In line with my last post, here's an attempt to do a "must hear before you die" list of songs by some of my favorite Strange Music artists -- with a few surprises thrown in.
The idea here is to try to sum-up an artist's career by listing a handful (or less) of signature songs that show the artist at their best or most characteristic, without which modern reality wouldn't be what it is. Whatever that is. A sort of definition, if you like.
I still think this whole "must hear before you die" premise is silly, but it does start some interesting thought processes. Onward, then.
* Amazing Blondel -- Fantasia Lindum suite, Seascape, Landscape.
* Argent -- Hold Your Head Up, Dance in the Smoke.
* Barclay James Harvest -- Hymn, Spirit on the Water, Poor Man's Moody Blues, Ring of Changes.
* Beach Boys (after 1965) -- Surf's Up, 'Til I Die, God Only Knows.
* Brewer and Shipley -- Witchi-Tai-To.
* Kate Bush -- The Man With the Child in His Eyes, This Woman's Work, Empty Bullring, Under the Ivy.
* Camel -- Sasquatch, Manic, Echoes, Breathless, Rhayader, Rhayader Goes to Town, Never Let Go.
* Can -- Father Cannot Yell, Uphill, Mother Upduff.
* Caravan -- The Dog The Dog He's at it Again, All the Way (With John Wayne's Single-Handed Liberation of Paris), For Richard (live), Dissociation, Memory Lain/Hugh/Headloss.
* Clannad -- The Wild Cry, Journey's End, In Fortune's Hand.
* Sandy Denny -- Listen Listen, The Quiet Joys of Brotherhood.
* Dixie Dregs -- Hereafter, Night Meets Light.
* Nick Drake -- Northern Sky, Pink Moon.
* Emerson, Lake and Palmer -- Fanfare for the Common Man, From the Beginning, Lucky Man, Karn Evil 9 (First Impression, Part One).
* Enya -- Storms in Africa.
* Fairport Convention -- Come All Ye, I'll Keep it With Mine.
* Genesis (middle period) -- Ripples, Madman Moon, Afterglow, Vancouver, Your Own Special Way, Like it or Not, You Might Recall.
* Gentle Giant -- Funny Ways (live), Think of Me With Kindness, His Last Voyage, On Reflection.
* Gong -- Wingful of Eyes.
* Group 87 -- One Night Away From Day, Moving Sidewalks.
* Gryphon -- Lament, Spring Song.
* Happy the Man -- Service With a Smile, Wind-Up Doll Day Wind.
* Hawkwind -- You Better Believe It.
* Illusion -- Everywhere You Go, Candles are Burning.
* Jethro Tull -- The Whistler, Living in the Past, Skating Away on the Thin Ice of the New Day.
* Journey (strange stuff) -- Daydream, People and Places.
* Kansas -- Carry On Wayward Son, Miracles Out of Nowhere, Journey from Mariabronn, Song for America.
* King Crimson -- Epitaph, 21st Century Schizoid Man, Frame by Frame, The Great Deceiver, Red.
* Lyle Mays -- Ascent.
* Pat Metheny (Group) -- The Search, Praise, New Chatauqua.
* Moody Blues -- Nights in White Satin, Tuesday Afternoon, Question, The Story in Your Eyes, You and Me.
* The Move -- Do Ya, Message from the Country.
* Nektar -- It's All Over, Do You Believe in Magic?, King of Twilight.
* The Nice -- America.
* Mike Oldfield -- Incantations Part One, Ommadawn Part One, Tubular Bells Part One.
* Alan Parsons Project -- Some Other Time, The Gold Bug, The System of Doctor Tarr and Professor Fether.
* Pink Floyd -- High Hopes, Us and Them, Astronome Domine (live), The Great Gig in the Sky, Wish You Were Here, Money.
* Procol Harum -- Whiter Shade of Pale, Shine on Brightly, A Salty Dog.
* Providence -- If We Were Wise, Fantasy Fugue, Neptune's Door.
* Renaissance -- Northern Lights, Ashes are Burning (live, first three minutes), Rajah Khan.
* Scarlet Rivera -- Day of the Unicorn.
* Roxy Music -- The Thrill of it All, Over You, Love is the Drug.
* Todd Rundgren -- Real Man, Saving Grace, The Very Last Time (with Utopia).
* Sky -- Vivaldi, Watching the Aeroplanes.
* Steeleye Span -- Alison Gross, All Around My Hat.
* Al Stewart -- Year of the Cat, Modern Times, Running Man, Nostradamus.
* Stories -- Please Please, Love is in Motion, Words.
* Strawbs -- Where is This Dream of Your Youth? (live), Down by the Sea, Hero and Heroine, The Man Who Called Himself Jesus (live).
* Synergy -- S-Scape, Icarus, Warriors.
* Tangerine Dream -- Monolight (live), Igneous.
* Richard Thompson -- Cavalry Cross (live).
* Steve Tibbetts -- Ur.
* U.K. -- Time to Kill, In the Dead of Night suite.
* Vangelis -- Alpha, Spiral, To the Unknown Man.
* Yes -- Your Move, Roundabout, South Side of the Sky.
To be continued ... maybe....
Friday, February 16, 2018
Thursday, February 8, 2018
10,000 songs
I'm not a sucker for this book. 1,001 SONGS YOU MUST HEAR BEFORE YOU DIE (AND 10,001 YOU MUST DOWNLOAD) (2010/2013) struck me at first as a gimmick and a joke. All of those "before you die" books seem kind of silly -- your life is your own, live it your way, set your own goals.
But I was looking for something new about music to browse, and this book is HUGE. So I picked it up for a closer look.
One of the first things I saw was a write-up on Nick Drake's gorgeous "Northern Sky." Then they listed the Korgis' "Everybody's Got to Learn Sometime," which I have fond memories of. Then I noticed Ike and Tina Turner's "River Deep, Mountain High," which I'd just played on the stereo that morning....
So I flipped a few more pages. Love's "Alone Again Or." The Beach Boys' "Surf's Up." Fairport Convention's "She Moves Through the Fair" (which I'd never heard before). By then I was pretty much sold. At least these folks seemed to have a pretty good ear for the overlooked and off-the-wall.
I still think that. But a more detailed browse through these 960 pages shows that the compilers (50 of them, British, all people I've never heard of, including general editor Robert Dimery) are also suckers for one-shot pop trash. My life would be complete if I never hear songs like Toni Basil's "Mickey" ever again. And it gets a write-up in this book.
Even more than the page-long articles on each song considered "essential" by the compilers -- and these are always informative, even if you don't like the song -- the index including 9,000 more songs to download is a field-day of obvious and not-so-obvious choices, leading a fan to ask the obvious "But how could they NOT include...?" questions.
For example. How many Britney Spears songs do you really NEED to hear? I'd say none. The index lists six, including one that's "essential."
How many AC/DC songs do you really need to hear? I'd say maybe one. The index lists 15, including two the compilers feel are essential.
OK, Tom Petty. I'd say one, the index lists 10. And the one I'd choose ain't here. Neither are some other rather obvious choices.
But the format's interesting. If you had to sum up an artist's achievements by picking just one or two songs, which would you choose? There's an argument starter. And an idea for a post I may write soon....
You name 'em, they're in here, from Abba to Zappa, with the index alphabetized the way your computer or smartphone or iPod or whatever would do it -- with Zappa filed under "F" for Frank. The book runs the gamut from Enrico Caruso in 1916 to David Bowie in 2013. Nice to see Cab Calloway's hilarious "Minnie the Moocher" from 1931 in here.
And the sections that focus on the '60s and '70s are jammed full of classics -- I mean, the songs I know. There's plenty in here that I've never heard. There's a ton to learn.
But I also have to note that there's a real downturn in well-known, often-heard "classics" after the mid-1980s. Which may just indicate that this book wasn't meant for me.
But for all the information in it, and all the new directions it points me as a fan, I'll be holding onto it.
For that, I'll forgive that they included as essential "Ode to Billy Joe." "Unchained Melody." "Walk on By." "Superstar." "Rock On." "Desperado." "Sweet Home Alabama." "Dancing Queen." "Hotel California." "Do You Really Want to Hurt Me?" "Sweet Dreams (Are Made of This)"....
But I was looking for something new about music to browse, and this book is HUGE. So I picked it up for a closer look.
