The Weekend Mix, 1/31/14

"It sounds good all together."

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YOU Can Be A Producer! Yes, YOU!

I was in a short-lived power pop band in 1989. Mostly originals written by the guitar player and a few covers. I can't remember anything about that band except this:

Me and the guitarist both agreed that "I Heard A Rumour" by Bananarama was a fantastic pop song and had a real chance of true credibility if made over. We decided to slow the tempo down. Think John Waite's "Missing You" for pace. We had Dwight Twilley's "I'm On Fire" in mind for a guitar sound. A nice, solid Ringo drum feel. And for the hell of it, we added some call & answer backing vocals that overlapped on the chorus, something like--

"I heard a rumour (YOU HEARD A RUMOUR)/they said you had a broken heart/BROOOO-KEN HAAAART"

Anyway, we worked this out and it went over like gangbusters at our one and only gig.

I thought about all of this the other night in the wake of the Grammy Awards, how even pop music and dance music and disco and so many other bad rap genres, as well as rap, used to be so much better.

But that's not really why I am here.

I have this fantasy that someone reading this blog will see this post and say to his bandmates, "Wow! Sal has this great idea for a Bananarama cover." They demo it and it's great, just like me and the guitarist pictured it in 1989. Of course, the fantasy will also include a producer credit for me, more work in the future, and lots of royalty checks. But one thing at a time.

And also...

Can you think of a song that you like, but ultimately hear in a different way?

Croz At The Winery

I hadn't heard a note of David Crosby's new record "Croz" before last night's performance at City Winery. I knew he was playing it head to tail in the first set and I thought, if I listened to it and didn't like it, I'd probably not go to the show at all. (Doesn't take much for me.)

A full band featuring the great Shane Fontayne on guitar and Crosby's son Jeff Raymond on keys and other things, sounded good not great on a very mixed collection of new songs. Actually, the first five or six tunes were very strong. Crosby looked good, or at least as good as someone who looks like David Crosby could look and his voice and guitar playing was much better than I expected. The material from "Croz" was what I had hoped it would be with songs and arrangements bringing to mind the exact records that had brought me there, "Deja Vu" and "If I Could Only Remember My Name."

 The opener "What's Broken," and a hit if I ever heard one, "Radio," were particular faves. The second half of the new record, to quote Neil Young, "fizzled out altogether," with one song in particular, "If She Called," a cringeworthy solo ballad about "working girls," with lyrics about semen, that made me rethink my original criticism of "Triad." This one was so much worse, sung in that smug Crosby way that even the throngs of Crosby lookalikes in the audience seemed to be squirming in their seats.

(Seriously, what's with styling yourself after this guy? It was like some hippie version of "The Boys From Brazil" in that club.)







The first ended with Croz declaring, "After a short break, we're coming back and I promise you will know every song."

WRONG!

My fantasy of a Byrds set felt like a reality when the second set began with a killer "Eight Miles High." But then, a couple too many CPR tunes, a soulless "Long Time Gone" and a weak reading of "Guinnevere" and I was taken out of the game.

Setlist is below.

Overall, a disappointing night.

I made a joke to some friends that I was going to see David Crosby even though he told me to fuck off in my own shop. Here's that story, originally posted a few years ago.

Pete Seeger, 1919- 2014

Folk music, one of the earliest forms of music, was one of the very last musical styles I understood. Not literally, of course. I just wasn't able to actively listen for pleasure the way I would listen to everything else. Then something changed as I got older and once I had the ability and the sense and the understanding, folk music became as important to me as breathing.

If you asked me when I was 18 years old to give a listen to The Weavers or the Kingston Trio or  Woody Guthrie, I might have laughed in your face. Even when I listened to Dylan, it was only electric Dylan. I was more interested in sound than words. It all changed for me when I realized that so many of the artists I had been listening to from The Beatles and Led Zeppelin and Bruce Springsteen, had all been influenced in some form by folk music.

Pete Seeger was a giant. A true hero.

I admit that even now I may reach for a Bruce Springsteen version of a Pete Seeger song before an actual Pete Seeger record. But I became more enriched, wiser, when I finally let artists like Phil Ochs and Judy Collins and Woody and especially Pete Seeger into my life.

Older, But Not Old.

At 8:00 on Sunday evening, I turned on the television and with the mindset of someone going to a tedious, soulbreaking, underpaid job, I watched the Grammy Awards...until 8:02, when all of 40 seconds of Beyonce's "act" made me both angry and sick to my stomach.

