its way into my Top 500. (That's not as many as it sounds when we're talking all time.) It's a little masterpiece from Richard Wright and I'm always surprised it's Pink Floyd when I hear it.
It is this quartet of songs that has been in heavy rotation this week, so naturally, I wanted to build a mix around them...and this is what I've got.
A few highlights:
Haven't heard the Eric Matthews cut in ages, and I was reminded of it thanks to the new release (18 years after their debut) from Cardinal, Eric's project with Richard Davies.
I first heard the XTC track on a bootleg of demos, then found out it appeared in finished form on a benefit CD whose name escapes me, then it turned up in a third incarnation on Andy's "Fuzzy Warbles" series. I still like the first version I heard, so that's here.
I can never say enough about Jason Falkner. Here's another guy who deserves to be in the Pop Genius Hall Of Fame, if only for covering Be Bop Deluxe, which is what's here.
Once you unzip and load, you'll notice I gave the mix the title "Pop/Psych/Hooks/Songs," which is a little bit clumsy and a little bit horrible. Maybe you can come up with something better.
As I am wont to say, it sounds good altogether.
ENJOY!
TRACKLIST
Fanfare- Eric Matthews
Forget All About It- Nazz
The EMI Song (Smile For Me)- Alex Chilton
I Don't Like It But I've Got To Do It- Pugwash
Last Glittering Thrill- The Thousand Pities
I Don't Wanna Be Here- XTC
All Around The World- The Jam
Little Billy- The Who
She Sent Me Away- David Werner
I See The Rain- Marmalade
Summer '68- Pink Floyd
Jet Silver & The Dolls Of Venus- Jason Falkner
Without Expression- Terry Reid
Your Closest Friends- John Dunbar
Foxy, Foxy- Mott The Hoople
It's All Over Now, Baby Blue- Bad Religion
"Hopefully all the best stuff isn't front-loaded on the first disc." -The Pop Culturist
About halfway through Disc Two, The Pop Culturist's comment came to mind. There are a lot of clunkers on Disc Two, and I began to doubt that his hopes would ring true. I quickly regrouped when I realized how much music was left, and made the decision to forge ahead and do it all.
"Chimes Of Freedom" is a superb collection of music, by an amazingly diverse roster of artists, singing some of the greatest songs in the history of music. It's $20. You just can't go wrong. Just think of Disc Two as Zeppo or Fredo.
And now....
THE LOSERS
Carly Simon- Just Like A Woman
She makes Dylan's version sound like the "Beer Barrel Polka." This is lifeless, and Carly trying to do Dylan is about as charmless as Kenneth Branagh trying to do Woody in "Celebrity."
Elvis Costello- License To Kill
I'm a fan through and through, right down to "The Juliet Letters" and the Bacharach album. But, old El employs his wheezy falsetto, last heard on his cover of "You've Got To Hide Your Love Away," or maybe more recently than that. I can't recall. I just know, it's my least fave Costello trick in his book and it ruins this version.
Cage The Elephant- The Lonesome Death Of Hattie Carroll
Again, like Silversun Pickups on Disc One, this seems intentionally horrible. I don't understand the entertainment value in songs where the musicians deliberately make the tune unrecognizable or in this case, creepy and annoying. I'm not saying playing it straight is any better. See next entry...
Jackson Browne- Love Minus Zero/No Limit
This neither adds nor subtracts from the original. I guess it really isn't a loser as much as it's a snoozer. Dave Matthews- All Along The Watchtower
This was recorded live in 1995. I don't like Dave. I never have, but I'll save that rant for another time. The man can't even speak the intro to the song unaffectedly. "Theea son bah bar dealin." (That should read, "This is a song by Bob Dylan.) Putz. Just awful and pretentious.
Ke$ha- Don't Think Twice, It's All Right
Plea$e! Huge mega-pop $tar make$ big mi$take. Unli$tenable. And don't call me old. Thi$'d be awful if I wa$ 23.
There are some artists who simply didn't cut it for me, though I wouldn't necessarily call them losers.
I'm not gonna hate on Lenny Kravitz like so many love to do, but his "Rainy Day Women" seems throwaway at best. It's not that the arrangement is terrible. The New Orleansian horn parts are a nice touch. It's just that you can hear Lenny's boredom loud and clear. (Well, I can.)
I generally love Steve Earle, but his duet with "Treme" co-star Lucia Micarelli is a bit abrasive, and I'll blame that on Steve's delivery. I'm just not digging it. Seal & Jeff Beck both do a fine job with "Like A Rolling Stone," but I think I only ever need to hear Bob's version. Miley Cyrus isn't really a winner, but she does a much better job at feeling her song, "You're Gonna Make Me Lonesome" than some of the veterans on this collection do at feeling theirs, like Bryan Ferry, Neil Finn (who I rarely say anything bad about,) Taj Mahal, and Mick Hucknall. Miley's entry works. I didn't take it off like I did with three of the aforementioned four. (I let Neil's Pajama Club finish since I loved their album so much.
THE WINNERS
Paul Rodgers & Nils Lofgren- Abandoned Love
Hands down, my favorite thing on the collection. As much as I love Airborne Toxic Event's "Boots Of Spanish Leather," these two musical vets really handed in something special. Their voices seem made for each other. The arrangement is breezy and soulful, and it simultaneously tears your heart in two. There has to be an album in the future for Paul and Nils, even if it's the same ten versions of "Abandoned Love."
Joan Baez- Seven Curses
Joan doing Joan, better than ever. It's simple and gorgeous and it works.
Oren Lavie- 4th Time Around
Wow! Who the hell is this guy? Israeli pop singer with one album under his belt, that's who. But what a track! Soft and psychedelic. Dreamy and intense. This is a killer.
