Audience Participation

As per usual, I listened to a ton of music this weekend. The difference though, between this weekend and most, is that I had a difficult time focusing. I was feeling a little out of it, a bit lethargic, lazy, distracted and well, crappy.

One of the things I listened to gave me an idea for a post...except I don't remember what it was. I do remember the idea...I think. I was listening to someone famous, with a wealth of material, many hits, etc.. Could have been a band or a solo act. A song came on and I thought, "Man. This is great. I bet no one has ever heard this before, except maybe the diehards." For the life of me, I don't recall what it was.

But...let's run with this anyway.

Pick one...ONE PLEASE...song by an established singer or band that you absolutely love but you feel is completely under the radar.

I know I could just pick one myself, but I won't rest until I remember exactly what it was that triggered this.

Maybe your suggestions will jog my memory.

Songs Of The Week 5.0: 6/21-6/27

Flat Foot Flewzy- NRBQ
L.A.- Neil Young
Here I Am (Come & Take Me)- Al Green
Some Things Are Better Left Unsaid- Hall & Oates
Can You Hear The Music- Rolling Stones
The Real Thing- Tina Britt
Heartbeat- King Crimson

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Bobby Womack, 1944-2014

I woke up to this news this morning. A bit of a surprise, as Bobby had only just performed live at Bonnaroo two weeks ago.

Enjoy this small sample of his brilliant work and remember another musical giant, a true soul man, and an influence on many.

The Weekend Mix, 6/27/14

TRACKLIST

Jail Guitar Doors- The Clash
Sold Me Down The River- The Alarm
Drip Drop-Dion
Pink Cadillac- Bruce Springsteen
Let The Good Times Roll/Feel So Good- Bunny Sigler
Everybody Is A Star- Sly & The Family Stone
Wedding Day- Alex McMurray
She Blew A Good Thing- The Poets
Trouble Boys-Thin Lizzy
Ashes By Now- Rodney Crowell
Meteor Shower- Rhett Miller
Most Likely You Go Your Way- Bob Dylan
Southbound- The Allman Brothers



Every one of these songs came up in conversation this week. I mean it. Every one.

Okay, not really.  No one is talking about the Alarm, but I love this track.

I thought about "Pink Cadillac" by Bruce after hearing "Drip Drop" by Dion. And I thought of "Drip Drop" why? Because this clip...

...reminded me of it. (Just one section of it. So sue me!)

I know it all seems so random. And while it may begin with a sound bite or an iPod surprise, what ends up in the mix isn't just slapped together.

Okay, sometimes it is. Like for no reason at all, I wanted to hear "Southbound" by the Allmans. So, I just slapped it on the end.

The Poets track knocked me out. This one is new to me. I found a great Sue Record label comp on vinyl and man, every track was a killer. Tina Britt's "The Real Thing" was yesterday's Song Of the Day.' (Same album.)

A friend said this today:

"is it possible to listen to I Fought The Law without banging on one's desk to punctuate the six-gun? I think not."

I thought, I have a similar tic in not being able to NOT whistle the "do do DO do do DO" break in "Everybody Is A Star" by Sly.  So...here's Sly. And apologies in advance to those who will be whistling and banging for the next three hours.

That's your lot.

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P.S. Rocks In Your Head was a fantastic little record shop in Soho, NYC before Soho became the shithole of beautiful people it is now. You can't buy any records in Soho anymore, but you can buy a $1,900.00 pair of socks or cookies for $30 a pound. I bought the Thin Lizzy "Trouble Boys" single in Rocks In Your Head. It was a British import. $3.00

Or half a cookie.

 

The Zep Remasters: Parts 1-3

The recent campaign to upgrade the Led Zeppelin catalogue to boast improved sound and bonus material began on June 3rd, with deluxe editions of "I," "II," and "III." This is a report on those editions. You are welcome to discuss all things LZ, including the usual topics such as Jimmy Page's penchant for stealing music, how you stopped listening after 1970, Robert Plant's lyrics and ill-fitting jeans, etc.. I am here to talk about the three vinyl editions that I have listened to repeatedly over the last week. As a fan, here's what I found.

