FROM THE CUTTING ROOM FLOOR

Throughout their heyday in the sixties, the Beatles would tape a year end Christmas message that was issued on flexi disc to members of their fan club. This is an outtake from the session that produced their 1965 greeting.

I was in tears laughing when I first heard this, years ago, on a bootleg that I had acquired. The poster labeled this as a "Disturbing Beatle Message", though it was certainly never intended for public consumption.

Black humor coupled with a shared left-handed cigarette produces those deep laughs, where you think that you have suffered internal injuries. It is in that spirit (and state) that the following silliness ensued.

JEFF BUCKLEY

Jeff Buckley came to my attention purely by accident while channel surfing.

Fall 1994: Terry David Mulligan was conducting an interview with him on Much Music (remember when they actually aired music?). Seconds before flipping to another distraction, I heard Mulligan state that listening to Buckley's album evoked the same feelings as those stirred when he had first heard "Astral Weeks".

Please, continue...

Based on the experience of hearing just the title track as part of this segment, I raced out to find a copy of the CD. All expectations were exceeded and for weeks it was in constant rotation. Convinced that this would be huge, I laid the disc on anyone who would listen as if it were a hot stock tip.

It wasn't

It was heartening to know that this masterpiece was created by a (then) contemporary artist. Music that aimed a bit higher, it was on par with the best of anything produced during the golden period of the sixties. High hopes were set for what he would follow it up with.

Sadly, the attention of a broader audience would only come through his untimely passing in 1997.

Nothing increases demand for an artist's work more than word of their demise. Overnight, critical evaluations became eulogies for a young man who would not fulfill the promise that was so perfectly stated with his lone studio effort.

"Grace" is powered by operatic vocal gymnastics, epic arrangements tailored for a four-piece rock group and nerve. There is also a dark and foreboding undercurrent to the writing that is slightly unsettling, though it compels you to listen. This component is balanced by the exhilaration of hearing someone pull off the impossible at every turn. Genius in a flawless, musical high wire act.

Without any vulgar attempts to copy from their playbook, the spirit and creativity of Zeppelin at their most esoteric is felt, especially with "Mojo Pin", "Grace" and "The Last Goodbye". Three covers round out the set, with a version of "Hallelujah" that surpasses all interpretations. Any other attempts pale in comparison.

I have rarely been more inspired than the first time I listened to this album and it continues to amaze.

Much ink has been spilled in praise of this disc, with nary a drop wasted. What more could be said?

SHEA STADIUM

This past week, a controlled demolition the likes of which has not been seen in New York for almost eight years, brought down the last section of an iconic venue. The pride of Flushing, NY, Shea Stadium opened for business in April 1964. Home of the Mets and Jets, it is best remembered as the site of the opening gig of the Beatles 1965 US tour that drew a record (for that time) crowd of over 55,000 people.

It is now a parking lot. Guess that people had enough with "remembering" William A. Shea.

THE PRETENDERS

PRETENDERS

Guitar tone that leaps out of the speakers, solid songs with sympathetic backing and one ex music writer with soul. All are present and accounted for on "Pretenders". Another late 70's last stab at breathing life into rock that is consistently brilliant from the time "Precious" kicks down the door until "Mystery Achievement" fades into the west.

Chrissie Hynde asserts herself with a distinctive vocal delivery and an attitude that is demonstrated simply by crafting edgy, melodic music. There is none of the fatuous posing of latter day lightweights (Pink and Avril Lavigne) here.

I keep this record is in fairly constant rotation, as it remains fresh after so many years. "Up the Neck" packs an album's worth of ideas into one tune. Light distortion colors the dentist drill opening riff which then shifts gears into glorious sounding arpeggios before changing yet again. Effort is made to hold your attention.

Energetic punkish outings like "Tatooed Love Boys" and "Precious" sit comfortably next to radio ready fare like "Brass In Pocket" and "Kid" which is one of my favorites from this stellar set. There wouldn't be a crisis in the music business if artists were releasing consistent, top quality product.

Special mention goes to the three players who pooled their talents to sonically elevate these offerings. James Honeyman Scott's guitar textures are an indispensable part of the soundscape. He also co-wrote "Space Invader" and "Brass in Pocket". Pete Farndon and Martin Chambers anchored a muscular, yet flexible rhythm section. Sadly, both Scott and Farndon became drug casulaties in the early 80's. Their input would be missed after the second album.

Expert production from Chris Thomas sands off rough edges, yet maintains a feel that accentuates the strengths of this talented quartet.