Impatient and tired, I alternated between a 1600th showing of "Mean Girls" on the Showtime "Mean Girls" channel, a poorly played NBA game and, when my curiousity could no longer contain itself, back to the Grammy Awards wanting to see what Paul & Ringo had in store.

The random Grammy moments I stumbled upon were as follows:

•Pink and her Flying Wallenda act

•Ringo singing "Photograph" with Peter Frampton.

•Jamie "Your 15 Minutes Were Up 400 Minutes Ago" Foxx and his smug (read:terrible) English accent following Ringo.

•The last 30 seconds of Kacey Musgraves whistling.

•Julia Roberts introducing The Twotles

Grand total of minutes watched: 9

But the single most annoying bit of tid was LL Cool J's pronouncement:

"NOW! FOR THE FIRST TIME EVER...ANYWHERE...KENDRICK LAMAR AND THE MAGIC DRAGONS!"

My jaw dropped so hard, my neighbor below banged back. Cool James delivered the intro with the type of enthusiasm one usually reserves for walks on the moon, crying holy icons in remote Greek villages or I don't know...rock royalty like The Beatles, The Who, and Bruce Springsteen.

 "Who am I," I thought.

While I am not so naive as to think that this yearly spectacle is geared towards people my age or older, I do take offense when anyone refers to me and my friends as "old," as if that is the exact reason none of us find anything worthwhile with the current crop of "artists."

And the next person who uses either of the following phrases "Hey you, get off my lawn" or "Mr. Crankypants" when I say I don't like Robin Thicke, I'm going to slap you with a Kanye West 12".

Now, excuse me while I listen to "Rubber Soul" one more time.

Songs Of The Week 4.0: 1/18-1/24

Joan Crawford- Blue Oyster Cult
Too Soon Gone- The Band
Last Goodbye- Jeff Buckley
Star- Stealers Wheel
Come Pick Me Up- Ryan Adams
I'm Mandy Fly Me- 10cc
Sorry Willie- Roger Miller

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The Weekend Mix, 1/24/14

"It sounds good all together!"

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When Worlds Collide

I'd like to conclude Roy Wood Appreciation Week with The Move covering Todd Rundgren.

Go figure.

And Then Along Came Jeff

Here is yet another gem from the vaults. I've actually had this sitting in iTunes for awhile, I just wasn't aware of it. I acquired about 5 hours of Move/Roy/ELO rarities some time ago, mostly BBC related, and just never went through it all. But thanks to the Roy book....

According to the book, "Falling Forever" was a Jeff Lynne track written and recorded for "Looking On" (or was it "Message From The Country?" I forgot already), but didn't quite feel right at the time. If a studio version exists, I can't find it. But this version from the BBC is pretty damn good for now.

Two For Tuesday: Roy Wood Day, Part 2

I'll need to get it all out of my system, so today we'll extend "Roy Wood Appreciation Day" with two tracks from 1979's grossly underrated "On The Road Again." This was the follow-up to one of the most bizarro records of Roy's career, "Super Active Wizzo," a collection of over-produced (even by Roy's standards) jazz-oriented, rock and roll that at times resembles a cacophony of playing two unrelated records at the very same time and still, I don't mind it. "On The Road Again" is back to basics (by Roy's standards) and features some of his sweetest melodies.


The track up top, "Jimmy Lad" well...it simply kills me.


The track below, "Keep Your Hands On The Wheel" was the single and for good reason. Infectious from the initial needle-drop, a melody to die for on the verses and drumming by none other than John "Bonzo" Bonham.

(h/t hpunch)

(Jeff McK--did you see my e-mail?)

Why Didn't I Get The Memo On Caroline?

I have been reading a slight Kindle-only book on Roy Wood that feels less like a proper bio and more like a lengthy Mojo article. That is not a criticism. There is something refreshing about seeing the birth of a rock star and the break-up of his first band all happen before page 15, when most tomes would still be discussing the subject's parents by page 120.

Originally written for a fanzine, John Van der Kiste's article was expanded 20 years after it began and if you're a fan of The Move and Roy, I recommend this very entertaining read, if only for the gems of information, like...









That Grunt Futtock, the band whose one-off single I posted last week features Roy, Steve Marriott, Peter Frampton and Andy Bown.

or...

Did you know that "Dance Around The Maypole" by Acid Gallery, a track featured on Rhino's U.K. "Nuggets" box is Roy and The Tremeloes?

or...

Members of Acid Gallery went on to form Christie, the band with the huge U.S. hit "Yellow River?"

My favorite find so far is today's featured single. You may or may not remember "Jesamine," a number two hit for The Casuals. But I certainly had never heard a note of "Caroline," a song written  and produced for The Casuals by Roy Wood.