One of the first things I saw was a write-up on Nick Drake's gorgeous "Northern Sky." Then they listed the Korgis' "Everybody's Got to Learn Sometime," which I have fond memories of. Then I noticed Ike and Tina Turner's "River Deep, Mountain High," which I'd just played on the stereo that morning....
So I flipped a few more pages. Love's "Alone Again Or." The Beach Boys' "Surf's Up." Fairport Convention's "She Moves Through the Fair" (which I'd never heard before). By then I was pretty much sold. At least these folks seemed to have a pretty good ear for the overlooked and off-the-wall.
I still think that. But a more detailed browse through these 960 pages shows that the compilers (50 of them, British, all people I've never heard of, including general editor Robert Dimery) are also suckers for one-shot pop trash. My life would be complete if I never hear songs like Toni Basil's "Mickey" ever again. And it gets a write-up in this book.
Even more than the page-long articles on each song considered "essential" by the compilers -- and these are always informative, even if you don't like the song -- the index including 9,000 more songs to download is a field-day of obvious and not-so-obvious choices, leading a fan to ask the obvious "But how could they NOT include...?" questions.
For example. How many Britney Spears songs do you really NEED to hear? I'd say none. The index lists six, including one that's "essential."
How many AC/DC songs do you really need to hear? I'd say maybe one. The index lists 15, including two the compilers feel are essential.
OK, Tom Petty. I'd say one, the index lists 10. And the one I'd choose ain't here. Neither are some other rather obvious choices.
But the format's interesting. If you had to sum up an artist's achievements by picking just one or two songs, which would you choose? There's an argument starter. And an idea for a post I may write soon....
You name 'em, they're in here, from Abba to Zappa, with the index alphabetized the way your computer or smartphone or iPod or whatever would do it -- with Zappa filed under "F" for Frank. The book runs the gamut from Enrico Caruso in 1916 to David Bowie in 2013. Nice to see Cab Calloway's hilarious "Minnie the Moocher" from 1931 in here.
And the sections that focus on the '60s and '70s are jammed full of classics -- I mean, the songs I know. There's plenty in here that I've never heard. There's a ton to learn.
But I also have to note that there's a real downturn in well-known, often-heard "classics" after the mid-1980s. Which may just indicate that this book wasn't meant for me.
But for all the information in it, and all the new directions it points me as a fan, I'll be holding onto it.
For that, I'll forgive that they included as essential "Ode to Billy Joe." "Unchained Melody." "Walk on By." "Superstar." "Rock On." "Desperado." "Sweet Home Alabama." "Dancing Queen." "Hotel California." "Do You Really Want to Hurt Me?" "Sweet Dreams (Are Made of This)"....
Monday, February 5, 2018
He wakes
Hey, horror writer Jack Ketchum passed away a couple weeks ago. He was 71 years old. I would never have gotten the news without the good folks at Ansible. Surprised there wasn't mention of his death elsewhere.
Of course, Ketchum wasn't a household name. He got close. Stephen King once called him the scariest writer in America, and about a decade ago all of Ketchum's books were reprinted in paperback by Leisure Books after the original out-of-print versions started fetching big prices on the Internet.
But Ketchum never got rich. I think he did OK, though. He had enough spare cash to take a trip to Greece to revise his novel SHE WAKES. And he grabbed headlines a couple times in his career.
The first time was for his first novel, OFF SEASON (1980). This thin, shocking book was allegedly so brutal that (Ketchum revealed in a reprint edition 30 years later) he and Ballantine Books had to go through the manuscript line by line to make it "acceptable" to print. Ketchum said these discussions came down to "I'll trade you this beheading for that disembowelment...."
The book was launched with much hype -- with a black cover, with a trail of blood dripping down the side. Folks looking for the next Stephen King were advised to look here.
But OFF SEASON only sold 30,000 copies. Ketchum's two follow-up novels sold even less, and his career still hadn't gotten started.
I found a copy of OFF SEASON at a yard sale about 15 years ago, for 25 cents -- and grabbed it without really knowing what it was.
And I was surprised. This guy Ketchum was on to something. His book was brutal and direct. It punched me in the face from almost the first page, and never let up until the end. The reprint "uncensored" edition a decade later added more detail -- but it was twice as long, and the blistering pace of the original edition was part of what impressed me.
Ketchum was one of three writers who spoiled me as a reader. He wasted absolutely no time, and kept the pace tight and the events comin' at ya relentlessly. Ketchum, Thomas Harris (SILENCE OF THE LAMBS, RED DRAGON) and Kathe Koja (SKIN, THE CIPHER) became my new writer-heroes.
Later, I found more old novels by Ketchum, in their original paperback, for not-too-much. JOYRIDE continued the blistering pace of OFF SEASON -- a guy snaps and runs amok, for the sheer rush of it. It's a breathless 200 pages.
HIDE AND SEEK is a sort of sequel to OFF SEASON, though that isn't clear until the end ... when the Bad People from OFF SEASON reappear and turn a twisted, ominous love story into a real nightmare. And Ketchum pulls off another shocking story in about 130 pages. It's probably my favorite of his novels.
Then came THE GIRL NEXT DOOR, in which a girl is kidnapped, locked-up and tortured by a twisted family in the basement of a supposedly "normal" suburban home. This book is a shocker, impossible not to keep reading ... and yet, it somehow doesn't up the ante of his other books. There are parts Ketchum backs away from and says explicitly that he's NOT going to tell you. He doesn't have to. There are also parts early in the book (before things go bad) that have an almost Ray Bradbury-like gentleness. Stephen King went out of his way to call this the scariest book he'd ever read.
I've read a handful of Ketchum's other books since then. All worth the cash, none disappointing. One of the best is SHE WAKES, in which an ancient Greek goddess is reincarnated and goes on the warpath after being snubbed after an affair. I was in Greece for a few weeks once, and this book gets the atmosphere of that place down perfect -- the tavernas under the trees, the ancient air around the place, the sense of something brooding and biding its time somewhere nearby. And the story's gritty and believable. Great stuff.
Ketchum won a couple of World Fantasy Awards for his short stories in the '90s. But that belated recognition of his talent doesn't seem like enough. The later reprints of his books include forewards and afterwards that tell you what was going on behind the scenes as the books were written -- and they are well worth it as a peek into the writing process, and into how the publishing business often goes wrong.
You know how a person's writing sometimes seems to conjure up the kind of person they must be, their outlook, their age, etc? Fantasy writer Ursula K. LeGuin -- who also passed away a few days back at age 88 -- was seemingly born 40 years old, always stable, measured, always looking at the long view.
Jack Ketchum wasn't like that. He was always pushy, abrasive, risky -- a 20-year-old punk, constantly getting in your face and trying to get your attention. And that's one of the things that made him great.
Of course, Ketchum wasn't a household name. He got close. Stephen King once called him the scariest writer in America, and about a decade ago all of Ketchum's books were reprinted in paperback by Leisure Books after the original out-of-print versions started fetching big prices on the Internet.
But Ketchum never got rich. I think he did OK, though. He had enough spare cash to take a trip to Greece to revise his novel SHE WAKES. And he grabbed headlines a couple times in his career.
The first time was for his first novel, OFF SEASON (1980). This thin, shocking book was allegedly so brutal that (Ketchum revealed in a reprint edition 30 years later) he and Ballantine Books had to go through the manuscript line by line to make it "acceptable" to print. Ketchum said these discussions came down to "I'll trade you this beheading for that disembowelment...."
The book was launched with much hype -- with a black cover, with a trail of blood dripping down the side. Folks looking for the next Stephen King were advised to look here.
But OFF SEASON only sold 30,000 copies. Ketchum's two follow-up novels sold even less, and his career still hadn't gotten started.
I found a copy of OFF SEASON at a yard sale about 15 years ago, for 25 cents -- and grabbed it without really knowing what it was.
And I was surprised. This guy Ketchum was on to something. His book was brutal and direct. It punched me in the face from almost the first page, and never let up until the end. The reprint "uncensored" edition a decade later added more detail -- but it was twice as long, and the blistering pace of the original edition was part of what impressed me.
Ketchum was one of three writers who spoiled me as a reader. He wasted absolutely no time, and kept the pace tight and the events comin' at ya relentlessly. Ketchum, Thomas Harris (SILENCE OF THE LAMBS, RED DRAGON) and Kathe Koja (SKIN, THE CIPHER) became my new writer-heroes.