Fistful Of Mercy- Buckets Of Mercy
Dhani Harrison, Joseph Arthur and Ben Harper play it safe, but add some life, especially with the George Harrison-inspired slide. Very nice.
Joe Perry- Man Of Peace
Nothing much different than what you'd expect from this hard rock legend, but it works. It's solid, and Perry, who's not known for his singing voice, does a great job both on vocals and with his guitar. Again, it nice to hear some life in this music, and not some moody indie bullshit.
Bad Religion- It's All Over Now, Baby Blue
You need to hear this one to believe it. The energy is insane. It's a thrasher and still, it doesn't disrespect Bob or The Byrds.
Some other really nice takes include Glee alumnus Darren Criss and his brother Chuck on a very Poco-inspired "New Morning," Queens Of The Stone Age and the best thing they've ever done, with "Outlaw Blues," Sinead O'Connor's "Property Of Jesus," which reminds us that she was once someone to pay attention to, and the Carolina Chocolate Drops and their hoedown on "Political World."
That leaves a little more than half I didn't mention at all. Maybe you guys can weigh in with the good and bad of what I missed. I'd love to hear your thoughts.
In the meantime, check this out:
My heart is a-tellin' me I love ya still.
I can see the turning of the key
I've been deceived by the clown inside of me.
I thought that he was righteous but he's vain
Oh, something's a-telling me I wear the ball and chain.
My patron saint is fighting with a ghost
He's always off somewhere when I need him most.
The Spanish moon is rising on the hill
But my heart is tellin' me I love ya still.
I come back to the town from the flaming moon
I see you in the streets, I begin to swoon.
I love to see you dress before the mirror
Won't you let me in your room one time 'fore I finally disappear?
Everybody's wearing a disguise
To hide what they've got left behind their eyes.
But me, I can't cover what I am
Wherever the children go I'll follow them.
I march in the parade of liberty
But as long as I love you I'm not free.
How long must I suffer such abuse
Won't you let me see you smile one time before I turn you loose?
I've given up the game, I've got to leave,
The pot of gold is only make-believe.
The treasure can't be found by men who search
Whose gods are dead and whose queens are in the church.
We sat in an empty theater and we kissed,
I asked ya please to cross me off-a your list.
My head tells me it's time to make a change
But my heart is telling me I love ya but you're strange.
One more time at midnight, near the wall
Take off your heavy make-up and your shawl.
Won't you descend from the throne, from where you sit?
Let me feel your love one more time before I abandon it.
I don't like Bob Dylan's
"Changing Of The Guards," and I really don't like The Gaslight Anthem. Yet, I really like The Gaslight Anthem's version
of "Changing Of the Guards" on the new 4 CD Amnesty International collection,"Chimes Of Freedom: The Songs Of Bob Dylan." How's that for a summation of 5 hours of previously unreleased Bob Dylan
covers, sprawled over 4 CDs in a delicately packaged boxed set for hardly any
money?
And aside from the politics and proceeds, which are good...good...good, this collection seems like a sure thing....so far.
I wish I could tell you I made it through all 4 CDs, but I didn't. Not yet. TNT was running "The Shawshank Redemption" and well...I took the bait...again. (That Morgan Freeman!) But I did give full attention to Disc One.
Let's start with the losers, since there aren't that many.
BAD:
Silversun Pickups- Not Dark Yet
(The textures and mood are simply boring. It's unpleasant.)
Tom Morello- Blind Willie McTell
(I know Bruce loves him, but I don't. He ruins this masterpiece with his affected delivery. It kinda stinks.)
Bettye Lavette- Most Of The Time
(I love her. I love this song. And this version isn't terrible. I just
don't like how she plays around with the lyrics. It's not quite sacrilege, but it's enough to change the feeling of a song that was already flawless.)
My Morning Jacket- You're A Big Girl, Now
(This song breaks my back every single time I hear it. Dylan's words and
delivery on this "Blood On The Tracks" tour de force, make genuine, personal heartbreak seem manageable. I watched Daryl Hall pull this off on his web show. Jim James tries...but it's a no go. Sorry.)
THE WINNERS:
I really and truly loved everything else on Disc One.
I loved Raphael Saadiq's cool and groovy take on "Leopard-Skin Pill Box Hat." He really gets it.
I loved Ziggy Marley's not-so-reggae folk take on "Blowin' In The Wind." (Cool surprise, Zig.)
I loved Pete Townshend's straight but sweet "Corinna Corinna."
And
I absolutely ADORED The Airborne Toxic Event's "Boots Of Spanish
Leather." This was the real winner, so far. Smart and respectful.
Subtle, yet powerful. Wow.
And there's more...
Even Sting managed to shrink his head a bit with a safe take on "Girl From The North Country."
Mark Knopfler, someone else I never really understood or cared for very much, hands in an emotional "Restless Farewell."
I don't know much about Mariachi El Bronx, but I really enjoyed their version of "Love Sick."
There is so much more to digest and I am serious when I say, I can't wait.
I'll
be back with Discs 2-4...as I listen.
But right now, "Chimes Of Freedom"
is already a class act, only 1/4 of the way in.
Living as a Bowie fan wasn't easy in the seventies and it isn't easy now. The man's ever-changing styles and sounds often left me in the dust. Though the jumps from "Ziggy Stardust" to "Aladdin Sane" and "Pinups" to "Diamond Dogs" weren't so difficult, it was the jump from "Diamond Dogs" to 1974's "David Live" that shred my first nerve.
