Sexy Coffee Pot- Tony Alvon & The Belairs American Cheese (Jerry's Pianto)- King's X Breaking Up A Dream- The Ways & Means When You Finally Gonna Come Through- Jules Shear Roll Call- NRBQ She- Dwight Yoakam All Of The Good Ones Are Taken- Ian Hunter
Sexy Coffee Pot- Tony Alvon & The Belairs (Everything about this is funky from the title and the band name, to the groove, of course.) American Cheese (Jerry's Pianto)- King's X (Went down a King's X rabbit hole last week. They are hard to describe. The easiest label would be heavy metal,
because of their fan base. But that only tells part of the story. They
are heavily influenced by The Beatles, as much as they are Led Zeppelin
and Yes and even gospel music. This is a deep cut from the 1996 album "Ear Candy.") Breaking Up A Dream- The Ways & Means (One of the first U.K. bands to play surf music in the early 60's, though this single, their last, owes more British psych, or at least I think so.) When You Finally Gonna Come Through- Jules Shear (When you finally gonna release another pop album, Jules?)
Roll Call- NRBQ (Are you here?)
She- Dwight Yoakam (Lots of jangle on this Dwight track.) All Of The Good Ones Are Taken- Ian Hunter (There were two versions of this track on the album of the same name, a ballad and this upbeat version, which I prefer.)
I was listening to "The Who Sell Out" as I do from time to time and decided to listen to the bonus material, which I don't do nearly as often. I have always loved the reject, "Early Morning Cold Taxi," a song that would have made the greatest album of all time even greater if it had appeared instead of maybe "Silas Stingy." The song was co-written by Roger Daltrey and Dave Langston, The Who's roadie, I believe.
This also reminded me of the excellent cover version by Swag, super-power pop group featuring at one point or another, members of Cheap Trick, Wilco, The Mavericks and Todd Rundgren.
The song first appeared on the first official Who boxed set "Maximum R&B," along with 25-30 other oddities and rare mixes, but it wasn't until the deluxe "Sell Out" box that we got to hear the original U.K. mono mix. Honestly, I love the track so much, I wouldn't mind an E.P. of every existing mix.
From the 2007 Fats Domino tribute "Goin' Home," please enjoy Paul McCartney channeling the honoree with piano accompaniment by Allen Toussaint on the New Orleans classic "I Want To Walk You Home." Seriously, Macca's delivery is impeccable. He is no doubt, a fan.
I remember when this CD was released. It was not even two years after Hurricane Katrina and it seemed like there was a New Orleans tribute or benefit happening every week. I went to them all and purchased every bit of music, but I honestly don't think I have listened to "Goin' Home" since 2007. It has a very heavy roster with everyone from Tom Petty to B.B. King, Dr. John, Elton John. and Robert Plant, Lucinda Willams and Toots & The Maytals, Neil Young and of course many New Orleans favorites like Irma Thomas, Art Neville, Jon Cleary, Galactic, The Dirty Dozen Brass Band and more. And almost all of the selections were newly recorded.
In May of 2003, Robert Palmer released his last solo album, a record inspired by Robert Johnson, the south and blues in general titled "Drive." As a long time fan and someone who has followed Palmer since he won me over with his debut "Sneakin' Sally Through The Alley," I can't say I remember a thing about "Drive," other than its one single "Dr. Zhivago's Train," which is not a blues recording. In general, I am not a fan of modern blues. I prefer acoustic country blues in the style of Mance Lipscomb or Reverend Gary Davis over electric blues like Robert Cray and Tab Benoit. Give me "You Got The Silver" and "Prodigal Son" over "Midnight Rambler" anyday. So it's possible that once I saw the tracklist on "Drive," which features covers of ZZ Top and Keb' Mo', I just didn't bother. But apparently, "Drive" received some critical acclaim and within four months of its release, Palmer was dead from a heart attack.
Cut to yesterday, as I am scrolling through iTunes looking for a song, I see "Drive" in its entirety and decided to give it a listen 20 years after the fact. I should have known better than to think Robert Palmer couldn't pull off a record like this.
