I went on a bit of a Cheap Trick binge last week and found an original Japanese boot from 1998, the year CT toured the first three albums by playing three consecutive nights in various cities, with each night devoted to one album plus a mini set encore.
And so Trick fans, this one's for you.
Here is the Philly run.
Enjoy. The recordings are really fine audience grabs and the performances are stellar. If I am not mistaken, the band was expanded for this run and included Roger Manning and Jason Falkner of Jellyfish, who also toured with CT in 2010 for their "Sgt. Pepper" creation.
I was reading a brief tribute to Taylor Hawkins written by Paul McCartney and he mentions how he was honored to be asked to play drums in a band with two exceptional drummers. I wasn't aware of this, but here is Sir Paul keeping the beat with the Foos on the very Macca-esque track, "Sunday Rain."
In short, Sparks blew my mind at Town Hall last night.
That a band 50 years into it can sound this good, still be relevant, and get people ages 17-70 dancing for 100 minutes is a miracle.
The setlist covered a lot of ground. The quartet behind Russell and Ron were otherworldy. There wasn't a throwaway minute to be found in a concert that I will be thinking about for weeks to come.
There were nothing but highlights in the 22 song set, but the nine song stretch that began with "Lawnmower" and concluded the main set with "This Town Ain't Big Enough For The Both Us" will go down in my live experience Hall Of Fame.
There. I'm through gushing.
I know this band isn't for everyone, so rather then foist the Maels on you yet again, here is Redd Kross and their brilliant cover of "When Do I Get To Sing My Way."
P.S.
I created a Sparks Weekend Mix about five years ago but that link is now kaput. I am feeling a new one coming on for Friday. Consider yourself warned.
999- Keith Richards You Left The Water Running- Bobby Hatfield Love Don't Love Nobody- Ella Brown Curly Locks- Junior Byles Half A World Away- R.E.M. Olympia, WA- Rancid Rhymes Of Goodbye- Scott Walker
999- Keith Richards "Main Offender" was a disappointment after "Talk Is Cheap." Hell, every Stones record was a disappointment after "Talk Is Cheap." But a new reissue was just released, and with the bar lowered a bit, as well as a good amount of time away from it, "Main Offender" finally hit the spot. Here's the opener.
You Left The Water Running- Bobby Hatfield A Righteous Brother in Muscle Shoals---the band kicks ass on this one.
Love Don't Love Nobody- Ella Brown From Church Points, Louisiana, here is Ella Brown, better known for her time with Wet Willie and not for the few singles she released on the Lanor Label. This one came in the mail this week, a fine addition to any collection. Enjoy Miss Brown in all her swampy soulful glory.
Curly Locks- Junior Byles I was listening to one of my favorite reggae records, Lee Perry's masterpiece, "Roast Fish, Collie Weed and Corn Bread" and was ready to share his version of "Curly Locks." But I remembered Junior Byles version and thought you'd appreciate Junior's gorgeous lead vocal more than Scratch's.
Half A World Away- R.E.M. I was working at Smash CDs on St. Mark's Place when "Out of Time" was released. Gary the owner ordered 100 copies and then played it 10 times a day, hoping to sell all of them so he could order 100 more. I went from loving to hating this record in about a week's time. Played it for the first time in ages and I really missed it.
Olympia, WA- Rancid I think I shared Molly Tuttle's acoustic cover of this track once before. Here is the original. It's a great song that I think even you anti-punks might enjoy. Give it a shot.
Rhymes Of Goodbye- Scott Walker Sal Maida also played Scott Walker on his Spin Cycle show last week, and commented that he felt "Scott 4" was his best. I agree and we close with what closes "Scott 4."
I needed to say a bit more than I did on my original post.
I
am a casual Foo Fighters fan at best. But losing Taylor Hawkins has hit
me harder than I could have ever imagined. I like a good number of Foo
Fighters songs, but not nearly as much as I love the existence of the
band. As a band, the Foos validated the joy and enthusiasm I feel
listening to my records as an adult; a feeling many think is only
acceptable when you're a kid. This is the way it should be for not just members
of a band, but for all music lovers of any age. Throw yourself in, head
first, and allow yourself to love every chord, guitar solo, harmony and
bass drum kick, while smiling all the time. Play those air guitars and
drums and sing along without shame.
Here is volume two of the new series that premiered last week "Recent Favorites." This will continue to be a series without a theme other than collecting songs I have been enjoying over the last week and zipping them up for your enjoyment.
TRACKLIST
Flat Backin'- Brother Jack McDuff From Russia With Love- Ray Barretto There Goes A Tenner- Kate Bush The Place- The Action Black Scorpio- Mott The Hoople Back N Blue- Cheap Trick The Sun Never Sets- Cheap Trick Everybody Knows- Cheap Trick Branches- Midlake Be With Me- Beach Boys The Fool On The Hill- Aretha Franklin Moon Rappin'- Brother Jack McDuff
Why the block of Cheap Trick? I'll tell you. A friend from Rockford, Illinois, who claims to love the band, made a comment about giving up after "Dream Police." I am well aware that many feel the same way. I do not. As a matter of fact, I prefer all six of the records in the photo above to "Dream Police." There is life after "Dream Police!" My first thought was a mix of post-"Dream Police" tracks, but a) it was too difficult to keep it under 80 minutes and b) I may have done it before, but was too lazy to check. So, here are three faves smack dab in the middle.
I thought I'd share a track from "Senor 007," which is still featured as a capsule review on the left. This record is a blast.
Sal Maida's Spin Cycle radio show was a winner once again last week. (You haven't lived until you've heard Suicide segue into Little Anthony & The Imperials.) But I really enjoyed hearing "There Goes A Tenner" by Kate Bush. I like Kate, but admittedly only know bits and pieces from her records, and this track was new to me.
I've written about The Action a number of times and I am sure I have shared "The Place" just as often. But a discussion with a friend on Tuesday night about how much he loved The Action made me want to hear the band, and that song specifically, yet again.
Mott's "Black Scorpio" is a track that was originally written for "Brain Capers," but then got reworked and Bowie-fied for "All The Young Dudes" as "Momma's Little Jewel." I think I prefer the slinky, slower "Dudes" version, but I really loved hearing those backing vocals on the coda of the original when it popped up on the iPod the other day.
