Since I've already waxed soppy for Christmas, I'll keep this brief.
I didn't always have New Year's Eve soundtracked in my head. For a long time, it was anything goes as long as it was loud. But then one year, none of that mattered anymore. It became, anything goes, as long as it wasn't loud. Since then, that soundtrack has been mostly the same. These songs represent that vibe, that soundtrack. This is what New Year's Eve has sounded like to me for many years now.
I have an opening act and a headliner. The latter is to be played when the party is over, when it's quiet and maybe you've had one too many...or possibly one too few. Think of those scenes in Tony's after hours joint in "Mean Streets." I've borrowed a few tunes and a few vibes from those scenes. I am quite sure I've shared variants of these mixes before. These are the 2020 versions. The vibe seems to remain the same.
I hope you enjoy the music half as much as I enjoyed putting it all together.
Peace & love to you all.
Health & happiness.
Something's gotta give, no? We're waiting...
There are Spotify playlists, as well, for those who prefer to stream. They differ slightly because...Spotify.
Happy New Year. See you on the other side.
WAITING FOR THE BALL TO DROP Get Down With It- Little Richard Long Tall Sally- The Beatles Bread & Butter- The Newbeats Heaven & Hell- The Easybeats The Baby Sitter- Betty Wright Non Support- Ironing Board Sam Trick Or Treat- Otis Redding Do I Make Myself Clear- Etta James & Sugar Pie DeSanto A Knife & A Fork- Kip Anderson Honky Tonk- Bobby "Blue" Bland I'm Your Bread Maker- Slim Harpo Mini-Skirt Minnie- Wilson Pickett Surprise Surprise- Rolling Stones Club Nitty Gritty- Chuck Berry Free Salute- Little Barrie Uptown- The Chambers Brothers Tell Me What's On Your Mind- Cyril Neville If Sugar Was As Sweet As You- Joe Tex X-Temporaneous Boogie- Camille Howard Tin Tin Deo- James Moody Day Dreaming- Bernard "Pretty" Purdie WPLJ- The Four Deuces Ice Cream Man- John Brim Joy- Lucinda Williams (What's So Funny 'Bout) PLU- Elvis Costello
AFTER THE BALL DROPS I Only Have Eyes For You- The Flamingos Crying In The Chapel- The Orioles Sally Go Round The Roses- The Jaynettes Look In My Eyes- The Chantels The Gypsy- The Ink Spots Tears On My Pillow- Little Anthony & The Imperials Bad Boy- The Jive Bombers I Need You- The Wailers I Sold My Heart To The Junkman- The Starlets Don't Ask Me To Be Lonely- The Dubs Trickle Trickle- The Videos You- The Aquatones Wino Blues- Floyd Dixon A Casual Look- The Six Teens A Sunday Kind Of Love- The Harptones You'll Lose A Good Thing- Barbara Lynn Angel Baby- Rosie & The Originals Since I Fell For You- Lenny Welch Moody's Mood For Love- King Pleasure My One & Only Love- Grant Green Ruler Of My Heart- Irma Thomas I Walk In My Sleep- Berna-Dean Since I Don't Have You- The Skyliners Angel Eyes- James Booker One For My Baby- Frank Sinatra
For those of you who might have unzipped the file already, I mislabelled the Royal Jesters version as Johnny Gustafson's and omitted the Gustafson altogether. I've reupped the corrected tracklist and zip.
Sorry for the inconvenience.
ORIGINAL POST:
Well, it's not as if anything else is going on.
I found more than a few more, including one in Italian and a couple of Merseybeat versions that change up the chords slightly and give the song a different feel. Pretty...pretty cool.
If you find any others, send along a YouTube link. I know there is a Linda Lewis version, but couldn't find it on YouTube.
Take Me For A Little While:
Trade Martin The Lovables Evie Sands Fire & Rain Cher The Deakins Dusty Springfield The Royal Jesters Johnny Gustafson Maurizio Jackie Ross The Koobas The Mirettes Patti Labelle & the Bluebells Stevie Lewis Dave Edmunds Vanilla Fudge
I woke up obsessed with this song. Written by Trade Martin, covered by many, I first heard "Take Me For A Little While" by the Vanilla Fugde, then again by Dusty Springfield, Cher and Dave Edmunds. I believe the original recording was by Evie Sands, but I'm not really sure. There is a Trade Martin version from 1967, which is two years later than Sands version. The song is hard to ruin. Might need to start collecting all the versions I could find like I do with "Sunny."
Back in ye olde shoppe days of NYCD, I'd make a couple or three dozen Christmas mixes every holiday season to give away to friends and to the nice but never naughty customers. The mixes were far from traditional, as I'd not only like to mix it up to keep things fresh musically, but I always felt a song could feel a little "Christmas-ish" without it necessarily being a Christmas song. Sometimes, I just felt like including a song whether it felt "Christmas-ish" or not, because you see, I'm reminded of a....
ANYWAY... (yawn- THUD)
I've expanded the Songs Of The Week mix into something you might like to listen to over the next few days.
I hope you dig it.
Merry-ish Christmas. It's almost over.
I've included a Spotify version for those who prefer to stream. It differs slightly because...Spotify.
TRACKLIST Little Drummer Boy- Ellis & Jason Marsalis The Skaters Waltz- Roland Kirk Child's Christmas In Wales- John Cale Give Me A Second Chance- Mike Viola & The Candy Butchers Marshmallow World- Los Straitjackets Christmas In Jail- The Youngsters Can't Find My Way Home- Blind Faith Tell It Like It Is- The Dirty Dozen Brass Band A Weary Silent Night- Earl King I Want You To Want Me- The Holmes Brothers Water From An Ancient Well- Stanton Moore The Christmas Party- The Goo Goo Dolls featuring The Union Square 5 Blackberry Winter- Keith Jarrett Shelly's Winter Love- Merle Haggard Nothing Doing- The John Sally Ride Christmas In Suburbia- Martin Newell A Merry Jingle- The Greedies Do You Hear What I Hear- Spiraling Merry Christmas Baby- Charles Brown Old Fashioned Christmas- Duke Pearson
I have a friend who listens to Christmas music all year round, or so he claims. I do love Christmas music, though I prefer the emotions it would stir up when I was a kid, a time when all I really had to do was tear open gifts. The older I got, the less I appreciated Christmas for the "It's A Wonderful Life" or even the Kramden/Norton moments of the holiday season, and instead focused more on the undue pressures and disappointments that seemed to accompany holidays. The carols only made it worse.