It is sparse and funky. It grooves the way Palmer tends to groove. His vocal phrasing, as always, is his and his alone. And, it even has a touch of the Carribean that Palmer loved so much. Some half-assed digging turned up a few raves, as well. Even a few YouTube comments said things like "His last and his best!"
I don't know if it's his best, but after two spins, one yesterday and one this morning, "Drive" is hardly the throwaway I had been thinking it was all this time. This is one fun record.
DARYL HALL- D Daryl Hall sans John Oates has released his first solo record in 13 years. "D" was produced and co-written with Eurythmic Dave Stewart, who last worked with Hall on his 1986 solo album, "Three Hearts In The Happy Ending Machine." The result, I am sorry to say, is pretty bland. Hall has mentioned how he and Dave had been hanging around, whipping up tunes on the spot and having some fun at his studio in the Bahamas. And while that may be liberating after 18 contentious months filled with restraining orders and lawsuits, it doesn't make for a very exciting record, as the songs sound like they were made up on the spot. Some go on too long and a few sound like demos that may have worked better with a touch of Oates. There is nothing terrible here, but there is nothing overwhelming either.
RICHARD HAWLEY- IN THIS CITY THEY CALL YOU LOVE Hawley's new record, on the other hand, is wonderful. He's always had a flair for the dramatic and I think I'd be disappointed with anything but. The record opens with an upbeat and ominous groove on "Two For The Heels," but then it doesn't take long for Hawley to settle into his big, sweeping orchestrations on tracks like "Heavy Rain" and the absolutely stunning, "Tis Night." There is also a terrific Roy Orbison homage in "I'll Never Get Over You." Good stuff, from Richard Hawley.
LINDA THOMPSON- PROXY MUSIC In case you missed it, the one and only Linda Thompson has dysphonia and she can no longer sing. So she wrote some new songs and asked friends and family to sing them for her. The brilliantly titled "Proxy Music," with one of the most genius album covers to boot, could have easily been a hit and miss tribute album. That it plays like a coherent record has everything to do with the cast of vocalists including Linda's kids, Kami Thompson and Teddy Thompson, who also produced, Rufus and Martha Wainwright, The Unthanks and John Grant among others. Even with the changing of the leads, "Proxy Music" never comes across as a hodgepodge of styles. It's pretty damn miraculous, if you ask me. There isn't a bad track here.
Let Me Go- Rolling Stones Corrina, Corrina- Rising Sons The Russians Are Coming (Take Five)- Val Bennett Call For All Demons- Sun Ra Es Tu Cosa- Joe Bataan Why I Went Missing- The Style Council May My Heart Be Cast Into Stone- The Toys
Let Me Go- Rolling Stones Last week's "Emotional Rescue" discussion inspired this kick off. Corrina, Corrina- Rising Sons An oft-covered tune, but this one is a fave. It is sublime. The Russians Are Coming (Take Five)- Val Bennett Nothing beats a good ol' reggae appropriation. Call For All Demons- Sun Ra Very accessible Sun Ra. Don't be afraid. Es Tu Cosa- Joe Bataan Sorta, but not really a cover of The Isley Brothers. Definitely fantastic and cool.
Why I Went Missing- The Style Council A friend and I were discussing the Style Council and he mentioned how "Confessions Of A Pop Group" is widely considered to be their worst record. But he (and I) think it's fantastic, especially this Weller gem. May My Heart Be Cast Into Stone- The Toys Girl group bliss.
A few people suggested I take what I considered the best of John Cale's two most recent records and create what I thought was a more manageable playlist. I have never been a fan of long records and both "Mercy" and "POPtical Illusion" are long. The sameness makes them feel even longer. Like, longass long. I spent time with both and came up with a 40 minute record, featuring four tracks from each, and when I gave it a test run, I wasn't any happier.
Cale is one of my musical heroes, but I think these records are too heavy to carry around. Nothing happens. I keep waiting, but the vibe never changes.
Then I recalled something a person said. It might have been a friend in a text or someone in the comments section here. I don't remember who said this, but it was along the lines of, "I like making playlists that mix an artist's new record with some of my favorites from his catalogue. This way I can see how it all fits."
I decided to try that and came up with "Merciful Conclusion."
Let's see if these new songs know how to mingle with the old.