OVERALL SOUND QUALITY:

I have owned the original LPs, the first batch of CDs, U.S. CD remasters and Japanese CD remasters. Of those, the Japanese remasters from 2006, which Jimmy Page says weren't really remastered at all, sounded best. Crisp, with terrific bottom. I did not get to listen to the newly released CDs. As I said, I've been listening to the new vinyl editions, and these LPs are superb. Hands down, the best of all. So good, they knock the Japanese CDs out of the park.

When you take into account that these records are over 45 years old, the intial needle-drop will impress you even more. Big and spacious, with guitar and bass flourishes jumping out at you, while Bonham's one of a kind drumming keeps your chesting pumping, LZ's first three records have never sounded so good. To borrow a hackneyed phrase, it's like listening to this music for the very first time.

If you know this music inside and out as I do, the thrill of hearing new things--a Plant vamp, an acoustic guitar that had originally been buried in the mix, etc.--make these tried and true records all the more essential.

BONUS MATERIAL:

"I" features an oft-booted concert from the Paris Olympia in 1969. Whatever bootleg version of this legendary show you own will no longer suffice. Again, sound quality is monstrous. This is LZ, raw and alive, covering most of the first album, as well as "Heartbreaker" and "Moby Dick" from "II." This is a snapshot of a band, too big for the theatre and just 2 years away from the arena and history. Undoctored, you get a performance, warts and all, with an attack that is just as much punk rock as it is blues heavy.

"II" features rough mixes and backing tracks of all but two songs from the record. But let me be clear, unlike the usual collection of "bonus tracks" tacked on to the countless re-re-re-released versions of our favorite records, the music here is not some lo-fi sketch of what you love. In some instances, the alternate versions are better. Jimmy Page liked to overdub three, four and sometimes five different guitar parts and what makes these roughs stand out is the purity. Less is more? Well, not always. Sometimes less is less, like on the track "La La," which is nothing more than a basic instrumental rock groove that could just as well be any band from 1969. No less thrilling for fans looking for something they had never heard before, but not necessarily something you'll play a second time. Whereas, the early sketches of "Heartbreaker," with a slightly different, funkier feel and alternate solo and "Ramble On," with a little more room to discover each musician's contribution are revelations.

"III," my favorite of the three and my second favorite LZ record, is the best of the lot. Worth the price of admission alone is "Jennings Farm Blues," an electric, swaggering showcase for the band, on a song that eventually became LZ "III's" acoustic "Bron-yr-Aur Stomp." The playing is relentless. Not far behind in the running is the alternate "Since I've Been Loving You," dirtier and sexier, and like all things Zeppelin, big!

The bonus material is intelligent. Page might have opted for a few more rarities, like "Sugar Mama," a studio outtake from 1969, or even the b-side "Hey Hey! What Can I Do." But instead, created a listening experience that you can go back to. The new material is not throwaway. If you like these records at all, you will get lost in the sound, the sequencing and the nuances of the new campaign.

4-stars across the board!

Mumford & Plant

While billions, or at least millions wait patiently for Robert Plant to lose his mind and agree to a Led Zeppelin reunion, he continues to release fresh new music on his own. It may not be the testosterock Zep fans want, but there's no denying the beauty of "Raising Sand," the Grammy winning collaboration with Alison Krauss or the solid, cosmic, country-rock of  "Band Of Joy," Plant's follow-up. He may be starting to resemble Grandmama Addams, but Robert Plant's music is definitely aging gracefully.

The first single from his upcoming record "lullaby...and The Ceaseless Roar" was released yesterday and I'm speculating that like most first singles, it doesn't truly represent what's to come, or if it does, it isn't the strongest of what lies ahead.

I'm interested to see the universal response to this track. To my ears, it sounds like Bono & The Edge after a weekend with Mumford & Sons. Both U2 & M&S get trashed frequently on these pages (not by me), so I wonder if this particular track will get a thumbs up or down.

