The problem of alternative rock of 20 years ago is that it has dated badly, even by Bro Job Country standards or autotuned robotic vocals. Let's investigate of a band that sold tons of CDs but most have been seen in dollar bins all across this fair land.
Best known for Feed The Tree, a nonsensical but hooky song, it basically captures Tanya Donnelly brilliantly. She started out in Throwing Muses and later The Breeders before striking out on her own with Belly. In the death-thrones of MTV video music before boring the fuck out of everybody with reality crap, Feed The Tree couldn't be escaped from 120 Minutes or when MTV played videos. As a whole Star was very uneven despite failed hits like Gepetto and Slow Dog. It is alternative rock but in the ears of mine, I prefer Lush a lot more.
The followup King, features Gail Greenwood on bass, Glyn Johns producer and a more rock and roll attitude although Donnelly continued to throw unlistenable stuff, but Super Connected was a pretty good song. King, the album didn't sell very well and in 1996 Donnelly retired the band.
You can basically find both albums for less than a dollar at thrift stores. Even Sweet Ride, The Best Of Belly, the recommended album is full of b sides and questionable material. We really don't need a song sung in French for a best of. This does have the radio mix and edit of Feed The Tree and with that gets my vote as the album to get. Donnelly continues to write and play music as a solo artist.
Albums:
Star (Sire/Reprise 1993) C+
King (Sire/Reprise 1995) B-
Sweet Ride The Best Of Belly (Sire/Rhino 2002) B
Saturday, April 11, 2015
Tuesday, October 21, 2014
Bush Revisited
Bush has been one of those bands that have benefited quite well from the dollar shop pawnshop buys that I have been doing the past few years. For a band that has never really captured my fancy, Bush will go down in history has coming flying out of the runway with Everything Zen, which is perhaps the best Nirvana rip ever. Unlike Kurt Cobain, Gavin Rossdale owes a bit more to the classic rock sound to which Everything Zen kinda reminds me of Crazy Horse (don't ask why they just do). My second favorite song from that album Sixteen Stone, the 45 second X Girlfriend.
Throughout their course of history, Bush's British Grunge music sounded perfect for alt radio and modern rock to which KRNA still plays Everything Zen and a couple others from the first album but nevertheless Bush has never been a critic's fave band no matter what they do. The Steve Albini recorded Razorblade Suitcase was supposed to give them street cred, but that bombed as many a copy found itself into the dollar bins all across America and the problem wasn't Albini's production but rather a lack of songs that took up too much time and not worth remembering. Deconstructed, was a techno flop, re-imagined the hits for techno dance and over an hour? Not worth your time nor mine. The Science Of Things reunited them with the original producers who produced Elvis Costello and Nick Lowe back in the 80s but in 1999 it's a different story but The Science Of Things really starts out great with Warm Machine and Jesus Online and even The Chemicals Between Us is listenable for techno, but the rest of the album falters. Cut the filler down to a reasonable 10 songs and it could be their classic.
Somehow Rossdale and company moved over to Atlantic for the ill fated Golden State before disbanding, Bush forming a new band Institute with Page Hamilton playing guitar and Distort Yourself which also featured Chris Traynor gave a harder edge sound that was lacking in Bush. Rossdale made a listenable solo album Wanderlust, which All Music calls him the Grunge Peter Cetera (ouch). Has its moments but for the most part you can live without it too.
And then Rossdale does the unthinkable, brings the Bush name out of mothballs, keeps the original drummer and adds Chris Traynor and makes the best album of their career, the Bob Rock produced The Sea Of Memories to which Bush finally becomes a good hard rock band and not a grunge bunch like they're known in the past. And against all odds succeeds, thus getting this reviewer to go back and review their past catalog (and not costing me over 8 dollars in getting the back catalog). For the most part Bush is in need of a decent ICON collection that Interscope is famous for but since Kirkland Records has been reissuing the Trauma albums of the 90s we probably won't see that happening. But as for yourself, your better off with Sixteen Stone and the Sea Of Memories to understand what makes Bush a band to hear. If not, well, there's better bands to cast your lot with.
UPDATED: Sixteen Stone and Razorblade Suitcase were once again reissued via Zuma Rock and I'm sure Science Of Things has been as well although I didn't see it at Best Buy. The usual propaganda of Remastered For The First Time (what the hell were the original Trauma/Kirtland CDs were supposed to be? Remastered is a very very overused term since everytime you burn a copy, you're remastering it yourself). After a one off with E One music, Bush signs up with Zuma Rock on a Sony Music deal and issues Man On The Run. If you liked or love Sixteen Stone you'll tolerate Man On The Run although Nick Raskulinecz (Rush, Foo Fighters, Alice In Chains) really doesn't do much outside of turn the recording levels up higher than usual. If Sea Of Memories was an extension of Distort Yourself, Man On The Run is basically Sixteen Stone Redux but without a key song like Everything Zen to make it memorable. It's not bad, some songs are worthy of a second or third listen (Just Like My Other Sins, Loneliness Is A Killer) and the original album closer Eye Of The Storm could be an album cut for album rock, if there's such a thing. But Rossdale will write a song that makes one smirk (Let Yourself Go, is about as dumb as the Breathe In Breathe out rant from Machinehead off 16 Stone) and in this day and age he will not convert new listeners or stifle his critics that like Bush as much as they do Nickleback, so Man On A Run is for fans and followers only. The album is a tad bit more disappointing than Sea Of Memories, but the key element of Chris Traynor as member of band keeps Bush more rocking than usual, although Corey Blitz is more of a hired hand. Give Gavin Rossdale this, while the critics been after his head for 2 decades and waiting for him to fail, he continues to defiles them all. Much to their dismay.
Update: In 2017 Rossdale came up with Black And White Rainbows, a somewhat more upbeat album considering that his marriage to Gwen Stefani crashed down beginning with Mad Love and continuing through Water and Lost In You although perhaps Gavin might be thinking more of his new found love, or perhaps a love letter to the remaining Bush fans out there. The record drags on way too long and too many slower tempo songs at the end kinda makes this a chore to listen through if you're not a hardcore fan. But it doesn't differ much from Sixteen Stone (to which let's face it will be the album that Bush will be forever remembered); it may have meant more if this was the followup to that album rather than the dull thud of Razorblade Suitcase 20 years earlier, but radio will not bend over backwards to play Black And White Rainbows, Bush's time has come and gone. They could benefit from a best of. But in theory, Rossdale has never topped Everything's Zen, that the first song that started a career and he could never follow it up with another rip roaring song. I still think 2010's Sea Of Memories is their best overall album and Sixteen Stone the only other album you could ever want. But I'm mostly amazed of myself to continue to follow the antics of Gavin Rossdale and Bush by buying Man On The Run and Black And White Rainbows, knowing full well they might have a good song or two, but in the end they would stockpile their album with five or six subpar filler songs and lose whatever interest that I have had in the first place. I doubt there'll be a next time, but I can never write Bush off. It's a hard habit to break.
Grades:
Sixteen Stone (Kirtland 1994) B
Razorblade Suitcase (Kirtland 1996) C
Deconstructed (Trauma 1997) C-
The Science Of Things (Kirtland 1999) B
Golden State (Atlantic 2001) B-
Institute-Distort Yourself (Interscope 2005) B
Gavin Rossdale-Wanderlust (Interscope 2008) C+
The Sea Of Memories (E One 2010) B+
Man On The Run (Zuma Rock/Sony Music 2014) B
Black And White Rainbows (Zuma Rock/Caroline 2017) B
Throughout their course of history, Bush's British Grunge music sounded perfect for alt radio and modern rock to which KRNA still plays Everything Zen and a couple others from the first album but nevertheless Bush has never been a critic's fave band no matter what they do. The Steve Albini recorded Razorblade Suitcase was supposed to give them street cred, but that bombed as many a copy found itself into the dollar bins all across America and the problem wasn't Albini's production but rather a lack of songs that took up too much time and not worth remembering. Deconstructed, was a techno flop, re-imagined the hits for techno dance and over an hour? Not worth your time nor mine. The Science Of Things reunited them with the original producers who produced Elvis Costello and Nick Lowe back in the 80s but in 1999 it's a different story but The Science Of Things really starts out great with Warm Machine and Jesus Online and even The Chemicals Between Us is listenable for techno, but the rest of the album falters. Cut the filler down to a reasonable 10 songs and it could be their classic.
Somehow Rossdale and company moved over to Atlantic for the ill fated Golden State before disbanding, Bush forming a new band Institute with Page Hamilton playing guitar and Distort Yourself which also featured Chris Traynor gave a harder edge sound that was lacking in Bush. Rossdale made a listenable solo album Wanderlust, which All Music calls him the Grunge Peter Cetera (ouch). Has its moments but for the most part you can live without it too.