Years later, what left me cold and heartbroken--plastic soul live versions replete with studio overdubs and gloss--goes down without incident. "David Live" isn't for everyone. It's barely for Bowie fans, especially coming off of a largely underrated gem like "Diamond Dogs," a record most don't realize, finds Bowie playing all the guitar parts. But I've grown to appreciate "David Live," certainly more than I did back then.
Then came "Young Americans," and more faux soul. I didn't like it then. I don't like it much now. Ironically, it gave Bowie his first U.S. #1 with "Fame."
What followed in 1976, was then and is now, what I feel is Bowie's finest hour. "Station To Station" not only took Bowie's entire career so far--the pop crooner, the glam star, the rocker, and the slick soul man--and shaped it into one perfect union, it also planted the seeds for what is arguably, Bowie's most revered set of music, the Berlin Trilogy beginning with 1977's "Low," and continuing with 1978's "Heroes" and 1979's "Lodger," 3 LPs featuring sounds and treatment by Brian Eno.
Hugo Wilcken's account of Bowie during these times, specifically the recording of "Low," is brilliant. If you have any interest in Bowie or this period of his career, I strongly suggest reading "33 1/3." Low." There's nothing I can say here that will be better.
I will offer this. Hearing "Low" for the first time, just a year after hearing what is not only my favorite Bowie album, but one of my favorites of all time, was the hardest leap of all. My initial thoughts, as much as I can recall, were shock and confusion. Songs barely two minutes long, one whole side of instrumental ambient sounds, and some flat and fuzzy production, "Low" was the opposite of "Station To Station," a record containing only 6 songs, most of which were 5 and 6 minutes, and featuring a big, bold sound. At least I thought "Low" was the opposite.
35 years later and many articles, including one in this month's issue of Mojo, as well as Hugo Wilcken's book, all shed some light on what I think I probably already knew. "Low" is a masterwork, best taken whole. Reading and listening all these years, I now hear "Low" as the natural follow-up to "Station To Station."
Looks like David Bowie might be retired for good. No more comebacks or "greatest hits" tours for him. As a longtime fan, it's easier for me to say, he went out on a high note. The recent trilogy, "Hours," "Heathen," and "Reality" stand up for me even more than the Berlin Trilogy. This is mostly because I never latched on to "Lodger." For casual Bowie fans, both trilogies will never be as easy to swallow as "Changes" or "Let's Dance," but I do think "Low" is worth everyone's time.
I wanted to stay on NRBQ just one more day while I'm still on the high. You know how that can happen after you see a live show?
This is a 3-pack featuring the great Terry Adams.
First up, we have Terry covering Nelson Eddy and Jeanette MacDonald. I mean really, how often does a person get to type that? This brilliant little cover of "Indian Love Call" can be found on Terry's "Holy Tweet" CD, which I think everyone should own.
(Ya ever hear the Q's cover of the Sammy Cahn penned, Mario Lanza staple, "Be My Love?" I mean, these guys really CAN play anything.)
Next, we have "Umbrella," a genius pastiche of early rock and roll and doo-wop, from Terry's solo release, "Rhythm Spell." The New NRBQ played this one last week at Iridium and that was that. I can't get enough of it.
"Umbrella umbrella, oh wella wella wella/can you tell me why/umbrella umbrella, oh wella wella wella/you never keep me dry."
(I'll be checking in at the end of the week to see just how many of you are still singing this one.)
We finish with an NRBQ classic that is just as much about Big Al's solo as it is about Terry's vocals and clavinet. From one of the great records of all time, "Tiddlywinks," we have "Want You To Feel Good Too."
I love this band. Always have. I can't imagine any lovers of music not owning at least 3 or 4 of the Q's records. The stretch of albums beginning with their debut in 1969 to 1983's "Grooves In Orbit," contain some of the finest music this side of the Pecos. And Terry Adams' last few solo projects, the two mentioned here, as well as "Louisville Slugger," a record made with NRBQ's original guitarist, the late great Steve Ferguson, and "Crazy 8's" are all worth exploring. What I'm saying is, BUY THEM ALL!
Back in the days of music retail, my partner and I, on particularly slow release weeks....you know what I'm talking about...the weeks when the biggest record to hit Tuesday was either a budget April Wine compilation or the 504th Wynton Marsalis CD...would create something "new" and quite possibly "wrong," hoping to make rent with something unique. People had stopped buying CDs thanks to the $18.99 list price being slapped on most of the popular CDs and we just couldn't pay the....OKAY! Sorry.
Bad flashback.
Here is something we put together, gathering about 20 of Dylan's stray tracks. Tributes, soundtrack tracks, b-sides, ACCEPTANCE SPEECHES...you name it. We grabbed'em and compiled'em and for a little while, we sold'em. A whole lot of'em.
If nothing else, it's a great listen.
TRACK LIST:
Things Have Changed '99
Lonesome River (w/Ralph Stanley)
Red Cadillac & A Black Mustache
Can't Get You Off My Mind
Return To Me
Ring Of Fire
My Blue-Eyed Jane
Chimes Of Freedom (w/Joan Osborne)
Love Sick (Grammys '98)
Train Of Love (Johnny Cash Tribute)
I Shall Be Released (w/Elvis Costello)
This Old Man
Most Of The Time (single edit)
Got Love If You Want It
Important Years
Shelter From The Storm (alternate version)
Grammy Acceptance Speech
Dignity (orig. vers.)
King Of Kings (w/Ron Wood)
Dylan peeps, please feel free to fill in the blanks. I don't rememeber the sources on everything, so any info would help all of us.
(Did anyone know that the CD above existed? I sure didn't. You can check out what Sony thinks HERE.)