I have vivid memories of visiting friends and family on Christmas Eve, on what seemed like an endless night of happiness that always had fluffy white snow and colored lights as we either walked or drove from house to house. I swear I saw carolers, too. Even as late as my teenage years and early 20's, I'd be bustling around in a mall with friends, looking for last minute gifts and not minding any of it. We'd always stop for a beer with our baggage and bulky winter coats, scrunching up as close to the bar as possible, all while being soundtracked by an endless supply of Christmas hits that seemed to be magically piped in to each of us individually. No one minded. Just add sleigh bells and we were hooked.
There was also a brief period in the late 70's and early 80's, when I'd attend a midnight mass. The church organ and pageantry of it all was as warm and wonderful as anything associated with Christmas, even if I awoke a day later, as Mr. Non-Believer once more. For that hour though, it was hard not to believe.
I don't feel that too much anymore, though I'd like to. Even the most absurd, non-traditional Christmas songs, like Spiraling's mash-up of "Do You Hear What I Hear" with The Who's "Baba O'Riley" can bring a sudden rush of melancholy instead of joy. And this year? Forget about it! A pine-scented Christmas tree air freshener dangling from a rear view mirror can do me in emotionally, so forget about Christmas music all year round. I'd just as soon slap down some Motorhead and be done with it.
The next week is going to be tough for many of us, for one reason or another. It comes with the territory, even pre-pandemic. But we will make it. We always do, don't we? I won't be doing my annual Polar Bear swim in Coney Island on New Year's Day. It's one more event, canceled for good reason. But that also means I won't have a symbolic cleansing. A washing away of the old. An ice cold rebirth. And this is one year I need it most. Maybe I'll just sit in a bathtub of cold gin on New Year's Day instead.
I hope Christmas of 2021 will be a time we can look back and wonder how we ever thought the yuletide season was anything but the best time of the year. Maybe next year, I won't fight back the melancholy with a Deep Purple record, and just allow "Silver Bells" and "O Holy Night" to do their thing.
Whatever your perfect Christmas is, I hope it finds you.
Julie- The Bobby Fuller Four Sunlight- Jeffrey Foskett Look Over The Hill & Far Away- Shelagh McDonald Red Vines- Aimee Mann A Solid Bond In Your Heart- The Jam Larf & Sing- Family Closing Time- Tom Waits
Julie- The Bobby Fuller Four I love the galloping rhythm and the harmonies on this, one of my favorite BF4 tunes. If you only know "I Fought The Law," I highly suggest digging deeper into Fuller's records, especially if you're a Marshall Crenshaw fan who not only covered "Julie," but often cites the BF4 as one of his favorite bands of all time.
Sunlight- Jeffrey Foskett Honorary Beach Boy covers The Youngbloods. Just lovely.
Look Over The Hill & Far Away- Shelagh McDonald McDonald's first two records have been fetching crazy money for years, but her first, "Album" recently got a terrific repress. This track is from that. She's not quite Sandy Denny, but still a treasure and the arrangement on this tune kills me.
Red Vines- Aimee Mann Speaking of reissues, Aimee Mann's best record "Bachelor No. 2" is another that had been getting $150-$300 on vinyl, but a new anniversary remaster with bonus tracks was reissued for Record Store Day. It's a fantastic pressing that sounds superb. "Red Vines" is my favorite off that album.
A Solid Bond In Your Heart- The Jam I love The Jam and love Paul Weller's solo career, but had never really gotten on board with The Style Council...until this week, after I watched the new documentary airing on Showtime. Their material went much deeper than what I thought were plastic sounding soul records from the 80s, though I think the Jam's demo of this track is still better than TSC's hit version.
Larf & Sing- Family Picked up "Fearless" in a collection last week, played it, sharing this track.
Closing Time- Tom Waits Not only an apt way to close things out, but an absoutely gorgeous piece of music at any time.
Top Left: Dr. John- In The Right Place Top Right: Brian Eno- Taking Tiger Mountain (By Strategy) Bottom Left: Al Green- Call Me Bottom Right: Bee Gees- 1st
There will be a Round Two. I have 2000 CDs I'd like to unload.
And speaking of Dr. John, I've been in a New Orleans mood lately. Well, since 1999, actually. Yesterday was James Booker's birthday and it was also a year since the day we lost "Poppa Funk," Mr. Art Neville.
I thought the time was right for this mix. Gotta keep on' keepin' on! There is a light at the end of the tunnel, so let's not fuck it up NOW!
Stay home. Mask up. Maybe dance a little while. It's ok.
If you're healthy, please stay that way and enjoy the mix.
TRACKLIST I Didn't Want To Do It- The Spiders This Is My Country- Cyril Neville What's Going On- Art Neville Last Night On The Back Porch- James Andrews Fat Man- New Orleans Nightcrawlers Frenchmen Street Blues- Jon Cleary Black Minute Waltz- James Booker Tell It Like It Is- Dirty Dozen Brass Band Time For The Sun To Rise- Earl King Lula Lula Don't You Go To Bingo- Boozoo Chavis You Got To Pts,. 1 & 2- Huey "Piano" Smith Hadacol Bounce- Professor Longhair September Song- Tim Laughlin Let's Make A Better World- Dr. John That Feel- Lil' Band O' Gold The Hurt's All Gone- Irma Thomas At The Foot Of Canal Street- John Boutte Cast Your Fate To The Wind- Allen Toussaint
Mike Viola's 2018 release "The American Egypt" was one of my favorites of that year. It was a record that, quite literally, left me speechless. Everything about it--the lyrics, the offbeat arrangements, the beautiful melodies--made my jaw drop. 18 months later and I find myself feeling the same regarding Viola's just released full length, "Godmuffin."
The songs and arrangements are a bit more conventional than those on "The American Egypt," but if this is not quite a far cry from the jangly powerpop found on earlier Viola/Candy Butchers records, it is at least a healthy walk. Yes there are guitars and drums and background vocals. There are verses and choruses. But the record feels very deliberately melancholy, almost hymn-like. But don't let that frighten you. This is not a new age record. It's just that "Godmuffin" has some of the most heartbreaking and heartfelt pop tunes I've heard in a while.