And then Rossdale does the unthinkable, brings the Bush name out of mothballs, keeps the original drummer and adds Chris Traynor and makes the best album of their career, the Bob Rock produced The Sea Of Memories to which Bush finally becomes a good hard rock band and not a grunge bunch like they're known in the past. And against all odds succeeds, thus getting this reviewer to go back and review their past catalog (and not costing me over 8 dollars in getting the back catalog). For the most part Bush is in need of a decent ICON collection that Interscope is famous for but since Kirkland Records has been reissuing the Trauma albums of the 90s we probably won't see that happening. But as for yourself, your better off with Sixteen Stone and the Sea Of Memories to understand what makes Bush a band to hear. If not, well, there's better bands to cast your lot with.
UPDATED: Sixteen Stone and Razorblade Suitcase were once again reissued via Zuma Rock and I'm sure Science Of Things has been as well although I didn't see it at Best Buy. The usual propaganda of Remastered For The First Time (what the hell were the original Trauma/Kirtland CDs were supposed to be? Remastered is a very very overused term since everytime you burn a copy, you're remastering it yourself). After a one off with E One music, Bush signs up with Zuma Rock on a Sony Music deal and issues Man On The Run. If you liked or love Sixteen Stone you'll tolerate Man On The Run although Nick Raskulinecz (Rush, Foo Fighters, Alice In Chains) really doesn't do much outside of turn the recording levels up higher than usual. If Sea Of Memories was an extension of Distort Yourself, Man On The Run is basically Sixteen Stone Redux but without a key song like Everything Zen to make it memorable. It's not bad, some songs are worthy of a second or third listen (Just Like My Other Sins, Loneliness Is A Killer) and the original album closer Eye Of The Storm could be an album cut for album rock, if there's such a thing. But Rossdale will write a song that makes one smirk (Let Yourself Go, is about as dumb as the Breathe In Breathe out rant from Machinehead off 16 Stone) and in this day and age he will not convert new listeners or stifle his critics that like Bush as much as they do Nickleback, so Man On A Run is for fans and followers only. The album is a tad bit more disappointing than Sea Of Memories, but the key element of Chris Traynor as member of band keeps Bush more rocking than usual, although Corey Blitz is more of a hired hand. Give Gavin Rossdale this, while the critics been after his head for 2 decades and waiting for him to fail, he continues to defiles them all. Much to their dismay.
Update: In 2017 Rossdale came up with Black And White Rainbows, a somewhat more upbeat album considering that his marriage to Gwen Stefani crashed down beginning with Mad Love and continuing through Water and Lost In You although perhaps Gavin might be thinking more of his new found love, or perhaps a love letter to the remaining Bush fans out there. The record drags on way too long and too many slower tempo songs at the end kinda makes this a chore to listen through if you're not a hardcore fan. But it doesn't differ much from Sixteen Stone (to which let's face it will be the album that Bush will be forever remembered); it may have meant more if this was the followup to that album rather than the dull thud of Razorblade Suitcase 20 years earlier, but radio will not bend over backwards to play Black And White Rainbows, Bush's time has come and gone. They could benefit from a best of. But in theory, Rossdale has never topped Everything's Zen, that the first song that started a career and he could never follow it up with another rip roaring song. I still think 2010's Sea Of Memories is their best overall album and Sixteen Stone the only other album you could ever want. But I'm mostly amazed of myself to continue to follow the antics of Gavin Rossdale and Bush by buying Man On The Run and Black And White Rainbows, knowing full well they might have a good song or two, but in the end they would stockpile their album with five or six subpar filler songs and lose whatever interest that I have had in the first place. I doubt there'll be a next time, but I can never write Bush off. It's a hard habit to break.
Grades:
Sixteen Stone (Kirtland 1994) B
Razorblade Suitcase (Kirtland 1996) C
Deconstructed (Trauma 1997) C-
The Science Of Things (Kirtland 1999) B
Golden State (Atlantic 2001) B-
Institute-Distort Yourself (Interscope 2005) B
Gavin Rossdale-Wanderlust (Interscope 2008) C+
The Sea Of Memories (E One 2010) B+
Man On The Run (Zuma Rock/Sony Music 2014) B
Black And White Rainbows (Zuma Rock/Caroline 2017) B
Tuesday, October 7, 2014
Paul Revere And The Raiders
Three years ago I attempted to put into words the legacy of Paul Revere And The Raiders and their music. This the original posting on the Record World Blog http://rscrabb.blogspot.com/2011/04/crabb-bits-mel-mcdaniel-paul-revere.html
Three years on and the death of Paul Revere got me to return to their recordings and revisit what I thought of their 2 CD Essential Paul Revere And The Raiders, overall time has shown that was the best overview. Basically the more scattershot Legend Of Paul Revere, the bloated 2 CD set Columbia issued in 1990 turned out the be the better overall overview. More that album shows the tale of the two Paul Revere And The Raiders bands; the first the overall party band led by Revere and the second the more hit laden and pop leanings of Mark Lindsay. The liner notes to the 1990 best of by William Ruhlmann are a must read. With both Paul and Mark providing insights it does show that the band had inner struggles between the two performers all the way back to when Lindsay popped up onstage in the early beginnings of The Raiders and impressing Paul to let him into the band. It also shows that Lindsay can be full of himself at times too, whereas Revere remained the fun loving rock and roll guy who specialized in bad jokes and taking Louie Louie down the road further than the Kingsmen, though that band had the bigger hit. It was sloppy fun, The Raiders' version was more jammy and since Lindsay didn't sing much of the song outside of Louie Louie hook line the song wouldn't dent the top 100. The Legend Of Paul Revere, the best of, is looked upon as one cd dedicated to the covers and the party time feeling of their leader, while the second focuses on Lindsay's studio version of the Raiders, more sessionmen than band members, which did struck a nerve on The Raiders themselves, three of them moved over to The Brotherhood and making two albums for RCA. In their place, Freddy Weller and Keith Allison, more polished musicians would take their place.
The fun band that Paul Revere envisioned made recordings for Gardena and had a number 38 hit in 1961 with Like Long Hair or Beatnik Sticks and are on The Legend Of P.R. Mojo Workout, a sprawling two cd set that Sundazed put out in 2000 shows the dirty R and B and early rock songs that Paul liked. Problem was Mark Lindsay couldn't deliver them in the same way. Good example was the uncharting Over You, which Aaron Neville did much better. And in these changing times, it's a bit creepy hearing Lindsay singing he's going to kill his love interest if she goes cheating on him. Mojo Workout taken on its own is nice party music for the early 60s, the covers well known and chosen but Linsday can't sing them that well. But then on track 18, when Steppin Out comes marching in, they were on to garage rock and that's when Lindsay does come into his own, the material is better suited for him rather than Over You or Slippin And Slidin'.
The big success of their hits, Terry Melcher gets full credit and he had a way to make the songs and hooks sound better. In fact AM radio was perfect for Him Or Me What's It Gonna Be, or Kicks. The albums themselves were peppered with R and B or an occasional ballad. Just Like Us might have been the perfect introduction to The Raiders, with even Drake Levin and Mike Smith singing a song or two. Here They Come is a half live half studio affair and the live side captures the craziness of a Paul Revere concert. It's good fun to hear Louie Louie live and them romping through Do You Love Me or lead off You Can't Sit Down, a song that features that rare Mark Lindsay's sax solo. The studio side, showed The Raiders trying their best to cover Time Is On My Side, although it pales next to The Stones or Irma Thomas. They also cover PF Sloan on These Are Bad Times For Me And My Baby. Not a total wasted effort but Here They Come is the first true Raiders album, in search of their own sound.
Midnight Ride was better, with Kicks being the big hit and Not Your Stepping Stone a album cut classic, it could have been a hit single for them, but The Monkees beat them to it. Amazingly when the band was going through changes The Spirit Of 67 and Revolution remain my favorite albums from them. By then Paul Revere was more interested in their live performances so it was Mark Lindsay and Terry Melcher with some studio musicians coming in to help; Hal Blaine is on Him Or Me (not Jim Gordon as rumors have it) Spirit Of 67 features The Great Airplane Strike which gives The Rolling Stones a run for their money. Mark dominates the singing with Fang and Mike Smith singing one song apiece. Revolution is their heaviest album...and their strangest. Some of the songs appeared in mono, the most oddest is Make It With Me, which Lindsay's vocals are buried in the fuzz, even the backing vocals are mixed higher up. Only Paul Revere appears as the other vocalist on Ain't Nobody Can Do It Like Leslie Can (mixed in mono). The CD version, now out or print and commanding high prices has an extended Him Or Me and The Legend Of Paul Revere (the song). The haunting I Hear A Voice, to which Mark and The Raiders sing along to a moody Revere piano. Their finest moment.
Once Terry Melcher left to do other things, Lindsay took over production and they went pop with each new album. Influenced by Sgt Pepper, Something Happening, is more Magical Mystery Tour with the oddball horns, and stop start bridges (Too Much Talk). Being on Dick Clark's Where The Action Is in the afternoon opened up new doors, but it also begins a bubblegum type of pop that I don't think Lindsay envisioned and has said that Melcher was missed big time. Something Happening, while more polished wasn't as memorable as Revolution, only Don't Take It So Hard saves the album from being more slight. Hard And Heavy With Marshmellow, another play on words by Mark is even more bubblegum with Mr. Sun And Mr. Moon, but the record is saved by the four minute and more mysterous sounding Cinderella Sunshine (A 2 minute up tempo track became a 45 but to these ears not as essential) and perhaps it's was becoming that The Raiders were trying to keep up with The Monkees. Only this time The Monkees made a better album.