MERCIFUL CONCLUSION Catastrofuk Night Crawling Davies And Wales Noise of You Entre Nous All To The Good Leaving It Up To You Mary Calling You Out I Know You're Happy Out Your Window Dead Or Alive How We See The Light Mr. Wilson Over Her Head
I saw Willie Mays At a Scotsdale Home Depot Looking at Garage Door Springs At the the far end of the 14th row
His wife stood there beside him She was quiet and they both were proud I gave them room but was close enough That I heard him when he said out loud
This was my country And this was my song Somewhere in the middle there Though it started badly and it's ending wrong
This was my country This frightful and this angry land But it's my right if the worst of it might still Somehow make me a better man
The sun is unforgiving And there's nobody who would choose this town But we've squandered so much of our goodwill That there's nowhere else will have us now
We're pushing line at the picture show For cool air and a chance to see A vision of ourselves portrayed As younger and braver and humble and free
This was our country This was our song Somewhere in the middle there Though it started badly and it's ending wrong
This was our country This frightful and this angry land But it's my right if the worst of it might still Somehow make me a better man
I've started something I can't finish And I barely leave the house, it's true I keep a wrap on my sores and joints But yes, I've had my blessings too
I've got my mother's pretty feet And the factory keeps my house in shape My children, they've both been paroled And we get by on the piece we've made
I feel safe, so far from heaven From towers and their ocean views From here I see a future coming across What soon will be beaches too
But that was him, I'm almost sure The greatest centerfielder of all time Stooped by the burden of endless dreams His and yours and mine
He hooked each spring beneath his foot He leaned over then he stood upright Testing each against his weight For one that had some play and some fight
He's just like us, I wanna tell him And our needs are small enough Something to slow a heavy door Something to help us raise one up
And this was my country This was my song Somewhere in the middle there Though it started badly and it's ending wrong
Well, this was God's country This frightful and this angry land But if it's his will, the worst of it might still Somehow make me a better man
If it's his will, the worst of it might still Somehow make me a better man
I've always been more of a John Cale fan than a Lou Reed fan. I find even Cale's most difficult and unappealing work to be far more interesting than Lou's catalogue throwaways. Plus, Lou has given us more, so anytime there is new Cale music, it becomes an event.
If you're a John Cale fan, you may have read numerous articles about his prolific pandemic, writing over 80 songs of varying styles during lockdown in Los Angeles. That period has so far given us two new John Cale records in a little over a year, 2023's "Mercy," which runs 72 minutes and the just released "POPtical Illusion," which runs 62 minutes, adding up to actually four new slabs of vinyl in a year. Therein lies the problem.
"Mercy" was deep, dark, dense and demanding, and probably a few more D words, too. There is beautiful music to be found on "Mercy," but it is an endurance test. It is a murky journey with few payoffs. I didn't hate it. But I wanted to love it and I didn't. At all.
"POPtical Illusion" is brighter and bigger and offers more melody to sink your ears into, but like "Mercy," there is a sameness to its style and attack.
Now I don't know shit, but it feels like Cale sifted through his 80-plus songs and separated them by feel, which leads me to believe that his next record---the next 75 minutes---might be a third style; 12 songs similar in structure and sound to each other...maybe.
Like I said, I really don't know anything about his process. But "Mercy" does not stray too far musically at any point from its start and neither does "POPtical Illusion." I do know how much I love John Cale's music and how happy I am to be getting more 60 years after the fact. But I do think the best 20 minutes of "Mercy" and the best 20 minutes of "POPtical Illusion" would have made one John Cale record to rival his 70's heyday. Instead, I have 135 minutes over eight sides that I probably won't listen to again, any time soon.
I've loved this song since I first heard it on Squeeze's 2017 gem "The Knowledge." But I don't think I ever really paid attention to it until yesterday. What a beauty.
I was never a Twitter guy. But since I enjoy Instagram, I thought I'd try my hand at Threads. It seems they are connected so there was no work involved other than coming up with witty things to say and interesting topics that will inevitably get shat on.
Last week, I posted this:
"Emotional Rescue" didn't stand a chance after "Some Girls." But it has aged beautifully.
So, great records overshadowed by the brilliant record right before it.