I've been listening to "Caroline" on repeat for most of the weekend. It falls somewhere between late Move and early Wizzard, I think.  And holy moly, what a chorus.



 "CAROLINE"

Songs Of The Week 4.0: 1/10-1/17

Just Like Fire Would- The Saints
Sleep Comes Down- Psychedelic Furs
Out Of My Head 20/20
Passing The Time- Cream
Two Different Things- Caitlin Cary & Thad Cockrell
Tonight- The Move
There's A Love- The Del-Rios

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The Weekend Mix, 1/17/14

"It sounds good all together!"

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The Un-Social Network

On any night, there could be as many as twenty of us scattered across the various stoops and car hoods along the block. We each had a favorite guitar player. For many of us it was Jimmy Page. For some, it was Tony Iommi. A few even chose Alex Lifeson of Rush. Some of the older guys had Eric Clapton and one prayed at the altar of Ritchie Blackmore.

On any night, there would be shouting matches filled with profanity-laced insults where everyone's mother was fair game simply because you liked Jimmy Page more than Tony Iommi. It would get ugly as the angry voices of naive teenagers would echo for blocks.

At the close of every business day though, we all went home and then the next morning these same screaming idiots could be seen choosing up sides for a game of touch football or street hockey. We were friends and even if we weren't aware of it, we respected each other. We knew each other's enemies and looked out for one another. There were no "like" buttons. Or, "blocking." The news feed was the corner. There were no moles...

...like on Facebook.

I've tried to embrace Facebook from various points of view since I first signed up and it just won't take.

I was thinking about Burning Wood and how faceless names like Dogbreath and A Walk In The Woods and Peabody Nobis and Iggy have treated me and the words I write, as well as the other people of this online community with love and respect. This is a real social network. Conversely, people I know, people I have touched and slapped and kissed and danced with, are incredibly careless with their words on Facebook. Is it really a social network? It feels more like millions of individuals fighting for airtime and God help you if you get in the way.

I posted something last night, a picture of a local bar, a legendary NYC establishment of my old neighborhood called Miladys, that unexpectedly shut its doors on Sunday night after 70 years. There have been many posts about it, but the reason I decided to post something was because of what my friend Ivan said.

"Miladys lost its lease. Another one gone. Two hipsters walked by and asked me what happened. I said, You."

This broke me up. I laughed out loud, loving the line so much, I was saying it out loud. I quoted Ivan in the post and it took all but 90 seconds for the "likes" and comments. Then, moments later, I hated Facebook all over again. Here's one comment, "Miladys scummy landlord is a hipster? Weird." This was posted by an ex-employee of mine, a glib and entitled guy who is still bitter from being fired. All of his comments, though few and far between, are usually of this nature, leaving me to wonder why he requested my friendship in the first place.

Another comment was, "Hate the game, not the player." Yet another started, "Be nice, Sal.." Suddenly, my little moment of joy, the space I used to mourn the loss of another piece of my past, became a wall for hipster-sympathizers? Did they not get the point of the post? Did they not see the quotes or Ivan's name below the quote?

Of course this might seem like an overreaction on my part, but it becomes more clear everyday. At the greatest moment of my life, I never had 348 "friends." Facebook is quantity over quality. There was more respect from a group of sexless, lanky teenagers with acne on a street corner. There is more respect from the countless comments left on these pages by strangers who feel more like friends, even though we've never met.

Funny, one of the other two comments I just posted was from a real friend. Someone I love and respect and yet, he seems to get great joy at pushing my buttons. I didn't care for that when I was 16. I'm thrilled even less by it now. 

Are the examples I just gave reasonable examples to lose my cool, or completely shun an entire network or all of the 348 "friends?" Probably not. But there's always a last straw. And those who are my friends know it. I know it.

I think about Burning Wood and the many disagreements over what is good or bad musically, and with the exception of the occasional troll, it has been a blast, a learning experience, something fun that I keep returning to. As do all of you. Even when you find the time to insult Todd Rundgren or me for liking Todd Rundgren, it never feels like you don't want me here, or more importantly, it feels like you're paying attention.

In a twist on Groucho's quote, "I wouldn't want to belong to a club that would have me as a member," why be part of a club like Facebook where most don't give a shit if you're a member or not?

Monday Morning Mystery Band

I shouldn't presume that you will be as surprised by this as I was. For all I know, Grunt Futtock has been rotating on your stereos for years. But, thanks to a recent tip from my pal and occasional contributor John Dunbar, this gem (?) is no longer under my radar. Honestly, I had no idea...