Alias Pink Puzz is the final good album, and for the first time since The Spirit Of 67, the other Raiders add their two cents worth, most notably Keith Allison's Freeborn Man, which is more country than rock. In some ways I look at Pink Puzz like I do at the S/T Association album, it does show the bands doing something more different than the bubblegum pops that Lindsay was turning them out to be. I'm not sure how radio mistook them for another band when Let Me came out under the Pink Puzz name, Lindsay has a distinctive voice and if the fool radio programmer was didn't know that, he surely would by the MA MA MA MAA scream at end of song. Collage, the next album, a lot of people like more but for me it was more a letdown. This record has more to do with the Monkees' Head album rather than Sgt Pepper's and Lindsay remade Tighter and Gone Movin On to a more polished but lest interesting version. The problem of this album is that it's too bizarre, and Lindsay trying to keep up with the times made a dated effort, the screams all over Sorceress With The Blue Eyes or Dr. Fine makes one reach for the Fast Forward button. And Just Seventeen is just a bad song overall, probably the worst song they ever put out since Over You. It's not all a wasted effort, We Gotta All Get Together in single form is fairly good till the last minute and half drags it down, a cover of Laura Nyro's Save The Country and Interlude (To Be Forgotten) are highlights. But I tend to look at Collage is one of the more overrated albums of the 60s, even from Paul Revere And The Raiders themselves.
By then, Lindsay convinced Revere to change the name to The Raiders and in 1971 they finally scored their first and only number 1 hit with Indian Reservation. The album itself is famous for Mike Smith returning back to drums. But the album itself is all over the place, there are some questionable remakes (the world could live without with Eve Of Destruction) and Max Frost and The Troopers aren't losing sleep over The Shape Of Things To Come. Although I think Lindsay showed some music taste in covering Come In You'll Get Phenomena (the Easybeats song) the problem was he lacked the vocal and arrangement to pull it off. The success of the single enabled Columbia to release another album and the final one was the uneven Country Wine. First side is good, the title track, Power Blue Mercedes Queen (with a riff taken from Mississippi Queen) standouts, but side 2 whatever Lindsay came up with, the songs simply were awful and ranks with the worst that they ever done. The failure of their 1974 single All Over You, a Bob Dylan song made their label decide to not issue another album and the Raiders decade long association with Columbia was over, sans a forgotten 1975 single Gonna Have A Good Time b/w the bland Your Love which appears on the now deleted and hard to find Complete Columbia Singles on Collector's Choice Music. By then Mark Lindsay and Paul Revere decided to go their own ways. Revere would form his own Raiders in the late 70s, and instead of doing new recordings, stayed true to his vision of being a fun and party band, playing the hits and doing comedy skits and routines and become one of the most loved entertainers till his death. Lindsay's latest album actually sounds more rocking to the early Raiders rather than the MOR pop he was doing in the late 60s and early 70s: having hits with Arizona and Silverbird. The Real Gone Columbia Singles of Mark Lindsay CD, warts and all isn't bad. In 2013 Mark released Life Out Loud and is by far his most rocking album to date. It does actually recall a lot of Spirit Of 67 or Revolution, it's a shame that Mark didn't go this way after those albums.
In some ways The Complete Columbia Singles a great beginning and end saga of the happenings of Paul Revere And The Raiders and if you can find it fairly cheap is the recommended overview. But it also documents the downfall as well. The Raiders really begin to lose their ID on the 3rd CD. A development of being wild garage rockers that gave The Wailers a run for their money to a garage rock sound and then on to pop bubblegum. Cheaper alternatives remain the latest 2 CD best of Paul Revere And The Raiders or even the first Paul Revere And The Raiders Greatest Hits revision with a few bonus tracks tacked on for better value. Sundazed used to have all of the Paul Revere And The Raiders' classic 60s album but most have fallen out of print, as of this writing only Just Like Us, Mojo Workout, Midnight Ride are in print. However Raven Records down under has kept their albums in print, including Indian Reservation/Collage as a 2 on 1 CD. They also packaged the first five Columbia albums on a double value 2 cd set. Something Has Happened includes the next four (Goin To Memphis, Something Happening, Hard And Heavy, Pink Puzz) into a 2 CD set. So if you buy these two Raven packages you will have the complete Paul Revere on Columbia collection. The Aussies seem to take great pride in preserving music that the Sony Music here in the states has given up years ago. I still hold claim that their 1972 All Time Greatest Hits is the go to album but since that has never on CD, it's a moot point but if you do come across it, it's still worth a listen.
But being the madman in rock and roll Paul Revere, bless his heart, lived his dream to the fullest, when Jack White made a comment about how old men can't rock anymore, Revere told him to put up or shut up, but White never took the challenge. His loss. But what we all know, Paul Revere remained the real deal, and never a phoney or fake. Thankfully, his recordings will continue to live on, making new fans who don't get the new rock of today. Or just get tired of whatever Jack White is putting down.
Grades:
Here They Come (Columbia 1964) B+
Just Like Us (Sundazed Reissue) B+
Midnight Ride (Columbia 1966) B+
Spirit Of 67 (Columbia 1967) A-
Paul Revere And The Raiders Greatest Hits (Columbia 1967 revised 1999) A-
Revolution! (Columbia 1967) A-
Gone To Memphis (Columbia 1968) C+
Something Happening (Columbia 1968) B-
Hard And Heavy (With Marshmellow-Columbia 1968) B-
Alias Pink Puzz (Columbia 1969) B+
Collage (Columbia 1970) B-
Indian Reservation (Columbia 1971) B-
Country Wine Plus (Raven 2011) C+
All Time Greatest Hits (Columbia 1972) A-
A Christmas Past...And Present (Koch Reissue 2007) B
The Legend Of Paul Revere (Columbia 1990) B
The Essential Ride 63-67) (Columbia 1996) A-
Mojo Workout (Sundazed 2000) B
The Complete Columbia Singles (Collector's Choice 2010) A-
The Essential Paul Revere & The Raiders (Columbia 2011) B+
Mark Lindsay-Arizona/Sliverbird (Collectibles 2 on 1-1971) C
You've Got A Friend (Columbia 1973) B-
The Complete Columbia Singles of Mark Lindsay (Real Gone 2012) B
Life Out Loud (Bongo Boy 2013) B+
Here They Come/Just Like Us/Midnight Ride/Spirit Of 67/Revolution (Raven Import 2011) A-
Something Is Happening/Hard And Heavy/Alias Pink Puzz (Raven Import 2012) B+
Indian Reservation/Collage (Raven Import) B-
Country Wine Plus (Raven Import 2013) C+
Three years on and the death of Paul Revere got me to return to their recordings and revisit what I thought of their 2 CD Essential Paul Revere And The Raiders, overall time has shown that was the best overview. Basically the more scattershot Legend Of Paul Revere, the bloated 2 CD set Columbia issued in 1990 turned out the be the better overall overview. More that album shows the tale of the two Paul Revere And The Raiders bands; the first the overall party band led by Revere and the second the more hit laden and pop leanings of Mark Lindsay. The liner notes to the 1990 best of by William Ruhlmann are a must read. With both Paul and Mark providing insights it does show that the band had inner struggles between the two performers all the way back to when Lindsay popped up onstage in the early beginnings of The Raiders and impressing Paul to let him into the band. It also shows that Lindsay can be full of himself at times too, whereas Revere remained the fun loving rock and roll guy who specialized in bad jokes and taking Louie Louie down the road further than the Kingsmen, though that band had the bigger hit. It was sloppy fun, The Raiders' version was more jammy and since Lindsay didn't sing much of the song outside of Louie Louie hook line the song wouldn't dent the top 100. The Legend Of Paul Revere, the best of, is looked upon as one cd dedicated to the covers and the party time feeling of their leader, while the second focuses on Lindsay's studio version of the Raiders, more sessionmen than band members, which did struck a nerve on The Raiders themselves, three of them moved over to The Brotherhood and making two albums for RCA. In their place, Freddy Weller and Keith Allison, more polished musicians would take their place.
The fun band that Paul Revere envisioned made recordings for Gardena and had a number 38 hit in 1961 with Like Long Hair or Beatnik Sticks and are on The Legend Of P.R. Mojo Workout, a sprawling two cd set that Sundazed put out in 2000 shows the dirty R and B and early rock songs that Paul liked. Problem was Mark Lindsay couldn't deliver them in the same way. Good example was the uncharting Over You, which Aaron Neville did much better. And in these changing times, it's a bit creepy hearing Lindsay singing he's going to kill his love interest if she goes cheating on him. Mojo Workout taken on its own is nice party music for the early 60s, the covers well known and chosen but Linsday can't sing them that well. But then on track 18, when Steppin Out comes marching in, they were on to garage rock and that's when Lindsay does come into his own, the material is better suited for him rather than Over You or Slippin And Slidin'.