Later, I found more old novels by Ketchum, in their original paperback, for not-too-much. JOYRIDE continued the blistering pace of OFF SEASON -- a guy snaps and runs amok, for the sheer rush of it. It's a breathless 200 pages.
HIDE AND SEEK is a sort of sequel to OFF SEASON, though that isn't clear until the end ... when the Bad People from OFF SEASON reappear and turn a twisted, ominous love story into a real nightmare. And Ketchum pulls off another shocking story in about 130 pages. It's probably my favorite of his novels.
Then came THE GIRL NEXT DOOR, in which a girl is kidnapped, locked-up and tortured by a twisted family in the basement of a supposedly "normal" suburban home. This book is a shocker, impossible not to keep reading ... and yet, it somehow doesn't up the ante of his other books. There are parts Ketchum backs away from and says explicitly that he's NOT going to tell you. He doesn't have to. There are also parts early in the book (before things go bad) that have an almost Ray Bradbury-like gentleness. Stephen King went out of his way to call this the scariest book he'd ever read.
I've read a handful of Ketchum's other books since then. All worth the cash, none disappointing. One of the best is SHE WAKES, in which an ancient Greek goddess is reincarnated and goes on the warpath after being snubbed after an affair. I was in Greece for a few weeks once, and this book gets the atmosphere of that place down perfect -- the tavernas under the trees, the ancient air around the place, the sense of something brooding and biding its time somewhere nearby. And the story's gritty and believable. Great stuff.
Ketchum won a couple of World Fantasy Awards for his short stories in the '90s. But that belated recognition of his talent doesn't seem like enough. The later reprints of his books include forewards and afterwards that tell you what was going on behind the scenes as the books were written -- and they are well worth it as a peek into the writing process, and into how the publishing business often goes wrong.
You know how a person's writing sometimes seems to conjure up the kind of person they must be, their outlook, their age, etc? Fantasy writer Ursula K. LeGuin -- who also passed away a few days back at age 88 -- was seemingly born 40 years old, always stable, measured, always looking at the long view.
Jack Ketchum wasn't like that. He was always pushy, abrasive, risky -- a 20-year-old punk, constantly getting in your face and trying to get your attention. And that's one of the things that made him great.
Sunday, February 4, 2018
All new stuff!
OK, I've put this off long enough. I have this HUGE pile of previously-unheard Strange Music in the house, which has been waiting for a YEAR to be listened to -- material for a book project that may never get finished. So I've decided to dip into it a few pieces at a time and see what happens. Maybe I can chop this pile down a bit.
At some point I'll live-blog my reactions to some of this stuff (when my energy level's up or the sun decides to come back out of the winter-western-Washington gloom) and see how far I can get through the pile before I can't take anymore. But for now, let's try this sampling....
* Happy the Man: Eye of the Storm, from 3RD/BETTER LATE.... (1983). Demo recorded in Feb '79, after Arista cut the Happys loose when their excellent second album CRAFTY HANDS failed to sell mega copies. Later covered by Camel on their half-decent '79 album I CAN SEE YOUR HOUSE FROM HERE. Camel's version has more impact. This original is in a lower key, though it's still pleasant -- though not haunting like Camel's version is. There's no real ending. One more flute solo/overdub would have set it off. A good production would have punched it up, too.
* Happy the Man: While Crome Yellow Shine, from 3RD. Pastoral keyboard driving music, watching as scenery passes by on the side of the road. Then guitar and keyboards pick it up. Their usual quick-changing, overlapping pastoral moods. Very pleasant, but needs some sax or flute to jazz it up and set it off.
* Omega: Hazug Lany, from OMEGA 5. From Hungary. Sung in Hungarian. Organ's not bad, though simple. Drums are rudimentary. Upbeat group-vocal chanting, kind of naively charming. This could have been a single -- I'm sure they're trying to chat-up some hot woman. Sort of a Hungarian version of Free's "All Right Now."
* Omega: A Madar, from OMEGA 5. Something's missing. Not enough beat? More bass? But the keyboards are a trip -- Benko Laszlo's pretty great on the Moog. But they need more energy. Naïve heavy rock, circa 1968. But the keyboards always help.
* Omega: En Elmegyek, from OMEGA 5. Uh oh, they're Slowing Things Down. Long, funereal organ opening. Low-key choir vocals. Going pastoral. Twangy guitar. Where'd the women back-up singers come from? There are no women in this band, or credited on the album cover. Enough.
* Alquin: Stranger, from NOBODY CAN WAIT FOREVER (1975). From Holland. Funky guitar. And they sing in English. Not terrible. The singer could be more forceful. OK "I know" choruses. Low-key instrumentals -- bass and keyboard solos, very modest. Low-register sax joins later, not bad. Builds slightly in intensity. Smooth sound overall. Produced by Rodger Bain (Black Sabbath, Rainbow, etc).
* Alquin: Mr. Widow, from NOBODY.... Surprisingly upbeat. The lyrics are silly. Maybe too light -- attempt at a single? Choruses are fairly catchy. The sax always helps.
* Alquin: New Guinea Sunrise, from NOBODY. Now they're gonna show-off on guitar. This needs to pick up fast. How about some sax and underwater keyboards? Beat picks up for a section called "Wake Me Up." Lyrics are still silly. Singer's annoying.
* Ray Thomas: High Above My Head, from FROM MIGHTY OAKS (1975). Moody Blues singer and flutist, who died a couple months back, shortly after it was announced that the Moodies finally made it to the Rock and Roll Hall of Fame. Ray was always good for a solid song or two on Moodies albums. This is from his first solo album. Optimistic, big-band arrangement, lyrics are kinda silly. Middle break on Ray's harmonica, not bad. Production seems kinda bass-heavy. Could have been a single.
* Ray Thomas: From Mighty Oaks. Orchestral instrumental to lead off the album. Sounds like the start of a movie soundtrack. Lots of English hunting-horns. Not rock and roll. Pretty pretentious. Nothing here that would make you want to listen further.
* Greenslade: An English Western, from GREENSLADE (1973). Dave Greenslade was pretty nimble on the keys. This jumps around a lot. Can't find anything "Western" in it. Old-fashioned '70s organ sounds are pleasant. There actually seems to be a sort of repeating theme -- sort of a nautical, sea-going thing -- but not much of a tune.
* Greenslade: Melange. Jumpy old-English melody carried by sprightly keyboard and slightly-too-heavy guitar, heavy bass joins in later. Lower-key midsection with show-offy guitar and bass and wordless vocals. What's all the ominous atmosphere for? Then bubbly, aquatic keybs and bass -- jaunty tune -- then more atmosphere. Then back to the opening tune with heavily flanged guitar. Lots of noise, means nothing. A good tune would really have helped these guys. Lots of talent, but noodling around.
* Fairport Convention: She Moves Through the Fair, from THE ESSENTIAL/WHO KNOWS WHERE THE TIME GOES? An ominous ghost story, showcasing Sandy Denny's haunted voice. The best thing I've heard all day. I got addicted to Fairport around 1983, so why have I never heard this before?
* Fairport Convention: Ballad of Easy Rider, from ESSENTIAL. Sandy Denny singing the old Byrds classic. This version is downbeat and very different from the original. It's also about four times longer than the Byrds' version, which is not a good thing. Nice guitar work by Richard Thompson, of course.
...More of this stuff coming soon, along with reviews of 1,001 SONGS YOU MUST HEAR BEFORE YOU DIE, the BEST AMERICAN SPORTS WRITING series, THOSE GUYS HAVE ALL THE FUN (an oral history of ESPN), David Hepworth's NEVER A DULL MOMENT (about rock and roll in 1971), and much more....
At some point I'll live-blog my reactions to some of this stuff (when my energy level's up or the sun decides to come back out of the winter-western-Washington gloom) and see how far I can get through the pile before I can't take anymore. But for now, let's try this sampling....
* Happy the Man: Eye of the Storm, from 3RD/BETTER LATE.... (1983). Demo recorded in Feb '79, after Arista cut the Happys loose when their excellent second album CRAFTY HANDS failed to sell mega copies. Later covered by Camel on their half-decent '79 album I CAN SEE YOUR HOUSE FROM HERE. Camel's version has more impact. This original is in a lower key, though it's still pleasant -- though not haunting like Camel's version is. There's no real ending. One more flute solo/overdub would have set it off. A good production would have punched it up, too.