Mabon "Teenie" Hodges: 1946-2014

The Hi-Rhythm Section, along with The Motown Sound and Phil Spector's Wall Of Sound are three of the most distinctive sounds in music history. From the opening seconds of any one of the countless hits from these legendary musicians, you knew what you were listening to and whence it came. There is no doubt in my mind that producer Willie Mitchell's resume would not have been as stellar without the great "Teenie" Hodges on guitar.

"Teenie" Hodges wrote some songs, too. Along with Al Green, Hodges penned many hits for Green as well as  Hi Label artist Ann Peebles, including the two below and the Song Of The Day.

He was only 68.

Songs Of The Week 5.0: 6/14-6/20

Look-Ka Py Py- Llyod Charmers & The Hippy Boys
Fire & Brimstone- Link Wray
Elvis Presley Blues- Gillian Welch
Sew The Threads Into Your Heart- Megan Reilly
Stop Draggin' My Heart Around- Steve Nicks w/Tom Petty & The Heartbreakers
John, I'm Only Dancing- David Bowie
Who Knows Where The Time Goes- Kristina Train

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The Weekend Mix, 6/21/14

 

You were expecting songs about summer, maybe?

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Gerry Goffin, 1939-2014

If Gerry Goffin had only written the following--

Will You Love Me Tomorrow
Keep Your Hands Off My baby
I'm Into Something Good
One Fine Day
Oh No Not My baby

--that would have been enough.

But he had to go and write these--

The Locomotion
Some Kind Of Wonderful
Up On The Roof
(You Make Me Feel Like) A Natural Woman
I Can't Make It Alone
Pleasant Valley Sunday.

I had a Weekend Mix prepared, but it can wait until tomorrow.

See You Tomorrow

"WHEN HE'S 72": Paulie's Birthday Repost

 (This post originally appeared on 6/18/11. )


Somewhere in cyberspace is a nasty review of "Chaos & Creation In The Backyard," Paul McCartney's 2005, Grammy nominated release.  I know it's out there because I wrote it. It's taken some years, as well as some good-natured pressure from friends, but I'd like to say on Paul's birthday, I think "Chaos & Creation" is a work of art. I'm saying "Uncle." Thank you friends. Thank you Paul.

I'm not sure what this says about me. Had I been hoping for another "McCartney" or "Ram?" If so, "Chaos" is the closest thing to either of those wonderful early solo releases. What wasn't I hearing at the time? Was I angry with Paul? Was I still not over "Rudolph The Red-Nosed Reggae?"

This unfair dismissal of McCartney's solo work is not uncommon. My feeling though, is that most will not go back as I did. Most are satisfied with remembering "Silly Love Songs" for its relentless chorus of "I love yous" and not the beautifully layered production or killer horn arrangement.

I'd like to hand the floor over to my friend Peter Carlin. I've put together a mix for Sir Paul's birthday, and Peter immediately came to mind. I'm grateful he accepted my invitation to say a few words.

If any of the great songwriters of the rock era is a genius, then Paul McCartney is one, too.

I know, I know. 

So many half-baked albums. So many cutesy, bubble-headed exercises in What The Hell? Consider, for instance, “With a Little Luck.” Or, for the love of Jeebus, “Ebony and Ivory.” 

But that’s part of what makes the man such a fascinating artist. 

Because he also wrote “For No One.” And “Maybe I’m Amazed.” Because he really was the most sonically daring Beatle. Tape loops? That’s Paul. The orchestral orgasms in “Day in the Life”? Paul again. So you think he's a pop-happy goofball? Let’s talk about “Helter Skelter.” Or the searing guitar solos on “Taxman” and “Good Morning, Good Morning.” Or, c'mon, his blistering performance on "Long Tall Sally." That's a hurricane in a bottle, right there. 1:58 of complete fucking chaos.