The big success of their hits, Terry Melcher gets full credit and he had a way to make the songs and hooks sound better. In fact AM radio was perfect for Him Or Me What's It Gonna Be, or Kicks. The albums themselves were peppered with R and B or an occasional ballad. Just Like Us might have been the perfect introduction to The Raiders, with even Drake Levin and Mike Smith singing a song or two. Here They Come is a half live half studio affair and the live side captures the craziness of a Paul Revere concert. It's good fun to hear Louie Louie live and them romping through Do You Love Me or lead off You Can't Sit Down, a song that features that rare Mark Lindsay's sax solo. The studio side, showed The Raiders trying their best to cover Time Is On My Side, although it pales next to The Stones or Irma Thomas. They also cover PF Sloan on These Are Bad Times For Me And My Baby. Not a total wasted effort but Here They Come is the first true Raiders album, in search of their own sound.
Midnight Ride was better, with Kicks being the big hit and Not Your Stepping Stone a album cut classic, it could have been a hit single for them, but The Monkees beat them to it. Amazingly when the band was going through changes The Spirit Of 67 and Revolution remain my favorite albums from them. By then Paul Revere was more interested in their live performances so it was Mark Lindsay and Terry Melcher with some studio musicians coming in to help; Hal Blaine is on Him Or Me (not Jim Gordon as rumors have it) Spirit Of 67 features The Great Airplane Strike which gives The Rolling Stones a run for their money. Mark dominates the singing with Fang and Mike Smith singing one song apiece. Revolution is their heaviest album...and their strangest. Some of the songs appeared in mono, the most oddest is Make It With Me, which Lindsay's vocals are buried in the fuzz, even the backing vocals are mixed higher up. Only Paul Revere appears as the other vocalist on Ain't Nobody Can Do It Like Leslie Can (mixed in mono). The CD version, now out or print and commanding high prices has an extended Him Or Me and The Legend Of Paul Revere (the song). The haunting I Hear A Voice, to which Mark and The Raiders sing along to a moody Revere piano. Their finest moment.
Once Terry Melcher left to do other things, Lindsay took over production and they went pop with each new album. Influenced by Sgt Pepper, Something Happening, is more Magical Mystery Tour with the oddball horns, and stop start bridges (Too Much Talk). Being on Dick Clark's Where The Action Is in the afternoon opened up new doors, but it also begins a bubblegum type of pop that I don't think Lindsay envisioned and has said that Melcher was missed big time. Something Happening, while more polished wasn't as memorable as Revolution, only Don't Take It So Hard saves the album from being more slight. Hard And Heavy With Marshmellow, another play on words by Mark is even more bubblegum with Mr. Sun And Mr. Moon, but the record is saved by the four minute and more mysterous sounding Cinderella Sunshine (A 2 minute up tempo track became a 45 but to these ears not as essential) and perhaps it's was becoming that The Raiders were trying to keep up with The Monkees. Only this time The Monkees made a better album.
Alias Pink Puzz is the final good album, and for the first time since The Spirit Of 67, the other Raiders add their two cents worth, most notably Keith Allison's Freeborn Man, which is more country than rock. In some ways I look at Pink Puzz like I do at the S/T Association album, it does show the bands doing something more different than the bubblegum pops that Lindsay was turning them out to be. I'm not sure how radio mistook them for another band when Let Me came out under the Pink Puzz name, Lindsay has a distinctive voice and if the fool radio programmer was didn't know that, he surely would by the MA MA MA MAA scream at end of song. Collage, the next album, a lot of people like more but for me it was more a letdown. This record has more to do with the Monkees' Head album rather than Sgt Pepper's and Lindsay remade Tighter and Gone Movin On to a more polished but lest interesting version. The problem of this album is that it's too bizarre, and Lindsay trying to keep up with the times made a dated effort, the screams all over Sorceress With The Blue Eyes or Dr. Fine makes one reach for the Fast Forward button. And Just Seventeen is just a bad song overall, probably the worst song they ever put out since Over You. It's not all a wasted effort, We Gotta All Get Together in single form is fairly good till the last minute and half drags it down, a cover of Laura Nyro's Save The Country and Interlude (To Be Forgotten) are highlights. But I tend to look at Collage is one of the more overrated albums of the 60s, even from Paul Revere And The Raiders themselves.
By then, Lindsay convinced Revere to change the name to The Raiders and in 1971 they finally scored their first and only number 1 hit with Indian Reservation. The album itself is famous for Mike Smith returning back to drums. But the album itself is all over the place, there are some questionable remakes (the world could live without with Eve Of Destruction) and Max Frost and The Troopers aren't losing sleep over The Shape Of Things To Come. Although I think Lindsay showed some music taste in covering Come In You'll Get Phenomena (the Easybeats song) the problem was he lacked the vocal and arrangement to pull it off. The success of the single enabled Columbia to release another album and the final one was the uneven Country Wine. First side is good, the title track, Power Blue Mercedes Queen (with a riff taken from Mississippi Queen) standouts, but side 2 whatever Lindsay came up with, the songs simply were awful and ranks with the worst that they ever done. The failure of their 1974 single All Over You, a Bob Dylan song made their label decide to not issue another album and the Raiders decade long association with Columbia was over, sans a forgotten 1975 single Gonna Have A Good Time b/w the bland Your Love which appears on the now deleted and hard to find Complete Columbia Singles on Collector's Choice Music. By then Mark Lindsay and Paul Revere decided to go their own ways. Revere would form his own Raiders in the late 70s, and instead of doing new recordings, stayed true to his vision of being a fun and party band, playing the hits and doing comedy skits and routines and become one of the most loved entertainers till his death. Lindsay's latest album actually sounds more rocking to the early Raiders rather than the MOR pop he was doing in the late 60s and early 70s: having hits with Arizona and Silverbird. The Real Gone Columbia Singles of Mark Lindsay CD, warts and all isn't bad. In 2013 Mark released Life Out Loud and is by far his most rocking album to date. It does actually recall a lot of Spirit Of 67 or Revolution, it's a shame that Mark didn't go this way after those albums.
In some ways The Complete Columbia Singles a great beginning and end saga of the happenings of Paul Revere And The Raiders and if you can find it fairly cheap is the recommended overview. But it also documents the downfall as well. The Raiders really begin to lose their ID on the 3rd CD. A development of being wild garage rockers that gave The Wailers a run for their money to a garage rock sound and then on to pop bubblegum. Cheaper alternatives remain the latest 2 CD best of Paul Revere And The Raiders or even the first Paul Revere And The Raiders Greatest Hits revision with a few bonus tracks tacked on for better value. Sundazed used to have all of the Paul Revere And The Raiders' classic 60s album but most have fallen out of print, as of this writing only Just Like Us, Mojo Workout, Midnight Ride are in print. However Raven Records down under has kept their albums in print, including Indian Reservation/Collage as a 2 on 1 CD. They also packaged the first five Columbia albums on a double value 2 cd set. Something Has Happened includes the next four (Goin To Memphis, Something Happening, Hard And Heavy, Pink Puzz) into a 2 CD set. So if you buy these two Raven packages you will have the complete Paul Revere on Columbia collection. The Aussies seem to take great pride in preserving music that the Sony Music here in the states has given up years ago. I still hold claim that their 1972 All Time Greatest Hits is the go to album but since that has never on CD, it's a moot point but if you do come across it, it's still worth a listen.
But being the madman in rock and roll Paul Revere, bless his heart, lived his dream to the fullest, when Jack White made a comment about how old men can't rock anymore, Revere told him to put up or shut up, but White never took the challenge. His loss. But what we all know, Paul Revere remained the real deal, and never a phoney or fake. Thankfully, his recordings will continue to live on, making new fans who don't get the new rock of today. Or just get tired of whatever Jack White is putting down.