* Happy the Man: While Crome Yellow Shine, from 3RD. Pastoral keyboard driving music, watching as scenery passes by on the side of the road. Then guitar and keyboards pick it up. Their usual quick-changing, overlapping pastoral moods. Very pleasant, but needs some sax or flute to jazz it up and set it off.
* Omega: Hazug Lany, from OMEGA 5. From Hungary. Sung in Hungarian. Organ's not bad, though simple. Drums are rudimentary. Upbeat group-vocal chanting, kind of naively charming. This could have been a single -- I'm sure they're trying to chat-up some hot woman. Sort of a Hungarian version of Free's "All Right Now."
* Omega: A Madar, from OMEGA 5. Something's missing. Not enough beat? More bass? But the keyboards are a trip -- Benko Laszlo's pretty great on the Moog. But they need more energy. Naïve heavy rock, circa 1968. But the keyboards always help.
* Omega: En Elmegyek, from OMEGA 5. Uh oh, they're Slowing Things Down. Long, funereal organ opening. Low-key choir vocals. Going pastoral. Twangy guitar. Where'd the women back-up singers come from? There are no women in this band, or credited on the album cover. Enough.
* Alquin: Stranger, from NOBODY CAN WAIT FOREVER (1975). From Holland. Funky guitar. And they sing in English. Not terrible. The singer could be more forceful. OK "I know" choruses. Low-key instrumentals -- bass and keyboard solos, very modest. Low-register sax joins later, not bad. Builds slightly in intensity. Smooth sound overall. Produced by Rodger Bain (Black Sabbath, Rainbow, etc).
* Alquin: Mr. Widow, from NOBODY.... Surprisingly upbeat. The lyrics are silly. Maybe too light -- attempt at a single? Choruses are fairly catchy. The sax always helps.
* Alquin: New Guinea Sunrise, from NOBODY. Now they're gonna show-off on guitar. This needs to pick up fast. How about some sax and underwater keyboards? Beat picks up for a section called "Wake Me Up." Lyrics are still silly. Singer's annoying.
* Ray Thomas: High Above My Head, from FROM MIGHTY OAKS (1975). Moody Blues singer and flutist, who died a couple months back, shortly after it was announced that the Moodies finally made it to the Rock and Roll Hall of Fame. Ray was always good for a solid song or two on Moodies albums. This is from his first solo album. Optimistic, big-band arrangement, lyrics are kinda silly. Middle break on Ray's harmonica, not bad. Production seems kinda bass-heavy. Could have been a single.
* Ray Thomas: From Mighty Oaks. Orchestral instrumental to lead off the album. Sounds like the start of a movie soundtrack. Lots of English hunting-horns. Not rock and roll. Pretty pretentious. Nothing here that would make you want to listen further.
* Greenslade: An English Western, from GREENSLADE (1973). Dave Greenslade was pretty nimble on the keys. This jumps around a lot. Can't find anything "Western" in it. Old-fashioned '70s organ sounds are pleasant. There actually seems to be a sort of repeating theme -- sort of a nautical, sea-going thing -- but not much of a tune.
* Greenslade: Melange. Jumpy old-English melody carried by sprightly keyboard and slightly-too-heavy guitar, heavy bass joins in later. Lower-key midsection with show-offy guitar and bass and wordless vocals. What's all the ominous atmosphere for? Then bubbly, aquatic keybs and bass -- jaunty tune -- then more atmosphere. Then back to the opening tune with heavily flanged guitar. Lots of noise, means nothing. A good tune would really have helped these guys. Lots of talent, but noodling around.
* Fairport Convention: She Moves Through the Fair, from THE ESSENTIAL/WHO KNOWS WHERE THE TIME GOES? An ominous ghost story, showcasing Sandy Denny's haunted voice. The best thing I've heard all day. I got addicted to Fairport around 1983, so why have I never heard this before?
* Fairport Convention: Ballad of Easy Rider, from ESSENTIAL. Sandy Denny singing the old Byrds classic. This version is downbeat and very different from the original. It's also about four times longer than the Byrds' version, which is not a good thing. Nice guitar work by Richard Thompson, of course.
...More of this stuff coming soon, along with reviews of 1,001 SONGS YOU MUST HEAR BEFORE YOU DIE, the BEST AMERICAN SPORTS WRITING series, THOSE GUYS HAVE ALL THE FUN (an oral history of ESPN), David Hepworth's NEVER A DULL MOMENT (about rock and roll in 1971), and much more....
Friday, January 12, 2018
More music books....
* Paul Williams: HOW DEEP IS THE OCEAN? (1997) -- Assembles in one book all of Paul's writing on the Beach Boys and Brian Wilson, and especially on their adventurous Middle Period (roughly 1966 to 1979), during most of which they could barely GIVE their albums away. Some of this is truly great stuff -- especially "I Believe You Anyway," the long review of the Boys' GOOD VIBRATIONS best-of box set. There's also a long interview with former BB's manager David Anderle about why the Boys' SMiLE album collapsed back in 1967. This book came out over a decade before the SMiLE SESSIONS box was finally released, so I don't know if Williams ever got his view of that package down anywhere.
Interesting career Williams had -- he founded the first rock-criticism newspaper (CRAWDADDY!), burned out and lived in a commune (wrote about it in TIME BETWEEN), assembled several books of his rock criticism (of widely varying quality), assembled an interview/biography of science-fiction writer Philip K. Dick (ONLY APPARENTLY REAL), and later became the literary executor of Dick's estate. But some of his best writing is right here.
* Angus Cargill, editor: HANG THE DJ: AN ALTERNATIVE BOOK OF MUSIC LISTS (2008) -- Dozens of contributors toss in 300 pages of off-the-wall pop-music Top 10 lists, from songs that never made it to Number One but should have, to the dozen meanest and ugliest Beatles songs. First published in England, so it definitely has a U.K. bias -- makes me want to investigate The Smiths, if only for their great song-titles. Also several raves about Amy Winehouse here. Contributors include Jon Savage, Simon Reynolds, Nick Kent, Johnathan Lethem.... Learned more from this than I did from other "music-list" books, including Dave Marsh's BOOK OF ROCK LISTS.
* DAVE BARRY'S BOOK OF BAD SONGS (1997) -- Yes, Dave is hilarious, but. This book came from the answers to Dave's infamous "Bad Song Survey" that he held years ago in his nationally-syndicated newspaper column. The first 40 pages include some of the funniest and most direct music criticism I've read in years. But then -- as in some of Dave's other books -- it's like Dave gets bored, and the jokes get tired. It's amazing that with all this great bad material (the worst pop songs ever, as nominated by and commented-on by his readers), Dave can't even put together 90 pages. We don't even get a list of the biggest losers! You can read this in an hour, but after page 40 you'll just be trying to get to the end of it. Six pages are wasted on copyright and permission-to-reprint notices for lyrics. One of the book's best points is that great rock songs don't really NEED lyrics....
Interesting career Williams had -- he founded the first rock-criticism newspaper (CRAWDADDY!), burned out and lived in a commune (wrote about it in TIME BETWEEN), assembled several books of his rock criticism (of widely varying quality), assembled an interview/biography of science-fiction writer Philip K. Dick (ONLY APPARENTLY REAL), and later became the literary executor of Dick's estate. But some of his best writing is right here.
* Angus Cargill, editor: HANG THE DJ: AN ALTERNATIVE BOOK OF MUSIC LISTS (2008) -- Dozens of contributors toss in 300 pages of off-the-wall pop-music Top 10 lists, from songs that never made it to Number One but should have, to the dozen meanest and ugliest Beatles songs. First published in England, so it definitely has a U.K. bias -- makes me want to investigate The Smiths, if only for their great song-titles. Also several raves about Amy Winehouse here. Contributors include Jon Savage, Simon Reynolds, Nick Kent, Johnathan Lethem.... Learned more from this than I did from other "music-list" books, including Dave Marsh's BOOK OF ROCK LISTS.