A new reissue of Midlake's "Trial Of Van Occupanther" was released last week and it made me play the record for the first time in ages. Man, it was better than I remembered it. Simply gorgeous from head to tail. Check out "Branches."
Why the Beach Boys' "20/20" doesn't get the kudos that "Sunflower" or "Surf's Up" get is a mystery to me. This record has been in and out of heavy rotation for a few months now, and dare I say, it's becoming my third favorite BB's album.
I picked up a cheap copy of Aretha's boxed set of Atlantic 60's albums, worth every penny of course, but even better to have that rarities collection on vinyl. Every track a winner, especially this version of "Fool On The Hill."
We open and close with two tracks from "Moon Rappin'," Brother Jack McDuff's oft-sampled, 1970 groove fest for Blue Note. It is finally getting a reissue and come May, vinyl lovers won't have to shell out $150 for a copy. That announcement made me want to hear it and it kicked my ass so hard, I played it twice. It took all I had not to share the whole damn thing. What a badass session! Listen to that drum sound, for Pete's sake.
If you're not into the whole unzipping thing, do me a favor and dial up your favorite streaming site and listen to Brother Jack McDuff's "Moon Rappin'." Trust me on this. I'll get you started.
I realize the Delvon Lamarr Organ Trio didn't exactly overwhelm anyone on Tuesday, but as I said in the post, I wasn't really overwhelmed by their new studio album either.
I did quite like the live cover though, and as I also mentioned, I was going to give that full KEXP performance a spin to find out if there was more like "Move On Up."
I did and I loved it enough to share a few tracks.
The big difference betweeen "Cold As Weiss" and "Live At KEXP!" is that the former seems to be Lamarr's show while the live performance allows guitarist Jimmy James to bust out a bit more, giving the trio some dynamics not found in the studio material.
James is a great player, as you will hear on these two originals. If you just don't have the patience to get into the groove, James is highlighted on the first track "Concussion" at the 2:38 mark and on the second track, "Tacoma Black Party" at the 1:55 mark. Personally, I think Jimmy James is playing some incredibly tasty stuff on this session, even if a few of the moves will seem familiar.
While I just about made it through "Cold As Weiss," when "Live At KEXP!" was over, I was ready to go back in all over again. It really is that much better.
I woke up to a text from my friend Eric and this video was attached. Have you seen any of these? I hadn't before this morning. It's a rabbit hole, for sure. The Viv Stanshall edition is hilarious, but a tad offensive, so you can dial that up on your own.
There's been a lot of press on the Delvon Lamarr Organ Trio, with mostly positive reviews for the new album, "Cold As Weiss." Of course, the one I focused on was Mojo's, a three star, not quite rave review.
Then, coincidentally, a text from a friend popped up with this video. All of us on the text agreed, this was a blast.
So, I decided to listen to "Cold As Weiss." And I agree with Mojo. It's an okay, hip organ trio record, that grooves along with few surprises. Nothing on it quite reaches the heights of say, a classic Jimmy Smith or Meters record. But...this live in the studio Curtis cover is something else.
There is a full length album of this live KEXP performance. I am going to try that next.
But for now, check out "Move On Up." There are worse ways to start a Tuesday.
Lady Blackbird is Marley Munroe. Before this week, I hadn't heard of
either name. But a suggestion from our friend Randy led me to her new debut,
"Black Acid Soul" and now I am passing this gift on to you.
The liner
notes refer to Munroe as the "Grace Jones of jazz." Okay, if you say so. But that's only a
small part of it. Maybe. This record is stunning. I am hearing Nina
Simone, Odetta and Ann Peebles. Lady
Blackbird covers Miss Simone, as well as Allen Toussaint, Tim Hardin and
THE JAMES GANG! But the absolute highlight is the beautifully haunting
"Fix It," which features original lyrics put to the Bill Evans standard
"Peace Piece," and it is the track Randy highlighted in his suggestion.
It would be lazy to call "Black Acid Soul" a jazz vocal album and dishonest to not. I just don't want a label to keep you from listening.
Surrender- Terence Trent D'arby I've Done It Again- Grace Jones The Witch- The Cult Sheraton Gibson- Pete Townshend I Think It's That Girl- Dwight Twilley What Love Is- Dead Boys Archie- Ernest Ranglin
Surrender- Terence Trent D'Arby TTD's best song. Period.
I've Done It Again- Grace Jones Grace Jones' "Nightclubbing" gets played as often as any one of my obvious favorites. If you haven't listened to it recently, do yourself a favor and give it a spin. It is sublime record making.
The Witch- The Cult A little swapping--like "Automatic Blues"
instead of "Edie (Ciao Baby)" and "Zap City" instead of "Resurrection
Joe" and "Pure Cult" is a close to perfect 2 LP collection. (And maybe
restore the intro to "Sun King." but that's it!)
Sheraton Gibson- Pete Townshend "Who Came First" was released in 1972. "Rough Mix" was released in 1977. But Townshend refers to 1980's "Empty Glass" as his first proper solo album. I guess that is technically true, but ""Who Came First" is still first to me. Our friend Bill and I had a fun exchange regarding this record:
Bill: Who Came First was one of my first "white whale" albums--I'd always look
for it in any record store I would visit. For many years I never was
able to find a copy. Finally, I ordered it as an import from Second
Coming Records in NYC, from an ad I saw in Trouser Press. I had been
looking for so long! While I don't think it comes close to Empty Glass
or Rough Mix (or even Chinese Eyes), there are some good songs on it.
Me: I have a similar story. It took me a long time to find a copy that
included the poster. Once I did find it for $25, it seemed that I couldn't stop
finding it for $10. I think it really holds up. But yeah, it's no "Rough Mix."
I Think It's That Girl- Dwight Twilley That first album "Sincerely" gets all the kudos and it is hard to beat, but "Scuba Divers" is right there behind it.
What Love Is- Dead Boys Fast and hard! You need it, whether you know it or not.
Archie- Ernest Ranglin Are they really singing "Archie f**ked them up" on this blissful slice of island magic?
I'm not sure if there is much of a difference between the Songs Of The Week or this new Weekend Mix series I decided to create, other than the name of the series and the length of the mix.
This was inspired by a few things.
