Crazy 'Bout My Baby- Robert Mosely
California Soul- Marvin Gaye & Tammi Terrell
Live Again- Irma Thomas
Anotherloverholeinyourhead- Prince
She'll Drive The Big Car- David Bowie
Misfits- The Kinks
Old Record Never Die- Ian Hunter
Crazy 'Bout My Baby- Robert Mosely
The first time I heard a Robert Mosely tune was in the movie "Green Book." I tracked it down and this track here was on the other side. Not sure which is the A-side, but they are both terrific.
California Soul- Marvin Gaye & Tammi Terrell
Love the 5th Dimension version, and somehow this Marvin & Tammi version got by me. Been playing this one, since it is new to my ears.
Live Again- Irma Thomas
Had no idea this track existed until "Schitt's Creek" used it over the closing credits. Turns out it is an unreleased Bacharach-David track tossed onto Irma's anthology CD as a bonus track.
Anotherloverholeinyourinhead- Prince
"Parade" is Prince's unsung masterpiece, best heard as a whole. But here is one of the singles anyway.
She'll Drive The Big Car- David Bowie
A shoulda been a hit from Bowie's "Reality" record.
Misfits- The Kinks
The Kinks Arista years are spotty, mostly due to bad choices in production. "Misfits" as a whole, is one of the better records, in part to the gorgeous title track.
Old Records Never Die- Ian Hunter
Our friend Bill suggested Ian's "Short Back N Sides" as a "left turn" on this week's post. It had been awhile since I played that one, so I did and it really held up. Thanks Bill.
Thursday, November 28, 2019
"All you ladies and gentlemen
Who made this all so probable
Without my friends I got chaos
I'm off in a bead of light.
Without my friends I'm swept up high by the wind
Thank you, friends (thank you, again)"
Whether with his influential punk and glam outfit Hanoi Rocks, or the various bands he's led over the years, like Demolition 23 and Jerusalem Slim, or the solo albums he's released with help from Ian Hunter, Little Steven Van Zandt, Steve Stevens. and members of both the Dead Boys and the Damned, Michael Monroe has been consistent. He loves rock and roll. And even if you can't easily find every one of his post-Hanoi Rocks records, take it from me, each and every one is full of hard rocking and hook-filled gems.
Now comes, "One Man Gang," what might be his best record since 1994's "Demolition 23." This one explodes out of the gate and never lets up. There are no electronic experiments, no trendy duets, no autotune. This is pure, unadulterated rock and roll, and Michael Monroe, now nearing 60, is singing better than ever.
Every track has a chorus to die for, with most of the songs written or co-written by NYC's Steve Conte and Sorry & The Sinatras guitarist Rich Jones, who also produced "One Man Gang." It wouldn't be a stretch to compare Monroe's attack to Bruce Springsteen. Just substitute a few key locations and turn the guitars up a little, or in some cases, a lot louder, and you will hear the similarities. I know I do.
Here are three tracks to get you started. I'm loving "One Man Gang" and I fully expect this one to finish in the Top 10 of 2019.
Pat Boone sings heavy metal?
William Shatner sings "Mr. Tambourine Man"?
These are extremes, and of course, created for the sheer hell of it.
Novelties.
But when Elton John took a left turn in Philadelphia in 1977 to work with Philly soul legend Thom Bell, I'm sure his idea was to create hits, not an E.P. than sunk faster than the Andrea Doria.
"Doing That Scrapyard Thing" was a Cream track written post-breakup, out of necessity. The band needed material to fill up the second side of a live farewell album. And while Cream covered a lot of unique ground for a power trio rooted in the blues, I think this song represents the best of their experiments. "Scrapyard" is a gem.
There are many obvious examples of artists venturing outside of their comfort zones, but rather than creating what will read as a laundry list---Dylan goes Christian, Bowie sings soul, etc.--can you restrain yourself to just one song, one wonderful, near-perfect selection that represents an artist successfully trying his hand at something new and different?
