7 02 2010

As the old proverb says, “Revenge is a dish best served cold.”  Considering that physical violence is not the path taken by most people, particularly not peace loving pop stars, the kind of revenge one would expect in the music world would be lyrical.  There was perhaps no one more able to verbally eviscerate an adversary than John Lennon.  Not only did he do it to great effect, he did it somewhat frequently.

Consider “Sexy Sadie.”  John wrote that in response to an alleged but unconfirmed attempt by the Maharishi Mahesh Yogi to bed a female guest at his ashram.   It is not entirely clear why, had the Maharishi actually made such an advance — something which even John’s fellow Beatles never believed — he would have been making a “fool of everyone.”  John said of the song:

That was inspired by Maharishi. I wrote it when we had our bags packed and were leaving. It was the last piece I wrote before I left India. I just called him, ‘Sexy Sadie,’ instead of (sings) ‘Maharishi what have you done, you made a fool…’ I was just using the situation to write a song, rather calculatingly but also to express what I felt. I was leaving the Maharishi with a bad taste. You know, it seems that my partings are always not as nice as I’d like them to be.

“Sexy Sadie” was relative tame compared to the “answers” John was to deliver in the 70’s.   Flowing out of his “Primal Scream Therapy” stage came “Mother,” the bitter-sweet kiss off to his parents, neither of whom had been particularly devoted.  His mother died just as she was coming back into his life.  His father had never really been there at all.   There’s no doubt his parents deserved to here from him in this way.  Still, as a parent this kind of message from a son would be hard to swallow, deserved or not

Mother, you had me but I never had you,
I wanted you but you didn’t want me,
So I got to tell you,
Goodbye, goodbye.
Farther, you left me but I never left you,
I needed you but you didn’t need me,
So I got to tell you,
Goodbye, goodbye.

Next up: Paul McCartney.  On the same album in which John asked the rest of the world to imagine a “brotherhood of man” and people “living life in peace,” he shredded to bits his former songwriting partner and once best friend.  “How Do You Sleep?” is vicious, and that’s the released version.  The anger directed toward Paul during the studio sessions got so bad that George Harrison, no lover of McCartney at the time, had to demand John and Yoko cool out.

One of the major conflicts that split the Beatles was Allen Klein’s involvement as manager.  McCartney wanted his inlaws or anyone but Allen Klein and the other three Beatles insisted Klein be their manager.  The details of that are interesting and can be found elsewhere.  John learned only years later what Paul had been trying to tell them, that Klein was a bad guy.  He ended up suing both John and George.  In fact, he bought the music company that was suing George for “My Sweet Lord.”   What came out of the breakdown between Lennon and Klein was “Steel and Glass,” one of John’s finest solo songs.  Interestingly, it sounds a bit like “How Do You Sleep?” and certainly follows that formula.





I wish they’d died before they got old

7 02 2010

No, I really do not wish they had died, at least not literally.  But I do wish The Who had bowed out gracefully after the death of John Entwistle.  The Who was never really The Who after Keith Moon’s death, but Peter, Roger and John, with a succession of replacement drummers, managed to maintain some semblance of Who-ness.  Now, the once most powerful four piece band on earth cannot make music without a bloated backing group.

I personally don’t see the point in going to see them live.   They really are a shell of their former selves.  There’s no more heart, no more energy.  Here’s a bit of the Super Bowl performance.  Decide for yourself.





Woke up in my clothes again this morning

3 02 2010

I woke up my clothes this morning, wondering how I got there. I had no memory of laying down. I woke up in a room upstairs but apparently I started the evening on the couch downstairs. It’s strange not having any clue about where you were for 10 hours.

I had not alcohol or drugs, illegal or otherwise. But I feel like something had been slipped into my evening tea.

The strange experience made me think of this song, one of my favorites by the Police.





Should old acquaintance be forgot

24 01 2010

Scotland’s beloved poet Robert Burns’s 251st birthday is January 25.  In honor of the man himself, family, friends and I will be putting on our kilts, gutting the haggis and toasting our health with some fantastic whiskey this coming Saturday.  Before that special occasion — our Second Annual Burns Night — I’d like to honor the man with the poem (set to music) for which he is most famous.

Best known here in America as the song played to ring in the new year — thanks Guy Lombardo! — Auld Lang Syne is also fitting at most celebrations marking beginnings and endings.  It’s customary and, indeed perfectly fitting, to play it in Rabbie’s honor.

Cheers Rabbie.





Lousy

14 01 2010

I’m breaking a bit of etiquette when it comes to critique or criticism.  I have some thoughts about The Stooges’ album The Weirdness and, well, those thoughts are mostly negative.  The problem is that I didn’t listen to the full album, simply because I didn’t feel like muddling through it.  I got five songs deep and had to turn it off.

It’s pretty simple.  The music is quite good but the lyrics are atrocious.  They are embarrassing.  I know that some of what made the early punk or even pre-punk stuff like the Stooges so great was that it deemphasized music as a craft, made it (again) more of a visceral experience.  Often that means throwing away the poetic, flowery words and getting right to the heart of things.  There’s a huge place in music for that approach.  The Ramones mastered that, I think.  The Stooges made amazing music that said very little.