First, the very straightforward "Hey, how about a mix?" request from Soundsource.
Done.
Second, the comments section has been abysmal, speaking of straightforward. I can't expect everyone to feel the excitement that I do about the music I post, but I think I mix it up enough to please even the crankiest critics. (You know who you are!) I thought by recapping some of the stuff I posted, along with some new stuff and some audio, it might light a fire under some of you.
Finally, I love talking about music, that's why Burning Wood exists. So, get with it, kids! This is supposed to be fun, damn it! I WILL NOT turn this place into a download site with a cut-and-pasted press release as copy. I enjoy writing and hope you enjoy reading what I write. I am also very aware of the fact that many aren't reading through the lengthy posts while some aren't reading at all and just heading straight for the video or zip file. The comments, or lack thereof, occasionally reflect that. That's fine, too. Enjoy the blog anyway you can. And apologies for those lengthy posts. I can't help myself sometimes.
Like now.
Since March 1st, there have been a total of 100 comments, and that includes my replies. That's not a lot considering there were 50 comments on my Taylor Swift post. Maybe I will dedicate one day a week to Taylor and one to Eric Clapton, since those subjects seem to get everybody active.
I've been paying more attention to the suggestions in the chat box and thanks to it, I've written about Buzzard Buzzard Buzzard, watched Keef & The Winos, and shared Circe Link and Leonid & Friends. It takes but a minute to let me know you're reading and digging the music
Or not.
Now about "Recent Favorites":
I was scrolling through my dailies on the "Now Playing" blog, and I singled out some of the tracks that gave me some extra special pleasure, hoping that by collecting them all in one place, you dear readers would find it easier to give them all a go and maybe experience the same joy with one click of the zip. Click and listen. Easy.
THE SONGS:
Things get started with a very deep cut from the Motown vaults. I had never heard of The Lollipops and with good reason. They only had one single officially released and it wasn't this track. I found "In The Summer" on one of the "Cellarful Of Motown" comps and I love it.
I've loved Bowie's "Black Tie White Noise" since it was released. I've written about it, how it bankrupted the label and why it should have been Bowie's been commercial comeback. My friend and I were having that very discussion just the other day, so of course, I needed to play the record. I still love it. It's as if Scott Walker recorded a commercial dance pop album. Or maybe it is "Low" through a "Let's Dance" machine. Check out "Miracle Goodnight." And then check out the whole record.
Carlton & The Shoes recorded one of my favorite rock steady albums. Original copies fetch three bills. Someday, when money is no object, I will treat myself. Until then, the files will have to do. Reggae naysayers, it's only three minutes and a blissful three minutes they are.
The new North Mississipi All Stars, "Set Sail" is the usual down home groovin' from the band, but this slice of Memphis soul, sung by the legendary William Bell (who I believe co-wrote it) is something else altogether.
I picked up a new expanded vinyl release of Costello's "Spike." It is now a stunning two LP set, adding "Coal Train Robberies" and much higher fidelity. I've always liked "Spike" but never loved it, though "Deep Dark Truthful Mirror" is an all-timer. Gotta call out Allen Toussaint on that one.
Still high from that killer new Tears For Fears album, I had considered a Weekend Mix of deep cuts and later tracks, but dropped the ball. So here's one of the tracks that would have made the cut.
You must know by now I think the Pet Shop Boys are geniuses. Smart and sexy arrangemens, clever, sometimes hilarious and often dry lyrics and hooks to die for. And they've got a good beat that you can dance to. This track surprised me. I picked up a copy of "Electric" because I wanted their Springsteen cover, but it was this track,"Vocal" that stood out.
I have a friend who loves Mattiel. She hipped me to a few songs and I didn't hate them. Now, Mattiel's new one is out. It's uneven, but there was enough for me to want to go around again. This track is a favorite.
Jonder reminded me in the comments about Etta James' cover of "Take It To The Limit." I thought I didn't like the album "Deep In The Night." I remembered it being a little too smooth, like a post-Lowell Little Feat record, which isn't a terrible thing, but not when you want Chess-era Etta. I was wrong. There are some amazing tracks on that album and that's why I included two here. The Eagles cover, because Jonder is right. It is transcendent. And Etta's cover of a Kiki Dee b-side, "Sugar On The Floor."
We close with Cheap Trick because it felt like a good way to go out.
Young Guv is Ben Cook from Toronto. He has released three albums in two years. I have not heard "I" or "II," but I gave "III" a ride yesterday. It was a nice ride, short and sweet, covering a number of power pop bases and sounding at times like all the usual suspects from Big Star to the Raspberries. Nothing really knocked me out, though I really enjoyed the opener, "Couldn't Leave U If I Tried."
Christian Nesmith and Circe Link have released a tribute to prog rock titled "Cosmologica." Thanks to Shriner for his mention in the chat box. This was a lot of fun, mostly because I was trying to guess the songs Nesmith was paying homage to throughout. It's a bit of a novelty that I don't think I'll listen to very often, but it was pretty amazing nonetheless.
I finally got around to watching "Suzi Q," the 2019 documentary on Suzi Quatro. This film was something else. I was actually moved to tears in the last 15 minutes. Quatro's story is a wild one and almost all of the talking heads were fascinating. But here's the thing, for all that Suzi Quatro had done for women in rock, for all her trailblazing and pioneering, I don't think it should be that much of a shock that she never caught on in the states. Her debut is a glam rock classic, but honestly, not much else was. Even her biggest stateside hit, "Stumblin' In," a duet with Smokie's Chris Norman is a weak, mid-tempo slice of bland. Still, Quatro is a force who is beyond likable and it was impossible not to root for her during the entire film. Really great stuff.
Scrolling through Instagram, I stumbled upon a live cover of "I Got You Babe" posted by Lisa of The Bellrays. She introduced it as "I Got You Babe" via Etta James, and along with her husband Bob, proceeded to kick some ass with just a voice and electric guitar.
I looked at my copy of Etta James' "Tell Mama" and no "I Got You Babe." Apparently, it was a single only released in 1968, and appeared as a bonus track on various CDs. I realize I can't possibly know everything, but how the hell did this one get by me?