Here's some of what you had to say:
•This is not fair! Dylan might have had some clunkers for albums, but
there were a lot of songs that were absolute gems. For instance: Union Sundown - Infidels, talking about a scenario thirty years ago that is front page news today. The Groom's Still Waiting at the Altar - Shot of Love, could have been an outtake from Blonde on Blonde. Trust Yourself - Empire Burlesque - a constant theme of his - "I'm not a leader of a generation or a messiah, do it yourself.
•Everything is Broken from Oh Mercy. Or maybe the entire album...
•Hey Sal, make mine "Foot of Pride". To me, this outtake's exclusion from
Infidels is even more baffling than that of "Blind Willie McTell". I
can hear what Dylan means about never having quite gotten the killer
take of "Willie", but the track of "Foot of Pride" is smoldering,
swaggering, every bit the equal of the lyrics' jeremiad. And that lyric
is as broad and scathing an indictment of modern society as "It's
Alright, Ma" was in its day. Ain't no goin' back.
•This is unfair! So, I'm lodging a protest choice. I'll give you
two...uh, three, picks, and leave the choosing up to you. My number-one
pick would be "Jokerman" (the outtake) or "The Groom's Still Waiting at
the Altar." Choice number 2, er 3, would be "Every Grain of Sand" (the
Biograph version.) Sorry, I'm just too indecisive today. But if I absolutely had to pick one, I think I'd go with "Jokerman."
•Sorry Sal, not a fan of 80's Dylan so I really can't think of one. Not
being closed minded, I've heard them all, but I just sort of like the
60's early 70's stuff. Maybe I should re-visit. I don't know.
•Most Of The Time from Oh
Mercy, probably the only consistently good album of the decade (from
Zimmy, that is). I was going to pick Sweetheart Like You, but the 80's
drum sound is too hokey.
•Congratulations from Wilburys I....does that count?....I wish I could be
part of this discussion but I honestly know so little of Dylan's '80's
output...maybe a top ten here will point me towards itunes and possibly
also in the right direction....by the way, I'm serious about
Congratulations...lovely lovely song and I'm thinking he had little to
no help from the others writing it..
My two cents:
I think "Infidels" and "Oh Mercy" rival anything Dylan has released in his career. I also find it interesting that "Empire Burlesque" gets a higher AMG rating than either of them, while "Shot Of Love" gets a weak two-star rating when it includes 4 songs that got voted for more than once.
I was going to post my Top Ten, but it is exactly the same as what you voted for, except for one difference. "Pressing On" made the cut, while I would have chosen "Heart Of Mine."
Here it is, your ten favorite Dylan songs of the 1980s, in ascending order:
Sweetheart Like You
Man In The Long Black Coat
Ring Them Bells
Pressing On
I And I
The Groom's Still Waiting At The Altar
Every Grain Of Sand
Jokerman
Blind Willie McTell
Most Of The Time
"Blind Willie McTell" and "Most Of The Time" ran away with this. Even those who voted for other songs, had disclaimers like, "I'm gonna go with 'Political World,' but 'Blind Willie McTell' is by far the best."
Right about now is where you would grab the zip of the "Weekend Mix," but I must say, I wasn't comfortable with this, seeing as how there is an official disc of virtually the same thing. So, have some patience and tomorrow there will be a special Dylan "Weekend Mix." It's just not ready.
Here comes Terry. Here comes Pete. Here comes Scott. Here comes Conrad.
Listening to the New NRBQ perform last night at Iridium was a lot like listening to the old NRBQ, and that is the very best thing I can say. Opening with a swinging take on the Bobby Charles classic, "I Don't Know Why I Love You, But I Do," it took Terry one smack on the piano to transport me back to the heyday and any one of those crazy-good shows at The Bottom Line. In bad light, and maybe if you squint a little, hell, you might even think it really was the old gang, looking svelte and a tad younger. I mean, look at that pic.
There will be skeptics....those missing Big Al and Joey, and now the sad passing of the one and only Tom Ardolino. But trust me on this, you don't want to miss this band.
Terry Adams hasn't lost a beat. His Monk meets Jerry Lee meets Floyd Cramer style is as vital as ever. The man is a true original. Scott Ligon can do Big Al just fine, and his voice his pure gold. The rhythm section of Pete Donnelly and Conrad Choucroun was everything and more. Old faves like "Howard Johnson's Got His Ho-Jo Working," "Magnet" "I Want You Bad," even "Ridin In My Car" sent happy chills right through me.
There were two people behind me at the bar, who walked into the club, not knowing who or what they were about to see. I'm guessing tourists by what I heard the gentleman say to his companion.
"Isn't this great? There's supposed to be good jazz here."
My feeling is they just took a shot, possibly hoping for a quartet playing some bop. They seemed stunned after the second song. About 20 minutes in, they were whooping with the rest of us. That is what NRBQ can still do.
Lou Reed walked in about 30 minutes into the set. No one seemed to care. I was completely shocked at first, but only because I thought it was Eudora Welty.
It was a great night. With a great band. And a great set. I wanna do it again and again.
I'm honoring a Top Ten request. Someone wants to see Bob Dylan's top ten "eighties" songs as part of the ongoing "Top Ten Project" series. Now that doesn't mean songs he wrote about leg warmers or Louis Gossett Jr. It would mean songs he wrote during the eighties.
My idea for the Top Tens was to showcase 10 songs...not necessarily the artist's "best" or the artist's "most beloved"...but ten songs that may not be familiar to music fans who had already made a decision, good or bad, about the artist. Bob Dylan is a special case. I'm feeling like there are no casual Dylan fans. People either love him or hate him, so this "Top Ten" may not persuade any of the non-Dylan people. I hope I'm wrong. So, for this assignment, I am asking for your "favorite."
I can do this myself, pretty easily. But I thought this'd be more fun.