* DAVE BARRY'S BOOK OF BAD SONGS (1997) -- Yes, Dave is hilarious, but. This book came from the answers to Dave's infamous "Bad Song Survey" that he held years ago in his nationally-syndicated newspaper column. The first 40 pages include some of the funniest and most direct music criticism I've read in years. But then -- as in some of Dave's other books -- it's like Dave gets bored, and the jokes get tired. It's amazing that with all this great bad material (the worst pop songs ever, as nominated by and commented-on by his readers), Dave can't even put together 90 pages. We don't even get a list of the biggest losers! You can read this in an hour, but after page 40 you'll just be trying to get to the end of it. Six pages are wasted on copyright and permission-to-reprint notices for lyrics. One of the book's best points is that great rock songs don't really NEED lyrics....
Tuesday, January 9, 2018
How much can you take?
Michael Wolff's FIRE AND FURY: INSIDE THE TRUMP WHITE HOUSE (2018) is a hilarious, head-spinning trip for the first 100+ pages. It's a big laugh on practically every page. Unbelievable weirdness inside the Trump campaign and White House that will confirm all your worst fears. Hunter S. Thompson would have loved this part of the book.
After that, it settles down into being merely grim and endless. But I would happily have read more....
FIRE AND FURY follows one man's political journey through the looking glass and into the White House, which turns out to be a place weirder and more stressful than he ever expected. But enough about Steve Bannon.
For politics junkies or Trump-haters, there are some surprises in this book:
* The Trump team never expected to win. They weren't prepared to win. They had no plan if they won. They thought losing would be good enough. Trump's brand -- and daughter Ivanka's -- would gain further recognition, and all the "experts" on their team would get media political-expert jobs.
* At one point on Air Force One, Trump has his inner circle swear not to reveal to anyone why Donald Trump Jr. and son-in-law Jared Kushner met with the Russians in Trump Tower -- to obtain dirt on Hillary Clinton. Is this obstruction of justice right here? Or merely a conspiracy to cover-up? No wonder the Trump Administration didn't want this book released.
* Former FBI Director James Comey wasn't fired for investigating Trump's ties to Russia. He was fired for looking into the extended Trump family's financial dealings -- including those of Jared Kushner and HIS family. The excuses for Comey's firing were all made-up afterward.
* Trump screamed about leakers in his administration, claiming Comey and others leaked tons of information to the media. This book shows that EVERYONE in the White House leaked -- including Trump. Usually to get back at each other.
* After his bankruptcies, Trump couldn't get any more credit from American banks, so he turned to the Russians for loans for his real-estate dealings. And the Russians had some money-laundering issues they needed some help with. And buying real estate is one of the ways you can launder money....
* The infamous "dossier" on Trump is important because it indicates the Russians might have been trying to blackmail Trump over his sexual ... um ... preferences.
* Despite his proclamations of loyalty to the cause, Trump strategist Steve Bannon wasn't so much loyal to the president -- Trump was just the "package" Bannon "sold" to get into the White House. Though Bannon was later fired, the book closes with him proclaiming that the weirdness in national politics has just begun.
The Trump White House has repeatedly called this book a trashy fantasy filled with inaccuracies -- and I'll bet every time they do, they sell more copies of the book. The reporting seems pretty solid to me -- especially in the early chapters, before the outrage and comedy starts to grind into seriousness.
Wolff claims he perched on a couch in the West Wing for months and took lots of notes. He interviewed on tape more than 200 people, including Trump. He certainly wasn't obligated to write only "nice" things about what he saw and heard. His only obligation was to report what he was witness to, no matter how outrageous it was.
It's too bad that after the first half, the book descends into depicting in-fighting over who is to blame for what disaster and what staffer's head will roll next. Usually it's Trump's fault, because no one can control him. But reading about this gets old.
Basically, the book reads like what might happen if your average dysfunctional family moved into the White House and tried to run the country -- without any previous experience whatsoever. Disasters happen, then multiply, and there is constant in-fighting over who caused it, how to fix it, can it be fixed, who should get stuck with the blame, etc.
Perhaps most annoying is the clear picture that Trump's people had no goals and no plan once he won the election -- and no idea how to implement their ideas once somebody finally decided what they were. One staffer has to go to the Internet to learn how to draft legislation and get it rolling in Congress. That's why there were so many executive orders in the administration's early days. Incompetence is standard in the West Wing.
Vice President Mike Pence and First Lady Melania Trump barely appear in the book. They're probably grateful. Melania starts crying on Election Night when she realizes her private life is over. And it's noted that the First Couple had clearly been arguing before Trump's Inauguration Day speech. Pence's office is mentioned as the one place in the White House where people are nice and things actually seem to get done.
If Wolff had been able to keep up the intense, outrageous, Hunter Thompson-like comedy of the first 100 pages, I would have been happy to read even more of this. But later on the book becomes too much like the grim fiasco we're seeing play out every single day.
You can get the Kindle version of this book from Amazon for half the price of the hardcover. But this is not a commercial.
After that, it settles down into being merely grim and endless. But I would happily have read more....
FIRE AND FURY follows one man's political journey through the looking glass and into the White House, which turns out to be a place weirder and more stressful than he ever expected. But enough about Steve Bannon.
For politics junkies or Trump-haters, there are some surprises in this book:
* The Trump team never expected to win. They weren't prepared to win. They had no plan if they won. They thought losing would be good enough. Trump's brand -- and daughter Ivanka's -- would gain further recognition, and all the "experts" on their team would get media political-expert jobs.
* At one point on Air Force One, Trump has his inner circle swear not to reveal to anyone why Donald Trump Jr. and son-in-law Jared Kushner met with the Russians in Trump Tower -- to obtain dirt on Hillary Clinton. Is this obstruction of justice right here? Or merely a conspiracy to cover-up? No wonder the Trump Administration didn't want this book released.
* Former FBI Director James Comey wasn't fired for investigating Trump's ties to Russia. He was fired for looking into the extended Trump family's financial dealings -- including those of Jared Kushner and HIS family. The excuses for Comey's firing were all made-up afterward.
* Trump screamed about leakers in his administration, claiming Comey and others leaked tons of information to the media. This book shows that EVERYONE in the White House leaked -- including Trump. Usually to get back at each other.
* After his bankruptcies, Trump couldn't get any more credit from American banks, so he turned to the Russians for loans for his real-estate dealings. And the Russians had some money-laundering issues they needed some help with. And buying real estate is one of the ways you can launder money....
* The infamous "dossier" on Trump is important because it indicates the Russians might have been trying to blackmail Trump over his sexual ... um ... preferences.
* Despite his proclamations of loyalty to the cause, Trump strategist Steve Bannon wasn't so much loyal to the president -- Trump was just the "package" Bannon "sold" to get into the White House. Though Bannon was later fired, the book closes with him proclaiming that the weirdness in national politics has just begun.
The Trump White House has repeatedly called this book a trashy fantasy filled with inaccuracies -- and I'll bet every time they do, they sell more copies of the book. The reporting seems pretty solid to me -- especially in the early chapters, before the outrage and comedy starts to grind into seriousness.
Wolff claims he perched on a couch in the West Wing for months and took lots of notes. He interviewed on tape more than 200 people, including Trump. He certainly wasn't obligated to write only "nice" things about what he saw and heard. His only obligation was to report what he was witness to, no matter how outrageous it was.
It's too bad that after the first half, the book descends into depicting in-fighting over who is to blame for what disaster and what staffer's head will roll next. Usually it's Trump's fault, because no one can control him. But reading about this gets old.
Basically, the book reads like what might happen if your average dysfunctional family moved into the White House and tried to run the country -- without any previous experience whatsoever. Disasters happen, then multiply, and there is constant in-fighting over who caused it, how to fix it, can it be fixed, who should get stuck with the blame, etc.
Perhaps most annoying is the clear picture that Trump's people had no goals and no plan once he won the election -- and no idea how to implement their ideas once somebody finally decided what they were. One staffer has to go to the Internet to learn how to draft legislation and get it rolling in Congress. That's why there were so many executive orders in the administration's early days. Incompetence is standard in the West Wing.
Vice President Mike Pence and First Lady Melania Trump barely appear in the book. They're probably grateful. Melania starts crying on Election Night when she realizes her private life is over. And it's noted that the First Couple had clearly been arguing before Trump's Inauguration Day speech. Pence's office is mentioned as the one place in the White House where people are nice and things actually seem to get done.
If Wolff had been able to keep up the intense, outrageous, Hunter Thompson-like comedy of the first 100 pages, I would have been happy to read even more of this. But later on the book becomes too much like the grim fiasco we're seeing play out every single day.