Gee Baby- Joe & Ann
If I Don't Have You- NRBQ
Sad Girl- Supergrass
Sugar Coated Love- Barbara Lynn
Strange Groove- World Party
Trouble- Foxy
Five Guys Named Moe- Joe Jackson
Gee Baby- Joe & Ann
Joe and Ann are Joe Joseph and Cynthia Coleman...or are they? Rumour has it that what few southern sides there are of these two, some might just be Joe & Ann in name only. A great little record, whoever they are.
If I Don't Have You- NRBQ
As our friend Carl poimted out in the chat box, "one of the most perfect songs ever written." It certainly is one of the Q's poppiest.
Sad Girl- Supergrass
I came to Supergrass many years after their demise, and thanks to my trusty iPod, the band is a gift that keeps on giving. Sugar Coated Love- Barbara Lynn
I would love to see Barbara Lynn get into the RNRHOF while she is still alive, kickin' and playing that damn lefty Strat. A hard sell, for sure, but man I love her records.
Strange Groove- World Party
A strange groove indeed from Karl Wallinger, the man who has been promising a new World Party album for what now feels like longer than the band has existed. This track works anywhere.
Trouble- Foxy
Don't know much about Foxy. Two singles and this is one of them. Found it years ago on a British "Lost Funk" CD. Five Guys Named Moe- Joe Jackson
Hadn't heard JJ's "Jumpin' Jive" in ages. Still kicks ass.
I was in a mood. What can I say? The Parquet Courts record was a great transition from what was already started with my Ultravox (first three albums only) marathon and this mix seems like an ideal finish. It also includes the world premiere of Paganfest, one of two short-lived hardcore bands I played in during the 80s. This track is one of only three committed to tape, a tape only recently unearthed from a box under stuff in a closet.
Have fun with this one. I did.
TRACKLIST
A Gain- A Loss- The Plugz
Almost The Same- Clearlake
Everybody's Happy Nowadays- The Buzzcocks
What We All Want- Gang Of Four
One Track Mind- The Heartbreakers
The Day The World Turned Day-Glo- X-Ray Spex
Working Girl- The Members
Eat Your Heart Out- Lords Of The New Church
Uncontrollable Urge- Devo
Join The Professionals- The Professionals
Frozen Ones- Ultravox
Ain't That Nothin'- Television
Leaving It Up To You- John Cale
Editions Of You- Roxy Music
Gutterpunk- Paganfest
Early rock steady and roots reggae can be extremely infectious. And while detractors of reggae music will cite a sameness to the music that simply doesn't move them, I bet these two tracks will. Up top, from 1969 is Tommy McCook & The Supersonics and below from 1966, are The Wailers, a trio of kids featuring Bob Marley, Peter Tosh and Bunny Wailers. Guaranteed to put you in a better mood.
ON Saturday afternoon, I listened to Led Zeppelin IV and something came to mind, so I posted it on social media:
"You’ve been saying you’re sick of it longer than the amount of time you
probably spent listening to it. And since no one listens to classic rock
radio anymore—right? —that means you probably haven’t heard it in
years. Stop being cranky and play it loud. It’s popular for a reason."