GO...."
One of the first replies was "Bowie- Diamond Dogs."
WRONG!
I politely replied, "I think you misundertood. 'Diamond Dogs' followed 'Pinups," and I don't think anyone thought 'Pinups' was greater than 'Diamond Dogs.'"
Things began to move forward rather nicely, with replies that made sense. Even if I didn't agree, at least I understood. "Zooropa" after "Achtung Baby," "Communique" after "Dire Straits," "Darkness..." after "Born To Run." Since Friday, my post has gotten 8,000 views.
But then, this guy weighed in.
"Emotional Rescue---the Stones' disco album."
That comment is in the same league as "Sgt. Pepper" is the greatest album of all time. If you say it enough, you'll believe it.
I'll say here what I said there. There isn't one disco song on "Emotional Rescue."
Then that guy said this, and let me just say, if you start your sentence with "Um, " you automatically lose.
"Um, the whole thing has a disco beat. I was working in a record store when it came out. I know it back to front."
Sorry, but he is not getting off easy. I said this:
"Um,
I don’t care where you were working. Two songs are danceable- Dance
and the title track. NEITHER sound like “I Will Survive” or “Night
Fever.” A funky beat is not disco. The rest of the album is typical
Stones rock and roll, a token reggae song - Send It To Me, a country
tune- Indian Girl, a Keef ballad- All About You- and rockers- Let Me Go,
Summer Romance, She’s So Cold, Where The Boys Go and a blues- Down In
The Hole."
Then the guy disappeared.
I was also working in a record store when "Emotional Rescue" came out, and I actually know the record back to front. Yes, the song "Emotional Rescue" made some geezer Stones fans angry at the time, but so did "Miss You." Mick's falsetto and Charlie's four on the floor somehow translated into "disco" for many, and that is not what fans of "Midnight Rambler" wanted to hear.
But as I suggested on Threads and now here, "Emotional Rescue" is hardly a disaster. As a matter of fact, because I rarely play it, it sounded fantastic.
And so good people of Burning Wood, Hall of Fame commenters and brilliant participants...when you are not anonymously trolling me like cowardly asshats...I ask you...
What records were overshadowed by the amazing records that preceded them?
And while you are Burning your Wood to come up with titles, please enjoy the two actual disco songs posted here.
Waves- Marjorie Fair How Many Tears- Skeeter Davis- NRBQ Got Nothing To Prove- The Who Cradle To The Grave- Squeeze Sum Up Broke- International Submarine Band No Excuses- Alice In Chains Wrong'Em Boyo- The Rulers
Waves- Marjorie Fair One of the most British sounding bands to ever come out of New Jersey. "Self Help Serenade" was a favorite of mine in 2004 and then the band disappeared until 2016. Check out this track and their excellent 2004 debut.
How Many Tears- Skeeter Davis & NRBQ Recorded in 1981, released in 1985 and then remastered and reissued with bonus tracks just last week, this is an underrated classic from two legendary artists. Got Nothing To Prove- The Who One of a handful of bonus tracks spread across the various iterations of The Who's 2019 release. This was a 1966 demo for "A Quick One" that Kit Lambert rejected. So, Pete Townshend took the original vocal, added new orchestration and voila! Cradle To The Grave- Squeeze Played this album a few times over the last few weeks. A late career masterpiece from Difford and Tilbrook. Here is the irresistible title track.
Sum Up Broke- International Submarine Band Gram Parsons' first single, a year before the debut ISB record. This is a killer.
No Excuses- Alice In Chains I played this one in a short-lived band about 30 years ago. Wasn't bad. This is much better.
Wrong'Em Boyo- The Rulers You might know this from The Clash's "London Calling." Maybe you didn't know the original. This has been a very hard record to find for years, but is now part of an excellent new collection from Trojan Records called "Let's Do Rock Steady (The Soul Of Jamaica)." Check it out HERE.
I know I've had bootlegs over the years. And I know some of the tracks had been released officially on deluxe editions of McCartney CD reissues. But I honestly don't think I ever heard "One Hand Clapping." Something about it never appealed to me. Was it a concert? Were they alternate versions? Why is "Let it Be" only 1:04? Do I need to hear "Blue Moon Of Kentucky" and "Baby Face" again?