This album is a true solo affair. It begins with a mid-tempo track called "USA Up All Night," that at first, has a vibe not unlike Petty's "Free Fallin'," but in the end, is pure Mike Viola. The record continues at the same pace with "Creeper," the first song released some months back, and a tribute to Fountains Of Wayne's Adam Schlesinger who we lost very early on to COVID.
"Godmuffin" is full of lovely melodies and absolutely killer earworms, but none as lovely or as moving as "We May Never Be This Young Again." It had me at the opening seconds with its nod to doo wop legends, The Flamingos. It is an absolutely brilliant touch.
Side Two opens with the hauntingly beautiful epic, "Superkid II, Trying To Do The Thing I Thought I Was Born To Do," a slowburning piano confessional that should shake even the most stoic listener. In many ways, Side Two reminds me of Paul McCartney when Macca is left to his own devices.
Viola himself describes "Godmuffin" as "11 songs about transformation. It's human. Only the dead get to heaven. Here on Earth, we just get lost."
It would behoove you to pay attention to the lyrics, if that is something you don't usually do. You'll be rewarded with lines like "The father in me is dying to come home, while the child is still dying to be free." That one, in the context of the song, did me in. And I don't even own a kid!
I think we can all relate to some, maybe even a lot of "Godmuffin." This record is a beauty, and if I wasn't such a lazy bastard, I'd revise the Top 5 of my year-end post and knock something out to make room for this. But, I'm calling it here. "Godmuffin" is one of the very best of the year.
And speaking of Sir Paul...
It feels like the last time there was this much hype surrounding Paul McCartney was when The Beatles landed in America in 1964. And I imagine that this record, just like every McCartney record, will divide the diehard Beatles disciples who will call it a masterpiece and the jaded fairweather fans who haven't liked a record since "Band On The Run." Let's not forget the rock critics who, so far, have not been shy with their raves. I'll do my best to play it straight.
I've given "McCartney III," the new solo record from Paul McCartney, three passes. I've felt differently each time, with the last two faring better than the intitial spin. I really do like this record. And I do believe I will end up loving it.
In my fantasy world, a solo record from a Beatle who will soon turn 80, would be filled with acoustic music reminiscent of "Blackbird," "Mother Nature's Son," "Jenny Wren" and "Heart Of The Country." And while there are no cringemaking stabs at staying current, "M3" is more than just Paul and a guitar. But you knew that it would be.
The record does indeed sound like solo records I and II, as well as a bit of "Ram" and "Wild Life," all wrapped up in one. The opener, "Long Tailed Winter Bird," a mostly instrumental thing that is not really a song so much as an idea, actually knocked me out. As someone else said, and I am paraphrasing, it feels like Paul gave himself a lot more room to breathe without trying so hard to create a hit. That may sound like a backhanded compliment, but I found the song mesmerizing in the best ways.
"Find My Way" and "Lavatory Lil" would not sound out of place on Side Two of "Abbey Road" or "The White Album," which is not to say these songs rival any Lennon/McCartney tune, but they work, with the latter far better than its title might suggest. And with the exception of "Deep Down," a dull and repetitive groove that goes nowhere, Side Two is full of some truly memorable Macca songs, especially the album closer, a simple beauty called "Winter Bird/When Winter Comes" which comes the closest to my fantasy acoustic Macca record.
As I mentioned above, the first pass of "M3" did little for me, but I imagine it had a lot to do with the hype, as well as what I had set up in my mind, which was not what I immediately heard. But during the next two visits, I heard an aging Beatle who still has the ability to write a fantastic pop tune, and though his voice is weathered, can still deliver a phrase like no other. "McCartney III" is a worthy addition to a stellar solo catalogue. For my purposes, it is not quite as amazing as "McCartney," but a lot more accessible than "McCartney II." Plus, I'm really feeling it, like it's a grower. And if you need more than that from a man who has given us as much as Paul has in 60 years, maybe you're just being cranky.
I am comfortable adding "McCartney III" to my faves of 2020, somewhere in the lower 18.
Mike Viola and Paul McCartney, brothers from other mothers doing it for themselves, and two records that I think, have a lot more in common than just being solo albums.
The first comment that correctly identifies all four album covers will receive a grab bag of CDs, handpicked by yours truly. It must be all four, so think a bit before dropping the comment.
I'm working on three reviews and I had nothing else for today. It happens. At least this is fun, right? Right?
I have mixed feelings about The E Street Band's performances this weekend on Saturday Night Live.
I didn't think they were very good, and yet I got very emotional.
Bruce seemed to be struggling terribly with the lead vocal on "Ghosts," yet how could he not be under the circumstances?
The band, especially Bruce, looked both elated and frightened, at least that is how I saw it.
I am sure there were strict safety protocols regarding both the performers and the audience in attendance at NBC, but I could not ignore the irony as I watched that band, get neck to neck and cheek to cheek, while spewing and screaming "I'm Alive!" into the microphone. But then, how could you be an E Street Band member, playing live for the first time in ages, and not need to do that? Shit, I was singing "I'm Alive" and I wasn't really enjoying the song.
And then there wasn't Gary Tallent, who refused to fly into New York City because of COVID, and I thought, if only everyone thought this way from the beginning, you know? Just don't do it. For you. For everyone.
The Wild One- Johnny Horton Action Packed- Ronnie Dee If You Let A Man Kick You Once- Henry Butler & Corey Harris Slangshotz & Boomerangs- C.C. Adcock & Lafayette Marquis Too Bad- Faces Hammer To Fall- Queen Portland, Oregon- Loretta Lynn & Jack White
The Wild One- Johnny Horton Got a random text from a friend with this song attached: "How good is this song?" Yeah, it's real good. I especially like the slight variation on the guitar riff each time it's played.
Action Packed- Ronnie Dee Another one that came to me, this time as a Song Of The Day from our friend Snakeboy. Seemed like perfect timing after the Johnny Horton.
If You Let A Man Kick You Once- Henry Butler & Corey Harris Been thinking a lot about New Orleans. I am missing those trips, those people, that food and that music. This is from "Vu-Du Menz" one of my very favorite New Orleans records.
Slangshotz & Boomerangs- C.C. Adcock & Lafayette Marquis Another of my essential New Orleans...well...Louisiana records.
Too Bad- Faces This one popped up on the iPod and it just sounded so sloppy and nasty and perfect. So here it is.
Hammer To Fall- Queen This one came out of my musical ADD. Chatting with a friend about Queen, and how they should have toured the USA when "The Works" was released. One thing led to another and the Lee Morgan record I was about to listen to was dropped like a hot potato so I could listen to "The Works" and soundtrack my chat. This is not only my favorite from the record, but one of my favorite Queen tunes of all.