THE DEVIL IS IN THE DETAILS

Who is responsible for the much needed drop in the price of gas?

It's always the one that you least expect...

JONI MITCHELL

BLUE

Self explanatory.

GOMEZ

LIQUID SKIN

Allowing these songs to permeate your cerebellum would definitely be one of the nicest things that you could do for your brain. Gomez came out of the UK indie scene in the mid 90's with demos that inspired a bidding war to sign them. A co-worker was kind enough to loan me this CD when it was still a fresh item and I was instantly hooked.

Writing and playing here is first rate, while the production values have moved up a notch from the low-fi feel of their first disc (the also quite excellent "Bring It On"). Best of all, they make zero concessions to trendy noises or styles, while taking care not to venture into tuneless experimentation. Melodic fare mixes with unexpected 180 degree turns in arrangement ("Las Vegas Dealer") and having three vocalists ensures variety in pace and tone.

"Devil Will Ride" encompasses every facet of this multi-talented group, showcasing tight harmonies, tricky riffs and a surprise horn interlude that doesn't interrupt the flow of the song, despite a dead stop.



Don't buy into the bullshit tags that have been carelessly applied to "Liquid Skin". Psychedelic blues was a laughable example. They forge their own esoteric sound.

Lots of information is presented to the listener, so it may take a few spins to absorb all that is on offer. Exhilarating passages are expertly woven together with the best ideas refined and made stronger because they are fed into a communal pool of musicians reaching a bit higher.

It all works, leaving an impression of timelessness.

BILL HICKS

This could be one of Dave Letterman's greatest gestures.

BEN FOLDS FIVE

THE UNAUTHORIZED BIOGRAPHY OF REINHOLD MESSNER

Commercial indifference buried this talented trio in the backyard, with an adventurous set of tunes left as their last official release. Proving again that the masses don't pay attention, Folds admitted that he took a bath on this financially and moved on to a solo career.

Ten years after the fact, most everything here stands up, brimming with melody (remember that?) and the type of risk taking that an increasingly narrow minded music industry has driven to a friendlier medium. You are here.

Avoiding the traps that makes most music so boring of late, this is loose limbed, energetic and intelligent stuff. "Narcolepsy" builds from a lone piano in the intro to incorporate Darren Jesse's splashy drum flourishes (reminiscent of Keith Moon), augmented by sweeping strings. Kicking in the door with an epic and witty statement, the pace then shifts down into 70's AM radio territory with "Don't Change Your Plans".



Virtuoso keyboards married to exceptional songs.

Those familiar with their previous two albums will find that arrangements have grown to incorporate strings and brass, though it doesn't detract from the personality of the players. All three sing and contribute distinctive instrumental passages, with the overdriven bass of Robert Sledge acting as lead guitar. Dry humor, an essential ingredient of some of their work, is muted here in favor of a more serious tone. On the disc's one disposable track ("Your Redneck Past") there is a sense of silliness which seems too far out of context to merit its inclusion here.

Everything else works quite well. "Army" is the cornerstone track, mixing wry slackerisms with a complimentary horn section that provides an adrenaline rush , pushing the song to the finish line with excitement.



This is a criminally overlooked album. Reuniting briefly to play "Reinhold Messner" in it's entirety last fall, everyone looked like they were having a hell of a lot of fun.

THE TALKING CAR

TRAFFIC SAFETY FILM (1969 remake of 1953 original)

"Hi, I'm Troy McClure! Today, I'll be teaching you the "dos" and "do not dos" of getting flattened in the street because you JUST DIDN'T LISTEN!!!!"

Nothing at all to do with music, except that the kid is played by Brian Forster who would later be the Partridge Family's second fake drummer. (They walled up the original Chris Partridge in a basement in the middle of nowhere for "talking back" to the director)

The year was 1973 and our primary school teacher screened this "fill-um" (that's how she pronounced it) to illustrate how easy it would be for us to be squished by an assortment of late 60's American cars driven by child killing maniacs. Note the evil judgement that rains down on the kid when he's put before the panel of three frightening automobiles.

A friend of the family at that time drove a '69 Plymouth Fury and I was convinced that his car was going to clear its throat and damn me to hell for not looking both ways before crossing the street.

Scariest part? The dog's excellent acting.