Grades:
Here They Come (Columbia 1964) B+
Just Like Us (Sundazed Reissue) B+
Midnight Ride (Columbia 1966) B+
Spirit Of 67 (Columbia 1967) A-
Paul Revere And The Raiders Greatest Hits (Columbia 1967 revised 1999) A-
Revolution! (Columbia 1967) A-
Gone To Memphis (Columbia 1968) C+
Something Happening (Columbia 1968) B-
Hard And Heavy (With Marshmellow-Columbia 1968) B-
Alias Pink Puzz (Columbia 1969) B+
Collage (Columbia 1970) B-
Indian Reservation (Columbia 1971) B-
Country Wine Plus (Raven 2011) C+
All Time Greatest Hits (Columbia 1972) A-
A Christmas Past...And Present (Koch Reissue 2007) B
The Legend Of Paul Revere (Columbia 1990) B
The Essential Ride 63-67) (Columbia 1996) A-
Mojo Workout (Sundazed 2000) B
The Complete Columbia Singles (Collector's Choice 2010) A-
The Essential Paul Revere & The Raiders (Columbia 2011) B+
Mark Lindsay-Arizona/Sliverbird (Collectibles 2 on 1-1971) C
You've Got A Friend (Columbia 1973) B-
The Complete Columbia Singles of Mark Lindsay (Real Gone 2012) B
Life Out Loud (Bongo Boy 2013) B+
Here They Come/Just Like Us/Midnight Ride/Spirit Of 67/Revolution (Raven Import 2011) A-
Something Is Happening/Hard And Heavy/Alias Pink Puzz (Raven Import 2012) B+
Indian Reservation/Collage (Raven Import) B-
Country Wine Plus (Raven Import 2013) C+
Thursday, September 18, 2014
George Hamilton IV
The passing of George Hamilton IV barely caused a ripple in the music world Thursday. George passed away from a heart attack and was 77 years old. But he started out as a teen idol of sorts recording a bunch of sides of ABC Paramount before going into the country music world and scoring a number 1 hit with Abilene. For a 10 plus year career at RCA Victor, Hamilton is better known for discovering and incorporating folk rock into his albums. He was one of the first artists to record Gordon Lightfoot. He covered Urge For Going a Joni Mitchell write up. But my favorite songs remain It's My Time, one of the better John Loudermilk songs ever written although it sounded too much like Break My Mind. But since I couldn't find the forty five of It's My Time, I paid 10 dollars for a used copy of the Gentle Soul Of George Hamilton IV from the now gone Memory Lane Records in Tempe years ago. Even better was a 97 cent record found at The Salvation Army called West Texas Highway, his long forgotten 1971 album for RCA, and he covered James Taylor's Sweet Baby James, a then unknown Michael Martin Murphy and Boomer Castleman's title track of WTH and the Ozark Mountain Daredevils Larry Lee What's Forth Worth as well as some fine songs by Harlan Howard and Bill Anderson. And produced by Bill Ferguson (Porter Waggoner). But by then country radio had ignored him although he continued to record for RCA and later ABC, MCA and Dot and a few more. By the late 90s George was doing gospel 90 percent of the time although he would make the rare secular album such as 2011's In The Heart Of Texas.
For CD greatest hits, George is non existent. Collectibles issued his RCA album of Abilene and it's a solid album but Sony Music never thought to include him in their long deleted RCA Country Legends series in the US but there's a import that cherry picks the hits and leaves out It's My Time but gives the listener She's A Little Bit Country. Not a good trade off. Bear Family has done a much better although sloppy job of the RCA early years and The ABC Paramount era with To You And Yours, which is more of the latter label than the former. So it's either the overblown To You And Yours From Me And Mine 6 CDs box with the early recordings and odd and ends, or it's the 3 cd set My North Country Home which might be the best Gordon Lightfoot tribute album, with the songs that Gordon wrote. But don't hold your breath for any more of the RCA albums to be reissued but most if not all have highlights. Except for She's a Little Bit Country.
RIP to a great country singer.
For CD greatest hits, George is non existent. Collectibles issued his RCA album of Abilene and it's a solid album but Sony Music never thought to include him in their long deleted RCA Country Legends series in the US but there's a import that cherry picks the hits and leaves out It's My Time but gives the listener She's A Little Bit Country. Not a good trade off. Bear Family has done a much better although sloppy job of the RCA early years and The ABC Paramount era with To You And Yours, which is more of the latter label than the former. So it's either the overblown To You And Yours From Me And Mine 6 CDs box with the early recordings and odd and ends, or it's the 3 cd set My North Country Home which might be the best Gordon Lightfoot tribute album, with the songs that Gordon wrote. But don't hold your breath for any more of the RCA albums to be reissued but most if not all have highlights. Except for She's a Little Bit Country.
RIP to a great country singer.
The Days Of Rockpile
Let's face it. In a perfect world Nick Lowe, Dave Edmunds and Rockpile would be in the rock and roll hall of fame. Actually they are....in mine. The uniqueness that is Rockpile stems from the meeting up of retro rocker Dave Edmunds and journeyman de facto leader of Brinsley Schwarz Nick Lowe, which that band started out somewhat in the style of Buffalo Springfield but got more pop sounding with each album. Edmunds at that time was a up and coming producer who did Foghat's first album and had a hit of his own with I Hear You Knockin, but Edmunds himself was a one man band. In 1974 Edmunds produced the Brinsleys What So Funny About Peace Love And Understanding, a minor in the UK (uncharted in the US due to a lack of interest of United Artists promoting it, Elvis Costello covered it in 1979).
However the pub rock scene was in full bloom in the UK. Bands like Ducks Deluxe and Eddie And The Hot Rods and The Pirates are rising up the dust in pubs and a new label called Stiff started up and Lowe became somewhat of a staff writer and producer. Lowe had a hand in Graham Parker's albums and The Dammed but messing around in the studio he came up with So It Goes (done with Steven Goulding on drums (The Rumour) and the punk fused Heart Of The City which was a far cry from the corporate rock of FM radio of Boston or Heart. Edmunds on the other hand made a tribute album to Phil Spector and The Everly Brothers for RCA and then signed to Swan Song, Led Zeppelins' label. At times he used Nick Lowe on bass and Terry Williams (Man) on drums and in 1977 released Get It. A fun romp through 50s and 60s rock and roll his I Knew The Bride was more country rather than the Lowe speed rock that can be heard on Stiffs Live. But Get It, is the first true album of what would be Rockpile the band, rather than Rockpile, Edmunds' alter ego and improves over Subtle As A Flying Mallet, the 1975 RCA one off. Edmunds was expert in providing many of vocal overdubs on Get It, What Did I Do Last Night or Little Darlin' which managed to scrape the top 100. But the heart of the record remains more 1961 rather than 1977 and Edmunds could imitate any type of music he wanted, from Dion ballads (Where Or When) to George Jones to Elvis (My Baby Left Me, just about note for note).
1978 really begins the Rockpile era. Lowe recorded for Stiff Records (later issued to Columbia) and Edmunds for Swan Song so they could do two albums per year. And Lowe's Jesus Of Cool, later renamed Pure Pop For Now People becomes the first album and the Columbia version is all over the place, beginning with So It Goes and Heart Of The City, the Stiff singles, a goofy Bay City Rollers tribute song and power pop songs like Marie Provost, Breaking Glass, and They Called It Rock. When Pure Pop went out of print, Yep Roc reissued Jesus Of Cool and added plenty of b sides and oddities to make it a better buy. His Heart Of The City live version, Edmunds used vocal overdubs for the same take on Tracks On Wax 4, still remains their most hardest rocking song ever. It also includes Cruel To Be Kind (the original version). Even with the meddling Columbia cherry picking and redoing the song sequence Pure Pop For Now People remains a classic album in itself but Jesus Of Cool is the better buy. Tracks On Wax 4 from Edmunds had much compressed mix and louder sound, but Edmunds' heart remains in Eddie Cochran/Chuck Berry land with Trouble Boys and a over the top It's My Own Business, and of course the Everly Brothers on What Looks Good On You Is Me.
1979 is the year of Rockpile coming into their own as Lowe and Edmunds made their best albums, Lowe's Labour Of Lust and Edmunds' Repeat When Necessary. Nick was more experimental, he'd add elements of punk on Switch Board Susan, Love So Fine and Born Fighter. Edmunds updated his sound but still kept a love of Phil Spector on Take Me For A Little While, gone blues on Bad Is Bad (featuring one Huey Lewis) but Edmunds choose wisely on his covers, Elvis Costello's Girls Talk is one of the best things he ever did, and getting Albert Lee to play guitar on Sweet Little Lisa, and Queen Of Hearts is better than Juice Newton's version. But it also helped that Billy Bremner came on to play lead guitar as well. Billy's presence in this band cannot be understated. And it was nice to see Cruel To Be Kind hit the top 30. Still, in my book, Labor and Repeat both albums were the top 2 best of 1979. And the future looked bright for Rockpile to make it even big right?
So it goes. 1980 the first true Rockpile album Seconds Of Pleasure came out and the combined efforts of Lowe and Edmunds and even Bremner made the record a fun album. Of course Nick wrote the songs, and Edmunds found the covers but the perfect 2 minute song was Now And Always, somewhat of a throwaway but it's not. They could rock out with If Sugar Was As Sweet As You or You Ain't Nothing But Fine. But the band was falling apart and a falling out had Edmunds leaving and Nick moving on to new members although both of them had enough material to do their own albums, Nick The Knife and Twangin...from Edmunds. The latter sounds thrown together, after all this was Edmunds' final album for Swan Song and while some of the songs were still quality (Almost Saturday Night, You'll Never Get Me Up In One Of Those) there was more filler than what I expected from Edmunds. I'm going to start living again even if it kills me might be the best direct link to George Jones and The Everlys. But overall pales next to Nick The Knife which comes out of the field running with a drum heavy Burnin, going into a reggae beat of Heart (much different from the seconds of pleasure version) and then Stick It Where The Sun Don't Shine, co sung with soon to be ex wife Carlene Carter who married Lowe. But it was becoming clear that Nick was changing his music from power pop punk to contemporary rock and roll. While Lowe was rocking less, Edmunds was rocking more with D E 7th, his first for Columbia in 1982 with Me And The Boys. But in all fairness, Rockpile was basically done with Twangin... and Nick The Knife.