I could (and often do) go on at length about the great paradox at the heart of Paul’s muse. The competing strands of old world showmanship he learned from his father (the leader of Jim Mac’s Band back in the ‘20s) and the world-ending grief he suffered when his mother died in 1956. That’s what did it. The terrible emptiness Mary McCartney left in her 14-year-old son. So he picked up his guitar and held on for dear life. Filling the emptiness with music. Turning his back on death to create the sound of life, light and, everywhere he went, a sizzling party. And guess what? That's John Lennon (and the Beatles too: : Grief refracted into the very essence of life and beauty.

Your mission -- now simplified by Sal’s labors in creating this 20-song playlist -- is to forget everything you think you know, and listen to Paul’s post-Beatle works with a truly independent ear. You’ll find plenty of bummers, for sure. I know them all, and cringe every time I hear them again. But if you don't press on you’re cheating yourself.

Download Sal’s list. Listen to it. No, really listen to it. I swear you’ll be surprised. Who knew that “Spin It On,” from the (supposedly) awful final Wings album “Back to the Egg” could rock as fast and hard as the Clash? And while the Elvis Costello collaborations (heard here in the spectacular “Back on my Feet,” a 1987 b-side to the only sort of listenable “Once Upon a Long Ago, and the duet "You Want Her Too") are truly wonderful, Paul didn’t need a Lennonesque chaperon to goad him to the far edges of his imagination.  

Check out the later albums, and listen for the often-surreal character studies. Here you’ve got the sweetly satirical “English Tea” lampooning Paul’s own strawberries and cream persona. (“A little twee/a little me...”) Then it gets weirder. “She’s Given Up Talking,” describing the odd habits of a schoolyard outcast. And, one of my favorites, “Mr. Bellamy,” in which the secretly misanthropic Paul projects his bitterness into the titular Mr B, whose attempts at solitude are undermined by reassuring, yet soul-killing assistants. 


More and more. The pitch-perfect Brian Wilson homage of 1971’s “Back Seat of My Car.” The bittersweet tribute to the fallen Lennon (“Here Today,” in which the very real tides of love, resentment, grief and outrage battle...in other words: welcome to Paul’s innermost consciousness). Also, the soaring loveliness of “On the Wings of a Nightingale” (composed for the reunited Everly Brothers in the mid-80s, and just as lovely here in Paul’s demo) and “Little Willow,” the clear-eyed portrait of maternal loss he wrote for Ringo’s kids when their mother was dying of cancer, and released in the midst of his beloved Linda McCartney’s struggle with breast cancer. 

The disease that killed his mother. That, within a year, would also kill his wife. You can hear it in his voice. The shadow is everywhere.

So you see that, even despite Paul’s own wink-and-thumbs-up public face, he and his music are far more complicated than they might appear. Listen closely and you’ll be surprised. Charmed in places, disturbed in others and, just maybe, overjoyed to realize how wrong groupthink can be. 

Sal put this list together. Now it’s ours, for free. Listen, and discuss.

TRACKLIST

Spin It On
English Tea
You Want Her Too
I'm Carrying
Mr. Bellamy
Back On My Feet
Little Willow
Little Lamb Dragonfly
Jenny Wren
Yvonne's The One
Back Seat Of My Car
Souvenir
She's Given Up Talking
What It Is
Here Today
For No One
Winter Rose/Love Awake
On The Wings Of A Nightingale
One After 909
Goodbye

BIRTHDAY ZIP 


Peter...thank you.

Please check out Peter Carlin's book "Paul McCartney: A Life" at the link below.
http://www.amazon.com/Paul-McCartney-Life-Peter-Carlin/dp/1416562109/ref=sr_1_1?s=books&ie=UTF8&qid=1308399990&sr=1-1

The New NRBQ: Brass Tacks. You Need It!

"I'm going to have a band that doesn't have fines for not wearing boots and doesn't have to play certain songs to please audiences, and can play any song it wants, whenever it wants, regardless of what that style is."

-Terry Adams


And so it goes, almost 50 years later, NRBQ, regardless of who happens to be behind leader Terry Adams, is still true to Adams' word and I for one, am grateful.

It seems like twice a year I write a post with the same sentiment.