So...you have one choice. ONE!
What is your fave Dylan song from the eighties?
Leave your song as a comment. I won't post the comments. They will be tallied and both my ten and your ten will go up on Friday.
Good news! "Man Gave Names To All The Animals" is from 1979.
(P.S. I've been banned from my own "chat box." I don't know how this happened. I sent an e-mail to support, but I expect no reply, just like with DivShare, which suddenly just stopped working for me and never corrected itself. Still waiting for help to contact me. It's been 7 months. Those leaving CBox messages, I am not ignoring you. Promise.)
To paraphrase...if you put 100 monkeys in
a room with 100 instruments, 4 of them will eventually churn out a
cliche-ridden, innuendo-filled, riff-heavy hard rock album that almost
everyone will mock. And I say that with all...ahem...you know...due respect. Such was the case of Jimmy Page and David Coverdale and their rhythm section of original Montrose drummer Denny Carmassi and Gloria Estefan's bassist...that's right...Jorge Casas in 1993.
And while I will not even begin to defend
David Coverdale's hair or any Whitesnake videos with or without Tawny Kitaen, if you know me by now, it shouldn't surprise you that I am here to celebrate and defend 1993's "Coverdale • Page" release, as well as the simple pleasures of a big drum
sound and just about anything that sounds like Led Zeppelin."
Here's Stephen Thomas Erlewine's AMG review, which belies the 4 1/2 out of 5 stars the record was given:
Everything about Coverdale/Page, right down to the goofy copping of the Presence artwork, is an attempt to recapture the pompous majesty of Led Zeppelin. It doesn't succeed, of course, but it does leave all of the Zep clones in the dust. Although Jimmy Page plays better here than he has since 1979's In Through the Out Door, there is a conspicuous lack of solos. If you've never liked David Coverdale,
his performance will not change your opinion. Both fare better on the
rockers; the power ballads tend be slightly tedious. Essentially, Coverdale/Page
boils down to a guilty pleasure at its best moments ("Shake My Tree,"
"Pride and Joy," "Absolution Blues"), but never quite rivals the bold
experimentation of Led Zeppelin.
Sounds
more like a 2 1/2 -3 star write up to me. Actually, I think the review
is dead-on, except I always have trouble with the term "guilty
pleasure." I feel no shame when listening to this record. I don't feel guilt when I think something is good... and I think this record is good. Yes, every song is a Led Zeppelin rip off, but
so what? Every Zep tune was a rip off of something else anyway, right? (I don't really believe this completely. I'm just attempting some preventive quelling of the LZ Hate Squad.)
"Coverdale • Page" goes to eleven. Hell, it goes to twelve and thirteen. It's pompous and silly. You can hear the hair. It sometimes out taps Spinal Tap. But, all of that is just not enough to dismiss some great playing. Plus, it's got a good beat and you can dance to it. Some of it.
(I love music. I can't help it.)
At the risk of oversimplifying, I can't complain about a record
like "Coverdale • Page," even with its shortcomings and smatterings of unintentional laughs. Why? Because people like Lana Del Rey and the members of Coldplay exist. That's why. And I
definitely can't help myself, even at my age, when my arms begin to form a very subtle air guitar during "Shake My Tree."
I'll get around to lighting some scented candles, opening up a container of hummus, steeping some green tea, and kicking back all introspective-like with a Nick Drake record. (No, I won't.) For now, gimme a shot and a beer and a record that is much better than most want to remember or admit.
Here is the "Saturday 6-Pack," Volume 4, where I put together a week's
worth of musical obsessions into one mini-set for your listening
pleasure.
This one's for The Byrds, inspired by, believe it or not, a friend's Facebook post about Keith Jarrett that only appeared yesterday. So, so much for a week's worth of musical obsessions. This all came together rather quickly. But as I always say, it all sounds good together.
(It's not easy being me. Just enjoy the music.)
THE SONGS
THE JANGLING MAN- MARTIN NEWELL
The only connection between Martin Newell and The Byrds is the word "jangling." Doesn't matter. Everyone should own "The Greatest Living Englishman," a masterpiece of British pop thanks in some part to one of the greatest living Englishmen, producer Andy Partridge.
MY BACK PAGES- KEITH JARRETT
Dylan wrote it. The Byrds covered it, and so did Keith Jarrett. This is not your typical entry from the genius hands of jazz legend Jarrett, and that could be why I love it so much.
RAIN- TODD RUNDGREN
No Byrds connection whatsoever, but it sits nicely at the center of this mix, and well...there was a 12-string present on the original, wasn't there? (Ah, just wanted to include it. Get off my back.)
LADY FRIEND- THE POSIES
David Crosby wrote this absolutely gorgeous and rarely touted Byrds single about 40 years before he told me to fuck off. Ken Stringfellow & Jon Auer, two people who never told me to fuck off, at least to my face, deliver a stunning rendition, as The Posies.
UNTIL YOU CAME ALONG- GOLDEN SMOG
More 12-strings and some serious harmonies from the super-ish group featuring members of The Jayhawks, Wilco, and The Replacements.
YOU BOWED DOWN- ROGER MCGUINN
Jimmy, with some help from Elvis, on the Costello original. I guess this is the best Byrds connection of the lot.
I've been listening to nothing but Terry Reid for the last 3 days, thanks to Steve over at Power Pop and his inadvertant, weeklong tribute to the great vocalist. I suggest you take a walk over there when you are through here. Naturally, all this Terry Reid (re)discovery has led me to a mix of...what? Some groovy rhythm and blues. (Yeah, I don't get it either, but I'm feeling it nonetheless.)
It's not exclusively R&B, but as I always say, I just love how it all sounds together.