Portland, Oregon- Loretta Lynn & Jack White Caught a rerun of Dan Rather interviewing Jack White. When it was over, the things that bothered me about White and The Stripes still did. But, there was another side of Jack that I found endearing. Maybe we could be friends. I certainly love this Loretta Lynn album.
So, how has your year been? Do anything? Go anywhere? Cough on anyone? Sell your publishing for $300 million?
The good news is you're reading this, hopefully safe and warm and healthy. Thank you.
Without further ado, here are my 18 favorite records of 2020. The first 13 are in random order because the thought of ranking them crossed my mind, which is why they are in random order.
But, my Top 5 are indeed ranked.
Here we go.
LUCINDA WILLIAMS- GOOD SOULS BETTER ANGELS
"Good Souls Better Angels" is "Plastic Ono Band," "Raw Power" and
"Blood On The Tracks" all wrapped in one naked, nasty and ferocious
piece of work. The first time I listened to it was soon after listening to some Sandy Denny acoustic demos
and the liner notes included comments from Linda Thompson, who pointed
out more than once, how Denny was always more brilliant when the red
light in the studio wasn't on. I mention this because what appealed to
me while listening to "Good Souls Better Angels," aside from how
relentless it felt, was how it all sounded like it was unfolding in real
time, which made the record so much more intense. One of the best of Lu's career.
THE LEMON TWIGS- SONGS FOR THE GENERAL PUBLIC
Once again I got totally hooked on the D'Addario kids, aka The Lemon Twigs. The brothers might just be too talented for their age. It's as if their minds are working faster than their ability to properly create what they're thinking, which could explain why the moments of brilliance are often coupled with head-scratching insanity. Still, what's good on "Songs For The General Public" is excellent. The music takes inspiration from the likes of David Bowie, Bruce Springsteen, Queen, and of course, the most obvious influence, Todd Rundgren. And like Todd Rundgren, the boys just don't know when to reel it in. Still, I truly love this record and I know that a Lemon Twigs masterpiece is down the pike.
FIONA APPLE- FETCH THE BOLT CUTTERS
I would not call myself a fan of Fiona Apple, though there is something to love on every one of her records. "Fetch The Bolt Cutters" is the strangest release of her career. But it is also, to my ears, the most appealing. I don't know if I kept going back to it because I couldn't believe what I was hearing, or if at its heart, I heard a truly infectious and unique collection of songs. I think this record is smart and funny, and full of hooks. Just allow them to grab onto you. This record is a refreshing and welcome change of pace. And trust me, you CAN dance to it.
MANSION HARLOTS- ALL AROUND A FAIRGROUND
If you've paid attention for the last eleven years, you'd recall a few
recurring complaints, with the two most recurring being "there are no
songs on this record" and "no one makes records anymore." The new
release from the U.K.'s Mansion Harlots has shut me up for the time
being. Released just in the nick of time for 2019, which in my book
might as well be 2020, "All Around A Fairground" is a collection of
strong songs, even stronger melodies and big time record making. It is
pop music at its finest.
A tip of the hat to Don over at the invaluable IDHAS
for his wonderful write up of this record, otherwise the Mansion
Harlots would have never crossed my radar. I will steal one of his lines
here, as it nails my exact feelings about "All Around A Fairground"-
"What does shout out here is the sheer melodic quality of the record."
Boy does it ever! Rather than label the Mansion Harlots as one kind of
band, I'll say this, each song evokes the very best qualities of all the
music I have been loving for years, from the early days of The Beatles,
to the great AM radio pop hits by The Four Seasons and The Turtles, to
the crunchy pop of the Raspberries and Cheap Trick to the big vocals of
Queen. I had so much fun with this record, I played it twice and then
chose some random tracks just to convince myself that this was the real
thing. Trust me. It is.
THE JADED HEARTS CLUB- YOU'VE ALWAYS BEEN HERE
I always feel like I am cheating whenever I include an album of covers on my year-end list. But I quickly get over it because a song ain't nothing unless you make it a good record. I was reminded of something Jeff K said after listening to Bob Dylan's new record. "Don't know if I should listen to it or read it." I have not listened to "Rough & Rowdy Ways" since the first week of its release. Maybe a song here and there. But when I'd reach for it, it felt like homework. Some of it is brilliant, but quite frankly, it isn't any fun. I don't want to go back to it anymore than I want to reread "David Copperfield."
The Jaded Hearts Club, on the other hand, is the most fun I've had all year.
Few records kick ass like "You've Always Been Here," the first release
from this sorta supergroup. You might recall seeing and hearing their
version of The Four Tops' "Reach Out, I'll Be There" on these pages a
while back. If not, I've posted it again.
Matt,
Graham, Nic, Miles and Sean from Muse, Blur, Jet, The Last Shadow
Puppets and The Zutons respectively, plow their way through ten cuts by
the likes of Marvin Gaye, The Isley Brothers, Chris Clark, The Human
Beinz and The Sonics, among others. It's a relentless assault and yet
somehow oozes with soul. Both Miles Kane and Nic Cester trade lead
vocals, and both possess some real pipes. The arrangements are made to
rock, with a juiced-up bass guitar leading the way most of the time.
Even the songs you think you'd never want to hear covered
again--"Money," "I Put A Spell On You" and "Nobody But You"-- offer a
thrilling diversion from the deeper cuts, like Motown one shot Chris
Clark's "Love Gone Bad" and an Isley Brothers single from their short
life at Motown, "Why When The Love Is Gone," two of the best tracks on
the record.
It's a covers record, but I don't care. It does what it is supposed to do. It's a blast and great record making.
A GIRL CALLED EDDY- BEEN AROUND
One way to avoid a sophomore slump is to take sixteen years in between
your debut record and its follow-up. Erin Moran, aka A Girl Called Eddy
did just that, and to say I have been wanting this new record for some
time is an understatement. I loved that 2004 self-titled debut but the
just released "Been Around" is even better.
From the title track which opens Side One, a Bacharach-David meets "Eddy
In Memphis" beauty, to the more than just a nod to Chrissie Hynde &
James Honeyman-Scott on "Someone's Gonna Break Your Heart," to what is
now and could end up being my favorite song of the year, "Charity Shop
Window," a gorgeous heartbreaker evoking Rickie Lee Jones,
Brian Wilson and Van Dyke Parks, "Been Around" is everything I could
have hoped for and more.