"There is no band like NRBQ. "

And twice a year...I wish it could be twice a week...I'll see NRBQ perform and leave thinking, "This was the best show I have ever seen. Period." Until the next Q show and then that becomes the best I have ever seen.

I know there are some long time diehards who cannot get behind Terry & The Boys with the same enthusiasm they once did when The Q featured Big Al, Joey and Tommy. I am not one of them. The current lineup which features Scott Ligon on guitar, Casey McDonough on bass and Conrad Couchron on drums is every bit of everything NRBQ has been since its inception.

Tomorrow, "Brass Tacks,' the Q's 21st studio album hits and like most of NRBQ's studio releases, it doesn't stray far from the formula which has made this band like no other: brave songs filled with stellar musicianship, melody, harmony, love, humor and guts. The band is fearless, whether playing the sweet, unironic pop of "Sit In My Lap" or the beautiful Sun Ra-inspired "Places Far Away," NRBQ hits all the right buttons. There is something for everyone, always.

Go get "Brass Tacks!"

Songs Of The Week 5.0: 6/7-6/13

99 Lbs.- Ann Peebles
Someday- Concrete Blonde
She's A Mystery To Me- Roy Orbison
Everything You're Breathing For- The Parlor Mob
Night Time Girl- Modern Folk Quintet
She Laughed Loud- Merry-Go-Round
We Don't Talk Anymore- Michael Carpenter

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The Weekend Mix, 6//13/14

Jason Ankeny on AMG:

The fourth volume in the legally dubious but musically rock-solid Soul Cargo series digs much deeper into the crates than its predecessors -- the sheer volume of obscure soul singles here is astounding, and better still, is matched by the music's consistency and quality. The clear highlight is the Jewels' "Opportunity," a slinky, swaggering classic that's arguably the most sublimely soulful girl group record ever cut -- there's also the Bob & Earl perennial "Harlem Shuffle" (later covered by the Rolling Stones), and "Experiment in Terror!," a rare soul instrumental by the great Henry Mancini. But by and large, this stuff is rare and almost totally unknown -- other highlights include Clay Hammond's "Dance Little Girl," Alvin Cash's "Alvin's Boogaloo," and Donald Austin's "Pea Shooter." Unfortunately, as a result of the non-existent liner notes, there's no information on who these guys are, where their music originates, or if there's anything else to track down. Add to the equation its muffled audio, and Soul Cargo, Vol. 4 is a good compilation that, in different hands, could have been truly great -- still, for hardcore aficionados of rare grooves, it's hard to pass up. 

I have had this compilation for years and only just remembered so, as I had been looking for the Bobby Marchan track. I gave it a spin and it was just too good to keep to myself. It's rare when I post full CDs like this, but as Jason Ankeny points out, it's dubious origins made me feel okay about it.

TRACKLIST

Two In The Morning- Spooners Crowd
Must I Holler- Thomas Jano
Pigny- Billy Larkin
Pea Shooter- Donald Austin
Dance Little Girl- Clay Hammond
Follow The Leader- Willy Terry
Help Me- Ray Sharpe
I Want You To Have Everything- Lee Rogers
Comin' Home Baby- Mel Torme
Lenny Goofed- The Naturals
Moscow Twist- Lionel Torrence
Opportunity- The Jewels
Harlem Shuffle- Bob & Earl
Experiment In Terror- Henry Mancini
Hank's Groove- Hank Jacobs
Stand By Me- Spyder Turner
Alvin's Boogaloo- Alvin Cash
Ain't No Reason For Girls- Bobby Marchan
Soul Samba- Davy Jones
Billy's Bag- Billy Preston

Get it while it's hot!

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Four Pop Tunes That You Should Not Take For Granted

And yes, they are all by the Mamas & The Papas.

There is so much going on here, from the chord changes on the third line of each verse in "Twelve Thirty," to the backing vocal arrangement on "I Saw Her Again," to the harmonies on "Dedicated To The One I Love" and the heartbreak melody of "Look Through My Window." This was not just another pop group from the 60's.

Why do I bring this up now? Because I've been listening to them for a few weeks now and what I've been hearing and discovering has at times left me breathless.