I was both surprised and happy that the feedback was all positive. There were no cheap shots at Jimmy Page, and only one negative comment about "Stairway To Heaven." One friend suggested that 1971 was the best year for rock and roll, which gave me an idea. I wanted to look up the Top 20 of 1971 and compare it to the Top 20, 50 years later. Since we have not reached 2021, I decided on 1969 instead. The following is a short list of what spent the most time on the Billboard charts in 1969:
Suspicious Minds- Elvis Presley
Sugar Sugar- The Archies
Build Me Up Buttercup- The Foundations
Crimson & Clover- Tommy James & the Shondells
Bad Moon Rising- CCR
Honky Tonk Women- Rolling Stones
Come Together- The Beatles
In The Year 2525- Zager & Evans
I Can't Get Next To You- The Temptations
Aquarius/Let The Sunshine In- The 5th Dimension
Too Busy Thinking 'Bout My Baby- Marvin Gaye
These Eyes- The Guess Who
Pinball Wizard- The Who
Love Me Tonight- Tom Jones
My Whole World Ended- David Ruffin
Galveston- Glen Campbell
Everyday People- Sly & The Family Stone
Get Together- The Youngbloods
One- Three Dog Night
Dizzy- Tommy Roe
If I continued to list the year-end Top 100, I would bet dollars to donuts that you would be hard pressed to find one song that would offend you. Maybe "In The Year 2525" is a bit relentless, leaning more toward novelty. But compared to "Panini" by Lil Nas X, it's "Rhapsody In Blue."
I'd like to think of myself as someone somewhere between the "get off my lawn" guy and the guy whose resting heartbeat hovers around the 35 BPM mark. I think it's healthy to get a bit riled up. Those five tracks I posted yesterday were a small sampling of the "hits of the day." I don't want to deny the kids the music that moves them, but you are a better man than I if you can muster even a minute's worth of patience to find a moment of pleasure from the formulaic, synthetic, mass-produced, auto-tuned, dumbed-down garbage that has taken residency in the charts.
I know times have changed. The way we listen to music has changed. The way we make music has changed. I am not naive. But I took a lot of flak for writing this piece for the New York Times, but five years later, I believe what I wrote more than ever.
We can choose what we listen to. That's a no-brainer. But when I look at the Top 100 from 1969 or even 1979, I see music of all colors and sounds. It made sense to hear Elvis Presley, The Archies, Sly & The Family Stone and The Who in a commercial free set on the radio. Now, the last remaining "oldies" station in NYC, no longer plays music from the 50's. I guess they must think fans of doo-wop have all died. Even classic rock radio sticks to just about the same playlist. Lots of Beatles but rarely pre-Revolver. The same 5 Stones tunes. The same 5 Who tunes. "Stairway To Heaven!"
I imagine the best way to avoid hearing Lil Nas X, or Shawn Mendes' "Senorita" is to simply play my own records and program my own Spotify playlists. But hasn't that been a complaint on its own, the loss of communal listening? How can we get back the joy of sharing music when the airwaves focus on one demographic? I remember listening to WABC at my cousin's backyard BBQ and no one, not the 10 year olds, nor the 25 year olds and not the 50 year olds ever needed to switch the station. We all knew that at some point we'd hear our favorite songs. Try that now.
I know many of you have a list of your favorite music holstered and ready to fire. So do I. But this is not about pointing out a Top 20 of up and coming artists, or digging deep for the most obscure pop band out of England. I am more interested in how and why it has come to this. It can't be as simple as "the internet."
Watered- Down Love- Bob Dylan
Something's Gotta Give- Frank Sinatra
I Wanna Be With You- Bruce Springsteen
Avenging Annie- Roger Daltrey
Candy And A Currant Bun- Pink Floyd
Harlem Hendoo- Al Hirt
This Better Be Good- Fountains Of Wayne
Watered-Down Love- Bob Dylan
From, "Shot Of Love," one of my favorite Dylan records that no one likes. I've mentioned this before and I'll say it again, there are at least five hit singles on this album and this track should have been one of them
Something's Gotta Give- Frank Sinatra
"Something's Gotta Give" has become something of a mantra these days. I decided to finally listen to the song.
I Wanna Be With You- Bruce Springsteen
But is it power pop? Who cares? An outtake from The Boss that came to mind recently, so here it is.
Avenging Annie- Roger Daltrey
I never gave Daltrey's solo records any time because they didn't sound like The Who. I've recently picked up a few in a collection and decided to try again. I did always love this Andy Pratt cover which does sound like The Who. (Don't mind me. Just listen.)
Candy And A Currant Bun- Pink Floyd
A Syd Barrett-era b-side that is one of my very faves by anyone.