But I felt embarrassed for Iggy Pop, 60 years old at the time this album was made, when I heard this little bit from the song “Trollin’”:

Baby, baby take a look at me
I see your long legs riding your Lee’s
I see your hair has energy
My dick is turnin’ into a tree

Offensive? No. Stupid? Yes.  Songs like ATM weren’t much better.  If you want the Stooges power, you’ll find some of that.  Otherwise, you’re better off sticking to old Stooges material and even Iggy’s solo work.






When radio did not suck

10 01 2010

Probably because Elvis would have been 75 Friday, I picked up Last Train to Memphis: The Rise of Elvis Presley, by Peter Guralnick.  While Elvis is always an interesting subject, what jumped out at me the most so far (I’m less than 100 pages deep) is Guralnick’s description of the radio scene in Memphis in the late 40’s, early 50’s.  In particular he says this is probably what Elvis listened to:

Memphis radio in 1950 was an Aladdin’s lamp of musical vistas and styles…In one typical 1951 segment he (Elvis) would have heard Rosco Gordon’s “Booted” (which had been recorded  in Memphis, at Sam Phillips’ studio), Muddy Waters’ “She Moves Me,” “Lonesome Christmas” by Lowell Fulson, and Elmore James’ brand-new “Dust my broom,” all current hits, and all collector’s classics some 40 years later.  “Rocket 88,” which has frequently been tagged the first rock n’ roll record, came out of Sam Phllips’ studio in 1951, too…

In the morning there was Bob Neal’s wake-up show on WMPS, hillbilly music and cornpone humor in a relaxed Arthur Godfrey style of presentation and at 12:30 p.m. Neal offered thirty minutes of gospel with the Blackwood Brother… The first half of the High Noon Round-Up featured country singer Eddie Hill, who along with the Louvin Brothers…was among Memphis’ biggest hillbilly stars.

***

If you changed the dial to WDIA, which since its switchover in 1949 to an all-black programming policy had billed itself as “The Mother Station of the Negroes, you could here not only local blues star B. B. King, deejaying and playing his own music live on the air, but also such genuine personalities as Professo Nat D. Williams…; comedic genius A. C. Moohah Williams; and the cosmopolitan Maurice “Hot Rod” Hulbert, not to mention the Spirit of Memphis Quartet…

The book goes on to also mention the Grand Old Opry and other perhaps more familiar southern sounds from that period.

I’m not a music expert.  I don’t claim knowledge about all those artists.  But that certainly seems like an amazing amount of musical diversity.  There really isn’t that kind of new music scene these days.  While college and internet radio provide a great deal of artistic freedom and musical variety, today’s less mainstream sounds lack the novelty such a mix would have had 60 years ago.  Of course, radio was hardly Elvis’s only influence, but the rich musical history to which he was exposed on the radio seems to go a long way in explaining how he developed such a hybrid sound and style himself.

If only radio were this cool these days.





My year in music

31 12 2009

The year started out with a bang.  I had just seen Oasis in mid December and was quite interested in the current British music scene.  Before January was up, I got my hands on both Fratellis’ albums, two from the Kooks and Arctic Monkeys’ Favourite Worst Nightmare.  Credit for these finds goes to magazines like Mojo and Q, which I was reading heavily at the time.  I did my level best to get my hands on Fleet Foxes’ self-titled album from the local library, but that took until Spring.

Luckily, Dennis Wilson’s revived classic Pacific Ocean Blue got a lot of love late 2008, early 2009, particularly from the Brit mags.  That has been one of the best albums I’ve bought in years.  I cannot recommend it highly enough.

February was also quite interesting because the Beatles’ Take 20 of “Revolution” surfaced, and exploded across the ‘net.  EMI and/or Apple Corps made sure, within a day or so, that it vanished from some of the more notorious sites like youtube.  I wasn’t immediately convinced it was an authentic Beatles track – seemed possibly to be a mash-up of some kind – but “Beatles historians” roundly came out with opinions that it was the real deal.  That it was squashed within 48 hours of hitting the world wide web seemed to be good evidence that it was the real thing.  It’s a very cool track.  It’s basically “Revolution No. 1″ from the White Album, with loops and audio bits that ended up on “Revolution No. 9.”  As a big Beatles fan, I’m not one for second guessing them, but I think, in retrospect, “Revolution Take 20″ (let’s just call it that) would have fit better on the album than having two separate Revolutions.  No. 9 is just too long and goes nowhere.

The Beach Boys are frequently in my playing rotation (though not at the moment.)  Last Spring, I really wanted to go back and full up my collection from their post-Smile late 60’s, early 70’s catalog, but never quite got around to it.  I did dig out my copy of Good Vibrations: Thirty Years of the Beach Boys, and played discs 2 and 3 quite a bit for a few weeks.  I came to love Dennis Wilson’s “Little Bird” from the album Friends.