We hear this music so often--oldies stations, commercials, movies about the 60s, Starbucks--it's easy to sock it all away and just be comfortable knowing the Mamas & The Papas existed, without ever once thinking they belong on a list with the obvious big names from that era.

I think they do.

My friend often cites "Aretha's Gold" and "Meaty, Beaty, Big & Bouncy" as two of his favorite records of all time. They may be hits compilations, but pound for pound make up two of the most solid listening events you will experience. I'd like to add "Farewell To The First Golden Era" to that short list.

Chasing Jules Shear: The Documentary

I have been a fan of Jules Shear since the day I received the Jules & The Polar Bears album "Got No Breeding" as a bonus with my subscription to Creem Magazine.  I can't say enough about his songwriting, its depth and emotion and its warmth and humor.

I've met Jules a number of times and though our conversations have been brief, he has always been engaging. I've seen him perform a half dozen or so times, and though the music has been great, his stories before and after his songs have been greater. The man is the perfect subject for a documentary.


Please take a look at the clip and check out this link to help get Chasing Jules made.

New From The Parlor Mob

I caught the Parlor Mob play the very compact Mercury Lounge back in 2008, as an opener for The London Souls. There weren't too many in the room but a few minutes into the first song, it felt as if I was in Madison Square Garden circa 1975.

This band was gargantuan in every way. Their riffs, their attack, their drum sound. Everything reminded me of all the bands I loved and missed- Led Zeppelin, Thin Lizzy, Black Sabbath. They pulled it off.

I bought the full length debut and was not disappointed. Today's Song Of The Day is from that first LP. Following their second effort, 2011's "Dogs," the New Jersey band took a break after relentlessly touring and now new music surfaces after a three year wait. Check it out.

The new record, "Cry Wolf" gets released this fall. Catch them if you can.

Tour Dates:
8/30 – Asbury Park, NJ @ Stone Pony
9/04 – Philadelphia, PA @ Theatre of Living Arts
9/11 – New York, NY @ Gramercy Theater
9/18 – Boston, MA @ TT the Bears

The First and Last Of July

 Wikipedia sez--

"July were a psychedelic rock band from Ealing, London that were professionally active between 1968 and 1969.^[1] The band's music was a blend of psychedelic rock and pop, marked by lush harmonies, acoustic guitars, keyboards, and intricate lead guitar work.^[1][2] Although none of the band's records managed to chart in the UK or the U.S., July are today best remembered for their songs "My Clown", "Dandelion Seeds", and "The Way", which have all been included on a number of compilation albums over the years."




If it wasn't for a Record Store Day conversation with my friend Sal Maida, I may have never heard this music. A limited edition, MONO pressing of July's one and only release was at the top of Maida's RSD want list and I had to ask, "Should I know who July is?" He replied, "It's one of my favorite psych records of all time." That's all I needed to know. So I tracked down this baby, and have been spinning it relentlessly for weeks.

This may not be everyone's cup of tea. One of the two singles, "Dandelion Seeds" is up top and the full LP is below. July sounds like early Pink Floyd at times, or more specifically, like Syd Barrett if he had a bit more focus. There's a lot going on here, at times maybe too much, but it grabbed me and still hasn't let go.

Songs Of The Week 5.0: 5/31-6/6

777-9311- The Time
Choux Pastry Heart- Corinne Bailey Rae
Beautiful Stranger- Jon Auer
Until You Came Along- Golden Smog
Rock & Roll Queen- Mott The Hoople
Weed Bus -The Stairs
Handa Wanda- The Wild Magnolias

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The Weekend Mix, 6/6/14

 

Once again, the Weekend Mix has no theme, other than a bunch of tunes that I've been listening to and throwing into a folder with the sole intention of creating a playlist for you.

Some songs will be familiar and some will not. I do love how tracks 2-5 sound together, as well as the run from 12-16. Maybe you'll dig it all. 

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Oh Yes, She's the Great Pretender

There are few as cool, or for that matter, if I may, as hot. And now she is back, finally, with new music.