Harlem Hendoo- Al Hirt
My friend Allen played this one from Al Hirt's "Soul In The Horn" album on his radio show "All That Gumbo," which I highly recommend. It airs on Friday afternoons at 4PM on WIOX from The Catskills. From AMG: The slinky "Harlem Hendoo" is the standout -- sampled by De La Soul for the
cut "Ego Trippin Pt. 2"; it's also the reason why the record is so
scarce and commands such high prices among crate diggers who wouldn't
otherwise allow Hirt's records into their homes even as insulation." See what you think.
This Better Be Good- Fountains Of Wayne
These boys can sure tell a story...and write a hook...and harmonize...and well, I love this track.
Putting this sixpack together wasn't as easy as I thought it would be. There were too many songs to choose from, and just as many that didn't feel deep enough. Elvis has a lot of fans, many of whom read this blog, so I doubt there will be any real surprises here. But who knows? I went with six tracks that I felt like hearing.
There are four covers, songs recorded by Christina Aguilera, Lee Dorsey, Paul Simon and one recorded by both Aretha Franklin and Dusty Springfield. The two EC originals are "Imperial Bedroom," a great song NOT found on the album of the same name, and "Basement Kiss," one of a dozen tunes written for Wendy James of Transvision Vamp and found on her excellent "Now Ain't The Time For Your Tears" LP. Elvis' demos of those tracks were never officially released, though a few trickled out as b-sides.
Maybe this sixpack isn't quite as inspired as previous packs, but it's all I've got on a chilly Friday morning.
TRACKLIST
Beautiful
Running Out of Fools
Basement Kiss
Imperial Bedroom
The Greatest Love
American Tune
"Devote more time to working on yourself and worry a lot less about how bands conduct their business?"
So let me get this straight, Ric. This reunion tour of the Robinson Brothers, two guys who make Ray & Dave Davies look Jack & Bobby Kennedy playing touch on a Hyannis lawn, is really NOT about the fans? What you're saying to long time devotees of The Black Crowes who might seem a tad skeptical is, shut up? Take it or leave it? Trust the judgment of two people who are notorious for making bad judgments? Oh wait...am I not allowed to write about this until I take stock of my life?
One of the main reasons I have been a long time fan of The Black Crowes live performances was their drummer, Steve Gorman. That he will not be on this upcoming reunion may be of little to no interest at all to the throngs of people who will no doubt show up for these shows. (Two original members of a band is two more than most on their "Remember Us, We Are Going To Die Soon" Tours. Most don't care who is on stage.) But his absence, for me personally, is a big deterrent. Another small detail is, as much as I love the BC's debut, knowing ahead of time that the tour will be "Shake Your Money Maker" in its entirety with "all the hits," deflates that balloon of surprise that has always been a big part of a Black Crowes concert.
But, all that aside. Maybe Ric Menck is right. Maybe Chris & Rich Robinson have chosen some truly fine new Crowes. And maybe, about a half dozen shows into the tour, the band will decide to mix things up. Maybe the chemistry will be off the rails and this "reunion" will become something other than a way to make some extra bucks. Time will tell.
Last night's warm-up set at The Bowery Ballroon consisted of the entire debut played in order and an encore of the Stones' "It's Only Rock N Roll." That doesn't seem to be about the fans, if you ask me. Short set, the album. One encore. But, I wouldn't want to upset Ric Menck by getting "hung up" on all this. I mean, "What have I done for you lately?' (I may be wrong but, Ric's last Velvet Crush record was in 2004.)
I'll admit to being less than excited about this Black Crowes reunion tour. But I had no intention of writing about it until I saw Ric Menck's post, something I found far more offensive than what he was ranting about. Are the Robinsons crying already? Is that what this is all about?
Without the fans, Chris and Rich Robinson might be working in some
Atlanta office. And if you think some backlash by a few fans who might
not be on board at the moment will make this tour any less of a success,
you're fooling yourself.