You can get the Kindle version of this book from Amazon for half the price of the hardcover. But this is not a commercial.
Sunday, December 24, 2017
9 Years?!?!
It was somewhere around this time nine years ago that I started blogging about music.
My first review (on a site my son set up for me) was about the Hollies' ROMANY album. My second was on Al Stewart's MODERN TIMES. Within a week I had two-dozen reviews posted. A week later I'd added another dozen. Then I contacted Internet-rock-review legend Mark Prindle (I'd made a few comments at his huge review site), he posted a link from his site to mine, and I kept on rolling.
That first year I posted pieces on everything from made-up music history (What would have happened if the Beach Boys' SMILE album had been released on time?: World peace, and Brian Wilson winning the Nobel Peace Prize), to how CNN became the Michael Jackson Network after MJ died.
After nine months I had 225 reviews posted. I wrote six posts in a day, once. I wrote all of them in shorthand "text English," like most people use on their cellphones and Twitter -- I was striking a blow against illiteracy or something, I thought. Besides, as an extra bonus, writing that way seemed to annoy some people. Every post I did before #666 on King Crimson is still in text -- I was going to put them all in Real English once, but ... you know, life's too short.
Then the old website started having trouble. Posts disappeared for no reason, and I had trouble accessing the site. So I gave up and moved here to Blogger, and everything's been great ever since.
I was surprised for awhile by how much the blog has meant to me. It's been a way to blow off steam about work, whine when I'm lonely, work through issues when I'm angry or depressed, rant about politics and modern life, etc. After 950 posts, it's really been the best diary I've ever had.
The rash of posts this month has also helped me avoid thinking about other things that have been going on. The Girlfriend was in the hospital for a couple days back in November, after she was having increasing trouble breathing. She was diagnosed with COPD and the beginnings of congestive heart failure. She's doing much better now after being on oxygen 24/7 for awhile. Her spirits are good, and she has more energy than I do, most days.
My car got back-ended on the way to work a couple weeks ago. Almost $7,000 in damage. I wasn't hurt -- and I was grateful the woman who hit me wasn't hurt either. She was nine months pregnant and had her four-year-old daughter in her SUV. So it could have been a lot worse. I just want my old car back. And now I REALLY hate to drive here.
But enough. Thanks for reading here. And as a special Christmas gift, I was going to post a list of the 40 worst Beatles songs I could actually remember. But then (after typing the list out) I discovered I'd already posted that list -- back in July of 2016. And that list is better and funnier than what I was going to post this morning. Alzheimer's is an amazing thing....
See ya next year!
My first review (on a site my son set up for me) was about the Hollies' ROMANY album. My second was on Al Stewart's MODERN TIMES. Within a week I had two-dozen reviews posted. A week later I'd added another dozen. Then I contacted Internet-rock-review legend Mark Prindle (I'd made a few comments at his huge review site), he posted a link from his site to mine, and I kept on rolling.
That first year I posted pieces on everything from made-up music history (What would have happened if the Beach Boys' SMILE album had been released on time?: World peace, and Brian Wilson winning the Nobel Peace Prize), to how CNN became the Michael Jackson Network after MJ died.
After nine months I had 225 reviews posted. I wrote six posts in a day, once. I wrote all of them in shorthand "text English," like most people use on their cellphones and Twitter -- I was striking a blow against illiteracy or something, I thought. Besides, as an extra bonus, writing that way seemed to annoy some people. Every post I did before #666 on King Crimson is still in text -- I was going to put them all in Real English once, but ... you know, life's too short.
Then the old website started having trouble. Posts disappeared for no reason, and I had trouble accessing the site. So I gave up and moved here to Blogger, and everything's been great ever since.
I was surprised for awhile by how much the blog has meant to me. It's been a way to blow off steam about work, whine when I'm lonely, work through issues when I'm angry or depressed, rant about politics and modern life, etc. After 950 posts, it's really been the best diary I've ever had.
The rash of posts this month has also helped me avoid thinking about other things that have been going on. The Girlfriend was in the hospital for a couple days back in November, after she was having increasing trouble breathing. She was diagnosed with COPD and the beginnings of congestive heart failure. She's doing much better now after being on oxygen 24/7 for awhile. Her spirits are good, and she has more energy than I do, most days.
My car got back-ended on the way to work a couple weeks ago. Almost $7,000 in damage. I wasn't hurt -- and I was grateful the woman who hit me wasn't hurt either. She was nine months pregnant and had her four-year-old daughter in her SUV. So it could have been a lot worse. I just want my old car back. And now I REALLY hate to drive here.
But enough. Thanks for reading here. And as a special Christmas gift, I was going to post a list of the 40 worst Beatles songs I could actually remember. But then (after typing the list out) I discovered I'd already posted that list -- back in July of 2016. And that list is better and funnier than what I was going to post this morning. Alzheimer's is an amazing thing....
See ya next year!
Saturday, December 23, 2017
Great Christmas songs
I've written about all of these here before, but you should track them down if you haven't heard them already. They'd make a great soundtrack to the season.
* Step Into Christmas -- Elton John. Phil Spector could have produced this. A whirlwind of sound, from Elton's best period.
* Happy Xmas (War is Over) -- John Lennon.
* 2000 Miles -- The Pretenders. Gorgeous, heartbreaking.
* December Will be Magic Again -- Kate Bush. You can see the cartoon video in your head.
* Remember (Christmas) -- Harry Nilsson. Gorgeous nostalgia.
* Snoopy's Christmas -- Royal Guardsmen. The long version is a great Christmas pop-opera.
* Little Saint Nick -- Beach Boys.
* Ring Out Solstice Bells -- Jethro Tull.
* A Christmas Song -- Jethro Tull.
* Merry Christmas Darling -- Carpenters.
* It's Christmas Time -- Carpenters. Even better than "Merry Christmas Darling." Almost perfect.
* Christmas (Baby Please Come Home) -- Darlene Love.
* Same Old Lang Syne -- Dan Fogelberg.
* A'Soulin' -- Peter, Paul and Mary. Kind of dark for a Christmas song, but unforgettable.
* Fairytale of New York -- The Pogues with Kirsty MacColl. Hilarious.
* Santa Claus is Coming to Town -- Jackson 5.
* The Most Wonderful Time of the Year -- Andy Williams.
* Jingle Bells? -- Barbra Streisand.
* The Little Drummer Boy -- Harry Simeone Chorale.
* Feliz Navidad -- Jose Feliciano. The best thing he ever did?
* Hurry Home for Christmas -- Steve Lawrence and Eydie Gorme. You'll have to trust me on this one....
* Father Christmas -- Kinks.
* I Believe in Father Christmas -- Greg Lake.
* The Man With All the Toys -- Beach Boys.
* The Twelve Days of Christmas -- Ray Conniff Singers. Whatta hoot!
* The Bell That Couldn't Jingle -- Smothers Brothers. Cute.
(Late addition, 2 Jan 2018 -- Jim Croce: It Doesn't Have to be That Way. Don't know how I forgot this one. It's wonderful.)
Favorite olde-style Christmas carols:
* Carol of the Bells.
* O Holy Night.
Christmas songs I never need to hear again:
* Christmas Eve in Sarajevo -- Trans-Siberian Orchestra. So over-the-top they make ELP sound modest.
* Jingle Bell Rock -- Bobby Helms, and....
* Rockin' Around the Christmas Tree -- Brenda Lee. The two most overplayed "classic" Christmas songs.
* Wonderful Christmas Time -- Paul McCartney and Wings. Embarrassing to all concerned.
* Blue Christmas -- Elvis.
* Step Into Christmas -- Elton John. Phil Spector could have produced this. A whirlwind of sound, from Elton's best period.
* Happy Xmas (War is Over) -- John Lennon.
* 2000 Miles -- The Pretenders. Gorgeous, heartbreaking.
* December Will be Magic Again -- Kate Bush. You can see the cartoon video in your head.
* Remember (Christmas) -- Harry Nilsson. Gorgeous nostalgia.
* Snoopy's Christmas -- Royal Guardsmen. The long version is a great Christmas pop-opera.
* Little Saint Nick -- Beach Boys.
* Ring Out Solstice Bells -- Jethro Tull.
* A Christmas Song -- Jethro Tull.
* Merry Christmas Darling -- Carpenters.