Can I trust you to not look it up and find out who the members of Grunt Futtock are? At least for a few minutes?

The record label is a nice hint, by the way.

Songs Of The Week: Special Edition

The Momur- Adrian Belew
April In Paris- Thad Jones
Chapter 24- Pink Floyd
Out In The Country- Three Dog Night
The Trip- Donovan
Unwanted Number- For Real
Shilo- Neil Diamond

The Everly Brothers Set

Gone, Gone, Gone
Green River
Money
The Story Of Me
Bowling Green
Always Drive A Cadillac
Abandoned Love

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"MSG: 2/12/75" : THE WEEKEND MIX

This is a rarity for Burning Wood for a number of reasons. I'll give you two.

1. This band was never internet friendly, though with the recent Spotify rollout of their catalogue, maybe they've warmed up a bit.

2. It's a 3 hour live show from one band, not exactly a "mix" for the weekend.

But this is so good and you just might not have heard it before.

So in keeping with yesterday's celebration of all things Jimmy...



Disc 1
01. Rock And Roll
02. Sick Again
03. Over The Hills And Far Away
04. In My Time Of Dying
05. The Song Remains The Same
06. The Rain Song
07. Kashmir
Disc 2
01. No Quarter
02. Trampled Underfoot
03. Moby Dick
Disc 3
01. Dazed And Confused (incl. San Francisco)
02. Stairway To Heaven
03. Whole Lotta Love
04. Black Dog
05. Heartbreaker (incl. That Alright Mama)


D1&2

D3

70 Years YOUNG!

Led Zeppelin did not suck. They did not become and remain larger than life because they sucked. Many artists did, so it is possible. Led Zeppelin is not one of them.

I'm hoping, at least for today on Jimmy Page's birthday, we can refrain from pointing out his shortcomings. Jake Holmes, Davy Graham, and Bert Jansch fans, please understand. Today, please take ten and get lost in this relentlessly badass groove from 1975, a prime example of Led Zeppelin at their live peak.

Funny, it's Page's birthday and I found myself completely oblivious to any guitar in this video, as I could not focus on anything else but Jonesy and Bonham. I had to play it twice to be sure Jimmy was on fire. I think I made the right choice. (But jeez, what a rhythm section!)

67 Years YOUNG!

This song belongs to Earl Slick as much as it does to today's birthday boy, David Bowie. Every version of this tune, since the first time I heard it in 1976 on "Station To Station," has become my favorite. The live version from the "Thin White Duke" tour? My favorite. The version from the "Stage" album with Adrian Belew on guitar? My favorite. Dinah Shore show? Favorite.


But this one, from 2000, this one is my favorite.

Music For A Polar Vortex, Or How I Learned To Stop Worrying About The Weather And Just Listen To Records

Man, it's so cold out there, hitchhikers are holding up pictures of thumbs!"

I discovered Amazing Blondel a couple of years ago when a good number of their LPs turned up in a large collection of vinyl I had purchased. I had seen the name for years but had never heard a note.

Here is the headline from their All Music biography:

"A progressive rock trio with material from pre-19th century madrigals and chamber music, played using medieval or Elizabethan instruments."

The first few records might be exactly as described, I just can't recall as I had sold them all before sampling. But I still own 1973's "Blondel," which is reviewed briefly by Bruce Eder like this:

"The group -- reduced to a duo -- in its swan song for Island Records. The album lacks the panache of their previous albums, although it also has a smoothness that makes each track a very easy listen, and the antique sensibilities are beginning to give away to more modern songwriting techniques."

I can't agree that this LP lacks the panache of previous work as I have nothing at the moment to compare it to. But I did listen to this LP twice yesterday. It's not quite as adventurous as Fairport Convention or even Strawbs, for that matter, but there are moments that evoke both. I was also struck by how much the lead vocalist, either Eddie Baird or Terry Wincott, not sure which, sounds like Brendan Benson.

There are some truly beautiful moments on this record and now, of course, I am interested in the earlier, better-reviewed LPs that I had sold two years ago.

Reunions, Records and More For 2014

Kevin M. asks in the chat box, "What are you looking forward to in 2014?"

I'm not sure there's anything I'm "looking forward to." Many of 2014's great possibilities like a Kinks reunion or a David Bowie tour for starters, can just as easily be horror shows with either limited ticket availablity or price gouging. I'd like to begin the new year on a positive note, but since the average ticket price for a legend these days hovers between $150-$300, the very things I wish to come true will most likely be inaccessible.