Watch The Talking Car in How to Videos  |  View More Free Videos Online at Veoh.com

MAKEM AND CLANCY

THE MAKEM AND CLANCY CONCERT

Two true Irish poets who breathed life into everything they touched, captured live in 1977. This is a sentimental trip, as my mom was kind enough to take me along with her to see them play at the Savoy Theatre in Glace Bay in 1978. I had no idea of their significance or stature, though the memory of meeting the duo afterward to shake hands is a very happy one.

Liam is the lone survivor of the celebrated musical Clancy brothers, left to tell the stories with wit, a spellbinding lilt and a healthy amount of blarney. Tommy Makem passed in the summer of 2007.

For those with any interest in the genre, I also recommend this album, recorded live in the 60's on a Sunday afternoon at Columbia Records' 30th Street studio with Pete Seeger and 200 supporters. The joy in this performance is infectious. At age five, this one and "Beatles '65" were my favorite records. Wrecked both of them on a little mono suitcase record player.



"The Rambles of Spring" from a 1981 TV special, filmed at Bunratty Castle, Ireland.

U2

GET YOUR BOOTS ON (single)

Get your sneakers on and run away from this before it blows!

Too late.

Mixing "Pump It Up" (all apologies to Elvis-the living one) with "Wild Wild West" (Jesus) must have seemed like a great idea after a few pints. Then it turned into a three day drunk.

How's that hangover, members of U2?

I certainly hope that it isn't as painful as listening to this.

MOBY GRAPE

MOBY GRAPE

Overshadowed by the story behind the collapse of founding member Alexander 'Skip' Spence, this long neglected San Francisco band imploded quickly. Countless pages have been filled in praise of this album, though not many people have actually listened to it, except for Robert Plant. You won't hear any of these tunes on classic rock stations, either.

Why?

Despite fine writing and playing from each member, there is nothing that reaches beyond "well done" to the level of GREAT. Make no mistake, this is a consistent set of songs, but memorable or extraordinary are tags that just don't apply. Based on many spins, to me, "Moby Grape" has definite high points ("Omaha") though I don't hear cause for why "important" rock critics lose their minds over it.

Faint traces of the lysergic experience ("Indifference") creep in, mixing with countryish material ("Ain't No Use") but it all lacks "Marv Albert bite". The Grateful Dead later used "Hey Grandma" as a musical template for "Truckin" , but Jerry and company remembered to write in a hook. That's the crucial element lacking here.

These guys also had an uphill battle in having their artistic statement released simultaneously with "Sgt. Pepper", which dominated the airwaves in the summer of '67. Next came a suicidal PR tactic that saw five singles put out all at once, with only "Omaha" charting, trudging to number 88.

Subversive cover art didn't help their case. Don Stevenson is flashing the naughty middle digit, which is funny to me, though still taboo in terms of public display over forty years on. Once Spence disappeared into a drug induced ether that involved an attempt to chop up one of his band mates and ended with forcible confinement in a mental facility, the door to any success slammed shut.

I would still recommend giving this one a shot, if you can find it. Each selection is fairly short which is a plus, though they stretched things out when playing live. This is really where they were in their element.

Mike Douglas show appearance = Very tight.

JONI MITCHELL

COURT AND SPARK

Moving away from intimate guitar/piano vocal only presentation, Joni Mitchell linked up with Tom Scott and the LA Express as well as some of the top jazzers in the session game. Her voice is still very much a focal point, despite the ambitious arrangements.

She remained without peer in the song writing department.

Refusing to be tagged and filed in the early 70's "singer-songwriter" bin, Mitchell pushed past these restrictions to produce an intelligent, esoteric work of art. This propelled her far beyond the musings of some of her contemporaries, who had yet to come to grips with the megaton blast that had reshaped music in the late 60's.

Comfortable in her own skin, "Court and Spark" set the tone for experiments to come.

"People's Parties" is one of the best things that she ever committed to tape. Observation is entwined with all of the human frailty of the observer, shaded in with that immaculate 12 string part. Transitioning shrilly (overdriven layered vocals) into "Same Situation" with a piano based soft landing pad, an intimate vocal performance breaks into an uplifting plea: "Send me somebody, who's strong and somewhat sincere."

The "hit" single was "Help Me", with strong support from Larry Carlton. His tasteful playing through the fade is beyond description. "Free Man in Paris" featuring Crosby and Nash on backing vocals, charted as well. The blurring of gender perspective in the chorus line coupled with that guitar hook is extremely effective.

Both of these songs represent a very deft marriage of pop and jazz with incredible attention to detail in every aspect. All possible loose ends are dealt with and you WANT to hear more.

