Power Pop may have been defined for all time by the music of Badfinger, Raspberries and Big Star. But it was Pete Townshend who coined the phrase "power pop" years earlier when describing the music of The Who.
Post-1970, most of what The Who released had little to do with the aformentioned trio and their style of music. But from 1965-1969, it's more than reasonable to think, The Who's music could have truly been the beginning of the genre.
It's been a few hours since a new Who reissue was released, but as long as the labels want to keep repackaging the same music over and over, might I suggest "Who's Power Poppin'."
Grey De Lisle has eight records under her belt, the first released in 2000. I've seen her name but I've never heard her music.
Les Greene is a new hot shot soul singer with only a few recordings under his belt. I never saw his name or heard a note of his music, but Miss De Lisle was knocked out by Mr. Greene and wanted to collaborate.
Roots rockin' semi-legend James Intveld (Oh! Finally someone I know!) got on board, played all the instruments and produced "Grey & Greene," a truly fantastic blast of an album.
Intveld co-wrote three of the nine originals while De Lisle penned the other six on her own. There is also one cover, a totally lovable take on the "Grease" classic "You're The One That I Want."
The opening track "Homewrecker" would lead you to believe this album would be set in Blasters territory. But as the record progresses, you will feel you are on an audio tour of Memphis, Nashville and New Orleans. Grey & Greene absolutely shine on "Grey & Greene," covering soul, country, swing and good ol' rock and roll. And though Intveld is handling all but a lone guitar solo by Deke Dickerson, these songs sound live and loose.
The one strange thing is the delegation of the songs. "I'm Gonna Let You Call Me Baby" is clearly written as a duet. "You're gonna treat me like a woman/I'm gonna take it like a man," yet it is sung by Les Greene alone. "Back Of Your Hand" is from a woman's point of view- "You ain't so tough, just a big talkin' man/I don't even know you, I only know the back of your hand"-- but again, Grey leaves it solely to Greene. As a matter of fact, the only duet is the John Travolta/Olivia Newton-John cover. It's a small nit to pick, though maybe Grey De Lisle really wanted to showcase Les Greene.
"Grey & Greene" is the most fun I've had a long time. This record is the real deal. It'll remind you of all the greats from Otis and The Reverend Al, to Ray Charles, Patsy Cline and Etta James without ever sounding like a novelty.
The Tom Petty weekend reminded me of something my partner Tony & I had written up for our NYCD newsletter. This came hot on the heels of "Highway Companion" and was sent out to readers in August of 2006.
It still makes me laugh so I thought I'd share it.
TOM PETTY's excellent new album, Highway Companion,
has gotten us listening to a lot of his older material as well. After
much deliberation, coupled with boredom brought on by a slow day at the
office, we have determined that Tom Petty sings with four separate and
distinct voices:
1. THE DRAWL.
Used mostly on his earlier recordings, such as "A Woman In Love" --
"Sheeza wowmuh ee-uh laaaaaaahhhhhve." His enunciation seems to have
improved over the years, as he rarely employed The Drawl after the mid
'80s, although the chorus of "Free Fallin'" is great Late Drawl.
2. THE HIGH-PITCHED QUAVER.
As The Drawl was gradually phased out, The High-Pitched Quaver was
utilized more and more, although it's in evidence as early as "Here
Comes My Girl." The vast majority of his new album is H.P.Q., while the
best-known example may be "Into The Great Wide Open."
3. THE QUASI-DYLAN.
Not quite singing, not quite speaking, it sounds like Petty's doing a
sorta half-assed Bob Dylan impersonation. The quintessential Q.D. is
when he sings the title phrase of "Yer So Bad," before switching to High
Pitched Quaver on the next line. He employs Quasi-Dylan on many songs,
but rarely for more than a line or two. Surprisingly, "Jammin' Me,"
which Petty co-wrote with Dylan, has more Drawl than Quasi-Dylan.
4. THE PSEUDO-MEXICAN ACCENT.
The Drawl taken to the next level. Frequently used on early classics
like "A Woman In Love" ("Don' say a wor', don' seh naah-theen") and
"Breakdown" ("Issawright if you lahve meh/Ees awrigh' eef you dun'") but
rarely, if ever, since then. And that's probably a good thing, in this
age of political correctness. Although it would be great to hear him do a
cover of "Cuban Pete."
Let us know if you know of any songs that utilize all four Petty voices -- also known as a "Tom Petty Grand Slam"
Jealous Lover- Rainbow Gigantic- Pixies Crazy Little Thing- Captain Beefheart & The Magic Band Rivers Of Babylon- The Melodians Duane- Jo-Ann Campbell Sabotage- Beastie Boys Sheik Of Araby- Leon Redbone
First, I'd like to thank Bill for the title of today's post.
Thank you, Bill.
There was a little thing going on over at the Now Playing blog after I made a comment about Petty's "Wildflowers" being just a bit overrated. I listened to it the other day and it didn't wow me the way it once did. I once considered it a 5-star record, but this week, it felt long and lacked punch.
I didn't make the comment to start trouble and I am not making the comment now to rile anyone up. I love Tom Petty and I am pretty sure I love "Wildflowers," though "To Find A Friend" on the last spin got under my skin. But also, when I created a playlist of my ten favorite Petty songs, nothing from "Wildflowers" made the cut. I had 15 songs, and the five that were cut weren't from "Wildflowers" either.
Maybe it's a passing phase like Taylor Farms Explosive Leafy Greens Diarrhea that's sweeping the country.
Just for fun, I wanted to share my ten favorite Tom Petty songs as of this moment.
In ascending order:
10. Stop Dragging My Heart Around 9. Jammin' Me 8. Even The Losers 7. I Won't Back Down 6. Echo 5. A Face In The Crowd 4. American Girl 3. Walls 2. Here Comes My Girl 1. Hurt
15-11 (in random order)
Louisiana Rain Room At the Top Listen To Her Heart Surrender Nightwatchman
That said, I absolutely hate the following five Tom Petty songs. I mean, these songs would cause me to lunge at the radio dial when they got played. That they became as popular as they did is a mystery to me.
5. A Woman In Love 4. Rebels 3. Breakdown (essentially The Animals "Cheating," but people were too busy hating Jimmy Page to say anything.) 2. Don't Come Around Here No More 1. Running Down A Dream (Possibly the worst hit by a favorite artist ever. Yes, even worse than "Bang The Drum All Day" by Todd Rundgren.)
Have fun.
There are a lot of possiblities here for a Saturday, from sharing your Petty Top Ten, or your Petty Worst Five, or either agreeing with me or defending "Wildflowers."
Godspeed to all readers under a tornado warning. Astoria Queens is in the red.
P.S. I don't hate "Wildflowers." Not by a long shot.
A stellar Mojo review led me to "Yearnalism," the new record by Baby Rose. This is her third record, but as per usual, it's the first I am hearing of her. And guess what? She's playing three nights in August at Madison Square Garden.
But I digress.
At first, I was put off by her voice, which is a little too affected, though it does work on some tunes. I was ready to take it off by track three, but something about it kept me listening. In the end, I really liked it. A lot.
It's different, that's for sure. Maybe you'll hear what I am hearing.
Gregg Alexander's New Radicals were one and done, but that one, "Maybe, You've Been Brainwashed Too" is a true pop masterpiece.
Now I see, there is a reworked version of Michelle Branch's hit "The Game of Love," which I vaguely recall liking, or more accurately, not hating at the time.
What I didn't know was that it was written by Gregg Alexander and the two have joined forces for a new version.
I think this new version is better because with Alexander's vocals and overall production, it aims and hits my Todd Rundgren/World Party bullseye.