"She saw his coat in the charity shop window/where the past lives on
at a bargain price/long ago dreams find another chance to live
again/memories are cheap in the charity shop window/She can almost hear
if she really tries/their first hello, their last goodbyes."
Sixteen years is a long time, with the only bit of relief coming from
Moran's 2018 collaboration with Mehdi Zannad on the pleasant enough "The
Last Detail." People have waited less time for a kidney. But, I am
happy to say, "Been Around" was worth waiting the 5,800 days. Richard
Hawley's production on Eddy's debut was lush and fit Moran's voice
perfectly. But Daniel Tashian's work on "Been Around" gives Moran more
room to breathe, and that is why I think this collection sounds so
vibrant and fresh.
"Been Around" is a big time winner.
Welcome back!
TOOTS & THE MAYTALS- GOT TO BE TOUGH
Just about everyday since March of this year brought bad news, tragedy and a feeling of hopelessness. One of the few bright spots and joys for me was and is the music of Toots Hibbert, and just days after releasing his first new music in ten years, the sweet and dandy Mr. Hibbert succumbed to COVID 19.
"Got To Be Tough" captures the last recording of this reggae pioneer, with help from another reggae legend Sly Dunbar, as well as Cyril Neville, and man behind the scenes, who also plays guitar, Zak Starkey. Toots' voice sounds better than ever, giving every song, whether a standard Jamaican groove or a funky variation, a rootsy and soulful Otis-like vibe. (Redding, not the Mayberry drunk.)
"Drop Off Head" gets things going with a feel that would make Keith
Richards proud. "Just Brutal" drives along with a great call and
response, and a vibe that reminds me of Lennon's "Whatever Gets You
Through The Night." And "Struggle" the album closer and not a revamped
version of the old Maytals classic, is a funky workout that should make
even the most ardent non-reggae fans feel good.
Toots does not abandon the traditional sound altogether, as most
everything in the middle is soaked in the rhythms and rhymes that made
this man legendary. A great loss, but what a gift to leave us all.
THE PSYCHEDELIC FURS- MADE OF RAIN
I've been a Psychedelic Furs fan since the first time I heard what I
thought was a new Bowie single, "Sister Europe" on my friend's boombox
in the basement of his Sheepshead Bay house in 1980. In 1986, I
rearranged a trip to the left coast just so I could see the Furs at the
Universal Amphitheatre with support act The Untouchables. And I am one
of about twenty six people who love "Book Of Days" and "World Outside,"
the last two and mostly forgotten Furs records.
"Made Of Rain" is a ridiculously solid return, that impossibly sounds
like both prime-80's Furs, and fresh, gracefully-aged Furs. It's a
Psychedelic Furs album through and through, and if you're a fan, you
should find nothing to moan about. Just let Richard Butler do the
moaning for you.
You're damned if you do and damned if you
don't, right? Would I have preferred an Americana record from this band?
A big band album of standards? No, of course not.
"Made For Rain" is none of that. But it is what Richard & Tim Butler
do best: pulsating beats, texture and color, mournful melodies and epic
rockers. There are keyboard flourishes and melodic runs in both the
album opener "The Boy Who Invented Rock & Roll" and "You'll Be Mine"
that could have soundtracked your favorite John Hughes film, as well as
some darker moods, as on "Come All Ye Faithful" that will evoke that
very first Bowie-esque record from 1980.
It would not be a stretch to say that the Furs made the best record of their career 40 years after their debut. "Made Of Rain" is that good.
THE EXPLORERS CLUB- S/T
Well, it's only been a week or so since I raved about this record, but I'll save you the trouble of scrolling back. Here's what I said:
"The Explorers Club" is, as one friend put it, a "hit machine."
Every song feels like a tribute to the great AM hits of the 60's and
70's. And while it's easy to dismiss it all as pastiche, the songs and
production are so good, it really doesn't matter if you think you've
heard it before. It's not easy to make records that so perfectly evoke
the summer sounds of The Turtles, The Buckinghams, and of course, The
Explorers Club's biggest influence, the Beach Boys. Try it. Jellyfish
sealed their fate in pop history doing it. They just tapped different
bands.
If their debut leaned a bit too much on the Beach Boys side, at times
sounding more like The Rutles doing the Wilsons, the new record plays
like a more mature band who have used their time wisely, writing songs
that are fresh enough to jog the memories without feeling like full on
parodies.
ELVIS COSTELLO- HEY CLOCKFACE
Some of the most popular topics on Burning Wood over the years have been the following:
A) Are the Rolling Stones still worth their exorbitant ticket prices? B) Does Bob Dylan really have a good singing voice? C) What the hell is wrong with Sal and why the hell does he like heavy metal? D) Has Elvis Costello made a great record since "Imperial Bedroom?"
The answers are:
A) No B) Yes C) Leave me alone D) Of course he has. He's made more great records than not.
And "Hey Clockface" is another fantastic addition to Costello's diverse catalogue of music.
No, it doesn't sound like "Pump It Up" or even "Veronica." But it is pure Elvis. He is angry. He is a punk. He croons. He even rocks, though only a little bit. It's a greatest hits of the styles he's given us over the years.
If you are the Elvis Costello fan who gave up at "Almost Blue,"
I can't imagine this record is for you. I've already tried my best to convince you that "Momofuku" is an overlooked classic. On the other hand, if you've
embraced the changes, the brilliant acoustic country and blues of "King
Of America," the sweeping pop and balladry of "Painted From Memory," the
funk textures of "Wise Up Ghost," the love letter to New Orleans with
Allen Toussaint "The River In Reverse" and the most recent change of
pace, "Look Now," one of the best of EC's career, then "Hey Clockface" should not disappoint.
Considering
the circumstances of its creation--isolation, quarantine, three cities
with two different sets of musicians--this is remarkably cohesive.
Costello's singing never gets over the music, and while that may be
offputting to those who want to hear "Oliver's Army," the songs on "Hey
Clockface" are as melodic and heartfelt as anything in his career.
JOHN FOXX & THE MATHS- HOWL
Long time readers and those paying extra special attention know that the three Ultravox records with John Foxx are among my favorite records of all time, with the 1977 self-titled debut ranking as high as some of my other beloved classics. I got off the bus soon after Midge Ure took over. Even Foxx's solo work over the years has left me cold. But the new record, "Howl" reunites Foxx with Ultravox guitarist Robin Simon who appeared on "Systems Of Romance," and it delivers in a big way.