"Raised on Robbery"



Heavily orchestrated arrangements ("Down to You") never overwhelm the author. Unlike so many before (and too many after) her constructions steer away from the whiny, cliche-ridden paths that could easily be taken when subject matter drifts so close to the writer's experiences.

Covering the jokey "Twisted", wrapped in full-on jazz, is a bizarre ending to an otherwise stellar set.

Listeners will be drawn in by the melodies, musicians by the roster of great players that lend their hands to these impressive songs. Joni was only at the beginning of a rewarding journey into deeper forms of expression, with concessions to a wider audience soon to be all but left behind.

BIG STAR

#1 Record

Dizzying styles and fads were thrown at the record buying public in 1972. Artists who had brought so much to the imaginations of listeners in the 1960's were either dead or releasing work that saw them going into decline. Some of the heroes of the previous decade were looked upon as spent forces, creatively.

The K-Tel generation was now ripe for brainwashing.

Along came Big Star, taking the best elements of British Invasion pop, the jangle of the Byrds and fusing it all with great playing, song writing and crystal clear production. The makings of a super successful group?

It really should have been.

Chris Bell, Jody Stephens and Andy Hummel formed the core of the outfit (then called "Icewater") They were then joined by former Box Tops singer, Alex Chilton, with he and Bell doing the bulk of the writing. Renamed for a local supermarket chain, while recording, all of the pieces fell into place.

Released on Ardent Records, hampered by inept distribution from Stax, the album flopped commercially. Although music critics drooled over # 1 Record, many didn't even get to hear it. Shortly after, Chris Bell walked away from the band.



Everything here is meticulously thought out in terms of arrangements and how the instruments were recorded. It seems fitting that producer John Fry mentioned, at the time, "that if it came out of England it was alright by us."

Anyone watching reruns of That 70's Show would be familiar with the opening strains of "In the Street", little knowing (or caring) where it came from. Love the line about stealing a car to drive around and the "wish we had a joint so bad" turnaround. Clean, crisp Stratocaster produced guitar figures are everywhere. "When My Baby's Beside Me" and "Thirteen" also leap out and grab the ear.

Heavier material appears occasionally ("Don't Lie To Me", "Feel") but it is the exception and not the rule.

Signaling a downshift in the homestretch, "rock" exits the picture in favor of quiet fare. Melancholy permeates the remaining songs, which seem caught in the long shadow of a lonesome sunset. "Try Again" would not have sounded out of place on "All Things Must Pass." Acoustic strumming and slide guitar, surround the "Lord, I've been tryin' to be what I should" lyric. Mysteriously titled, "St 100/6" makes a stark, album closer.

"Love me again
Be my friend
I need you now
I'll show you somehow."



Although they would (without Bell) produce another brilliant set (Radio City), it would suffer the same fate as # 1 Record. An aborted attempt at a third album signaled the end of the band. The legend grew up around them as time passed. Countless artists have paid tribute, citing them as a huge influences.

Alex Chilton: "Well, all in all I sort of look at the Big Star records as being a little bit innovative, you know? And by that I mean in a mostly musical sort of way, and not so much in a literary sense. I look at the tunes that we wrote, and I think that some of them – a few of them – are pretty good. I listen to the music, and I think that some of it shows a good musical mind at work. That’s what I think is good about those records. I see them as being the work of sort of young, fairly promising musical minds. I’m not as crazy about them as a lot of Big Star cultists seem to be."

Some film shot during these sessions. "Thank You Friends" is from "Sister Lovers" (third, incomplete Big Star album)



"#1 Record" isn't easy to find on vinyl, though it's readily available on a twofer CD (which includes "Radio City") released by Rykodisc in the early 90's. When listening, you'll be amazed that this was done in the early seventies.

NICK DRAKE

PINK MOON

Appreciation for all things musical often comes at the expense of certain social expectations. Listening for a small quirk in an arrangement when you should be focusing on a conversation is just a small symptom of this.

Discovering an artist that reminds you of why you became obsessed with music to begin with is the payoff.

Despite years lost in dusty record stores I have only become aware of Nick Drake's contributions in the past year.

Glad to have finally caught up.

Released in 1972, "Pink Moon" was his third and final album. Like its predecessors, little notice was taken of it and by 1974, he was gone.

Accompanied only by an acoustic guitar in a myriad of tunings, the voice is that of someone who's constantly telling you a secret. Leaning in closer, you pick up information missed the first time around.