I especially love:
The drum fills in The Funk Brothers' instrumental track that are suddenly in your face without those pesky Four Tops singing over them
Wilco's wonderful opening drone from "Yankee Hotel Foxtrot" getting a soulful reinvention courtesy of fellow Chicagoans JC Brooks and the Uptown Sound
Detroit's Johnnie Burke and his killer, lost soul classic. (They don't make'em like this anymore and no, I have no idea who Jonnie Burke is.)
Also from the "they don't make'em like this anymore" school, Swamp Dogg's "Choking To Death (From The Ties That Bind)
It's all good, or at least I think so.
Feel groovy, baby!
TRACK LIST
Something Inside Me- Ray Charles
I Am Trying To Break Your Heart- JC Brooks & The Uptown Sound
Honky Tonk- Levon & The Hawks
The Ironic Twist- Jimmie Vaughan
Takes A Lot Of Loving- Rosco Gordon
Mine Exclusively- Big Star
Raech Out (I'll Be There)- The Funk Brothers
Choking To Death (From The Ties That Bind)- Swamp Dogg
Matchbox- Ike Turner
Love On A Lease Plan- Johnnie Burke
All Your Goodies Are Gone- The Parliaments
Trick Bag- Earl King
3-F Blues (Find 'Em, Fool 'Em and Forget 'Em)- George Jackson
These Eyes- Jr. Walker & The All-Stars
Mojo Hanna- Tami Lynn
Right
before her Blue Note Records debut, Norah Jones was the talk of the
town, at least in my town. Everyone carried her around in their pockets
like a precious little secret and you were either part of the club or
you weren't. I missed the early train. I didn't see the pre-major label
performances to audiences of 40 or less. I never got the 6 track,
pre-major label E.P.. I just got shoved on at rush hour like everybody
else. But I got on.
I've been a fan since "Come Away With Me," her gazillion selling
first album. I loved the follow-up, "Feels Like Home," even more. Yes,
there are times, especially on the last two records, where you just want
to give her a little Kramden-on-Norton shove and say, "Will you come
on?!" There's a quality in Norah's voice, as pure and wonderful as it
is, that can occasionally lull you to sleep, which would be fantastic if
you wanted to go to sleep. But even on the upbeat tunes, which are
admittedly few and far between on her first four records, Norah Jones
never really belts one out. And I know she can.
This brings me to The Little Willies, one of Jones' many side
projects and another reason I love her. She's a star. Like huge, with
800 Grammys and lots of very famous friends, and she'd still rather hang
around NYC with her buddies and play covers in tiny downtown clubs.
With The Little Willies, her buddies are singer- songwriter Richard
Julian, guitarist extraordinaire Jim Campilongo, ex-boyfriend, bassist
and producer Lee Alexander and drummer Dan Rieser, and the new record,
"For The Good Times," released on January 10th, picks up and takes off where
the 2006 debut Little Willies left off.
"For The Good
Times" is a blast. With Norah and Richard Julian sharing lead vocal
duties, this killer little band parties through country faves by Ralph
Stanley, Loretta Lynn, Johnny Cash, Lefty Frizzell and the band's
namesake, Willie Nelson. Does Norah Jones belt one out here? Well, not
in a Janis Joplin sense, no. But it sure does sound like she's done a
little shooter of whiskey or two. She plays it less safe than on her
solo records, and the result is fantastic. Looser.
The selecton of covers is great- "Lovesick Blues," "Fist City,"
"Jolene," and one of my all time faves, Kris Kristofferson's
heartbreaking title track. Jim Campilongo's Tele-attack will make your
jaw drop. He's a player that should be getting a lot more attention.
Take a look:
I don't want to deceive any of you. The Little Willies aren't some rocking twangers like Southern Culture On The Skids or even
Commander Cody's Lost Planet Airmen. The production is warmer than it
should be. But, I love both these records nonetheless, and if you only
sorta liked Norah Jones, I'd give The Little Willies a go.
(And only my 544th where either Todd Rundgren or XTC was referenced.)
I'm taking the day off.
Listen to the above piece of brilliance, courtesy of XTC and Todd Rundgren, and I'll see you all tomorrow.
One thousand umbrellas
Upturned couldn't catch all the rain
That drained out of my head
When you said we were
Over and over I cried
'Til I floated downstream
To a town they call
Misery oh oh misery
Misery oh oh misery
And one million teacups
I bet couldn't hold all the wet
That fell out of my eyes
When you fell out with me
Now I'm crawling the wallpaper
That's looking more like a roadmap
To misery oh oh misery
How can you smile and forecast
Weather's getting better
And you'll soon forget her
If you let the sunshine come through
How can you smile and forecast
Weather's getting better
If you never let a girl rain all over you
And just when I thought that my vista was golden in hue
One thousand umbrellas opened to spoil the view
One million salt seas
Recalled from school atlas
Alas would be filled to the brim
Sunny Jim couldn't jump it
How can I be pleased
When I'm handed the keys
To a town they call Misery
Oh oh Misery
So with a mop and a bucket
I'll just say forget her
And carry on sweeping up
Where I've been weeping
The Jesters will creep in
To strike down the newly crowned Monarch
Of Misery oh oh Misery
How can you smile and forecast
Weather's getting better
And you'll soon forget her
If you let the sunshine come through
How can you smile and forecast
Weather's getting better
If you never let a girl rain all over you
Just when I thought that my skies were a June July blue
One thousand umbrellas opened
Two thousand umbrellas opened
Ten thousand umbrellas opened to spoil the view
Yesterday was Elvis Presley's birthday. I have nothing prepared. I'll just say this. 1956 Elvis, G.I. Elvis, Elvis movies..."Clambake" and "Change Of Habit" included...fat Elvis, Vegas Elvis, druggy Elvis, peanut butter and bacon Elvis, country Elvis, and especially '68 "Comeback" Elvis... it's all great Elvis. Why? 'Cause he's fucking Elvis. So, Happy Birthday, Elvis Aron Presley. Just about everyone wants to be you, whether or not they say so. (Except maybe Josh Groban.)