It may seem like forever since the last Pretender dropped a new record, but that may only be due to your unfamiliarity with the last three Pretenders records.

1999's "Viva el Amor!," 2002's "Loose Screw" and 2008's "Break Up The Concrete," Pretenders records in name only, play some of Hynde's finest songs, with "Concrete" rocking fast, hard and raw. Yet, they came and went like a McLean Stevenson sitcom. Though I bet more people watched "Hello Larry" than heard 2010's "Fidelity," a terrific record under the clumsy JP, Chrissie & the Fairground Boys moniker. So really, Miss Hynde has been making solid music for the last 15 years and still "Stockholm" feels like a comeback.

Chrissie Hynde sounds exactly like Chrissie Hynde on "Stockholm" and this is a good thing. What this new record offers is a little over a half hour of strong, soulful, pop music. Guitars play second fiddle to biggish production reminiscent of those great 80's Brit Pop singles, but warmer, subtler.

The opener is a killer, "You Or No One," a hook-laden ballad with nods to Phil Spector and Dusty Springfield. The single "Dark Sunglasses," only 2 months old, has already gotten better with age. By the time I got to "House Of Cards," eight songs in, I was still listening with enthusiasm, though admittedly, the pacing and tempo does not change very much. Nothing here comes close to rocking like "Tattooed Love Boys," and why should it? That was many moons ago, a much different Chrissie Hynde. But actually, nothing really comes close to rocking as much as even the title track from "Break Up The Concrete." That was only 6 years ago. This is something you will notice. I sure did.

I like "Stockholm." I'm glad it is what it is. I'm just worried it may not have legs.

Tres Bulldog

From AMG:

Fanny Hill is the work of a rock & roll band which goes beyond gender and should have been as popular as it is classic. Beginning with "Ain't That Peculiar," the 1965 Top Ten hit for Marvin Gaye, June Millington's slide guitar is augmented by Bobby Keys' baritone sax creating an entirely new sound for the Motown standard. Recorded at Abbey Studios in London, Fanny cleverly use the Beatles' facility and the Rolling Stones' horn players, an excellent combination. 

Nickey Barclay's "Knock on My Door" creates a subtle mood; however, the gals can't seem to wait to explode again with "Blind Alley." Jean Millington's "Wonderful Feeling" is very strong, with the musicians weaving textures here as they do on sister June Millington's "Think About the Children." Nickey Barclay's keyboards have that elegant "Low Spark of High-Heeled Boys" sound that Steve Winwood was so enamored of. It is perfect here, with Richard Perry keeping the instruments in their own space, gaining insight into what he would do with the Pointer Sisters years after this album, the density of "You're So Vain" and "Photograph," the producer's neo-Phil Spector radio hits, not employed on Fanny Hill.

Perry wisely lets Fanny provide the sound -- as they do so well on one of the finest covers in Beatles history, their definitive version of "Hey Bulldog."

Really? Think he meant definitive "cover" version?

I hadn't heard this album in years, probably not since Rhino released that limited edition Fanny set in 2002, and back then, not since the mid-70s. I revisited the LP yesterday, wanting to feel what AMG reviewer Joe Viglione felt.  I did not. Not even close. What is he hearing that is so definitive in their version of "Hey Bulldog?"

Maybe he never heard this version.

Or this, which is I think is the definitive version.

 

Records, Recovery and Raindrop

Saturday's record fair was a huge success. But it is now 36 hours later and I am still hobbling around like a new born calf.

I did meet a nice Australian feller by the name Miles Devine. He was thrilled to see I had an original copy of The Zombies "Odessey & Oracle" which he snapped up immediately. My friend Peter who was helping me out, offered him another record for free since The Zombies was a bit pricey. (Note to self: have a talk with Peter, re: giving away my records.) This gesture made Miles even happier, so in return he gave us a copy of his E.P., Raindrop.

Raindrop is four tracks of psychedelic pop, that occasionally drifts into proggy territory. I'm really digging it. Check out "It Goes Off."