* It's Christmas Time -- Carpenters. Even better than "Merry Christmas Darling." Almost perfect.
* Christmas (Baby Please Come Home) -- Darlene Love.
* Same Old Lang Syne -- Dan Fogelberg.
* A'Soulin' -- Peter, Paul and Mary. Kind of dark for a Christmas song, but unforgettable.
* Fairytale of New York -- The Pogues with Kirsty MacColl. Hilarious.
* Santa Claus is Coming to Town -- Jackson 5.
* The Most Wonderful Time of the Year -- Andy Williams.
* Jingle Bells? -- Barbra Streisand.
* The Little Drummer Boy -- Harry Simeone Chorale.
* Feliz Navidad -- Jose Feliciano. The best thing he ever did?
* Hurry Home for Christmas -- Steve Lawrence and Eydie Gorme. You'll have to trust me on this one....
* Father Christmas -- Kinks.
* I Believe in Father Christmas -- Greg Lake.
* The Man With All the Toys -- Beach Boys.
* The Twelve Days of Christmas -- Ray Conniff Singers. Whatta hoot!
* The Bell That Couldn't Jingle -- Smothers Brothers. Cute.
(Late addition, 2 Jan 2018 -- Jim Croce: It Doesn't Have to be That Way. Don't know how I forgot this one. It's wonderful.)
Favorite olde-style Christmas carols:
* Carol of the Bells.
* O Holy Night.
Christmas songs I never need to hear again:
* Christmas Eve in Sarajevo -- Trans-Siberian Orchestra. So over-the-top they make ELP sound modest.
* Jingle Bell Rock -- Bobby Helms, and....
* Rockin' Around the Christmas Tree -- Brenda Lee. The two most overplayed "classic" Christmas songs.
* Wonderful Christmas Time -- Paul McCartney and Wings. Embarrassing to all concerned.
* Blue Christmas -- Elvis.
Saturday, December 16, 2017
"A Night at the Opera"
It's May 1976. Jeff picks me up in his tiny ticket-me-red Austin Healy Sprite -- a car so small I can just barely shoehorn myself in -- and gives me a lift to the end-of-schoolyear Newspaper Awards Banquet in downtown Boise.
For some reason, it was decided we'd have the semi-formal banquet at The Gamekeeper, a semi-classy restaurant where Jeff works. Jeff, the school newspaper's cartoonist -- who looks something like a self-drawn cartoon of Paul McCartney, all arms and legs and hair -- started out at GK as a dishwasher, then was promoted to try and become an assistant cook. That isn't going so well, judging by his stories from work, most of which revolve around gross and horrifying disasters with food. Did we all just think he was joking? His hilarious stories about the kitchen directly contradict The Gamekeeper's jingle playing on local radio stations. All together now:
The Gamekeeper, dining leisurely.
The Gamekeeper, dining in luxury.
The Gamekeeper, dining
Where you want to be
In delightful company.
Dining elegantly.
Yeah, uh huh. Tell that to the guy who burned beyond recognition 68 chicken breasts in the kitchen's huge cooker. Revealingly, Jeff does not choose chicken for dinner.
As we pull away from my house, Jeff says he has a surprise for the soundtrack on our 10-mile drive into town. It's the latest album by Queen.
I'd heard of Queen. Their "Killer Queen" single from a year earlier hadn't really thrilled me. It was too ... arch, too clever, and the guitar work seemed shrill. Jeff assured me their SHEER HEART ATTACK album was more brilliance, but....
A month or so earlier they'd come out with the six-minute "Bohemian Rhapsody," which I'd first heard while foolishly leaving the radio on while having dinner with my family. Halfway through the falsetto chaos, my mom and dad turned to me and said practically in unison "What IS this shit?" I shrugged. Hey, I didn't know....
But it grew on me, so I was mildly interested in their album, A NIGHT AT THE OPERA. Besides, Jeff had turned me on in the past to Kansas's LEFTOVERTURE, plus lots of great old Beatles, Elton John and Paul McCartney songs I'd never heard before, so....
The album started with a rumble, then some of that same bouncy, hyperactive guitar that marked these guys. Then it downshifted into mere overactive guitar and a set of vicious lyrics apparently pointed at Queen's former managers ("Death on Two Legs"). Hilarious. I thought maybe these guys had potential.
I was annoyed by their occasional silliness ("Lazing on a Sunday Afternoon," "Seaside Rendezvous," "Good Company"), but the good stuff was impressive. "I'm in Love With My Car" moved well, and seemed a good soundtrack for Jeff's involvement with the Sprite. "You're My Best Friend" sounded like updated Beach Boys. Then came the gorgeous "'39," a space-age folksong, still one of my Queen faves.
When they tried to get heavier, I wasn't impressed. They seemed to be straining to keep it simple and heavy, as on the kinda pathetic "Sweet Lady."
But when Jeff turned the tape over, the real heaviness kicked in: "The Prophet's Song" was stunning -- a misty, foggy tale of prophecy and doom, something like Led Zeppelin crossed with The Moody Blues. And it was a great soundtrack to careening in and out of downtown traffic.
We arrived at the banquet then, but the rest of the album was downhill anyway. The filler "Love of My Life," the silly "Good Company," and a dumb filler guitar-instrumental of "God Save the Queen." After "The Prophet's Song" and "'39," "Bohemian Rhapsody" was almost an anti-climax.
So I bought the album, and it grew on me, and I followed Queen for awhile, more or less. I was impressed with their 3/4's-great "It's Late" (did they always have to get Too Heavy?), amused by "Fat Bottomed Girls" and "Bicycle Race," and bought THE GAME later, mostly for its second side ("Rock It/Prime Jive," "Save Me," etc.) and for "Play the Game" and "Need Your Loving Tonight" -- emphatically NOT for "Another One Bites the Dust." I thought their team-up with David Bowie on "Under Pressure" was pretty great.
Then I drifted. Finally in 1991 I heard their INNUENDO, which has some amazing stuff on it, like "The Show Must Go On," "I'm Going Slightly Mad," and "These Are the Days of Our Lives." I thought at the time that it might be their solidest album. And of course that was Freddie Mercury's last hurrah.
For some reason, it was decided we'd have the semi-formal banquet at The Gamekeeper, a semi-classy restaurant where Jeff works. Jeff, the school newspaper's cartoonist -- who looks something like a self-drawn cartoon of Paul McCartney, all arms and legs and hair -- started out at GK as a dishwasher, then was promoted to try and become an assistant cook. That isn't going so well, judging by his stories from work, most of which revolve around gross and horrifying disasters with food. Did we all just think he was joking? His hilarious stories about the kitchen directly contradict The Gamekeeper's jingle playing on local radio stations. All together now:
The Gamekeeper, dining leisurely.
The Gamekeeper, dining in luxury.
The Gamekeeper, dining
Where you want to be
In delightful company.
Dining elegantly.
Yeah, uh huh. Tell that to the guy who burned beyond recognition 68 chicken breasts in the kitchen's huge cooker. Revealingly, Jeff does not choose chicken for dinner.
As we pull away from my house, Jeff says he has a surprise for the soundtrack on our 10-mile drive into town. It's the latest album by Queen.
I'd heard of Queen. Their "Killer Queen" single from a year earlier hadn't really thrilled me. It was too ... arch, too clever, and the guitar work seemed shrill. Jeff assured me their SHEER HEART ATTACK album was more brilliance, but....
A month or so earlier they'd come out with the six-minute "Bohemian Rhapsody," which I'd first heard while foolishly leaving the radio on while having dinner with my family. Halfway through the falsetto chaos, my mom and dad turned to me and said practically in unison "What IS this shit?" I shrugged. Hey, I didn't know....
But it grew on me, so I was mildly interested in their album, A NIGHT AT THE OPERA. Besides, Jeff had turned me on in the past to Kansas's LEFTOVERTURE, plus lots of great old Beatles, Elton John and Paul McCartney songs I'd never heard before, so....
The album started with a rumble, then some of that same bouncy, hyperactive guitar that marked these guys. Then it downshifted into mere overactive guitar and a set of vicious lyrics apparently pointed at Queen's former managers ("Death on Two Legs"). Hilarious. I thought maybe these guys had potential.