"Howl" plays like a perfect follow-up to 1978's "System Of Romance." Underneath the industrial strength Bowie/Roxy/Eno textures, are terrific melodies and hooks. These are fresh sounding takes on the best parts of late 70's and early 80's art rock and new wave.
If you've never been a fan of those three Ultravox records, "Howl" is probably a hard sell. But if you are like me, and have no use for the MTV-version of Ultravox, John Foxx & The Maths should satisfy what's been missing for forty years.
X- ALPHABETLAND
Man, this one was a long time coming! I really didn't think they had it in them, but X has delivered a record as classic as their one-two punch of "L.A" and "Wild Gift." This is fast and hard, and those one of a kind John and Exene harmonies are right where they need to be. I've played this one a lot, sometimes chainsmoking it because it's over so quickly. "Alphabetland" is an amazing return to form.
(SPACE RESERVED FOR "MCCARTNEY III")
THE TOP FIVE:
5. SPARKS- A STEADY DRIP DRIP DRIP
The Maels have been on a hot streak for almost 20 years, beginning with 2002's masterpiece, "L'il Beethoven" and continuing with a string of records that rival anything in their long respected career. In 2017, I said this about their release "Hippopotamus":
"You are either in or you are out with Sparks. I have loved Sparks since "Kimono My House" and it
couldn't thrill me more to see the Maels release one of the greatest
albums of their career over 40 years after that classic. Critically
acclaimed, totally unique and absolutely hook-filled... if you like
songs about Ikea. And who doesn't?"
Three years later and I find myself thinking the same thing about "A Steady Drip Drip Drip." This is what Uncut Magazine said:
"The 14 new songs on A Steady Drip, Drip, Drip are
filled to the brim with the usual abundance of trademark lyrical
zingers, tenacious earworm melodies and stylistic zigzags. It’s enough
to make most of us feel irredeemably lazy and dull-witted."
Mojo too, loves it. They put it at #25 and said this:
“[The album] worked as an object lesson in how lengthy and auspicious
careers can nurture risk and eccentricity rather than diluting them.”
But I wonder, is this the way to sell a record to the uninitiated? I guess it all sounds wonderful if you're okay with Russell Mael's distinct Lily Pons-ish singing voice...or Ron Mael's offbeat subject matter...or the brothers sense of humor.
This new record works me up everytime I play it. When listening to it, I react in the same way I react when I watch a Simpsons episode or read something in The Onion. It's too good. I am stunned into silence by the genius. But that's not to say Sparks isn't a great rock band. It's not just the wit. Just listen to "Self-Effacing" or "iPhone." Or really anything off of the long list of classic records The Maels have released. The elements for hit records are in abundance, going back to their glammy Island output, or their infectious dance music with Giorgio Moroder, or their new wave hits with Atlantic. They know how to create hit records, they just do it their way, which a little bit more than slightly different than anyone else.
You've got to start somewhere, so why not start with "A Steady Drip Drip Drip." It's appearing on many Best Of 2020 lists for a reason. (Well, maybe not in Rolling Stone.) Give it a shot.
4. THE FLAT FIVE- ANOTHER WORLD
I had been waiting for a new Flat Five record since about 15 seconds
after the debut album finished playing. "It's A World Of Love &
Hope" was my favorite record of 2016. It was a collection of songs
written by the mad genius Chris Ligon, turned into some of the most
offbeat and melodic sunshine pop by his brother Scott Ligon and Casey
McDonough, both current members of NRBQ, Kelly Hogan, Nora O'Connor and
Alex Hall.
"Another World" picks up where "Love
& Hope" left off in a number of ways, including another 11 songs
written by Chris Ligon. And while the formula is basically the
same--upbeat melodies and mostly swinging arrangements, there is
something about "Another World" that seems tighter, maybe just a bit
more focused.
Ligon's songs remain as dark as ever. "The Great
State Of Texas," sung by Miss O'Connor, describes the last things one
experiences before execution, all in a sweet lullaby, while "World
Missed Out" is...well...just absolutely chilling. I won't spoil it.
It's
not all dark. "Butterflies Don't Bite" is a complete joy, sounding
exactly like the perfect Tijuana Brass tune if it had lyrics, and "The
Girl Of Virginia," a short and sweet waltz, sounding like a cross
between a country classic and a jazz standard, shows off the brilliant
harmonizing of Scott and Casey.
After the first pass of "Another
World" I was happy, but wasn't quite satisfied. The Flat Five had some
big shoes to fill after their debut. But by the third spin, "Another
World" proved to be just as smart and in some ways, even better. I
didn't think that was possible, but that's how good this band and
Ligon's songs really are.
3. BRUCE SPRINGSTEEN- LETTER TO YOU
I know a couple of Bruce fans. They are friends, real dyed in the wool Springsteen fanatics who thought "Letter To You" was just okay. They were happy it came out and are happy it exists, but nothing more. But I also have friends, who like me, hear a rock solid Bruce Springsteen & The E Street Band record that would push all the right buttons even without a pandemic. I'm sticking to that because "Letter To You" is still with me, after repeated spins. It is still pushing my Bruce buttons because it is a great Bruce record.
It'd be easy to say "Letter To You" came out when we needed it most. The world has all but ended, with millions sick and dying and only until a few days ago, no end in sight, and here comes a classic E Street sound with emotional lyrics and choruses built for stadiums at a time when not a single person or artist was permitted inside a stadium. Any news, any sounds, anything other than death and sickness, was welcome. But other records came out, too. And I can't think of one that made people feel what they felt and say what they said the way "Ghosts" did.
You all know the story by now. "Letter To You" recorded live and quickly, with few overdubs. You can hear it if you're paying attention. One of the missteps, the clunky "House Of 1000 Guitars," was mentioned by Bruce as his fave on the record. To my ears, it sounds like it was tossed off in two takes, if that. One of my favorites, "If I Was The Priest" was mentioned by another friend as a pointless resurrection of a song that wasn't so great in the first place. And that's the way it will always be with artists like Dylan, and Pauls Simon and McCartney, and Elvis Costello. You're damned if you do. You're damned if you don't.
"Letter To You" is a great rock record. It's a great Bruce record. And it's one of my three favorites of the year, partly because it is indeed, what I wanted. But mostly because, Bruce Springsteen knew what we wanted and gave it to us. Few artists, if any, do that at this stage in their career.