"Does it make you feel better to sling shit," Ric asks? I don't know. Does it make YOU feel better to sling shit, Ric?
Sally Sue Brown- Arthur Alexander
Cold Rain- Irma Thomas w/ David Torkanowsky
Tried So Hard- Gene Clark & The Gosdin Brothers
Madness- Prince Buster
A Certain Softness- Paul McCartney
I Love The Night- Blue Oyster Cult
Mother Whale Eyeless- Brian Eno
Sally Sue Brown- Arthur Alexander
For years it was impossible to find the original version of this on CD. The rerecord seemed to be everywhere. Here's the superior original, just one of about sixteen great tracks on Alexander's "A Shot Of Rhythm & Blues" collection on the Ace label. Cold Rain- Irma Thomas w/ David Torkanowsky
In the wake of Hurricane Katrina, the Soul Queen of New Orleans, Miss Irma Thomas released two of her greatest records. The first, "After The Rain," was a beautiful, subdued yet heartfelt set of what Irma does best. The second, "Simply Grand," was a stripped down affair, pairing Irma with some great piano players that included Dr. John, Marcia Ball, Randy Newman, Jon Cleary and on this track, one of my favorite New Orleans musicians, David Torkanowsky. I had been thinking about how both of these records deserve a deluxe vinyl release. Here's a fave off the latter. Tried So Hard- Gene Clark & The Gosdin Brothers
This album was the subject of a Bad Kitty Music post and what he wrote made me want to hear it.
Madness- Prince Buster
I only just found out that this popular Madness track was not a Madness original. How did I not know that? This is Prince Buster from 1963, I believe.
A Certain Softness- Paul McCartney
My bi-annual "Chaos & Creation In The Backyard" lovefest took place this week. This time, I took it on the road to Facebook. It was a success. Many agreed that this album was peak Paul. I Love The Night- Blue Oyster Cult
So often misunderstood as either two hit wonders, or worse, a heavy metal band, here is the fabulous, spooky and gorgeous second to last track from their greatest, "Spectres."
Mother Whale Eyeless- Brian Eno
Listened to the entire "Taking Tiger Mountain (By Strategy)" record, one of the four solo Eno masterpieces and this track made this week's cut.
While Todd Rundgren was doing it all by himself in Philadelphia and New York, there was a madman doing the same thing plus bagpipes and cellos across the pond in Birmingham. His name is Roy Wood and he is responsible for at least three of my favorite albums of all time, and over two dozen more individual tracks that have remained in heavy rotation for over 40 years.
Today is Roy Wood's birthday, so in his honor, here is a Deep Cut Six Pack that represents a tiny fraction of what this man can do. Six songs is simply not enough, especially if you're a fan. If you are a casual listener of The Move or Wizzard, and these songs do anything at all for you, please say so, and I'll get right to work on Part Two.
For now, give this a spin: All The Way Over The Hill is the opener from Roy's first solo album, "Boulders," and it is a prime example of what he does best. To sum it up in one word: more. With Roy Wood, there is always more. The perfect pop melody and arrangement just isn't enough for this track. In Roy's mind, it needed an Irish jig for a coda.
Don't Throw Stones At Me is an unreleased Roy original recorded for the BBC with The Move, and though there are countless others I could have included, this one is a recent discovery for me and I was excited about it.
Beautiful Daughter, from The Move's greatest achievement and one of my favorite records of all time, "Shazam," is quite simply, gorgeous.
Caroline is a 1969 UK hit from The Casuals, a British beat group whose most famous hit was "Jesamine." This track was written and produced by Roy Wood and might as well be Roy Wood through and through. Keep Your Hands On The Wheel was the single from Roy's last solo record for Warner Brothers, "On The Road Again." It unmistakably features John Bonham on drums and Roy Wood on everything else. It's the Beach Boys meets Led Zeppelin, if you can believe it. This is the single edit because this time, it didn't need the Irish jig coda.