Over the years Lowe would be changing his style to a more crooning country style that I have never gotten much into, although most of it is fine, I come to find that the albums starting with Pinker And Prouder Than Previous was the musical downslide of Lowe, content to gently rock out and a far cry from the 70s. Edmunds did work with Lowe one more time on the 1989 flop Party Of One and Lowe's last good album. The start of a long and fruitful relationship with Bill Kirchen (Commander Cody) Ry Cooder and Jim Keltner, the latter two he worked with when he helped John Hiatt with Bring The Family. That included a one off album called Little Village in 1993 with Hiatt, but Party Of One Lowe would bring some of his later day classics stuff like You Got The Look I Like and I Don't Know Why You Keep Me Hangin On, a duet with Paul Carrack. A solid record but it didn't sell, and Lowe would move on to Upstart and later Yep Roc. Edmunds on the other hand started working with Jeff Lynne (ELO) for the 1983 Information album and later Riff Raff. A bit too techno rock and too much of a ELO both albums do have their charm. After a live album, Edmunds dropped out for a few years, than returning with Closer To The Flame (Capitol) and then back to the DIY that recalls of the days of Rockpile the Edmunds alter ego band of the early 70s with Plugged In a valiant effort but rather more of a hobby album since it didn't sell. Edmunds has been semi retired of late but has put together some new songs. A Pile Of Rock, with The Refreshments and Gerant Watkins backing Dave up was a worthy live effort although I have yet to hear it.
In the end, when Lowe and Edmunds teamed up in the late 70s to make albums under their own name, it was like getting two albums from them in the same year. Rockpile to me was the Beatles in my lifetime. They were that much loved.
However the pub rock scene was in full bloom in the UK. Bands like Ducks Deluxe and Eddie And The Hot Rods and The Pirates are rising up the dust in pubs and a new label called Stiff started up and Lowe became somewhat of a staff writer and producer. Lowe had a hand in Graham Parker's albums and The Dammed but messing around in the studio he came up with So It Goes (done with Steven Goulding on drums (The Rumour) and the punk fused Heart Of The City which was a far cry from the corporate rock of FM radio of Boston or Heart. Edmunds on the other hand made a tribute album to Phil Spector and The Everly Brothers for RCA and then signed to Swan Song, Led Zeppelins' label. At times he used Nick Lowe on bass and Terry Williams (Man) on drums and in 1977 released Get It. A fun romp through 50s and 60s rock and roll his I Knew The Bride was more country rather than the Lowe speed rock that can be heard on Stiffs Live. But Get It, is the first true album of what would be Rockpile the band, rather than Rockpile, Edmunds' alter ego and improves over Subtle As A Flying Mallet, the 1975 RCA one off. Edmunds was expert in providing many of vocal overdubs on Get It, What Did I Do Last Night or Little Darlin' which managed to scrape the top 100. But the heart of the record remains more 1961 rather than 1977 and Edmunds could imitate any type of music he wanted, from Dion ballads (Where Or When) to George Jones to Elvis (My Baby Left Me, just about note for note).
1978 really begins the Rockpile era. Lowe recorded for Stiff Records (later issued to Columbia) and Edmunds for Swan Song so they could do two albums per year. And Lowe's Jesus Of Cool, later renamed Pure Pop For Now People becomes the first album and the Columbia version is all over the place, beginning with So It Goes and Heart Of The City, the Stiff singles, a goofy Bay City Rollers tribute song and power pop songs like Marie Provost, Breaking Glass, and They Called It Rock. When Pure Pop went out of print, Yep Roc reissued Jesus Of Cool and added plenty of b sides and oddities to make it a better buy. His Heart Of The City live version, Edmunds used vocal overdubs for the same take on Tracks On Wax 4, still remains their most hardest rocking song ever. It also includes Cruel To Be Kind (the original version). Even with the meddling Columbia cherry picking and redoing the song sequence Pure Pop For Now People remains a classic album in itself but Jesus Of Cool is the better buy. Tracks On Wax 4 from Edmunds had much compressed mix and louder sound, but Edmunds' heart remains in Eddie Cochran/Chuck Berry land with Trouble Boys and a over the top It's My Own Business, and of course the Everly Brothers on What Looks Good On You Is Me.
1979 is the year of Rockpile coming into their own as Lowe and Edmunds made their best albums, Lowe's Labour Of Lust and Edmunds' Repeat When Necessary. Nick was more experimental, he'd add elements of punk on Switch Board Susan, Love So Fine and Born Fighter. Edmunds updated his sound but still kept a love of Phil Spector on Take Me For A Little While, gone blues on Bad Is Bad (featuring one Huey Lewis) but Edmunds choose wisely on his covers, Elvis Costello's Girls Talk is one of the best things he ever did, and getting Albert Lee to play guitar on Sweet Little Lisa, and Queen Of Hearts is better than Juice Newton's version. But it also helped that Billy Bremner came on to play lead guitar as well. Billy's presence in this band cannot be understated. And it was nice to see Cruel To Be Kind hit the top 30. Still, in my book, Labor and Repeat both albums were the top 2 best of 1979. And the future looked bright for Rockpile to make it even big right?
So it goes. 1980 the first true Rockpile album Seconds Of Pleasure came out and the combined efforts of Lowe and Edmunds and even Bremner made the record a fun album. Of course Nick wrote the songs, and Edmunds found the covers but the perfect 2 minute song was Now And Always, somewhat of a throwaway but it's not. They could rock out with If Sugar Was As Sweet As You or You Ain't Nothing But Fine. But the band was falling apart and a falling out had Edmunds leaving and Nick moving on to new members although both of them had enough material to do their own albums, Nick The Knife and Twangin...from Edmunds. The latter sounds thrown together, after all this was Edmunds' final album for Swan Song and while some of the songs were still quality (Almost Saturday Night, You'll Never Get Me Up In One Of Those) there was more filler than what I expected from Edmunds. I'm going to start living again even if it kills me might be the best direct link to George Jones and The Everlys. But overall pales next to Nick The Knife which comes out of the field running with a drum heavy Burnin, going into a reggae beat of Heart (much different from the seconds of pleasure version) and then Stick It Where The Sun Don't Shine, co sung with soon to be ex wife Carlene Carter who married Lowe. But it was becoming clear that Nick was changing his music from power pop punk to contemporary rock and roll. While Lowe was rocking less, Edmunds was rocking more with D E 7th, his first for Columbia in 1982 with Me And The Boys. But in all fairness, Rockpile was basically done with Twangin... and Nick The Knife.
Over the years Lowe would be changing his style to a more crooning country style that I have never gotten much into, although most of it is fine, I come to find that the albums starting with Pinker And Prouder Than Previous was the musical downslide of Lowe, content to gently rock out and a far cry from the 70s. Edmunds did work with Lowe one more time on the 1989 flop Party Of One and Lowe's last good album. The start of a long and fruitful relationship with Bill Kirchen (Commander Cody) Ry Cooder and Jim Keltner, the latter two he worked with when he helped John Hiatt with Bring The Family. That included a one off album called Little Village in 1993 with Hiatt, but Party Of One Lowe would bring some of his later day classics stuff like You Got The Look I Like and I Don't Know Why You Keep Me Hangin On, a duet with Paul Carrack. A solid record but it didn't sell, and Lowe would move on to Upstart and later Yep Roc. Edmunds on the other hand started working with Jeff Lynne (ELO) for the 1983 Information album and later Riff Raff. A bit too techno rock and too much of a ELO both albums do have their charm. After a live album, Edmunds dropped out for a few years, than returning with Closer To The Flame (Capitol) and then back to the DIY that recalls of the days of Rockpile the Edmunds alter ego band of the early 70s with Plugged In a valiant effort but rather more of a hobby album since it didn't sell. Edmunds has been semi retired of late but has put together some new songs. A Pile Of Rock, with The Refreshments and Gerant Watkins backing Dave up was a worthy live effort although I have yet to hear it.
In the end, when Lowe and Edmunds teamed up in the late 70s to make albums under their own name, it was like getting two albums from them in the same year. Rockpile to me was the Beatles in my lifetime. They were that much loved.
