While in the course of my daily Instagram doomscrolling, coupled with the new, tariff-related anxiety about a 90 seconds to midnight possibility of homelessness, I did happen upon this video, which quite frankly, floored me. That it has eluded me for these years is something I can't quite figure out. Let's just say I've been...uh...distracted.
Behold, Dhani Harrison and Friends and a motherflipping killer version of Pop's "Let it Down."
I mean, Jeebus, it's George, live and in person.
I've written about Jeff Matthews before. His previous E.P.s recorded with some of my favorite musicians, including the great Earl Slick on guitar, Paul Santo on bass and keys, and the monster Steve Holley driving the band on drums, pushed all my pop and rock buttons and they remain in rotation, with "Shut Up & Listen" from 2021 being one of my favorite tracks of that year.
Now, the usual suspects are back with a few new recruits that include Oskar Häggdahl on drums, Danny Lipsitz on horn, and someone not on my bingo card, Mr. Lubo Smilenov on the damn bagpipes! The new E.P. is "Heavy Rotation" and it is once again produced by the mad pop genius Mark Hudson who also adds some stellar harmony vocals while the great Mario McNulty is keeping it all together behind the boards.
Like his previous releases, Matthews takes his influences and creates something fresh, so much so, each new E.P. has a different vibe than the previous.
"Two Steps Back" sounds like a brilliant hybrid of "Can't Buy A Thrill"-era Steely Dan with a "Gaucho"-era vibe. "Frown (R.B.F.)" has a retro sunshine pop melody, like something you would hear on a Critters or Turtles record, sprinkled with essence of Todd Rundgren. And "Blank And Blue" is quite simply, beautiful.
What I love most about Jeff Matthews and Mark Hudson working together is that one pass through any one of Matthews' E.P.s will be a solid reminder that the art of record making is not lost. These musicians are seasoned veterans with enough credits under their belts to make your head spin, from David Bowie and Aerosmith to Ringo Starr, Ian Hunter, Paul McCartney, Joey Molland and Cher. You can hear it all in every track.
Give these songs a spin. I guarantee you won't need to fish for hooks.
The full E.P. is available on all of your favorite streaming services.
The International Herb- Culture
Hard Times- Boz Scaggs
The Supernatural- John Mayall's Bluesbreakers w/Peter Green
Outside Looking In- Chris Price
World Shut Your Mouth- Julian Cope
Cry Cry Cry- Nicole Atkins
Trapped- Utopia
I have a very early start on Sunday morning, so I'm getting this out to you while I had the time.
I dig all of these tracks. Actually, I dig every song of the day. It's why I choose them.
A FEW NOTES:
Culture's "Two Sevens Clash" is a reggae essential, but "International Herb" from 1979 is a favorite, as well.
I listened to Boz's "Down Two, Then Left" last week. It never had a chance following "Silk Degrees," but I think it is a damn good record that deserves revisiting. This was the first single, if memory serves.
Peter Green absolutely shines on "The Supernatural."
It's been a while since I played some Chris Price. I forgot how much I loved his solo records. All three are worth your time, if you're in the mood for some pop perfection.
And speaking of pop perfection, when was the last time you heard "World Shut Your Mouth?" It's been years for me. This one sounded really good loud.
And I finally found a Nicole Atkins song I like, and maybe you will too.
We close things out with a Todd Rundgren/Kasim Sulton duet, one of my faviorite Utopia songs of all time. This track kicks ass.
Enjoy the zip.
Starting now, if you anonymously shit on my posts, the comments are going right in the trash.
Got it?
If you have something to say, I am happy to hear your opinion and have a discussion.
But from now on, no more hit and run bullshit.
There are enough cowards and pussies ruining the lives of good people these days. I won't tolerate it here, a place of respite.
That is all.
If you find yourself thinking, "This song sounds just like that AC/DC song," or "Those lyrics are silly," or "That arrangement is so over the top, they can't be serious," then you are listening to The Darkness the right way.
"Dreams On Toast" is the band's new record and I think it's their best since 2012's "Hot Cakes."
Yes, the band is hilarious at times. Sometimes, they are down right goofy. But that doesn't mean they can't play rock and roll. They are arena ready, with all of your favorite hard rock riffs, but they can also write a beautiful melody. That the lyrics on the chorus of "Don't Need Sunshine" say-
"I don't need sunshine to get me a tan
I don't need an app to show me how far I ran
I don't want be a part of anybody else's plan
I don't need a woman to behave like a man
I'm alive, more or less
Less is more so I say no instead of yes"
-is part of the plan.
The band is having fun, and you should, too. Justin Hawkins is no dummy.
"Dreams On Toast" is a trim 33 minutes long, and every song is a different musical adventure, from the hard rocking opener "Rock & Roll Party Cowboy" to the band's very first country song, "Hot On My Tail," there is something for everyone here. Listen to "Walking Through Fire." It's 3 minutes of nothing but hooks! Just loosen your belt, put on an oversized tee shirt, reach for your air guitar and get in on it.
The Darkness know what they are doing and the best way to enjoy their brilliance is to know it, too.
I'm pretty sure I've read that Ian Hunter hates this record. One of the reasons cited was that all of the songs were written in a higher key than what he was comfortable singing, so every song sounds like he's fighting to reach notes. (Well whose fault is that, Sir?) It never got a U.S. release, aside from an advance test pressing promo, and it would be Hunter's last for Columbia, after a solid six year run. But "Overnight Angels" deserved more, if only because it featured the slick Earl Slick on guitar. (Dennis Elliott, who had just played on Foreigner's debut was on drums, but no one really knew or cared at that point.)
So what's the problem...aside from what I mentioned above?
It's not the music.
After the left turn of the keyboard and Jaco Pastorius heavy "All American Alien Boy," a fine album indeed, but not quite the rocker I was looking for after Ian's Mott-like debut with Mick Ronson, "Overnight Angels" pushed all the right buttons. The combination of rockers and big dramatic ballads like the ones found on earlier Mott records, seemed like this could have been the follow-up to The Hoople's swansong, "The Hoople."
So what's the problem?
Still not the music.
Maybe not releasing it in the U.S. had something to do with it. Or maybe it was the short ill-fated tour. (I don't have details, but someone must know what went wrong. Slick? Are you reading? Probably not.) All I know is, this record rocks. And those aforementioned ballads would make Phil Spector proud. (Or more likely just pissed off, which as we know, ain't a good thing.)
Anyway, let's focus.
The extended instrumental opening of "Golden Opportunity" is like an overture. It's brash and it's gaudy. And it works, setting the table for what is to follow. This record is not short on hooks, or reminders of those Mott records you loved just a few years back. "Broadway" is...well...so very Broadway! And how about "Wild N Free?" I'm thinking early Who. "Justice Of The Peace" is a glammy blast. Plus, you get the original, superior "England Rocks." Sorry, Cleveland.
I don't think it would be unfair to say that "Overnight Angels" is a lost gem. And to be honest, when I reach for an Ian Hunter record, it's not always the one that catches my eye. But when it does, it never disappoints.