Hidden among the "Be My Babies" and "Da Doo Ron Rons" on both the "Wall Of Sound" 4 CD set and the 2 CD "Essential Phil Spector" is this gem of a Beatles' cover. The Treasures' version of "Hold Me Tight" was barely released as a single on the Shirley label--it's b-side was "Pete Meets Vinnie!"--- but it is huge!
The "Vinnie" by the way, who Pete meets, is none other than producer Vini Poncia, who along with Pete Anders, take the vocals for The Treasures.
One of my friends, a very fine record dealer named Joe, likes to use the term "record nerd."
It's not meant as an insult. He refers to himself the same way. I am a record nerd. Record nerds love records. They love the covers, the dead wax, the promo stamps, and they really love those white label promos.
But no unipaks!
A unipak is that reverse gatefold cover where the opening for the record is on the inside, so you basically need a second person or a third arm to remove the album safely.
But I digress.
There are good record nerds and bad record nerds.
Good record nerds appreciate good music along with the resale value of a piece of wax. A bad record nerd will focus mainly on the cool factor, the monetary value, the scarcity and just about everything but the music in the grooves. He will dismiss, for example, all the amazing jazz that was released on Atlantic Records in the 60's that isn't Coltrane, Ornette or Mingus. Absolutely wonderful records by Herbie Mann, Yusef Lateef, the MJQ, Roland Kirk and Eddie Harris are deemed unworthy because you can't sell them for more than $5 or $10. These records are what another friend calls "cheap heat."
To quote my friend Tim, another dealer and good record nerd, "Eddie Harris is my favorite $5 artist." Tim also once said, "Don't sleep on those Eddie Harris records!"
And so, after spinning "The In Sound" by Eddie Harris three times in two days, as well as "Mean Greens," I was inspired to tell you not to sleep on Eddie Harris.
These records were released in 1965 and 1966, respectively. The core group on "The In Sound," and half of "Mean Greens" is legendary. Ron Carter, Cedar Walton, Billy Higgins and Harris, with Ray Codrington on trumpet for a few tracks. "The In Sound" was Harris' first for the label, but all that followed through the 1969 classic with Les McCann, "Swiss Movement" are terrific.
The vibe on these records, really on much of Atlantic's 60's jazz catalogue, is key to making them stand the test of time.
There is a special kind of cool emanating from the grooves of "The In Sound" that makes a swinging version of "The Shadow Of Your Smile" not sound the least bit hokey; a special kind of cool about the version of Mel Torme's "Born To Be Blue" that could place it in a 40's noir film or a 50's Kazan movie, or on a wet and smokey French Quarter street in present day New Orleans; a special cool in the jazz standard, the Harris original "Freedom Jazz Dance," that fuses second line rhythms with gospel and funk that belies the song's age.
"Mean Greens" is just a bit more adventurous with Harris exploding occasionally with a few extra skronks. Even the take of "It Was A Very Good Year" will get you bopping, an action not usually associated with that song.
There is nothing on either "The In Sound" or "Mean Greens" that should scare any ardent non-jazz fan away. These Atlantic Jazz records of the 60s---Herbie Mann, "Fathead" Newman, Roland Kirk--- were built that way, to please not just the "nerd" or jazz aficionado, but the fans of rock and soul, as well. These records ooze soul.
So, the next time you are record shopping and you see both the $5 Eddie Harris and $75 Donald Byrd record on Blue Note, grab that $5 Eddie Harris. There's nothing wrong with that Byrd, if you can afford it. Hell, buy both if you can! Just don't be that guy who thinks that double or triple digit jazz records are cooler, better or worth more musically.
And don't sleep on those Eddie Harris Atlantic records.
Matilda Mother- (MONO)- Pink Floyd Cheerleader- St. Vincent Perfect Way- Scritti Politti Within Your Reach- The Replacements Rush Across The Road- Joe Jackson Tomorrow Is A Long Time- Rod Stewart Eye Candy- Ron Sexsmith
Matilda Mother (MONO)- Pink Floyd One of my three favorite records of all time, "Piper At The Gates Of Dawn" finally gets a proper reissue in mono. To celebrate, we begin with Syd's Floyd.
Cheerleader- St. Vincent My favorite track from "Strange Mercy."
Perfect Way- Scritti Politti I read something recently in Mojo, either about a Scritti Politti tour, or possibly a reissue campaign. Either way, they've been on my mind. I loved their singles back in the day and just happened to find the "Cupid & Psyche 85" album at last week's record show. And so...here is "Perfect Way."
Within Your Reach- The Replacements I'd be preaching to the "Mats choir if I went on about the genius of Paul Westerberg. So, this goes out to all those either unfamiliar with or uninterested in The Replacements. For all the 'Mats songs that bash and pop at breakneck speed, there are a few like this one, and most of them, including those bashers, have brilliant lyrics. "I can live without your touch/but I'll die within your reach."
Rush Across The Road- Joe Jackson This one popped up on the iPod shuffle and it took a minute to realize who I was listening to. When it hit me, I realized I needed to spend more time with JJ's "Rain" album, which is really fantastic.
Tomorrow Is A Long Time- Rod Stewart Covered by many, including Sandy Denny & Elvis Presley, here is a Dylan fave via Rod The Mod.
Eye Candy- Ron Sexsmith Sexsmith's "Long Player Late Bloomer" is getting a RSD reissue this April. He has many records with many great songs, but this album for me, is the most consistent and accessible. "Eye Candy," like the rest of the album, is ear candy.
During the 70's and 80's, Chess Records reissued a good portion of their blues, soul and R&B catalogue. Most of these records are fairly easy to come by, but a few remain elusive, though not impossible to find. One of those that shows up less than others in collectors markets is Sugar Pie DeSanto's collection, "Down In The Basement."
DeSanto, in some ways, led the same path as her childhood friend Etta James, only Etta took it to greater heights. Every track on "Down In The Basement" is a killer. I have had a copy for sale for weeks now, which puzzles me, since it took me months to track down a copy for myself. I gave it a spin yesterday and it did not disappoint.