Well, "One Hand Clapping" is out officially in all its remastered glory and I am loving it. I can't believe I ignored this for all these years.
Wings performed live over a few days at Abbey Road Studios in August of 1974 for a proposed "rockumentary" and accompanying live album, neither of which got an official release until the film appeared in the 2010 "Band On The Run" boxed set.
The bottom line? This is a fantastic set of music. The band rocks. The band is loose. It is not flawless which makes it all the more appealing. Wings sounds like a band and not just guys backing a Beatle. And the set list works because it isn't basic. Almost all of the songs will be familiar to you, but almost all of the arrangements are different enough to keep you on your toes.
I've been on the fence regarding Shannon & The Clams for some time now. I could tell from the sound of their records that they listen to a lot of my favorite music. But I always struggle with these deliberately "retro" artists. From the Daptone roster to those Dan Auerbach productions from Yola to Aaron Frazier, these artists try just a bit too hard to recreate the past, boasting about recording in mono, using overhead mics, and employing 60's soul strings and grooves so obviously nicked from the vaults of Memphis, it's like playing Name That Tune against your will. It's mostly all style and no substance, though I maintain that Sharon Jones and Amy Winehouse were exceptions to the rule.
Shannon Shaw under Dan Auerbach's guidance released "Shannon In Nashville" in 2018, her own version of "Dusty In Memphis" and on the first and second passes, I was hooked. But the love affair didn't last long because, as I just mentioned, it ended up being mostly style with little to sink my teeth into. And that is how I feel about these "retro" artists, and about the Shannon & The Clams catalogue. It's fine and fun to a degree, but why not just listen to the superior originals in all cases.
But now, Shannon & The Clams have finally nailed it.
"The Moon Is In The Wrong Place" is a truly great record. Shannon & The Clams have delivered their best and most consistent record yet. Sadly, the inspiration is personal tragedy as Shannon Shaw has been coping with the loss of her fiance Joe Haener in a freak car accident just months before they were to wed in 2022. The new record takes this head on, and while there are some heartbreaking moments throughout, it is not all a downer.
It could be me, but the band finally sound like themselves. It's not just girl group karaoke or production tricks. The album is fresher than that. Yes, you will find yourself calling out 60's hits like "Western Union" by The Five Americans on the title track, or "Stand By Me" on "The Vow." But these nods to the 60's work because the songs on "The Moon Is In The Wrong Place" are solid. They are better than previous records. The band doesn't need to rely on just style this time around.
I hope I feel this way on my third and fourth passes. Those are usually the most telling spins. For now though, I am really digging this new one.
The London born, L.A. based Billy Tibbals has caught my eyes and ears with his two recent mini-LPs, 2023's "Stay Teenage" and 2024's "Nightlife Stories," both of which were produced by Black Crowes vocalist, Brother Chris Robinson.
Tiibbals looks like Marc Bolan, sings like a cross between Brett Anderson of Suede and a not quite as chirpy version of Russell Mael, and his songs show both the swagger of British glam and the sleaze rock of Sunset Strip . And I say this with all due respect. I should also point out that some of the arrangements are by Lemon Twigs drummer, Reza Matin.
In a recent interview, Tibbals mentions listening to a lot of Roy Wood, The Beatles, Momus and Lyndsey de Paul. You'll hear those people in spirit, as well as a bit of the producer's band when Tibbals rocked a little harder on the most recent E.P..
I listened to both releases back to back which clocked in at a little over 30 minutes and there was never a boring minute.
Check out "Stay Teenage" and "Nightlife Stories" from Billy Tibbals toot sweet.
Hands Off...She's Mine- The English Beat Some Kind Of Wonderful- Soul Brothers Six Honey Are You Straight Or Are You Blind- Elvis Costello & The Attractions Peanut Butter- Compass Point All-Stars Art School Canteen- Kevin Godley & Lol Creme Insider - Tom Petty & The Heartbreakers w/Stevie Nicks Can't She Tell- Billy Preston
Hands Off...She's Mine- The English Beat (Is the Beat's follow-up anywhere near as good as the debut? I don't remember.) Some Kind Of Wonderful- Soul Brothers Six (Didn't realize this wasn't a Grand Funk original until the early 80's.) Honey Are You Straight Or Are You Blind- Elvis Costello & The Attractions ("King Of America," "Blood & Chocolate," and five nights on Broadway! Elvis absolutely peaked in 1986.)