We close things out with the brillliant U.K. hit "Forever," Roy's nod to Brian Wilson and Neil Sedaka.
As I said, these six tracks barely scratch the surface of what this genius is capable of producing, and like my other musical hero, Todd Rundgren, not all of it works. But you can't blame the madmen for trying.
Alison Moorer has been making records for years, but most have been lost on me. She has a wonderful voice and she can certainly write a song. But it wasn't until her collaboration of covers with her sister Shelby Lynne, 2017's "Not Dark Yet," that I got on board. I wish I could tell you the precise reason why 20 years of prior recording failed to pique my interest. But I can't. Wrong place, wrong time, I guess.
Now seems to be the right time, as her new release, "Blood," the companion to her memoir of the same name, has really shaken me up. Moorer's not so secret life includes among other things, a divorce from husband Steve Earle, and of course, the 1986 murder-suicide of her parents, both of which I imagine take up more than a few pages in the book. While I plan on reading the memoir, until then, "Blood," the album, will get heavy rotation, thanks to some truly amazing songs, like the beautifully heartbreaking "I'm The One To Blame," a song written by sis Shelby, or "All I Wanted (Thanks Anyway)," a song Jagger & Richards have been trying to write since 1975.
My plan is to go backward and catch up on all of the Alison Moorer I have missed, that is how good "Blood" is. Give it a spin, or just sample what I have posted here. This record is another winner for 2019 and will no doubt finish high on my year-end list.
Best selling author Matt Haig's 2015 memoir "Reasons To Stay Alive," about living with severe depression is now the subject of a musical collaboration with singer/songwriter and Razorlight drummer Andy Burrows. Released earlier this year, "Reasons To Stay Alive," the album, is a stunning, moving and completely musical collection of songs that manages to be both joyful and uplifting despite the subject matter.
An NME review of the album, mentions both Queen and Elton John as influences, but aside from the occasional layered harmonies and the presence of a piano, I don't really hear either. What I hear is a perfectly crafted set of adult songs and smart yet restrained production. There is certainly a 70's feel to "Reasons To Stay Alive," but to say it resembles any one artist would be selling it short.
Give these tracks a spin, and let me know what you hear. I hear one of the best records of 2019.
Special thanks to John of the John Sally Ride for pointing this gem out.
"People tend to underestimate Jeff Lynne. Mention ELO and they think of spaceships, OTT arrangements, cheesy vocoder FX and silly lyrics like 'Whama-lama-bama-lama rock and roll is king.' They mistake his modesty for modest abilities, take for granted the skills required to make such dense music seem so simple. Publicly, at least, Lynne too makes light of himself and 'my little songs'- a phrase he often applies to his work, even when he's playing the songs with a 13 piece band to 60,000 fans at Wembley Stadium."
That is the opening paragraph to Quinton Winter's Mojo review of Lynne's new ELO release "From Out of Nowhere," and it saved me the trouble of having to come up with an opening paragraph for my review.
I've been reading some negative comments regarding Jeff Lynne's new collection of songs that once again point out the canned drum sound, the layered harmonies and even a few nitpicks like, "oh look, another song about rain." And these comments were from fans!
Once again, I ask, what do we want from our rock and roll heroes who are now in their seventies and have been making music for over 50 years? I won't reopen the banal discussion about "music being better before." But I will say, few artists, if any, could create ten perfect pop songs as consistently as Lynne has since "Telephone Line" became a monster hit over forty years ago. If you've been a fan, would you have preferred a hip-hop collaboration from Lynne and Ke$ha? Or, an EDM record? How about Jeff Lynne tackling nu-soul with D'Angelo? To trash an ELO record for sounding like an ELO record in 2019 seems like a wind-up for the sake of a wind-up. I think you are missing the point.