Last week, a few of you noticed that I was listening to the Japanese collection "Exciting The Who." That record was one of four recent reissues replicating The Who's early Japanese records. "I'm A Boy," "Sell Out" and "My Generation" were also released. My copy of "My Generation" arrived yesterday and in a few words, my mind was blown. Apparently, the original Japanese version of "My Generation" used fake stereo. This new edition fixes that by using true stereo mixes and let me tell you, I cannot believe what I have been missing all these years. Listening to this record was a revelation. The records in this series aren't cheap, but they are very limited. So, if you are even a bit interested, act fast. I guarantee, if you are a fan of this record, your mind will be blown, as well.
One of my very favorite collections finally gets a vinyl release this week. Irma Thomas' Lost Cotillion Album, "Full Time Woman" has just been released in both blue vinyl and a very limited "creamsicle" color, exclusively at Louisiana Music Factory.
These 70's tracks remained unreleased for years, some recorded in Miami, some in Philly at Sigma Sound and some in Jackson, Mississippi. Irma Thomas' most famous sides have a very obvious New Orleans vibe, thanks to the amazing players, as well as the presence of songwriter and all around genius Allen Toussaint. But the tracks on this collection show a very different side of Thomas. A good number of these songs took me by surprise the first time I heard them. This is southern soul at its finest.
Only 300 copies were pressed for the Louisiana Music Factory, so if you'd like to get one of these beauties, click this link right here.
Brooklyn Vegan dropped "40 New Songs" last night. The artists include the following:
Deaf Club End Game (Feat. Kat Moss) Gang Of Youths Whatever The Weather Kali Dalek Hiatus Kaiyote Elzhi & Georgia Snne Muldrow Companion Melody's Echo Chamber Altin Gun Pillow Queens Good Looks Art D'eeco Tess Parks Tess Roby Honeyglaze P.E. (Pill + Eaters) Dana Buoy Tomberlin
And John Doe.
I love John Doe, but I don't think this new single is anything special.
So I chose something at random. Honeyglaze.
I gave it a minute and lost patience. Let me know how far you get.
Gang Of Youths cover Wilco. And it's dullsville. Deaf Club cover Pixies. And so what? Finneas covers Bon Iv...zzzzzzzzTHUD.
I tried.
Back to my regularly scheduled programming tomorrow.
The title track has been haunting me for days. It has been awhile since I have heard something that moved me quite this way.
Salvant opens things up with a stunning take on the Kate Bush classic "Wuthering Heights," and her current single is a more conventional jazz take on Sting's "Until."
There are many twists and turns on "Ghost Song" and it is an exquisite ride if you are willing to get in. But if you are already heading over to another of your favorite blogs after seeing the words "jazz singer," please listen to the title track before you go.
For a short spell, 2002-2005, I was really plugged into the E Street Band camp. Little Steven's Underground Garage had been launched and NYCD was one of their main go-to places for music. The hook-up came through a friend. Then I became friends with the hook-up, and then the hook-up hooked me up with a few more hook-ups. Prior to 2002, I had seen Bruce Springsteen & The E Street Band live about a dozen times, the first time in 1980. Between 2002-2005, I clocked in about 30 shows, including a few rehearsals.
One particular show turned into a day long road trip with a friend, who I believe had never seen The Boss perform live. This was exciting for both of us. The show was in Atlantic City at Boardwalk Hall, 19 years ago today, March 7th, 2003. Almost 40 years ago that same night, The Beatles had played the very same stage.
The ride down to A.C. was uneventful. Just two friends yapping and listening to some music. We had seats in Little Steven's section, and passes to hang out in the E Street Lounge, but once we got near the Boardwalk, parking was non-existent, and any pre-show hang was going to be in the car, looking for a space.
With showtime creeping up on us, we managed to find a spot about ten blocks away, on one of the less desirable Monopoly Avenues. In front of a strip joint. Next to a pawn shop. My friend is famous for what we call his "parking karma." On one of the busiest days in Coney Island's year, the New Year's Day Polar Bear Swim, he calmly pulls up right in front of the Cyclone, somehow finding the one and only legal spot. This happens everywhere we go. And so, he was confident.
I asked, "Do you think the car will be here when we get back?"
My friend got out and said, "We'll be fine here" just as one of the "dancers" was coming out of the strip joint.
"You'll be fine here, baby. Ain't nobody gonna touch your car. I'll keep an eye on it."
"She'll keep an eye on it," my friend said to me, as we jogged to Boardwalk Hall. We got there with just enough time to grab a few beers and chat with a few of the gang from the Underground Garage.
The show was typically amazing, with the band opening with "Atlantic City," of course, as well as the usual sprinkling of surprises, including "Does This Bus Stop At 82nd Street," "It's Hard To Be A Saint In The City," "Jersey Girl," (why not?) and finishing up with the rarely played "Roll Of The Dice." (Makes sense.)
But the real surprise was the first encore, the debut of The Beatles' "Tell Me Why" to commemorate the anniversary of The Fabs appearance. It was a blast, if a bit ragged. I'm pretty sure they worked it up in the dressing room just a few hours before showtime. The band was having fun and that joy was exploding into the crowd, especially when they (almost) nailed that falsetto part. Little Steven started laughing, then Bruce started laughing and then we all were laughing.
We hightailed it out of the hall, down the windy boardwalk, and as Miss Popsicle promised, the car was there. All was okay. We made it home in one piece.
2023 will be the 20th anniversary of that night, but I was reminded of the trip today and felt like hearing "Tell Me Why."
Bedlam- Elvis Costello & The Imposters Ain't Got Nobody- Grand Funk Then She Said My Name- The Black Crowes Piggy Pig Pig- Procol Harum Rosetta- Allen Toussaint Lover, You Should Have Come Over- Jeff Buckley Silver Machine- Hawkwind
Bedlam-Elvis Costello & The Imposters A little over a month since "The Boy Named If" was released, and I still have EC on my mind.
Ain't Got Nobody- Grand Funk My friend is a friend of Bruce Kulick who is currently the guitarist in Grand Funk, as both Mel & Don still have issues with Mark Farner. He posted a short video of a sound check from this current tour and so of course, my ADD kicked in and I had to hear "We're An American Band." This deep cut surprised me.
Then She Said My Name- The Black Crowes This one is from my second favorite Black Crowes album, "By Your Side," which is apparently the least favorite of the band and many fans. I don't get it.
Piggy Pig Pig- Procol Harum One more for Gary Brooker.
Rosetta- Allen Toussaint This is simply beautiful and works perfectly anywhere, including the same mix as Grand Funk.