I was annoyed by their occasional silliness ("Lazing on a Sunday Afternoon," "Seaside Rendezvous," "Good Company"), but the good stuff was impressive. "I'm in Love With My Car" moved well, and seemed a good soundtrack for Jeff's involvement with the Sprite. "You're My Best Friend" sounded like updated Beach Boys. Then came the gorgeous "'39," a space-age folksong, still one of my Queen faves.
When they tried to get heavier, I wasn't impressed. They seemed to be straining to keep it simple and heavy, as on the kinda pathetic "Sweet Lady."
But when Jeff turned the tape over, the real heaviness kicked in: "The Prophet's Song" was stunning -- a misty, foggy tale of prophecy and doom, something like Led Zeppelin crossed with The Moody Blues. And it was a great soundtrack to careening in and out of downtown traffic.
We arrived at the banquet then, but the rest of the album was downhill anyway. The filler "Love of My Life," the silly "Good Company," and a dumb filler guitar-instrumental of "God Save the Queen." After "The Prophet's Song" and "'39," "Bohemian Rhapsody" was almost an anti-climax.
So I bought the album, and it grew on me, and I followed Queen for awhile, more or less. I was impressed with their 3/4's-great "It's Late" (did they always have to get Too Heavy?), amused by "Fat Bottomed Girls" and "Bicycle Race," and bought THE GAME later, mostly for its second side ("Rock It/Prime Jive," "Save Me," etc.) and for "Play the Game" and "Need Your Loving Tonight" -- emphatically NOT for "Another One Bites the Dust." I thought their team-up with David Bowie on "Under Pressure" was pretty great.
Then I drifted. Finally in 1991 I heard their INNUENDO, which has some amazing stuff on it, like "The Show Must Go On," "I'm Going Slightly Mad," and "These Are the Days of Our Lives." I thought at the time that it might be their solidest album. And of course that was Freddie Mercury's last hurrah.
On the Moodies reaching the RnRHoF
Well, it's about time!
This was really overdue.
I would have jumped on this faster, but when I read on Facebook a couple days ago that The Moody Blues had FINALLY been voted into the Rock 'n' Roll Hall of Fame ... well, all I could think are the two sentences above.
I don't usually follow too closely who gets into the RnRHoF. I think it's a useless, stupid institution, since the "history" of rock and roll gets added to every day. The "Rarnhof" should be a big beer-drinking pub in Germany or Switzerland.
But I'm glad for the Moodies. I never thought they got their due, back in the day. Once upon a time, their "Classic 7" albums meant way more to me than The Beatles, or anyone else. I still think if the Moodies had been signed to a hipper, more with-it record label, they would've had more hits and sold more albums.
Don't get me wrong -- I thought Decca was great. Decca at least had enough taste to offer a home to Caravan and Camel, among others, not to mention The Rolling Stones (after turning down The Beatles). But Decca was way uptight and old school, never even as "progressive" as EMI, and nowhere near as adventurous as Vertigo, Virgin, or Harvest. Not to mention Island.
But give the Moodies credit -- they stuck with Decca, even when they could have gone elsewhere. When Decca was bought by Polygram late in the '70s, the Moodies stayed on.
The Moodies were important to me because they were the first "strange music" I ever heard, and back in high school I spent way more hours stuck under headphones listening to the Moodies than to anyone else. Because Moodies albums were trips that you could got lost in -- for hours. I many times played their "Classic 7" albums all the way through one after another, back in the days when I had time to burn. When the radio got boring, the Moodies never disappointed me.
That doesn't mean I love ALL their stuff. I think IN SEARCH OF THE LOST CHORD is mostly dated psychedelic crap. I think most of the orchestral sections on DAYS OF FUTURE PASSED sound like bad movie-soundtrack music. I think one of their hits, "Isn't Life Strange?," is fourth-rate Bee Gees. And for most of their stuff after 1983 -- don't get me started.
But the Moodies could rock ("Story in Your Eyes," "Question," "Eyes of a Child Part 2"), or they could space you out ("Have You Heard?/The Voyage," "My Song"), or they could boggle you with a cosmic mix of the two ("You and Me"). Their later albums like LONG DISTANCE VOYAGER and THE PRESENT were at the very least good polished pop music for their time.
I know that without the Moodies and how strong their albums were, it would have taken me longer to get hooked on "strange music," and I would have been way less likely to stray from listening to the radio, no matter how bored I was. They deserve to be in the RnRHoF just for expanding my mind a bit.
Besides, when's the last time you heard any of these great overlooked Moodies songs on the radio?:
Peak Hour, Evening: Time to Get Away, Twilight Time, Simple Game, Voices in the Sky, The Actor, Lovely to See You, Send Me No Wine, Never Comes the Day, Eyes of a Child Part 2, Out and In, Gypsy, Watching and Waiting, Don't You Feel Small?, It's Up to You, Minstrel's Song, Dawning is the Day, Our Guessing Game, After You Came, One More Time to Live, You Can Never Go Home, For My Lady, You and Me, Land of Make-Believe, In My World, Meanwhile, Nervous, Veteran Cosmic Rocker, Blue World, Meet Me Halfway, Running Water, Sorry, No More Lies.
This was a choice for enshrinement in that silly, useless building in Cleveland that, for once, was well deserved.
This was really overdue.
I would have jumped on this faster, but when I read on Facebook a couple days ago that The Moody Blues had FINALLY been voted into the Rock 'n' Roll Hall of Fame ... well, all I could think are the two sentences above.
I don't usually follow too closely who gets into the RnRHoF. I think it's a useless, stupid institution, since the "history" of rock and roll gets added to every day. The "Rarnhof" should be a big beer-drinking pub in Germany or Switzerland.
But I'm glad for the Moodies. I never thought they got their due, back in the day. Once upon a time, their "Classic 7" albums meant way more to me than The Beatles, or anyone else. I still think if the Moodies had been signed to a hipper, more with-it record label, they would've had more hits and sold more albums.
Don't get me wrong -- I thought Decca was great. Decca at least had enough taste to offer a home to Caravan and Camel, among others, not to mention The Rolling Stones (after turning down The Beatles). But Decca was way uptight and old school, never even as "progressive" as EMI, and nowhere near as adventurous as Vertigo, Virgin, or Harvest. Not to mention Island.
But give the Moodies credit -- they stuck with Decca, even when they could have gone elsewhere. When Decca was bought by Polygram late in the '70s, the Moodies stayed on.
The Moodies were important to me because they were the first "strange music" I ever heard, and back in high school I spent way more hours stuck under headphones listening to the Moodies than to anyone else. Because Moodies albums were trips that you could got lost in -- for hours. I many times played their "Classic 7" albums all the way through one after another, back in the days when I had time to burn. When the radio got boring, the Moodies never disappointed me.
That doesn't mean I love ALL their stuff. I think IN SEARCH OF THE LOST CHORD is mostly dated psychedelic crap. I think most of the orchestral sections on DAYS OF FUTURE PASSED sound like bad movie-soundtrack music. I think one of their hits, "Isn't Life Strange?," is fourth-rate Bee Gees. And for most of their stuff after 1983 -- don't get me started.
But the Moodies could rock ("Story in Your Eyes," "Question," "Eyes of a Child Part 2"), or they could space you out ("Have You Heard?/The Voyage," "My Song"), or they could boggle you with a cosmic mix of the two ("You and Me"). Their later albums like LONG DISTANCE VOYAGER and THE PRESENT were at the very least good polished pop music for their time.
I know that without the Moodies and how strong their albums were, it would have taken me longer to get hooked on "strange music," and I would have been way less likely to stray from listening to the radio, no matter how bored I was. They deserve to be in the RnRHoF just for expanding my mind a bit.
Besides, when's the last time you heard any of these great overlooked Moodies songs on the radio?:
Peak Hour, Evening: Time to Get Away, Twilight Time, Simple Game, Voices in the Sky, The Actor, Lovely to See You, Send Me No Wine, Never Comes the Day, Eyes of a Child Part 2, Out and In, Gypsy, Watching and Waiting, Don't You Feel Small?, It's Up to You, Minstrel's Song, Dawning is the Day, Our Guessing Game, After You Came, One More Time to Live, You Can Never Go Home, For My Lady, You and Me, Land of Make-Believe, In My World, Meanwhile, Nervous, Veteran Cosmic Rocker, Blue World, Meet Me Halfway, Running Water, Sorry, No More Lies.
This was a choice for enshrinement in that silly, useless building in Cleveland that, for once, was well deserved.
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