Peanut Butter- Compass Point All-Stars (Just about finished with Grace Jones' memoir where I found out among other things that, "Pull Up To The Bumper" from one of my favorite albums of all time "Nightclubbing," was actually first released as this song and Grace decided that she must steal it.) Art School Canteen- Kevin Godley & Lol Creme (Gorgeous genius from 5cc.)
Insider - Tom Petty & The Heartbreakers w/Stevie Nicks (This one stood out from last week's spin of "Hard Promises.")
Can't She Tell- Billy Preston (Discovered this gem this week on a compilation of Sly Stone productions. This is a Stone/Preston co-write from 1965 and it's pretty damn good.)
The first time I heard Pokey LaFarge was in 2013, when Third Man Records released his sixth album. It was good, old timey fun and for a while, it was in heavy rotation. Since then, I had lost track. Maybe I thought LaFarge was more of a novelty, a little too cute to be taken seriously, and I simply lost interest. Cut to over ten years later, and my friend Jeff, the same guy who hipped me to Pokey in the first place, asked if I had heard his new one, "Rhumba Country." I hadn't, so I gave it a go. It was not what I was expecting...at all.
"Rhumba Country" still has a bit of novelty to it, but only because the arrangements are fresh and unique. It no longer sounds like Pokey LaFarge was trying to make music in 1928. This is a solid collection of pop, with hints of rhythm & blues, rockabilly, and even a bit of rhumba, as the title suggests. All of these tracks feel special thanks to that Pokey spin and style.
I'm going to spend a bit more time with "Rhumba Country" and then work my way backwards to see what I've missed. Check out these samples and maybe you'll enjoy Pokey's new one as much as I did.
I became interested in Split Enz very early because I was a big Roxy Music fan. I saw Phil Manzanera on board and I wanted in. As it turned out, the early records were a bit too quirky for me. They didn't really take at the time, though all these years later, they've grown on me. But once Tim Finn's baby brother Neil signed up, melody seemed to take precedence over quirk and I fell hard. "I Got You" got me and it never let go. I have been an ardent supporter of all things Neil Finn since 1980.
But something happened to Neil Finn after the death of original Crowded House drummer, larger than life personality Paul Hester. It's as if Hester took most of Neil's spirit with him. His songwriting changed. The sound of the albums changed. The tempos changed. A different pall was hanging around. This is not to say Neil Finn was no longer vital. Crowded House's 2007 release "Time On Earth" has some fantastic music on it. But 2010's "Intriguer" sounded like a struggle.
Neil's other projects, 2011's lo-fi curiosity "Pajama Club" with his wife Sharon, a very sleepy and experimental album with his son Liam called "Lightsleeper," and his somewhat uneven 2017 release "Out Of Silence" left a lot to be desired. Again, all three have something. And while those three albums are better than your average adult pop releases, there still wasn't enough of that necessary something to warrant repeated spins. They demand too much and what little energy I have these days doesn't need to be sucked out of me with whispered vocals, drum machines and dirge-like rhythms.
The last thing I ever thought I'd need to do when listening to Neil Finn, either with Split Enz or Crowded House, or when listening to his first three excellent solo outings, was fish for hooks. The hooks are supposed to snag me! Was Paul Hester the inspiration? The pop hook master? The secret weapon? Losing a friend to suicide isn't something one could ever truly shake. So, I don't want to be too hard on Neil Finn. But something's gotta give.
Crowded House's 2021 release "Dreamers Are Waiting," while not quite the ear candy of classic Split Enz or early Crowded House, was a fine return to something close. The hooks were back, sorta. There are a few choruses that can actually be sung. And Neil's voice sounds as good as his heyday.