Lover, You Should Have Come Over- Jeff Buckley If anyone at all, even just two of you, have any interest in knowing why I have been obsessed with mastering and cutting engineer Kevin Gray, Jeff Buckley's "Grace" is one of the best examples. Almost every copy I have owned on vinyl was muddy and lifeless. But not the Kevin Gray cut from 2010. There is a night and day difference. If you care, it can be found here. If you don't, then just listen to the song.
Silver Machine- Hawkwind I'm reading Steve Jones' book "Lonely Boy: Tales From A Sex Pistol." I'll spare the gruesome details and just say, he mentions this song as one of the first that set him on a musical path and so here it is.
Almost two years after writing the Buyer's Guide To Todd Rundgren, which you can read HERE, I am making good on my promise to deliver the second part, my Buyer's Guide To Utopia.
There is 50% less to write about with Utopia's catalogue, but that doesn't make it any easier. Most of the intro to the earlier guide applies to this guide. I have lived with these records for years and like the first buyer's guide, I have no issue with pointing out all that's bad along with all that is good. I am a fan, not a fanatic.
I count eleven releases, not including the various post-breakup collections or "official bootleg" live releases. Over the course of these eleven releases Utopia covers almost as many genres, and it is because of this, that Rundgren's career has baffled as many as it has dazzled. I don't expect to change the already made up minds of those who have no use for prog rock, or jazz fusion or glam or metal. Hell, I'd be very surprised if they have read this far. My opinions are on the individual merits of these records, not how they compare to "Something/Anything?" surprisingly, not Rundgren's only record! I also happen to like both prog rock and jazz fusion, and that is how I approached those Utopia records, as a fan of the music.
Let's get at it in ascending order.
11. DISCO JETS
Ah yes, the "legendary" "Disco Jets" album. Why is it legendary? Because it took 36 years to get an official release, unless you count the sketchy 2001 release in Japan.
What is it?
"Disco Jets' was a hastily recorded spoof of the disco craze of the 70's, featuring the "Faithful" version of "Utopia" which included Roger Powell, Willie Wilcox and John Siegler. Recorded in just two days, Todd and the boys decided to have some fun while jamming on funky riffs filled with synthesizers and somewhat danceable beats that occasionally sound more like Jeff Beck fusion than anything found on the "Saturday Night Fever" soundtrack. There is even a discofied version of the "Star Trek" theme.
"Disco Jets" is not terrible. Some of it is very musical with some very tasty guitar work from Rundgren. But it was rejected by the label for a reason. It's a novelty and even the official release sounds like it was mastered off of a second generation cassette tape.
10. POV
This was the last gasp of the longest standing version of Utopia and it sounds it. With the exception of three songs, the power pop opener "Play This Game," featuring a powerhouse Rundgren vocal and some brilliant harmonies, "Secret Society," a mid-tempo rocker with sweet vocals that remains in Rundgren's setlist to this day, and Side Two opener, "Mated" a classic Philly ballad that often popped up in later set lists, most of "POV" swings hard and misses.
There are good ideas throughout that seem to get sabotaged by weak choruses--"Stand For Something" and "Mystified," or worse, sound like unfinished demos, "Mimi Gets Mad" and "Wild Life." It was a disappointment then and really doesn't hold up so well now, though I could listen to "Play This Game" every day.
9. OBLIVION
1983's "Oblivion" was the first for yet another new label, Passport Records. Following one of the best records of the band's career, "Oblivion" had plenty to live up to and so of course, it felt like a disappointment. But unlike "POV," this record has more than its share of classics and because of that, it has aged remarkably well.
The production on "Oblivion" is its weakest trait. Blame the 80s, or Willie Wilcox's terrible drum sound, but a lot of "Oblivion" is ice cold and stiff. Two of Rundgren's greatest ballads "If I Didn't Try" and "Maybe I Could Change," the latter sung by Sulton, are begging for a bigger, more organic band. This is not to say these songs don't work. It just hurts knowing how much better they could be.
Both "Bring Me My Longbow" and "Too Much Water" get on the dancey bandwagon of the 80's, with some white boy funk and electronica not unlike most of what was airing on MTV or being played on WLIR, Long Island's classic new wave station.
One actual MTV hit, albeit not a big one, was the single "Crybaby," which still kicks some power pop ass. (I've mentioned before that the Rundgren-penned "Heaven's Falling" from Cheap Trick's, Todd-produced classic "Next Position, Please" is basically the same song sideways.)
Kasim Sulton's two lead vocals, "Love With A Thinker" and the lovely "I Will Wait" are winners, but again, the metallic production mars the festivities just a bit.
Overall, I mind "Oblivion" a lot less now than I did then. And what is good, is really good!
8. ANOTHER LIVE
I know for many Utopians, this live record from 1975 is a classic. This was the last appearance of the six piece band with the late Moogy Klingman and Ralph Schuckett, nine if you count the three backing vocalists. Recorded in Central Park, six of the eight tracks are making their first appearance on a Rundgren record.
All of Side One is new material, the very busy progrocker "Another Life," the hippy ballad "The Wheel" and the showstopper, "The Seven Rays." This is a very fine trifecta, with great playing by all. "The Wheel" became a concert staple and there are moments in "The Seven Rays" that still kill me in the best ways.
Side Two features a cover of "Something's Coming" from "West Side Story" and a cover of The Move's "Do Ya," two years before Jeff Lynne redid it with ELO. The side is rounded out with a Moogy instrumental "Mister Triscuits" and two Rundgren classics, "Heavy Metal Kids" and the Utopian National Anthem, long time concert closer "Just One Victory."
I never want to play this record. I loved it at the time and still occasionally get the urge to hear "The Seven Rays." But "The Wheel" has not aged well, and I prefer the studio versions of "Heavy Metal Kids" and "Just One Victory."
Unless it's The Who "Live At Leeds" or "Aretha At The Fillmore," or "Jerry Lee at the Star Club" or "The Stones at The Marquee," I don't love live records. But because "Another Live" had mostly unheard material, it has a special place in my heart.
7. RA
As I mentioned in the intro, Utopia's catalogue covers many genres and on "Ra," the first with bassist Kasim Sulton, they cover all of them. In one song!