If you're not a fan, then there is nothing to hear here. But if you've loved the Wilburys, or Petty's brilliant "Full Moon Fever" and "Highway Companion," or if you were one of the handful like myself who thought Lynne's first ELO comeback "Zoom," might have been his career masterpiece---not hyperbole---there is plenty to love on "From Out Of Nowhere," his second release in just four years.
You will find songs inspired by Lynne's heroes, Del Shannon, Roy Orbison, Lennon & McCartney, of course & Chuck Berry, songs with hooks and choruses to die for, and yes, canned drums. But this should not be a surprise to anyone who claims to love the man anymore than Bob Dylan's last 10 records having the same fuzzy "Jack Frost" production, or any one of T- Bone Burnett's projects sounding like they were recorded in mud and murk. Paul McCartney gets trashed for using autotune, for working with Kanye West, for singing standards AND for getting sentimental and writing songs about John. Come on people! You're not playing fair! What is it you want?
I'll tell you what I want: another two or three Jeff Lynne records with ten great pop tunes that sound just like Jeff Lynne. I'm a fan.
Jeff Lynne is riding high and arguably more popular than ever and "From Out Of Nowhere" is short, solid and just what an ELO record should be.
Keep Happy- Papa Mali
Shadrach- Beastie Boys
Mary (Alternative Take)- Robert Fripp & Daryl Hall
Baby Don't Do It- 5 Royales
You Were So Warm- Dwight Twilley Band
Over My Head- Ray Davies
Guess I'm Dumb- Jules Shear
Keep Happy- Papa Mali
The Friday before I took off, my friend Allen played this track on his radio show "All That Gumbo," which airs on Fridays at 4PM on WIOX from the Catskills. That drum pattern stayed in my head for days and I kept it up on the site until I returned. Great sentiment with a great groove.
Shadrach- Beastie Boys
From the "Revolver" of hip hop records, "Paul's Boutique," this Beasties track felt like a perfect follow-up to Papa Mali.
Mary (Alternate Take)- Robert Fripp & Daryl Hall
Terre Roche provides the lead vocal on this track from Fripp's "Exposure," while the Daryl Hall version sat in the vault for years. As much as I love Terre's vocals, I think I like Daryl's better.
Baby Don't Do It- 5 Royales
"Don't do it. Don't do it. Don't do it. Don't do it. Don't do it. Don't do it. Don't do it. Don't do it."
You Were So Warm- Dwight Twilley Band
But is it power pop? Who cares really? It's perfect pop.
Over My Head- Ray Davies
Arguably the best Ray Davies track of the last 20 years,
Guess I'm Dumb- Jules Shear
A great cover of Glen Campbell covering Brian Wilson.
It is the opening track that inspired me to put this six pack together. My friend and band mate John and I were discussing hard rock and heavy metal over coffee. One album led to another and he asked if I had ever heard Paul Gilbert's Donna Summer cover. (I had suggested Mr. Big's "Lean Into It" as a great one in the genre, and we both agreed that their guitar player, Gilbert, was exceptional.) Anyway, I had not heard the cover. As soon as I got home, I dialed it up and man, it knocked me out. Gilbert's "I Feel Love" is a bit of genius and now you'll hear it, as well as five other deep covers that I think are terrific--
--Neko Case's version of a deep cut from Queen's "Sheer Heart Attack" album, Keith Jarrett doing Dylan, one of the trippiest Beatles covers I have ever heard from bluesman Junior Parker, a band I saw almost 20 years ago at an XTC Loser's Lounge tribute, The Four Bags, and the song they played that night, "Humble Daisy" from "Nonsuch," and the big finale, the wild and wacky Phil Flowers' Flower Shop covering another Zimmy classic, "Like A Rolling Stone."
DIG IT!
Tracklist I Feel Love- Paul Gilbert The Inner Light- Little Junior Parker Misfire- Neko Case Humble Daisy- The Four Bags My Back Pages- Keith Jarrett Like A Rolling Stone- Phil Flowers' Flower Shop