Saturday, August 23, 2014
Radio Misfits Or Where Are They Now
I make no secret how much I hate Corporate Radio and the same 200 songs played day after day after day after day etc etc etc. The love of such overplayed classic like Centerfold or Sweet Home Alabama or Dream On or Boston's first album have long gone, especially suffering in a department that the radio can only pick up classic rot (The Fox) shitty top forty (Z102.9) bro country (98.1 K Hack) or shitty 'real rock' (KRNA) for music. I rather have my ears picked out with a stick than have to deal with Back In Black selections or the three Guns and Roses numbers off their first which can be very annoying when dealing with a machine that breaks down while W Axl Rose screams over and over again. The nadir of classic rock radio or "real" rock shows a lack of variety that there is much more to Nirvana or Pearl Jam of music 20 years ago. Figure that Dookie and Smash are 20 years old now, nobody has any loving for the 16 million selling album Cracked Rear View from Hootie and The Blowfish which REAL ROCK KRNA used to have in their playlist before somebody watching Beavis and Butthead decided that KRNA needed to add death metal or grunge to the equation. Too bad you can't fire bomb Cumulus or Clear Channel radio, which dominates the FM field. If you want country classics you have to sort through five watt 1360 but knowing you can't that up, you're stuck with the latest horse hockey from Rascal Flatts on K Hack or bad heavy metal disguised as country radio.
In the age of the internet, time flies as faster than ever since we're on the computer 20 hours at a time it seems and 15 years ago, life got this fast as I got my first used computer and fought with that for about a year before getting a Gateway and fighting that for another two years. Past ten years I've had the same computer but it's pretium 4, it hangs up more often than not (like it is now) and researching the oldies and archives take much longer than it used to. The future seems to be on smart phones where you can down load apps to get lesser known radio pod casts and net stations to hear what Cumulus/Clear Channel won't play. Didn't used to be that way till Newt Gingrich sneaked past Bill Clinton doing Monica no doubt, the Telecommunications Act Of 1996 which gave us the Corporate CSers that is Cumulus/CC. And the same shit music and now much loathed rock classics that we're sick of hearing three times in one 8 hour setting picking cotton at our employment. Funny how KRNA used to play Nickleback but now since that band is uncool, they haven't. In the era of 1994, Nirvana, Soundgarden, Pearl Jam, Alice In Chains and Stone Temple Pilots still live on but you don't hear Circus Of Power, Helmet and Killing Joke. Think of ten years ago, Good Charlotte you couldn't escape hearing on the radio but now you don't anymore. Los Lonely Boys came out with a debut that got played to death but 8 years later, they're forgotten in radio land. Or Sister Hazel. All For You makes them a one hit wonder, never mind they had a few more albums out after that.
Punk music of the 1990s has not aged very well. I really wasn't much into Rancid although Green Day is my choice of punk music, but KRNA considers them to rock and roll, so you can hear the usual Dookie hits. Or Offspring's Smash which somewhat holds up but every album after that they got to be a novelty act. A lot like Smash Mouth. Walking On The Sun is retro cool, Astro Lounge broke them with All Star, which made them a novelty act and after the third album nobody cared. So they're playing county fairs and package deals with other washed up 90s acts. Even Eve 6, which 15 years ago gave us Inside Out is now a oldies act. Like the rest, play for 15 minutes, just the hits and then hit the road to another town in the night. MXPX, basically Green Day light but speed metal due to a drummer with a sugar buzz and Torette's disease. Chick Magnet, they duplicated Green Day's Longview beat and got a minor hit for their trouble though you're more inclined to hear it on net radio. They never did top Green Day, they came close with the Everpassing Moment with Dave Grohl helping out but they blew their collective cool by then going for a Good Charlotte sound, with an eye on better sales. That didn't work. But they're still around playing whenever they get a moment free from families and life situations.
Perhaps Blink 182 was the more serious contender to Green Day but the Blinkers seem to have a fixation with poo poo jokes and worse ones. Dude Ranch is a poo poo joke itself, but Enema Of The State was a much better effort, a mature one at times although this year's event the boys couldn't help but change a few lines of their hits in a typical Animal House fashion. The Mike Portnoy of punk drummers Travis Barker helped their sound a lot after he replaced the original drummer. It's been said that Cheshire Cat, the album before Dude Ranch is one of the classic punk albums of the 1990s but once they enlisted the late Jerry Finn (Green Day/MXPX/Suicide Machines) to help guide them, they found their stride. I'll give them this, the 2011 Neighborhoods album was a nice comeback album. But even though they're in their 40s, they still can't stop telling poo poo jokes or playing the Cussing Song live (which can be found on Short Music For Short People on Fat Wreck Chords). But at least they're still playing live, unlike Good Charlotte who has become a footnote to punk rock history despite rumors of a new album this year.
The lack of variety on Corporate Radio is a very sore subject and although this blog attempts to seek out the ones that did get some airplay, for some reason they don't now. Make no mistake AC DC is good and their albums are classic, I just don't want to hear Back In Black on regular rotation the past 30 years. And in the meantime Cumulus/Clear Channel overlook such bands like their counterparts The Angels (although Marsalies gets played once a month) or the even harder rocking Kings Of The Sun (the new Clifford Hoad led Rock Till You Die is better than anything KRNA plays new). While Green Day gets the corporate love, none is shared for MXPX or Less Than Jake. The Seattle Superbands of the 90s are on regular rotation but King's X, Atomic Opera, Ministry and Helmet are on the outside looking in. And don't get me started on Pink Floyd, since Porcupine Tree has been the best prog rock band in this era and KRNA still manages to pull out The Wall or Wish You Were Here (and of course Dark Side) instead. And no King Crimson either.
Every day we have more new music to go with the past, there's never been so much out there and never has there's been so few ways to hear it, certainly not Corporate Radio. Public Radio tries their best, but their format is about 4 hours before The World Cafe comes on. And what the DJs play for new music isn't any better than the classic crap but at least it's a different torture. Streaming is the way of the future for some but for me, it's never going to change me not buying anything and if there was a way we can hear it on the radio rather than a Smart phone at work I'm open to suggestion.
But there's a always a place for Radio Misfits and you can find them at the thrift store and the dollar section. You're better off just to take a bunch of CDs to work and listen to them. But make sure you have a few to get through the night and have enough variety not to generate burnout like we do listening to the fucking FOX or KRNA at night.
Better yet, just give me silence. It's better than four hours of earworms like Foolin' by Def Leppard in your head all night.
In the age of the internet, time flies as faster than ever since we're on the computer 20 hours at a time it seems and 15 years ago, life got this fast as I got my first used computer and fought with that for about a year before getting a Gateway and fighting that for another two years. Past ten years I've had the same computer but it's pretium 4, it hangs up more often than not (like it is now) and researching the oldies and archives take much longer than it used to. The future seems to be on smart phones where you can down load apps to get lesser known radio pod casts and net stations to hear what Cumulus/Clear Channel won't play. Didn't used to be that way till Newt Gingrich sneaked past Bill Clinton doing Monica no doubt, the Telecommunications Act Of 1996 which gave us the Corporate CSers that is Cumulus/CC. And the same shit music and now much loathed rock classics that we're sick of hearing three times in one 8 hour setting picking cotton at our employment. Funny how KRNA used to play Nickleback but now since that band is uncool, they haven't. In the era of 1994, Nirvana, Soundgarden, Pearl Jam, Alice In Chains and Stone Temple Pilots still live on but you don't hear Circus Of Power, Helmet and Killing Joke. Think of ten years ago, Good Charlotte you couldn't escape hearing on the radio but now you don't anymore. Los Lonely Boys came out with a debut that got played to death but 8 years later, they're forgotten in radio land. Or Sister Hazel. All For You makes them a one hit wonder, never mind they had a few more albums out after that.
Punk music of the 1990s has not aged very well. I really wasn't much into Rancid although Green Day is my choice of punk music, but KRNA considers them to rock and roll, so you can hear the usual Dookie hits. Or Offspring's Smash which somewhat holds up but every album after that they got to be a novelty act. A lot like Smash Mouth. Walking On The Sun is retro cool, Astro Lounge broke them with All Star, which made them a novelty act and after the third album nobody cared. So they're playing county fairs and package deals with other washed up 90s acts. Even Eve 6, which 15 years ago gave us Inside Out is now a oldies act. Like the rest, play for 15 minutes, just the hits and then hit the road to another town in the night. MXPX, basically Green Day light but speed metal due to a drummer with a sugar buzz and Torette's disease. Chick Magnet, they duplicated Green Day's Longview beat and got a minor hit for their trouble though you're more inclined to hear it on net radio. They never did top Green Day, they came close with the Everpassing Moment with Dave Grohl helping out but they blew their collective cool by then going for a Good Charlotte sound, with an eye on better sales. That didn't work. But they're still around playing whenever they get a moment free from families and life situations.
Perhaps Blink 182 was the more serious contender to Green Day but the Blinkers seem to have a fixation with poo poo jokes and worse ones. Dude Ranch is a poo poo joke itself, but Enema Of The State was a much better effort, a mature one at times although this year's event the boys couldn't help but change a few lines of their hits in a typical Animal House fashion. The Mike Portnoy of punk drummers Travis Barker helped their sound a lot after he replaced the original drummer. It's been said that Cheshire Cat, the album before Dude Ranch is one of the classic punk albums of the 1990s but once they enlisted the late Jerry Finn (Green Day/MXPX/Suicide Machines) to help guide them, they found their stride. I'll give them this, the 2011 Neighborhoods album was a nice comeback album. But even though they're in their 40s, they still can't stop telling poo poo jokes or playing the Cussing Song live (which can be found on Short Music For Short People on Fat Wreck Chords). But at least they're still playing live, unlike Good Charlotte who has become a footnote to punk rock history despite rumors of a new album this year.