My
one complaint, something I hoped I'd eventually adapt to but honestly didn't, is the production, which is credited to
the band. The record is awash with atmosphere---whooshing echo, water rippling, oceans breaking, intrusive percussion---all of which needs to desperately be turned down. There
are good songs here, with some classic CH harmonies but I'd like to
hear them. Tracks like "Playing
With Fire" and my favorite on the album, "Start Of Something" gave me a
jolt of nostalgia. They are that good. And man, if "Sweet Tooth" isn't a
lost Wilco tune, I don't know what is. But, after a number of plays and a few years gone, nothing has stuck with me the way the majority of those first four Crowded House albums did. I couldn't even tell you how my favorite song "Start Of Something" goes. That's how infrequently I reached for the record these last three years.
Now, 2024 gives us "Gravity Stairs," the new Crowded House record that has been getting some very positive feedback.
After four walks around the park since Friday, 5/31, I am sorry to say, it's just more of the same. Side One is pretty solid. You'd be hard pressed to find a song as gorgeous as "Some Greater Plan (For Claire)," a Tim Finn co-write. And "Life's Imitation" and "All That I Can Ever Own" both have a bit of that old CH magic. But then, Side Two just never changes. It's like a recipe that says "set burner to low, cover and check from time to time." Yep, it's still on. Four passes, two with lyrics in hand like I was 15 in my old bedroom and I remember nothing.
The sound of the record is just like "Dreamers Are Waiting." The drums sound like bean bags. Someone, anyone, start a fire! Give somebody a hot foot! This record is begging for a bolt of lightning to wake everyone out of their trance. I don't need a loud rock and roll record. Crowded House was never that. But jeez Elroy, what are using to hit your drums, a pair of socks? Hit that kick drum and snare, son! We're not getting any younger!
Now let me do some quick preventive maintenance. I am well aware artists change as they get older. I've had the pre-"Skylarking" versus post-"Skylarking" XTC debate a number of times, with me falling on the post-"Skylarking" side, saying, in a nutshell, Andy Partridge has grown up and maybe some fans of "Drums & Wires" and "Black Sea" didn't come along for the ride. I am willing to accept a change in Neil Finn's approach to pop music as he approaches 70. But you can't convince me that the last four or five XTC records aren't filled with hook-filled, pop brilliance. Even if you prefer crunchy guitars over a string section and Beach Boys harmonies, the songs are there. I'm not even sure what Neil Finn is singing about a lot of the time these days. It's all been one long, mid-tempo sameness. Give me a damn chorus like "Something So Strong" or "Weather With You" or "She Will Have Her Way." Or, the absolute masterwork, the Finn Brothers' "Everyone Is Here." There are more hooks on that record than in the Stella Maris Bait & Tackle Shop.
Trust me. I'm crushed. The last thing I want to do is give up on one of my favorite artists of all time. But I am hungry and I need something to sink my teeth into and I am sorry to say, that it won't be "Gravity Stairs."
For What It's Worth- The Staple Singers Black Tears- Ian Hunter & The Rant Band Silver Tongue- Prince Ska Jerk- Bob Marley & The Wailers When My Ship Comes In- Jill Sobule Rubber Neckin' (Chick Check'n)- Lou Courtney That's What You Do To Me- Roscoe Gordon
For What It's Worth- The Staple Singers (There are few things in life as cool as this arrangement.)
Black Tears- Ian Hunter & The Rant Band (Going back to when Ian was a spring chicken of 73 on this excellent track from "When I'm President.")
Silver Tongue- Prince (A new official release of this Prince/Nikka Costa collab. As I said a few days ago, I would love to hear an entire Prince jazz combo vocal album. I bet there's one already finished in that damn vault.) Ska Jerk- Bob Marley & The Wailers (The funnest song of the week, as The Wailers appropriate Jr. Walker for this gem.) When My Ship Comes In- Jill Sobule (Jill Sobule is a lot more than "I Kissed A Girl" and "Supermodel." Her Todd Rundgren produced debut is terrific, as is 1997's "Happy Town," where you will find this track. I love this groove.)
Rubber Neckin' (Chick Check'n)- Lou Courtney (This was almost part of The Cool Jerks repertoire. I voted "yea," but the "nahs" had it. A great b-side if there ever was one.)
That's What You Do To Me- Roscoe Gordon (Mr. Gordon covers his early 50's Sun single 50 years later...speaking of grooves I love.)