And while I've got you, how come nobody named Elvis before Elvis did anything to make the world refer to him as just Elvis?
Saw Glen Campbell on Saturday night. The "Goodbye Tour" hit NYC's Town Hall. I was there.
PROS:
I saw Glen Campbell.
"Wichita Lineman."
His guitar playing was off the hook. Not just flashy, but tasty and creative. He knew exactly what he was doing
"Wichita Lineman."
Got a ride home.
His voice, near perfect.
"Wichita Lineman."
CONS:
The band, which consisted of Glen's kids, shouldn't have been the band. I'm sure there was a reason, as Ashley, his 20-something year-old daughter kept a keen eye on him, and helped him plenty, guiding him, cueing lyrics, and just reminding him who and where he was, throughout what was probably a difficult night...like most nights, I assume...for a man in his condition. My friend referred to them as "functional." I guess that's fair. I believe Glen deserved better for his farewell tour. Am I being petty?
Aside from that, I've got nothing.
WRAP:
I wouldn't have missed it for the world. A fantastic night. He had me at "Gentle On My Mind," an opening that I will never forget. It was hard to ignore the Alzheimer's. At times, Glen's behavior left you squirming to find a way to help. We can only imagine what he's feeling.
Jimmy Page turns 68 today. I won't bore you with another 50 words on why the mighty Zep is important or why there's more to this band than just their first two records, or how brilliant their improvisational skills were when performing live. No. I won't waste 50 words on stuff you already know just because it's Jimmy's birthday. It's not like he's reading. Instead, take a listen to the short piece music above from the otherwise forgettable "Death Wish II" soundtrack. I've always loved his playing on this.
Speaking of birthdays...The Dame, Miss David Bowie, turned 65 yesterday. I won't begin to expound on just what kind of Bowie fan I am. The photo below should give you an idea of how he affected me in the late 70s. My gift to you.
There is a lengthy Bowie post in our future. Until then, here is a monster performance from October of 2002, one of my very favorites. Just look at this set list. I mean, the fucking "Bewlay Brothers."
It's a long show, so it's broken into 3 zips.
Have fun.
TRACK LIST:
Life On Mars
Ashes To Ashes
Look Back In Anger
Survive
Breaking Glass
Cactus
China Girl
Slip Away
Absolute Beginners
Alabama Song
Speed Of Life
Be My Wife
Fame
I'm Afraid Of Americans
5:15 The Angels Have Gone
I've Been Waiting For You
Afraid
Fashion
Rebel Rebel
Heroes
Heathen (The Rays)
Sunday
I Would Be Your Slave
Moonage Dayream
Changes
Starman
A New Career In A New Town
Everyone Says "Hi"
The Bewlay Brothers
Sound & Vision
Hallo Spaceboy
Let's Dance
Ziggy Stardust
Queen is a hard sell, but I love this band, and I've made it an
ongoing mission to get "We Will Rock You" and "Bohemian Rhapsody" and
"Another One Bites The Dust" and...okay, "Radio Ga Ga" out of the
collective craws of the Queen haters. (I have little hope.)
The challenge from one reader was a Top Ten of post-"Diamonds &
Pearls" Prince tunes, implying that the man hasn't made a good record in
20 years. Well, at the risk of ruffling some purple feathers, aside
from 1995's "The Gold Experience" and 1997's "Emancipation," two albums
I'll put up against anything in Prince's catalogue, he hasn't. But there
have been a handful of killer tracks. My 10 faves are below.
If you're fans of either Prince or Queen, the songs will be
familiar. If you're not, maybe these selections will change your mind
just a bit.
Chaos & Disorder
The Work Pt. 1
Supercute
Sweet Baby
When I Lay My Hands On U
The Holy River
When Will We B Paid
U Make My Sun Shine
The Love We Make
Gold
Long Away
Tenement Funster
Hammer To Fall
The Millionaire Waltz
It's Late
'39
She Makes Me
The March Of The Black Queen
Funny How Love Is
Seven Seas Of Rhye
Four guys in New York Yankees gear, sitting in upper boxes
right behind home plate in Yankee Stadium, drinking beer and being
"those" guys. It was 1987, and Rickey Henderson was leading off in
the bottom of the first inning. The jeers were brutal. The game didn't even start...really. Lots of "you sucks," and "your
dones" before anything really began. This display of appalling behavior grew more visceral with each of Rickey's at bats.
Nine innings might as well be 40 years, when your team can't seem to hit that homerun when you need it. I can't recall the actual set up in the 9th,
but for innings one, three, and seven, Rickey's whiffs and poofs made the stank of the Bronx River Avenue subway station almost fruity. The 9th was a fairy tale. I don't remember details, but you can set it up yourself. Anything will
do. Rickey's up for one last time, and those guys...drunker...continue.
"You're finished Rickey!" "Its
over!" "MARY!"
(Yeah. "Mary." I heard it. I swear. Probably, a few more "you sucks," too. I can't confirm.)
SMACK!
Rickey won the game. One of the 4 guys went
berserk. He removed his Yankees windbreaker to reveal an official Rickey Henderson, Oakland A's jersey. He was screaming and flailing so hard, he almost
spilled his 6th beer. It was tough love for the first 3
at bats. It was true love and respect in the end.