The lack of variety on Corporate Radio is a very sore subject and although this blog attempts to seek out the ones that did get some airplay, for some reason they don't now. Make no mistake AC DC is good and their albums are classic, I just don't want to hear Back In Black on regular rotation the past 30 years. And in the meantime Cumulus/Clear Channel overlook such bands like their counterparts The Angels (although Marsalies gets played once a month) or the even harder rocking Kings Of The Sun (the new Clifford Hoad led Rock Till You Die is better than anything KRNA plays new). While Green Day gets the corporate love, none is shared for MXPX or Less Than Jake. The Seattle Superbands of the 90s are on regular rotation but King's X, Atomic Opera, Ministry and Helmet are on the outside looking in. And don't get me started on Pink Floyd, since Porcupine Tree has been the best prog rock band in this era and KRNA still manages to pull out The Wall or Wish You Were Here (and of course Dark Side) instead. And no King Crimson either.
Every day we have more new music to go with the past, there's never been so much out there and never has there's been so few ways to hear it, certainly not Corporate Radio. Public Radio tries their best, but their format is about 4 hours before The World Cafe comes on. And what the DJs play for new music isn't any better than the classic crap but at least it's a different torture. Streaming is the way of the future for some but for me, it's never going to change me not buying anything and if there was a way we can hear it on the radio rather than a Smart phone at work I'm open to suggestion.
But there's a always a place for Radio Misfits and you can find them at the thrift store and the dollar section. You're better off just to take a bunch of CDs to work and listen to them. But make sure you have a few to get through the night and have enough variety not to generate burnout like we do listening to the fucking FOX or KRNA at night.
Better yet, just give me silence. It's better than four hours of earworms like Foolin' by Def Leppard in your head all night.
Sunday, August 10, 2014
The Buck Pets
The 90s is the last decade of creativity before major label buyout mania took over and the independent cool labels got swallowed up by corporations. Good for the share holders but for the music listener not much so. Even in the 80s Island Records when Chris Blackwell was heading that label managed to score some good bands along the way. John Mayall made two late comeback albums that were great, the now hard to find Chicago Line one of them. Drivin' n Cryin' the most visible. And one of them came from Texas by the unique name of The Buck Pets.
A typical story of a one album wonder band, The Buck Pets' debut album is a raw sonic sludge of loud guitars and a combination of Soul Asylum lyricism but with a Husker Du' guitar sound that kinda foretold the grunge movement. But since they were not from Seattle, the term is more Alt Guitar Noise. Their first album remains their sole classic album. A bit of Jane's Addiction stop and start rock was added on for good measure, my guess is they couldn't name themselves The Fuck Ups and decided to find a name that could rhyme with that, thus The Buck Pets. Island was gracious enough to send the boys down to the Bahamas at Compass Point and get Ron St Germain to produce and mix the album and it doesn't sound out of place along with Jane's Addiction or early Husker Du', I hear The Junk Monkeys as well. The band owes nothing to Peter Buck or REM, the initial reaction was them being associated to REM but not at all. Unless they inspired REM to record Monster a few years later. The first song Iron Cock probably scared away MTV 120 Minutes or Headbangers Ball but it's a nice start to the album. I think the highlights is the acid power pop of Song For Louise Post and bonus CD cut The Bad Sleep Good, Or Not At All which melody was probably inspired by Nirvana's Bleach but for references to such bands of influence, The Buck Pets S/T still manages to hold up.
But somehow the attitude changed big time and perhaps the Island buy out to Polygram soured the band and the next album Mercurotones paled in comparison. A product of Corporate Island telling them what to do and what sound is now, the record is just about total confusion as The Bucks tried anything and everything to update their sound but a lot of songs never get going or sound unfinished. Perhaps the best title of this album is Fuck It by The Buck Pets. One song Libertine is produced by the Dust Brothers (Beastie Boys) and the rest done by Michael Beinhorn whose best moment was Mother's Milk by Red Hot Chili Peppers and one of the more hands on and less satisfying producers of the 90s. Rock Goddess (R T Cocaine Blues) starts the record out okay but the rest of the record they sound bored. Libertine at least changes the outcome a bit and perhaps the Dust Brothers would have been a better choice of production than Beinhorn. The first album was husker du drive, Mercurotones is driven more by the Pixies. Not a total waste, Hey Sunshine shows that they can do power pop fairly well. But the band disown just about everything about this album including art work and photo taken. The record flopped and Corporate Island said bye bye.
A change of label to Restless (aka Worthless Records according to the band) didn't help things. A change of drummers and To The Quick was released to indifference. Living Is The Best Thing got some airplay on the album rock station but nothing more came of this. Ted Nicely replaces Mike Beinhorn at production but the problem was the songs were even less memorable than Mercurotones and they were stuck on a label that had no clue on how to promote this band. A cover of the Who's Bargain is commendable but if you want to ever hear an album of a band giving up. To The Quick is that. They did threw in the towel after that, although Andy Thompson and Chris Savage did get the band back together for a 2010 reunion show.
For all intent purposes, The Buck Pets fit very well with Alternative rock of the late 80s, when they came out of the gate, they showed their influences and inspiration quite well but with record label meddling the next two efforts make a valid point of not signing with a major label. You can hear the results. For for a short time in 1989, they were one of the up and coming bands. The first album is all you need to know.
Grades:
The Buck Pets (Island 1989) A-
Mercurotones (Island 1990) B-
To The Quick (Restless 1993) C
A typical story of a one album wonder band, The Buck Pets' debut album is a raw sonic sludge of loud guitars and a combination of Soul Asylum lyricism but with a Husker Du' guitar sound that kinda foretold the grunge movement. But since they were not from Seattle, the term is more Alt Guitar Noise. Their first album remains their sole classic album. A bit of Jane's Addiction stop and start rock was added on for good measure, my guess is they couldn't name themselves The Fuck Ups and decided to find a name that could rhyme with that, thus The Buck Pets. Island was gracious enough to send the boys down to the Bahamas at Compass Point and get Ron St Germain to produce and mix the album and it doesn't sound out of place along with Jane's Addiction or early Husker Du', I hear The Junk Monkeys as well. The band owes nothing to Peter Buck or REM, the initial reaction was them being associated to REM but not at all. Unless they inspired REM to record Monster a few years later. The first song Iron Cock probably scared away MTV 120 Minutes or Headbangers Ball but it's a nice start to the album. I think the highlights is the acid power pop of Song For Louise Post and bonus CD cut The Bad Sleep Good, Or Not At All which melody was probably inspired by Nirvana's Bleach but for references to such bands of influence, The Buck Pets S/T still manages to hold up.
But somehow the attitude changed big time and perhaps the Island buy out to Polygram soured the band and the next album Mercurotones paled in comparison. A product of Corporate Island telling them what to do and what sound is now, the record is just about total confusion as The Bucks tried anything and everything to update their sound but a lot of songs never get going or sound unfinished. Perhaps the best title of this album is Fuck It by The Buck Pets. One song Libertine is produced by the Dust Brothers (Beastie Boys) and the rest done by Michael Beinhorn whose best moment was Mother's Milk by Red Hot Chili Peppers and one of the more hands on and less satisfying producers of the 90s. Rock Goddess (R T Cocaine Blues) starts the record out okay but the rest of the record they sound bored. Libertine at least changes the outcome a bit and perhaps the Dust Brothers would have been a better choice of production than Beinhorn. The first album was husker du drive, Mercurotones is driven more by the Pixies. Not a total waste, Hey Sunshine shows that they can do power pop fairly well. But the band disown just about everything about this album including art work and photo taken. The record flopped and Corporate Island said bye bye.
A change of label to Restless (aka Worthless Records according to the band) didn't help things. A change of drummers and To The Quick was released to indifference. Living Is The Best Thing got some airplay on the album rock station but nothing more came of this. Ted Nicely replaces Mike Beinhorn at production but the problem was the songs were even less memorable than Mercurotones and they were stuck on a label that had no clue on how to promote this band. A cover of the Who's Bargain is commendable but if you want to ever hear an album of a band giving up. To The Quick is that. They did threw in the towel after that, although Andy Thompson and Chris Savage did get the band back together for a 2010 reunion show.
For all intent purposes, The Buck Pets fit very well with Alternative rock of the late 80s, when they came out of the gate, they showed their influences and inspiration quite well but with record label meddling the next two efforts make a valid point of not signing with a major label. You can hear the results. For for a short time in 1989, they were one of the up and coming bands. The first album is all you need to know.
Grades:
The Buck Pets (Island 1989) A-
Mercurotones (Island 1990) B-
To The Quick (Restless 1993) C
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