Return trips to these quiet, inscrutable songs become inevitable.

RUSH

SIGNALS

For many listeners/critics, this album was the point where:

a) They really liked the new direction taken and wanted more.

b) They set fire to the record in protest.

c) They set fire to themselves.

This was an X-mas gift for me back when it first came out, so I went with the first option.

Arguably, these guys are three of the most accomplished players out there. Stunning virtuosity does not always translate to mainstream success, though (not that any artist should focus on pleasing the universe). Their earlier work often strayed into lengthy, conceptual territory.

Beginning with the "Permanent Waves" LP in 1980 , streamlined song writing was the road forward and "Signals" was a great balance between pleasing everyone and no one. Those who enjoyed ten minute swords and sorcery epics now had to look elsewhere.

Geddy Lee's voice underwent a fairly dramatic transformation through this period, finding a greater warmth and tonality in the process. The Roland JP-8 synth was also the centerpiece of most tracks which drove people in the "rock camp" away from the group.

"Subdivisions" and "New World Man" got quite a bit of airplay with the album notching a top five US chart placing. All of the instrumental elements that make their sound unique are in place, though they are tempered with more of a pop-rock feel.



A sea change was also reflected in Neil Peart's approach to his lyrical craft. "Losing It" addresses the universal concern of decreasing skill and stamina that accompanies aging. Hemmingway is referenced, alluding to his decline before his death.

"Digital Man" is the best of both worlds. Shredding and insane shifts in timing sit comfortably with synth overlays and slight detours into ska. Listen to those basslines! No wonder this was brought back into the setlist for their last tour, as it must be fun to play.

Terry Brown was gone as producer after this, reputedly not happy with the shift in direction.

Though they continued to be a powerful live act, the band spent the remainder of the 80's chasing synthesizers down a rabbit hole, to their detriment, on record.

WHAT IS AND WHAT SHOULD NEVER BE

For some time now, there has been a lot of speculation as to what the remaining three-fourths of Led Zeppelin plan to do in 2009. Following a successful reunion show in London last December, rumors of a new studio project and a world tour were in the air.

Robert Plant said, “No way.”

Longtime fans of the band said, “Really?”

Plant said, “Really.”

Fans then collectively tilted their heads to one side and in a louder, higher pitch said, “REALLY?!?”

Plant turned, stamped his foot in their direction, waved his cane and yelled, “GET!!!”

The fans ran away, whimpering.

Plant went back in to the house and settled into his Lazy Boy to watch Wheel of Fortune. “Goddamn kids”, he muttered.

The stories continued. “Oh, he’ll come around. He’ll finish the tour with Allison Krauss, go home, dye his chest hair, do a bong hit and say, ‘OK fuckers, where's that confounded bridge?’"

Meanwhile, in a secret laboratory somewhere in the neighborhood of the Large Hadron Collider, Jimmy Page , John Paul Jones and Jason Bonham were rehearsing and writing songs.

Led Zep flies again in ’09!!

Not so fast.

This week John Paul Jones, pictured below, made a statement to the press.



He said that, "Robert Plant wanted no part of their experiments and that they would indeed tour the world- with another singer.” He then straightened his tricorn and stomped off.

So why is Bob Plant bailing?

Because it’s not him. (GASP!)

How do I know? If we’ve learned anything from the original Star Trek series, it is this: No goatee = not evil. Goatee = evil.

Observe!

Regular Plant




Evil Impostor Plant




Do you see? Look at those crinkled, evil eyes.

If true fans want to see Plant on tour with a reunited Zeppelin next year, there is only one solution: Get the real Robert Plant back.

But how?

Someone has to manually operate the transporter system as it cannot be pre-set. Since James Doohan is dead, we could get Jimmy Page to do it. If you can fuck around with a theremin for half an hour and put a bunch of hippies in a trance, then a transporter should be child’s play.

We then have to convince William Shatner to confront Evil Plant to knock both him and George Takei unconscious. Then Evil Plant would do a mind meld with John Paul Jones and discover what most of us already knew: He was wearing a wig on the '75 tour.

Details are fuzzy after this, though I think Evil Plant gets some bad weed and is teleported back to Nashville.

Good Plant, back from nowhere, then tells everyone (in the whimsical epilogue after commercial) that the ruthless attitude of Evil Plant was, "quite refreshing and the very flower of humanity. (screeching) And it always grows!!! PUSH! PUSH!! OooooooooooooooooooooooH!!!!”