Let's for a moment, be our most cynical. Let's all assume this was a record conceived to prey on the vulnerable. Here's Bruce Springsteen, in his Colts Neck mansion, rubbing his hands togeher like Boris Badenov, concocting some scheme to make money by writing songs and making a record, for a sole purpose to rake in the dough and pull one over on us, the desperate fans, in our time of weakness.
Okay. Now what?
Musically, it's still fucking good!
If you are claiming you would have preferred something else...a folk record, an acoustic record, another "Tunnel Of Love"... well, I don't believe you. You don't have to love "Letter To You," but if you claim to be a Springsteen fan and just dismiss "Letter To You" as disappointing, I can't help you. Go listen to "Darkness."
This is probably the last record from this man and this band that will sound like this and I'm soaking it all in and enjoying every second of it...even the clunky missteps, of which there are few.
2. CHUCK PROPHET- THE LAND THAT TIME FORGOT
Chuck Prophet's "The Land That Time Forgot" took some time to
get here. COVID delays saw the record get released one song at a time,
until a hard copy finally saw the light of day months after the digital
release. I checked out the first two singles, but waited until the vinyl
was in hand for my ritualistic, proper spin. Worth the wait? Oh yeah!
Simply
put, this is the best record of Chuck Prophet's career and that is
saying something since this guy has been on some roll since 2009's "Let
Freedom Ring."
Every song on "The Land That Time Forgot" is a mini-movie, and I got
lost in every one. Prophet has a way of telling a story that can be both
heartbreaking and hilarious, often at the same time. And though his
brand of lead vocal is of the talk-singing kind, he still writes hooks
that can snag flounders.
The
production on "The Land That Time Forgot" seems deliberately low key,
and I'd venture to say it was a COVID recording except that the record
was finished before all hell broke loose. So, let's just say timing was
everything, as this record has the perfect vibe and the perfect finale
in "Get Off The Stage."
1. PAUL WELLER- ON SUNSET
I've seen Paul Weller's new record "On Sunset" described as "the most
overtly soul and funk-infused" record since The Style Council. Actually,
I think The Jam had more funk and soul in their frenetic, Who-inspired,
three minute blasts of mod punk than anything on the Style Council
records, which I always thought sounded cold, like so much of the
manufactured and synthetic pop of the 80's, a few solid singles aside.
That said, I think Weller's new record is indeed full of soul, but even
more important, "On Sunset" doesn't rely on style or trends like so much
of his solo career. Every song within feels like it could be a single.
The songs here are natural and accessible, and yes the Philly strings,
occasional Tamla/Motown backing vocals and funky beats all add to it.
But "On Sunset" doesn't lose its way, like some of Weller's recent work.
This is a straight forward pop record as much as it is a soul record
and it plays beautifully.
There are a few hints of Weller's past, like the lovely one-two of
"Equanimity" and "Walkin'," the former sounding like a title theme from a
mid-70's Neil Simon flick and the latter like every AM radio pop hit
from the early 70's. And I can't help but think of both Oasis and The
Verve while listening to the the finale, "Rockets." Still, "On Sunset"
is mostly what it aims to be, with elements of Marvin Gaye, pre-MTV Hall
& Oates and even a bit of Isaac Hayes wig out on the track "More."
The heart of this record beats like the heart of all those great records
by The Jam and the heart of Weller's finest solo work. I love this
record and it is by far, the best thing Paul Weller has done since
"Stanley Road," and I love a lot of his solo records, especially "22
Dreams," "Illumination" and "Wake Up the Nation." But "On Sunset" made
me do something I haven't done in ages...I dropped the needle right back
on Side One as soon as it was over.
Pop? Soul? Let's just do away with the labels. "On Sunset" is one
terrific record and it is my favorite record of 2020.
When The Levee Breaks- Stanton Moore Trio Inca Roads- Frank Zappa Knife Edge- Emerson, Lake & Palmer Posed By Models- Young Marble Giants She Got Me (When She Got Her Dress On)- Masters Of Reality Big Black Smoke- The Kinks Who Can I Be Now- David Bowie
When The Levee Breaks- Stanton Moore Trio This swampy New Orleans take was first released in the wake of Katrina, and it felt almost hymn-like at the time. I was reminded of it again as I watch the daily struggles of, not just the musicians of New Orleans, but everywhere, as they do anything they could to survive this pandemic. Sorry, not the happiest way to begin, but a great, great tune nonetheless. I can't help the way my mind works.
Inca Roads- Frank Zappa I went on a mini Zappa binge (in my head, at least) after watching Alex Winter's excellent new Zappa documentary. This is one of my favorites from one of my favorites, "One Size Fits All."
Knife Edge- Emerson, Lake & Palmer Been listing a lot of records for sale in my Discogs shop---hint hint--- with more to be added from a new incoming collection that's arriving this week. Came across the first ELP and decided to give it a spin. It held up!
Posed By Models- Young Marble Giants A new deluxe edition of the YMG record has just been released. It's definitely not for everyone, I get that. But I have always loved it, and this song just might be for everyone. It's short and sweet and lovely and a few other things, all wrapped up in less than two minutes.
She Got Me (When She Got Her Dress On)- Masters Of Reality This recent Black Friday RSD saw a first time vinyl edition for "Sunrise On The Sufferbus." Masters Of Reality have a bunch of records, but none as memorable to my ears as "Sufferbus." I give all the credit to drummer Ginger Baker!
Big Black Smoke- The Kinks Not sure why I've been singing this one for days, but I had to get it out of my system, so here it is.
Who Can I Be Now- David Bowie From "The Gouster," which was shelved, reworked and finally released as "Young Americans." You can now get "The Gouster" as originally conceived as part of the "Five Years" boxed set series. I never loved "Young Americans," but I do love this track.
"The bugger in the short sleeves fucked my wife, did it quick and split"-John Cale, "Guts"
Apparently a reference to Cale catching Kevin Ayers with his wife on May 31, 1974, the night before "June 1, 1974" was recorded on which they shared a bill, and sat for Mick Rock to take the album's cover photo minutes before the show. Awkward ya think?
I wrote Sal with this bit of trivia, which he hadn't heard, and expressed my enjoyment of his Cale mix. It's been awhile since I've put one together. I've been busy in my home studio, working on my next "album", and haven't listened to much of anything, only occasionally commenting here at Burning Wood. "I might have to make a Kevin Ayers mix to answer John Cale's", I wrote. "That'd be great", he replied.