But Kevin M. also points out that when he asked me last year, I said I was hoping for new David Bowie music and a week later, like magic, there was, so...

1. I'd like to see a proper Todd Rundgren record. One where he acts his age, uses a band instead of a laptop, and embraces his talents as a vocalist and songwriter. That Daryl Hall & Todd Rundgren record will probably never happen, but before it's too late, something/anything from Rundgren to remind me why I love the guy in the first place would be a real treat for 2014.

2. With all the talk about vinyl, its "comeback," the "warm sound," and the seemingly endless appearance of record stores in hipster Brooklyn, I'd like to see new vinyl come down in price and go up in quality. With the exception of a few releases from some majors, newly purchased vinyl is, quite frankly, CRAP! All these labels that boast about their product should really get on top of their quality control.

I have LPs from the 50's through the 70's, that play and sound better with scuffs and needlemarks than most of this 180gram nonsense that is being released.  It cost $28 for a copy of "Elvis & The Roots" LP. The record comes out of a sealed jacket with scuffs and marks. Records right out of the box skip, have skidmarks, jump, have static. Nevermind the packaging.

There are exceptions, like the new Brendan Benson on Readymade. This is a beautiful gatefold with a thick color booklet like the old days and fantastic sound for $19.99. But generally, new vinyl is simply garbage. Don't believe me? Go to "Rough Trade" and buy the new reissue of Nick Lowe's "Labour Of Lust" for $20. Then buy an original, which can be found for as little as $5. Compare. It's night and day, with the cheap original winning by a mile.

3. Still waiting for that new Bill Withers record.

4. The Jimmy Page remasters can be a wonderful thing. It's been a long time since the last Led Zeppelin upgrade, and these new editions will include bonus discs with additional material.

5. I'm looking forward to some anonymous philanthropist sending me a vinyl copy of The Zombies' "Odessey & Oracle" in MONO.

6. Hey, MOTT THE HOOPLE! Bring your reunion to NYC!

If The Kinks do reunite for a tour, I do hope Ray & Dave think about the long-suffering fans and create a setlist that doesn't just pander to an arena crowd. For every 10 minute "AAAAY---YOOOO" there could be three songs from "Face To Face."

How about you? What are you looking forward to, or if you wish, what are you dreading in 2014?

Phil Everly, R.I.P.

I don't usually do the obituary. I didn't do one for Levon Helm and heard it from some readers. I didn't do it for Lou Reed and heard it from one reader a number of times. I was a fan of Levon Helm. I appreciated Lou Reed. But the Everly Brothers...well...we go back.

I'm still not comfortable with this, the words of tribute, but this loss is huge, not just for me and what Phil and Don meant personally, but to the world of music.

From their earliest recordings...one of the first records I owned... to their most recent, it was all incredible. Quality and class. Influential. Impeccable harmony, at least in song.

Phil Everly.

Ice, Ice Baby

Blizzard conditions here in the Northeast. Internet service not quite up and running. More like up and limping. Stay tuned for your Weekend Mix. Just waiting for a bit of a defrost. Until then...

It's For You...Times Three

Of all the songs Lennon & McCartney had given away, Cilla Black's hit "It's For You" was never a favorite. I don't dislike the song as much as I dislike the grating, Shirley Bassey delivery of Black. I haven't thought about this tune in...well...maybe ever, really.

Then last week, my friend Bob calls to gush over a new discovery, the debut LP from Three Dog Night. We volleyed for 15 minutes. "Yeah, the hits were great." "Well, not Joy To The World." "Yeah, Black & White kinda sucks, too." "But have you heard the first album?" "Not really." "Oh boy! Check out 'It's For You.'"

Bob still can't believe, or more accurately recognize this tune as a Lennon/McCartney composition. But more to the point, I'm thinking Three Dog Night may have lost some serious street cred thanks to a few of their hokey hits. And while the 1969 debut, also known as "One" is a bit uneven, the choice of covers which include The Band's "Chest Fever," Neil Young's "The Loner," Traffic's "Heaven Is In Your Mind," as well as a version of Johnny "Guitar" Watson and Larry Williams hit with Kaleidoscope "Nobody," are solid and make this record worthy of repeated spins.

It should also be noted that Danny Hutton, Chuck Negron and Cory Wells were backed by the same four musicians for most of their career. Three Dog Night were indeed a band.

Here are three versions of "It's For You."  Cilla Black's original. Three Dog Night's cover. And The Beatnix, an Australian Beatles tribute band, whose 1998 release "It's Four You," covers all of the Lennon/McCartney tracks that were never recorded by The Beatles.