And then there's Todd Rundgren.
I think I've finally and satisfyingly made it through the "five stages" of Todd Rundgren Grief.
DENIAL: "No World Order"
This 1993 foray into electronica, rap, and interactive entertainment had its moments of pure Todd. But no matter how many faithful stabs I made at trying to embrace this music, I couldn't. I always found myself thinking, "I guess 'Bang On The Drum All Day' isn't that bad." Innovative? Maybe. Unpleasant? Most definitely.
ANGER: "The Individualist"
More rap and more frustrating. There were spectacular songs here, sabotaged again by something the man wasn't born to do. Rap.
FYI: I really don't want to hear The Beastie Boys doing Philly soul ballads either. It's not about rap, which I enjoy. It's about Todd Rundgren rapping, which I don't. BARGAINING:"Live From Daryl's House"
Two episodes of Daryl Hall's groundbreaking webcast found two old Philly
friends wearing very comfortable shoes. The result was some of the best
music either artist had produced in years. Sure, it was old material,
but it was inspired. I'd give anything to hear a new collaboration.
DEPRESSION: "reProductions"
The nadir of my hero's output. Soulless and uninspired techo-takes on
songs the man had produced for others. This might have worked with a
band and some guidance and...well...a record label that cared. I don't
blame the man so much. We work because we need to work. But I still don't like it. Actually, I don't don't like it. I hate it. Like, it really makes me miserable. That type of don't like.
ACCEPTANCE: Todd Rundgren. A Wizard. A True Star. A man that has inspired me in more ways than I could or should divulge.
Todd Rundgren is 63 years old. He has paid his dues and I'm happy that
he still makes music. Any music. The Utopia reunion shows of 2011 were a
dream come true for the late, great Moogy Klingman, not to mention so many fans. I saw two of them.
One with Moog and sadly, one without. I'm critical. And sometimes, I'm
an asshole. But like Rickey Henderson's fans at Yankee Stadium, I just
wanted what I knew was there. I just wanted to not only be reminded, but see up close and in person, why I loved Todd
Rundgren in the first place.
Then there's this:
From 9/24/11, this is Todd Rundgren with the Metropole Orkest.
40 years after its intial release, "Wailing Wall" from Todd's second album, "The Ballad Of Todd Rundgren," gets a Bacharach makeover. I'll keep to myself just what it did to me on the first listen. (Second listen, too.) It may not be perfect, but it is what it is. I think that's what is most satisfying.
I do hope Todd Rundgren happens upon something to inspire a new record of original material. 2005's "Liars" was a critical success, and a personal fave. Whatever's next, I am ready. I'm retiring from giving the man a hard time.
"You can say what you will about me
talk is cheap and I don't mind
When you lay your life down in them grooves
you know you're bound to get scratched up sometime"
30
years ago today was the date that Bruce Springsteen sat down with his
guitar, a tape recorder and a head full of things he couldn't live with
or live down. The songs he recorded that day became one of the
strangest and most powerful albums ever released by a major recording
artist-especially at that time. The album was "Nebraska" and to this day
it remains a haunting, honest, personal masterpiece. In fact, one of the titles considered for the album was "January 3, 1982".
The tapes were originally just meant as demos for the E Street Band but
it soon became clear to everyone involved that they were perfect just
the way they were.
That was written by my friend Chris Collins.I'm a day late, I know, but I wanted to get on board with this sentiment that was so masterfully expressed by Chris.
"Nebraska" was hardly the record Bruce Springsteen fans...diehards and fair-weathers alike...wanted as the follow-up to "The River." "Strange" and "powerful" were Chris's memories. Mine seem less romantic, as most of my friends after the first listen, turned "Nebraska" into Odd Job's hat. Now that we've had time to calm down and sock away the initial anger and confusion, "powerful" may be an understatement.
When I was behind the counter at my CD shop, I was "blessed" with the inability to leave at the moment someone would begin to pontificate over the importance of everyone from Sandy Denny to Martin Denny. Unless breaking through my front window and leaving a full body cut-out like a classic Looney Tunes short was an option, my only choice was to smile and nod. It came with the territory and I learned just as much as I loathed.
But the one artist that always brought out the best (read: worst) in people, was Bruce Springsteen. I had one customer who thought, "I wasn't born in Jersey. I never worked in a factory. I don't like cars," was some sort of ace-in-the-hole, when sharing his contempt for "The Boss." If you're reading this, Mr. Regular Customer who only bought Beatles' bootlegs, you're an asshole.
I wasn't born in Jersey. I've never worked in a factory. And I don't drive. I do have a heart, mind, and soul. And I love music more than I love most things. That should be enough to recognize the brilliance and power of the songwriting and performances on "Nebraska."
One last memory, though it's a recent one. A friend and I witnessed Bruce and The ESB's full performance of "The River," at Madison Square Garden in November of 2009. It was a night of "moments." But nothing seemed to hit home for either of us, the way "Atlantic City" did. You see, we didn't expect it. But we knew we wanted it, even on a night devoted to "The River."
It's not as if "Atlantic City" is a concert rarity, like say the piano-only version of "Atlantic City." But it happened to be my friend's favorite Bruce tune, while it sits in my Top 3. I had seen the ESB many times before. This night was my friend's first. The performance of "The River" in its entirety was a gift. The first encore of "Atlantic City" was a miracle.
Thanks Chris for reminding me not only that "Nebraska" is 30 years old, but that few records before and after, can say so much with so little. It's Bruce and a guitar, and sometimes that is all you need.
Well now, ev'rything dies, baby, that's a fact
But maybe ev'rything that dies someday comes back
Put your makeup on, fix your hair up pretty
And meet me tonight in Atlantic City