Let me first say, the tour behind "Ra" was both ambitious and at times hilarious, in a Spinal Tap way. There were smoke machines, paper dragons, fire pits and a giant pyramid that Todd would climb, step by step until he reached the top, only to leap off, holding on to a bungee cord, all while playing his guitar solo. Again, this was all in one song! I sat first row center, May 8th, 1977 at The Palladium and witnessed this spectacle, so I may have a little more invested in this record. But I won't let that dictate how I write about the music.
"Ra" has its moments. The opener, "Communion With The Sun" is 7 minutes of excitement. Like a Spielberg movie, it never lets up. A great melody, even greater harmonies, and dueling solos between Rundgren and keyboardist Roger Powell make this one of the strongest of the set.
It is followed by "Magic Dragon Theater" which has almost as many "Sgt. Pepper" references as "Sgt. Pepper." Wilcox gets to play bass and sing lead on straight forwward rocker "Jealousy," featuring a stellar guitar solo from Todd. Kas gets the next lead on "Eternal Love," a combination of big Utopia balladry and psychedelia. The side closes with "Sunburst Finish" which takes a cool riff and allows Todd, Kas and Rog to trade verses. It's all fun and games until it turns into a proggy mess.
Side Two is where "Ra" goes completely off the rails. "Hiroshima" is a mini-drama, complete with narration and sound effects. It's as bad as you're thinking. The finale is an 18 minute "electrified fairytale" titled "Singring & The Glass Guitar," with more narration, this time by engineer John Holbrook whose voice is sped up to sound like Billy Barty. Each band member gets an opportunity to find the key to unlock the glass guitar with his own separate song within the epic. These sections cover Motown, Brit pop, prog and R&B. In concert, each was accompanied by the aforementioned fire pits and dragons. That each of the four segments wasn't left alone is a crime, as each is worthy of repeated spins. But, bogged in the mire of all this pretentious crap, Side Two never gets played.
"Ra" has potential if you have the patience. But when people say they don't like Utopia, I can understand, especially if they are talking about this record. Not before and thankfully not after, has Utopia been as polarizing as they are on "Ra."
6. DEFACE THE MUSIC
What better way to follow your most successful record and your most successful tour than with a parody of The Beatles. That's right, Rundgren does it again with a left turn when he shoulda gone right.
That said, "Deface The Music" is quite brilliant. Think "The Rutles" only not funny. This is more "Dukes Of Stratophear." These are real songs and almost all of them are great. Even the brief tour was a blast, at least in NYC, where the band played The Ritz and drove up to the entrance, piled out of a car in matching Beatles suits with guitars on their backs, and rushed up the front steps in front of screaming fans waiting to get inside.
It's fun matching the band originals with the Beatles tracks they are parodying.
"I Just Want To Touch You" is "I Want To Hold Your Hand" "Where Does The World Go To Hide" is "I'll Follow the Sun" "That's Not Right" is "Eight Days A Week "Hoi Polloi" is "Penny Lane.
You get the idea.
It all works and it's a terrific record. But once again, it's a novelty, so I am not always in the mood. Still, "Deface the Music" is a bit of genius.
5. TODD RUNDGREN'S UTOPIA
This is where it all began, for better or worse. "Todd Rundgren's Utopia" from 1973 is more of everything! More keyboards. More solos. More lyrics. MORE! It's two records worth of material squeezed on to one LP, with "The Ikon," the side long epic on the B-Side clocking in at over 30 minutes.
This is the Mahavishnu Orchestra via Deep Purple with the occasional Beatles harmony, some Stravinsky and even a bit of Broadway. And it's a wild, wonderful ride. But of course, if you prefer your rock and roll at 2:45 a pop, with fewer chords and words that make sense, maybe this record is not for you.
4. SWING TO THE RIGHT
Between 1976-1982, I must have seen Todd Rundgren with and without Utopia over 30 times, maybe more. With two records a year, one solo and one with Utopia, as well as tours for each, the options were there, especially if you had a friend who didn't mind driving. So from The Palladium and Radio City Music Hall to the Northstage Theatre & My Father's Place in Long Island, to The Chance in Poughkeepsie, The Capitol in Passaic, back to The Bottom Line and St. John's University, I was there.
Utopia started playing songs from "Swing To The Right" almost two years before its eventual release in February of 1982. But I had a copy in my grubby little mitts as early as July of 1981. The record had been delayed a number of times, due to issues between the band and the label. Todd made this known in concert and so I knew the album had been delivered to Warner Brothers. They just weren't releasing it.
Speaking of July 1981, Utopia played a concert from Levon Helm's Studios that was simulcast across the country and it was legendary. More than half of "Swing To The Right" was performed, almost all were gems. I needed this record.
I started making phone calls, pretending I was anyone from Nino Fineswat, up and coming journalist for Interview magazine, to Sal Nunziato, desperate Rundgren fan who wanted to write an exclusive on the new album for his college newspaper. That second call won over the sympathetic ears of someone at WB and she messengered the album to me hours later, with a promo bio, 8x10 promo still and a few WB bumper stickers. I knew "Swing To The Right" inside out almost eight months before it was released.
This record has gem after gem, but as usual, a few speed bumps courtesy of Roger Powell and Willie Wilcox. Those weak tracks aside, "Swing To The Right" has "Lysistrata" and "One World," songs that stll get performed to this day. "The Up," a Kas track with more hooks than Millie's Bait Shop in Rockaway. "Only Human," easily one of Rundgren's most gut wrenching ballads and a vocal tour de force. And a bit of 60's psychedelia, that is part Hendrix and part Strawberry Alarm Clock, "Shinola," apparently about a bad deal with director Francis Ford Coppola.
It's a shame this record didn't get the promotion it deserved, instead almost getting completely buried for good. "Swing To The Right" and Utopia got a raw deal.
3. ADVENTURES IN UTOPIA
Like "Something/Anything," everyone's favorite Rundgren record, "Adventures In Utopia" is usually....I said usually... everyone's pick for best Utopia record. And it's great. And I love it. And it was the one with hit singles--"Set Me Free," "Second Nature"--- and oft-played FM radio deep album tracks--"Caravan," "Rock Love." And it's the record that moved Utopia from 2000 seaters to 10,000 seaters, including a slot opening for Led Zeppelin at Knebworth. And it is one of the most consistent Utopia records. And like "Swing To The Right," much of this record was being played live way ahead of its release.