16 August 1944-18 February 2013
The British rock journalist Nick Kent wrote:
"Kevin Ayers and Syd Barrett were the most important people in British Pop Music. Everything that came after, came from them."
A rather large claim I'm not sure is inaccurate. Being a fan of psychedelia, Pink Floyd, Bowie, Glam, and Art Rock in general, I became aware of Kevin through Soft Machine, Robert Wyatt, Daevid Alan, Gong, and of course Brian Eno, due to the aforementioned "June 1, 1974". A friend gave me a cassette dub, and without the album for reference, I couldn't really tell where John Cale ended and Ayers began. I assumed the opener on side 2, "May I", was John Cale.
Because Eno, Phil Manzanera, and Richard Thompson (!) appeared on Cale's "Fear", I bought it, and was a little disappointed when "May I" never turned up on any of his other albums. A few tears later, in the early '80's I discovered it on Kevin's "Odd Ditties", a collection of singles and B sides, found at Tower Records on Sunset Blvd, in Hollywood. His albums were largely out of print, by that time, and not easy to find, sparking an obsession. For years, when I went into a record store I'd check the "A" section, for Kevin, "H" for Roy Harper, and "P" for Lee "Scratch" Perry as a quick indicator of their inventory.
Born in Kent, England in 1944, he spent his youth in Malaya as his stepfather was a civil servant stationed there. Returning to London at 12, a subsequent drug bust exiled him to Canterbury, where with Robert Wyatt, and Hugh Hopper formed the Wilde Flowers and The Soft Machine. After an exhausting tour with Jimi Hendrix in 1968, he sold his white Fender Jazz Bass to Noel Redding and retreated to the beaches of Ibiza, Spain, with Daevid Allen, of Gong, to recuperate. A songwriting binge led to his first album, "Joy Of A Toy".
Kevin Ayers sang in an easy baritone, and his music is a uniquely British mixture of whimsical psychedelic folk rock. This compilation covers roughly the same era as Sal's John Cale collection, with most of the material recorded between 1968-1976. Guest contributors and alumni include Mike Oldfield, Steve Hillage, Andy Summers, Mike Ratledge, Ollie Halsall, David Bedford, Robert Wyatt, Lol Coxhil, Daevid Allen, Nico, Eno, and even Syd Barrett, who may or may not have played guitar on "Singing A Song In The Morning". While Kevin claimed he played the solo in imitation of Syd, an early version, titled "Religious Experience", definitely includes Barrett (in his only session work outside of Pink Floyd or his solo albums), and it sure sounds like him here. If that solo isn't Syd, no one has ever captured his style quite like Kevin did.
According to Wikipedia, "The late 1970's and 1980's saw Ayers as a self-imposed exile in warmer climes, a fugitive from changing musical fashions, and a hostage to chemical addictions."
He did however return to form with his final release, 2007's "The Unfairground", a worthy companion to his classic albums and bookend to a unique career. With contributions from old friends Robert Wyatt, Phil Manzanera, Hugh Hopper, Bridgette St. John, and joined by members of Teenage Fanclub, The Go-Betweens, and the Trashcan Sinatras, it was critically well received. The title track nearly made it to this mix.
Kevin Ayers died in his sleep, 18 February, 2013 in Montolieu, France, aged 68.
DJ John Peel wrote in his autobiography that "Kevin Ayers talent is so acute you could perform major eye surgery with it".
I had been waiting for a new Flat Five record since about 15 seconds after the debut album finished playing. "It's A World Of Love & Hope" was my favorite record of 2016. It was a collection of songs written by the mad genius Chris Ligon, turned into some of the most offbeat and melodic sunshine pop by his brother Scott Ligon and Casey McDonough, both current members of NRBQ, Kelly Hogan, Nora O'Connor and Alex Hall.
Pandemic delays both in recording and shipping, and I finally got my copy of "Another World" last week. And yes, here it comes, it was worth the wait!
"Another World" picks up where "Love & Hope" left off in a number of ways, including another 11 songs written by Chris Ligon. And while the formula is basically the same--upbeat melodies and mostly swinging arrangements, there is something about "Another World" that seems tighter, maybe just a bit more focused.
Ligon's songs remain as dark as ever. "The Great State Of Texas," sung by Miss O'Connor, describes the last things one experiences before execution, all in a sweet lullaby, while "World Missed Out" is...well...just absolutely chilling. I won't spoil it.
It's not all dark. "Butterflies Don't Bite" is a complete joy, sounding exactly like the perfect Tijuana Brass tune if it had lyrics, and "The Girl Of Virginia," a short and sweet waltz, sounding like a cross between a country classic and a jazz standard, shows off the brilliant harmonizing of Scott and Casey.
After the first pass of "Another World" I was happy, but wasn't quite satisfied. The Flat Five had some big shoes to fill after their debut. But by the third spin, "Another World" proved to be just as smart and in some ways, even better. I didn't think that was possible, but that's how good this band and Ligon's songs really are.
This may be old news to you, but I just stumbled upon this lovely track from Paul McCartney, originally found on a deluxe edition of "Memory Almost Full."
The Explorers Club have released two records this year. There is an album of covers titled, "To Sing And Be Born Again" which features straight readings of the songs by the bands that inspired their original material. It's pleasant enough, with some versions working better than others, especially their takes on Herb Alpert's "This Guy's In Love With You" and Orpheus' "Can't Find The Time." But nothing is really better than the original takes.
It's their self-titled collection of originals that really knocked me out. "The Explorers Club" is, as one friend put it, a "hit machine." Every song feels like a tribute to the great AM hits of the 60's and 70's. And while it's easy to dismiss it all as pastiche, the songs and production are so good, it really doesn't matter if you think you've heard it before. It's not easy to make records that so perfectly evoke the summer sounds of The Turtles, The Buckinghams, and of course, The Explorers Club's biggest influence, the Beach Boys. Try it. Jellyfish sealed their fate in pop history doing it. They just tapped different bands.
If their debut leaned a bit too much on the Beach Boys side, at times sounding more like The Rutles doing the Wilsons, the new record plays like a more mature band who have used their time wisely, writing songs that are fresh enough to jog the memories without feeling like full on parodies. I played this album twice yesterday and I am looking forward to another few go arounds today.