Speaking of Beach Boys and Wilson brothers, Brian Wilson’s performance of Smile from a few years was an amazing surprise.  I’ve had the bootleg tracks (and songs from the box set) for years, but his performance of the aborted album from start to finish is something special.

Virtually out of nowhere, I felt this draw toward bass guitar.  My six string had been in the case for years; I played it a bit and decided I wanted to be a bassist.  In March I picked up my Dean EABG and jumped right into it.  I got Bass Guitar for Dummies and started playing (or learning) quite diligently.  In April I bought a 1997 Epiphone Accu-Bass and a Kustom 80 watt bass amp from a pawn shop in Detroit.  I have not played the electric much, but it’s there if I need it.

Late spring and early summer came.  I still played quite a bit of bass, taking my acoustic with me on family trips and weekends out of town.  I didn’t quite finish Bass Guitar for Dummies, but I’m planning a return to the book.  Because of my love for bass, anything with excellent bass found its way into my rotation.  I picked up What It Is! Funky Soul And Rare Grooves (1967-1977), an absolutely fantastic 4 disc set put out by Rhino.

Midsummer my MP3 player completely crapped out.  I couldn’t replace the battery for it, either.  We traveled a lot on weekends so my daughter had frequent requests for the Beatles or the Beach Boys, so that’s most of what I heard.

Christmas came early, on 09/09/09 in fact.  Apple Corps released the Beatles’ entire catalog, remastered, in stereo and mono (at least up through 1968.)  I got the Beatles in Mono box set before the stereo set.  I burned the CDs and put ‘em back in the packaging immediately.  I never even looked at the booklets, liner notes etc.  I got the stereo set a few days later, but still have not opened it.  September and October were Beatles-filled months.  Even now, at year’s end, I’m listening to bits of Abbey Road quite a bit, mostly because I’ve picked up the bass again and am trying to learn some of the licks.

Noel Gallagher “quit” Oasis but, surprisingly, this didn’t bother me a bit.  I’d love to see them make music forever; but if it ends it ends.  Noel’s the heart and soul of the band and he could go on making great music without his pesky little brother.  Here’s to a solo career that he will hopefully launch…and soon.

They never made sense to me in 38 years on this planet, but I finally gave in and got a few Pink Floyd albums, The Wall and The Dark Side of the Moon.  I would never have bought them at the store, but they’re at our public library, so I’ve given them a whirl.  I have to admit that I quite like both of those albums.  I’m not quite convinced that I like PF enough to start buying up their other albums, but I certainly am at least open to considering a bit more exploring.

The burden of sick loved ones and the “death” that comes in late Autumn probably put me in something of a slight funk.  I found solace in U2’s song “40.”  I think God wanted me to hear that when I did.

I’ve kind of fallen in love with music again in the last week or so.  I recently replaced my MP3 player and loaded it with really great stuff.  Of course it’s got all the Beatles stuff.  But I really love that I’ve got a few Miles Davis albums, Elvis in Memphis, a great two-disc set from his 1969 work, Little Richard and Ray Charles compilations/anthologies, Johnny Cash’s Personal File and a bunch of his compilation discs, and the new Black Crowes double album, Before the Frost…Until the Freeze.  I almost can’t take my headphones off these days.  I’ve already used up all 8 gig on this player and I like everything on it.

It’s hard to say what next year will bring.  If I’m going to resolve to do anything, one of those things will be to play more bass.  Perhaps instead of listening to and writing about other people’s music, I’ll make more of my own in 2010.





Paul McCartney’s “1969 Christmas Song”

21 12 2009

I’m quite the Beatles fan and I’ve heard all the Beatles’ Christmas albums (for the Fan Club) but I’ve never heard anything other than snippets of this song.  There’s not much to it, but here is Paul McCartney’s “1969 Christmas Song” taken from the promotional single released by Apple.





Have a very Beatles Christmas

17 12 2009

Available for decades only to Beatles bootleg collectors or fan club members that got their hands on the original in 1967 (or on the 1970 Christmas compilation), “Christmas Time (Is Here Again)” is the Beatles only real Christmas song.   If you didn’t have the fan club Christmas stuff or bootlegs, this was released in 1995 on the CD single (or EP) for “Free As A Bird.”  As John says in the introduction, “It’s a bouncy remix.”  The lyrics are about as simple as can be, but the song’s catchy.  It sounds like the Beatles having fun on a throw away song, which, in my view, gives it immense value.  If I’m not mistaken, the little “Auld Lang Syne” bit at the end was grafted onto it for “Free as a Bird” EP.  I do not recall that ever being part of the bootleg mixes.  If you’ve never heard it before and you like the Beatles, I think you’ll enjoy it.





More from the Black House Ceilidh

13 12 2009

My dear friend, Caleb Gilbert, is a singer and highland piper in The Black House Ceilidh.  Their Christmas music, mostly centuries old hymns and carols from across Europe, is quite good.  I had the privilege of seeing them (minus two members) perform at our church this morning.

If you’re like me, you’ll enjoy this kind of stuff.