And I have nothing else to add except, I like two others more.
It's fair to say "Adventures In Utopia," though originally written as a vehicle for a TV series starring the band, is the most straight-forward. As opposed to genre-hopping, they perfectly season each song with a little of what they do best, so that a basic pop tune might have a bit of prog sounding keys, or an extended rock piece might have a dance beat. It's all the band was known for wrapped up into one fantastic package, ready to eat. It appealed to everyone.
2. UTOPIA- S/T
Okay, there is a definite pattern here.
This 1982, 3-sided LP was held up by the label, this time Network, a subsidiary of Elektra. About a dozen of the 15 tracks had been performed live months before the
release. I had taped a few shows at Pier 82 in NYC, and I had given a
few songs my own titles, since no one really knew. Was Kasim Sulton in the band or out? Was Doug Howard the new bassist? He had two co-writes on the album, but that was the last anyone heard of Mr. Howard. When it finally came out, it was both a relief and in some ways, old news. It didn't feel new. Not to me, anyway.
But enough with the backstory, this is a power pop classic. And yes, speaking of patterns, this would have made a much stronger record without the Roger and Willie tunes. ("Burn Three Times" being one of the single worst Utopia tracks ever put to wax.)
That being said, it's all here. Melody, harmony, hooks, ballads. "Utopia" was the comeback! New label, new duds, new tour. And...nope. Network went out of business and that was that. But that doesn't mean the record doesn't hold up. As a matter of fact, "Utopia" has some of Rundgren's strongest material to date. "Chapter & Verse," "Bad Little Actress," "There Goes My Inspiration," more 60's psychedelia with "Infrared & Ultraviolet" and a personal Top Ten, "I'm Looking At You, But Talking To Myself," one of the two Doug Howard co-writes. This is very smart music. In a just world, there are eight hit singles here.
FYI--the Japanese vinyl pressing of this LP, is a single LP. Nothing is missing, but it was resequenced. The sound quality blows the US out of the water, and the resequencing makes me mind the three clunkers a lot less.
1. OOPS! WRONG PLANET
After the lovable mess of "Ra," Rundgren took another of his left turns, only this one happened to be right. No one listens to prog rock anymore. Even Yes & Genesis had been releasing four and five minute songs. Punk and new wave are what the kids are all yapping about. So, out with the togas and boas and in with the dirty t-shirts, ripped jeans and sneakers. Here was the fat free, 12 song, "Oops! Wrong Planet" just seven months after "Ra" and man, this one came out of the gate on fire.
"Trapped" sets the stage for a fast paced, solid collection of everything Todd and the boys do best. But here they do it as quickly as possible. Melodic rockers like "Back On The Street" and "Love In Action," the latter has rarely left the set list since 1977. Gorgeous ballads like "The Martyr" and "My Angel." Compact prog like "Rape Of The Young." And another concert staple, the original "Love Is The Answer," taken to new heights in an inferior version by England Dan & John Ford Coley.
"Oops! Wrong Planet" is the opposite of "Ra." It gets to the point. I imagine it is also considered a concept record, with songs about the state of the world, Exxon, and the apocalypse, but I've never listened to it that way. It's a thin thread.
And while I won't compare this to "A Wizard/A True Star," my number one on the Todd solo guide, I will say something similar. Before you can figure out what you like or don't like about "Oops! Wrong Planet," it's on to the next track. It's a Utopia Greatest Hits of style that I have never gotten tired of hearing. There is something for everyone on "Oops! Wrong Planet."
Maybe you know Rick Beato and maybe you don't. I tend to fall into a Beato rabbit hole, but then need to take a long break. He's a bit full of himself at times, but there is no denying that he knows his stuff.
He is now up to episode 112 of "What Makes This Song Great," dissecting in timely fashion, the Tears For Fears smash, "Everybody Wants To Rule The World." I love this series, mostly when it is about a song I love, and I love this track.
The video is 15 minutes long, which is probably 14:30 too long for the smash and grab blog readers. But, what Beato does here with audio and video is what I have been trying to do for 50 plus years with words. The difference is, I am a gushing fool, saying the same things over and over again about good pop music and great record making, while he uses his talents as a musician and leads by example.
You might not be a Tears For Fears fan, but you may love this song. It doesn't matter because this video is incredibly entertaining, even during the more technical areas---chord progressions, time changes, etc.. But the best part about this and all of these Beato videos is how he can illustrate that there is more than meets the ear, and man, do I love great record making. I've heard this song hundreds of times but never really noticed just how amazing and tasty the guitar playing is throughout. Beato made this monster hit seem new again.
As our friend Kevin mentioned in that all-important chat box on the left, the debut full length from Welsh band Buzzard Buzzard Buzzard has just been released. Uncut calls it a mash-up of Queen, Steely Dan and Slade. I can tell you right now that after two solid spins, nothing here sounds like Queen or Slade. That the lead singer occasionally sings falsetto doesn't make him sound like Freddie Mercury anymore than he sounds like Lily Pons. As for Slade, I don't know what the hell Uncut is talking about.
I have also read comparisons to Fleetwood Mac and T.Rex, as well as tagging the band with the power pop label.
Wrong. Wrong. WRONG!
But back to that Steely Dan reference, "Backhand Deals" is a terrific record that unabashedly sounds like a heartfelt tribute to early Dan. Actually, by the end of the record, I decided this could be a "Can't Buy A Thrill" bonus LP of studio leftovers.
The lyrics are smart and occasionally hilarious. Give a listen to "New Age Millenial Magic." The playing and production are both understated, yet very effective. And the quality of the songwriting is strong throughout.
Kevin also mentioned Jellyfish and that reference is strongest in "Demolition Song," which has a break that just maybe sounds a tiny bit like Queen, but only because Jellyfish at times, sounded a little bit like Queen. But that is where that comparison ends.
"Backhand Deals" kept my ears on their toes from head to tail. (I like that. I've got to write that down.)
Thanks for the recommendation, Kevin. Aside from that awful band name, "Backhand Deals" is going to get some heavy rotation in my house and I strongly suggest giving it a spin and doing the same. This one's a grower.
